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264:, which he had dictated during his last years, the first full-length biography of Wagner to be created in English, was published a year after the author's death and nine years after the death of its subject. The work was controversial for a number of reasons. Not least, the author claimed, in his introductory dedication to the Earl of Dysart, "an uninterrupted friendship of close upon half a century" – whereas the period of their intimacy can be set at the most from 1855 until 1871. The author's doubtful claims to have been Wagner's first English champion, and his early opposition to the "New German School" were also challenged from the start, although the Wagner enthusiast
287:) denouncing the book, and Chamberlain was successful in suppressing its German publication. Praeger's case was not helped when Chamberlain and Ellis revealed that he had fabricated or mis-represented a number of Wagner's letters that had been included in the book, often in such a way as to promote Praeger's own profile. Chamberlain had insinuated himself in the household of the Earl of Dysart in order to examine the originals of the letters. However, as the music historian Stewart Spencer points out, there was something "distinctly comical" about Chamberlain's complaints. As Chamberlain was himself "currently overseeing one of the most egregious attempts in the history of
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to misrepresent an artist by systematically censoring his correspondence, to criticize
Praeger ... suggests either a pot-and-kettle blindness or a deliberate attempt to divert attention". Nevertheless, Praeger's reputation has never recovered from this initial onslaught. The attack on the biography
295:
Wagner's supporters may have also been irked by other apparent fabrications by
Praeger, such as the claim that Wagner had told him that his first love, at the age of 14, was a Jewish girl in Leipzig. Throughout the book, Praeger in fact supports and justifies Wagner's anti-Jewish prejudices,
221:
Wagner became godfather to one of
Praeger's sons, Richard Wagner Charles Henry Praeger (b. 1855). Praeger remained in correspondence with Wagner for some years thereafter, and met with him on several occasions. These included stays with Wagner and his wife
196:(who was in fact the prime mover of Wagner's appointment in London). Wagner describes Praeger patronisingly as "an unusually good-natured fellow, though of an excitability insufficiently balanced by his standard of culture". Together they visited the
306:, and gives the excuse that "Towards Jews and Judaism had a most pronounced antipathy, and yet this did not prevent him from numbering many Hebrews amongst his most devoted friends." Praeger, however, nowhere reveals that he himself was Jewish.
188:, Wagner explains how he was introduced to Praeger, via correspondence, by the Röckel family, and how Praeger put him up on his first night in London. Praeger later accompanied him on visits to various musical notables, including the conductor
82:. In England he continued as a teacher and a composer, marrying his French wife LĂ©onie in about 1850. His many compositions included piano music, chamber music, and orchestral works (his overture
208:. Although Praeger sought to be helpful to Wagner during the London season, he may in fact have contributed to the poor reception of Wagner by leading English critics, such as J. W. Davison of
57:
1854) and his
English-Jewish wife Elizabeth (Wilhelmina), née Davis or Davison (b. 1788). Heinrich Praeger was a director of opera in Leipzig until 1828, and later at Hanover and Magdeburg.
642:
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looking forward to the uproar that the music of this "ultra-red republican" would cause in "the musical world of this classical, staid, sober, proper, exclusive, conservative London".
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Praeger claimed to be an early advocate of Wagner's music, having written the first article on Wagner in the
English press in 1845, after hearing the overture to
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250:. By this time, however, in Praeger's own words, "The world accepted as one of its great men" and Praeger no longer had any part in his life.
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102:(1887), and was still composing shortly before his death in 1891. Some of his works are dedicated to his musical friends, including an 1889
53:, to Jewish parents, the Dutch-Jewish violinist, composer and conductor Heinrich (Hijman Chaim Aron) Aloys Praeger (Amsterdam 1783 –
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to invite Wagner to London to conduct their 1855 season. However, in March 1855, just before Wagner arrived in London, Praeger wrote to
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and in 1834 went on to London, which thereafter became his home. From 1842 onwards he was the
British correspondent of the Leipzig
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to send him for the next 12 years his compositions, for a remuneration of ÂŁ200 a year. The Earl, who was
President of the London
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Newman (1976) II, pp. 466–7. Davison is scathing about
Praeger in his own memoirs (Davison (1912), pp. 164–6.)
