Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works. Initially establishing his reputation as a composer of works in the romantic vein of Carl Maria von Weber and Giacomo Meyerbeer, Wagner revolutionised opera through his concept of the Gesamtkunstwerk ("total work of art"), by which he sought to synthesise the poetic, visual, musical and dramatic arts, with music subsidiary to drama. He described this vision in a series of essays published between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle Der Ring des Nibelungen (The Ring of the Nibelung).
His compositions, particularly those of his later period, are notable for their complex textures, rich harmonies and orchestration, and the elaborate use of leitmotifs—musical phrases associated with individual characters, places, ideas, or plot elements. His advances in musical language, such as extreme chromaticism and quickly shifting tonal centres, greatly influenced the development of classical music. His Tristan und Isolde is sometimes described as marking the start of modern music.
Wagner had his own opera house built, the Bayreuth Festspielhaus, which embodied many novel design features. The Ring and Parsifal were premiered here and his most important stage works continue to be performed at the annual Bayreuth Festival, run by his descendants. His thoughts on the relative contributions of music and drama in opera were to change again, and he reintroduced some traditional forms into his last few stage works, including Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg).
Until his final years, Wagner's life was characterised by political exile, turbulent love affairs, poverty and repeated flight from his creditors. His controversial writings on music, drama and politics have attracted extensive comment, notably, since the late 20th century, where they express antisemitic sentiments. The effect of his ideas can be traced in many of the arts throughout the 20th century; his influence spread beyond composition into conducting, philosophy, literature, the visual arts and theatre.
Auf Hohem Felsen Lag Ich Träumend
Richard Wagner Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Auf hohem Felsen lag' ich träumend,
sah unter mir des Meeres Flut;
die Brandung hört' ich, wie sich schäumend
am Ufer brach der Wogen Wut.
Ein fremdes Schiff am nahen Strande
erblickt' ich, seltsam, wunderbar;
zwei Männer nahten sich dem Lande,
Senta
Der andre?
Erik
Wohl erkannt' ich ihn:
mit schwarzen Wams, bleicher Mien' . . .
Senta
Der düstre Blick . . .
Erik
(auf das Bild deutend)
Der Seemann, er.
Senta
Und ich?
Erik
Du kamst vom Hause her,
du flogst, den Vater zu begrüßsen;
doch kaum noch sah ich an dich langen,
du stürztest zu des Fremden Fueßen -
ich sah dich seine Knie umfangen . . .
Senta
Er hub mich auf . . .
Erik
. . . an seine Brust;
voll Inbrunst hingst du dich an ihn -
du küßtest ihn mit heißer Lust . . .
Senta
Und dann?
Erik
Sah ich auf's Meer euch fliehn.
Senta
Er sucht mich auf! Ich muß ihn sehn!
Erik
Entsetzlich! Ha, mir wird es klar!
Senta
Mit ihm muß ich zugrunde gehn.
Erik
Sie ist dahin! Mein Traum sprach wahr!
(Er stürzt voll Enstetzen ab)
Senta
Ach, möchtest du,
bleicher Seemann, sie finden!
Betet zum Himmel, daß bald ein Weib
Treue ihm . . . Ha!
The lyrics to Richard Wagner's song Auf Hohem Felsen Lag Ich Träumend describe a dream that the character Erik had, where he was on a high cliff overlooking the ocean. He saw a strange ship with two men approaching the shore, one of whom he recognized as Senta's father. He also recognized the other man as a sailor with a dark and ominous demeanor. Senta then appears in the dream, running to her father and throwing herself at the feet of the sailor. She kisses him passionately and then runs away with him on the ship. Erik wakes up from this dream in horror, realizing that Senta has gone with the sailor and that his dream has come true.
The song seems to be expressing Erik's fear and jealously towards Senta's love for the mysterious sailor. The dream serves as a warning of the dangers of romanticizing and idealizing someone who is not worthy of trust or love. Additionally, the song uses strong visual imagery to create a sense of longing and fear, as Erik watches the ship depart and realizes that Senta has chosen a path that may lead to her destruction.
Overall, the song serves as a cautionary tale about the power of love and the need to be cautious about who we give our hearts to.
Line by Line Meaning
Auf hohem Felsen lag' ich träumend,
I was on a high cliff dreaming,
sah unter mir des Meeres Flut;
I saw the waves of the sea underneath me;
die Brandung hört' ich, wie sich schäumend
I heard the sound of the waves crashing and foaming
am Ufer brach der Wogen Wut.
as they broke on the shore with fury.
Ein fremdes Schiff am nahen Strande
A strange ship was on the nearby shore,
erblickt' ich, seltsam, wunderbar;
a strange and wondrous sight to see;
zwei Männer nahten sich dem Lande,
two men were approaching the shore,
der ein', ich sah's, dein Vater war.
and one of them, I could see, was your father.
Der andre?
And the other?
Wohl erkannt' ich ihn:
I recognized him well:
mit schwarzen Wams, bleicher Mien' . . .
with a black jacket and a pale face...
Der düstre Blick . . .
the dark gaze...
Der Seemann, er.
It was the sailor.
Und ich?
And me?
Du kamst vom Hause her,
You came from your house,
du flogst, den Vater zu begrüßsen;
you flew to greet your father;
doch kaum noch sah ich an dich langen,
but before I could catch a glimpse of you,
du stürztest zu des Fremden Fueßen -
you fell at the feet of the stranger -
ich sah dich seine Knie umfangen . . .
I saw you embrace his knees...
Er hub mich auf . . .
He lifted me up...
. . . an seine Brust;
pressed me to his breast,
voll Inbrunst hingst du dich an ihn -
you clung to him with passionate abandon -
du küßtest ihn mit heißer Lust . . .
you kissed him with hot desire...
Und dann?
And then?
Sah ich auf's Meer euch fliehn.
I saw you both flee out to the sea.
Er sucht mich auf! Ich muß ihn sehn!
He comes to find me! I must see him!
Entsetzlich! Ha, mir wird es klar!
Dreadful! Ah, I understand now!
Mit ihm muß ich zugrunde gehn.
I must perish with him.
Sie ist dahin! Mein Traum sprach wahr!
She is lost! My dream came true!
(Er stürzt voll Enstetzen ab)
(He falls down in horror.)
Ach, möchtest du,
Oh, if only you,
bleicher Seemann, sie finden!
pale sailor, could find her!
Betet zum Himmel, daß bald ein Weib
Pray to heaven that soon a woman,
Treue ihm . . . Ha!
faithful to him... Ah!
Contributed by Maria J. Suggest a correction in the comments below.