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33:) was a composer, music teacher, pianist and writer. He is now best known for his controversial biography of
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283:, which to Chamberlain's far-right-wing political opinions was deeply embarrassing. Ellis wrote a pamphlet (
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112:. He was active in British musical social life and worked with many musicians visiting Britain, including
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179:(the Secretary of the Society) that he was not a Wagnerite and had never heard any of Wagner's operas.
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said of the book, "A more vivid and convincing portrait than
Praeger's was never painted in words."
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171:) as late as 1854, in which year he claimed to have been a leader amongst those who persuaded the
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279:. In particular they objected to Praeger's detailed account of Wagner's involvement in the 1849
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in the summer of 1871. Praeger saw Wagner at the time of the abortive 1861 Paris production of
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It was in London that
Praeger and Wagner actually met for the first time. In his autobiography
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124:) to conduct his other orchestral works, he was unable ever to get these performed.
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led to the resignation of Dysart from the Presidency of the London Wagner Society.
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650:, State University of New York at Buffalo Music Library, accessed 14 March 2015.
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But the book soon met more forceful criticism from Wagner's English translator
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155:. Praeger learned much about Wagner in correspondence with their mutual friend
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Rediscovering Pieces of the Past: The Manuscript Scores of Ferdinand Praeger
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and Wagner's son-in-law (and major promoter of the Wagner cult at Bayreuth)
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in Germany. In fact, the article was on Wagner's earlier opera,
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Title page of Ferdinand Praeger's "Wagner as I Knew Him" (1892)
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ed. N. Vazsonyi, Cambridge: Cambridge University Press.
569:Anon (1891). "Obituary - Mr. Ferdinand Praeger" in
702:SlavĂková, Jitka (1986). "Dvořák in England", in
660:, 4 vols. Cambridge: Cambridge University Press.
586:, vol. 33 no. 590 (April 1892), pp. 234–235.
230:in July 1857 and with Wagner and his second wife
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1135:Das Judenthum in der Musik (Jewishness in Music)
589:Cormack, David (2013). "Praeger, Ferdinand", in
521:Spencer (2000), p. 81; Newman (1976) II, p. 451.
29:(22 January 1815 – 2 September 1891) (aka
1578:List of films using the music of Richard Wagner
1479:
677:, London and New York: Longmans, Green and Co.
575:vol. 32 no. 584 (October 1891), pp. 603–4.
90:in London in 1855). These included thirty-six
1568:International Association of Wagner Societies
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768:
706:vol. 127 no. 1720 (August 1986), p. 427.
324:on Geni.com website, accessed 14 March 2015;
98:. He wrote a number of pieces to celebrate
41:, published in 1892 after Praeger's death.
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709:Wagner, Richard (tr. Andrew Gray) (1992),
614:Davison, J. W., ed. Henry Davison (1912).
322:"Heinrich Hijman Chaim Aron Aloys Praeger"
738:International Music Score Library Project
330:International Music Score Library Project
623:"Praeger, Ferdinand (Christian Wilhelm)"
605:" 'Faithful, All Too Faithful!' (part 4)
214:, by writing an article in the American
17:
621:Grove, George and John Warrack (n.d.).
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127:In 1890 Praeger agreed a contract with
68:took up the piano. In 1831 he moved to
1728:German emigrants to the United Kingdom
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548:Praeger (1892), locs. 2797–2943.
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326:Free scores by Heinrich Aloys Praeger
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539:Praeger (1892), locs. 632–664.
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31:Ferdinand Christian Wilhelm Praeger
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591:The Cambridge Wagner Encyclopedia
467:Praeger (1892), locs. 3733, 3915.
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1378:Houston Stewart Chamberlain
1335:Bayreuth Festival Orchestra
795:List of works for the stage
715:, New York: Da Capo Press.
692:. London: Faber and Faber.
671:Praeger, Ferdinand (1892).
296:including a defence of his
277:Houston Stewart Chamberlain
10:
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1773:Jewish classical composers
1758:German classical composers
1052:Das Liebesmahl der Apostel
744:Works by Ferdinand Praeger
658:The Life of Richard Wagner
616:From Mendelssohn to Wagner
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485:Praeger (1892), loc. 4513.
303:Das Judenthum in der Musik
163:" (which included Wagner,
108:dedicated to the composer
75:Neue Zeitschrift fĂĽr Musik
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688:Spencer, Stewart (2000).
685:, accessed 17 March 2015.
634:, accessed 14 March 2015.
413:Praeger (1895), loc 1912.
78:, the journal founded by
1763:19th-century German Jews
1224:Die Laune des Verliebten
637:Nay, Jessica S. (2012).
404:Grove and Warrack (n.d.)
350:Grove and Warrack (n.d.)
341:Grove and Warrack (n.d.)
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1629:Wagner-Werk-Verzeichnis
1589:Nietzsche contra Wagner
1523:Richard Wagner Memorial
1518:Richard Wagner Monument
912:Der Ring des Nibelungen
860:Der fliegende Holländer
632:(subscription required)
603:Cormack, David (2014).
578:Anon (1892). "Review -
557:Praeger (1892), loc.44.
368:Nay (2012), 5-6, 15, 7.
281:May Uprising in Dresden
116:. But despite lobbying
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1778:Musicians from Leipzig
1340:Bayreuth Festspielhaus
645:2 October 2015 at the
476:Spencer (2000), p. 85.
449:Spencer (2000), p. 85.
440:Wagner (1992), p. 621.
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1601:The Perfect Wagnerite
1195:Ride of the Valkyries
1121:Autobiographic Sketch
618:. London: Wm. Reeves.
118:William George Cusins
21:
800:List of compositions
674:Wagner As I Knew Him
580:Wagner as I knew him
494:Anon (1892), p. 234.
431:Anon (1892), p. 235.
359:Anon (1891), p. 603.
273:William Ashton Ellis
262:Wagner As I Knew Him
255:Wagner As I Knew Him
173:Philharmonic Society
60:Praeger studied the
49:Praeger was born in
39:Wagner As I Knew Him
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1437:Cultural depictions
1428:Eva Wagner-Pasquier
1254:Wieland der Schmied
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1032:Symphony in C major
628:Oxford Music Online
266:George Bernard Shaw
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1555:The Case of Wagner
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690:Wagner Remembered
683:Project Gutenberg
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599:978-1-107-00425-2
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1607:Rhinemaidens
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1445:Wagner Dream
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1398:Minna Wagner
1383:Ludwig Geyer
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1288:Holztrompete
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1708:1891 deaths
1703:1815 births
1682:WikiProject
1538:3992 Wagner
1498:(1982 film)
1490:(1904 film)
1471:(1986 film)
1464:(2012 film)
1456:(1983 film)
1403:Nike Wagner
1293:Wagner tuba
1173:Other opera
939:Die WalkĂĽre
816:Early works
169:Franz Liszt
110:Ethel Smyth
1697:Categories
1583:Musikdrama
1281:Inventions
1264:Die Sieger
1149:Mein Leben
872:Tannhäuser
289:musicology
260:Praeger's
244:Tannhäuser
185:Mein Leben
146:Tannhäuser
1644:Wahnfried
1573:Leitmotif
1469:Wahnfried
1202:Liebestod
951:Siegfried
884:Lohengrin
681:version,
236:Tribschen
211:The Times
206:Gravesend
198:pantomime
105:Impromptu
70:The Hague
55:Magdeburg
1662:Category
1496:Parsifal
1488:Parsifal
1099:Writings
1043:Overture
1007:Parsifal
824:Die Feen
656:(1976),
643:Archived
202:Brighton
84:Abellino
1547:Related
1448:(opera)
1142:Leubald
1041:Polonia
740:(IMSLP)
736:at the
712:My Life
564:Sources
332:(IMSLP)
328:at the
240:Lucerne
51:Leipzig
1453:Wagner
1248:(1838)
1238:(1832)
1228:(1830)
1086:(1870)
1076:(1858)
1056:(1843)
1046:(1836)
1035:(1832)
838:Rienzi
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679:Kindle
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582:", in
300:essay
232:Cosima
228:ZĂĽrich
152:Rienzi
66:Hummel
1672:Audio
607:, on
310:Notes
238:near
224:Minna
120:(the
62:cello
717:ISBN
694:ISBN
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204:and
167:and
45:Life
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