Several of the elements of Wagner’s Der fliegende Holländer (The Flying Dutchman) became prominent features of his later operas—a wanderer and his redemption by the faithful love of a woman, leitmotifs and, of course, the supernatural setting in which the action takes place. For this reason, it is sometimes considered the first of his mature operas. Wagner cited both the tumultuous sea voyage he took from Riga to London in 1839 and Heinrich Heine’s treatment of the Dutchman legend in Aus den Memoiren des Herrn von Schnabelewopski (The Memoires of Mister Schnabelewopski) as the inspiration for his setting. However, whereas Heine’s telling of the story was meant to be ironic, Wagner instead stripped it of its humor and focused on the themes of redemption and love.
Work began on the opera in May 1840 with a prose draft of the story. By May of the following year, Wagner had produced the libretto as well as already composing some of the music. In an attempt to alleviate his financial woes, Wagner sold the libretto, at this point consisting of only one act, to the director of the Paris Opéra hoping that he could then persuade the director to commission the music from him. However, Wagner was unsuccessful. Free from the limits he had previously set, he then expanded the opera to the more usual three acts. By the end of the summer of 1841, composition of the music was complete with the overture actually being the last part to be written.
Der fliegende Holländer was Wagner’s first prominent use of leitmotifs—musical ideas associated with characters, objects or themes of the opera, which became a part of his “total artwork” concept and important aspects of his later operas, notably the Ring cycle. These leitmotifs are introduced in the overture beginning with the ocean, or storm, motif followed by those for the Dutchman and Senta. Throughout the opera, early trials of Wagner’s operatic reforms are present including a shift towards larger-scale forms and the blurring of lines between distinct musical sections.
Wagner himself conducted the premiere of Der fliegende Holländer in Dresden in 1843. It was not an immediate success, however, as the audience expected an opera more in the Meyerbeerian fashion of Wagner’s earlier Rienzi. Despite this initial reaction, the opera quickly grew in popularity. Today, it is a favorite among Wagner’s output and the earliest of his operas to be staged regularly at the Bayreuth Festival. Joseph DuBose
Located in historic Round Top, Texas, The James Dick Foundation for the Performing Arts and its sole project, The International Festival-Institute at Round Top, were founded in 1971 by world-renowned concert pianist James Dick. Begun with a handful of gifted young pianists in rented space on the town square, the project is now an internationally acclaimed European-styled music institute for aspiring young musicians and distinguished faculty. Over a thirty eight year period and with the help of its patrons and friends, The James Dick Foundation for the Performing Arts has developed superb year round education and performance programs.
Classical Music | Orchestral Music
Richard Wagner
The Flying Dutchman (Overture) Play
Recorded on 07/01/2006, uploaded on 08/20/2009
Musician's or Publisher's Notes
Several of the elements of Wagner’s Der fliegende Holländer (The Flying Dutchman) became prominent features of his later operas—a wanderer and his redemption by the faithful love of a woman, leitmotifs and, of course, the supernatural setting in which the action takes place. For this reason, it is sometimes considered the first of his mature operas. Wagner cited both the tumultuous sea voyage he took from Riga to London in 1839 and Heinrich Heine’s treatment of the Dutchman legend in Aus den Memoiren des Herrn von Schnabelewopski (The Memoires of Mister Schnabelewopski) as the inspiration for his setting. However, whereas Heine’s telling of the story was meant to be ironic, Wagner instead stripped it of its humor and focused on the themes of redemption and love.
Work began on the opera in May 1840 with a prose draft of the story. By May of the following year, Wagner had produced the libretto as well as already composing some of the music. In an attempt to alleviate his financial woes, Wagner sold the libretto, at this point consisting of only one act, to the director of the Paris Opéra hoping that he could then persuade the director to commission the music from him. However, Wagner was unsuccessful. Free from the limits he had previously set, he then expanded the opera to the more usual three acts. By the end of the summer of 1841, composition of the music was complete with the overture actually being the last part to be written.
Der fliegende Holländer was Wagner’s first prominent use of leitmotifs—musical ideas associated with characters, objects or themes of the opera, which became a part of his “total artwork” concept and important aspects of his later operas, notably the Ring cycle. These leitmotifs are introduced in the overture beginning with the ocean, or storm, motif followed by those for the Dutchman and Senta. Throughout the opera, early trials of Wagner’s operatic reforms are present including a shift towards larger-scale forms and the blurring of lines between distinct musical sections.
Wagner himself conducted the premiere of Der fliegende Holländer in Dresden in 1843. It was not an immediate success, however, as the audience expected an opera more in the Meyerbeerian fashion of Wagner’s earlier Rienzi. Despite this initial reaction, the opera quickly grew in popularity. Today, it is a favorite among Wagner’s output and the earliest of his operas to be staged regularly at the Bayreuth Festival. Joseph DuBose
More music by Richard Wagner
Albumblatt
Tristan und Isolde - Mild und leise wie er lachelt (Liebestod)
Ride of the Walküre, from Die Walküre
Liebestod, from Act III, Tristan und Isolde
Ride of the Walküre, from Die Walküre
Die Walküre, excerpt
Ein Albumblatt für das Klavier
Der Engel, from Wesendonck-Lieder
Liebestod, from Tristan und Isolde
Stehe still!, from Wesendonck-Lieder
Performances by same musician(s)
La Gazza Ladra (Overture)
Symphonic Minutes (Rondo: Presto)
Symphony No. 1 (Allegro)
Concerto for Piano and Orchestra No. 4, Op. 58 (Rondo Vivace)
Clarinet concerto in A Major, K. 622 (Rondo - Allegro)
Symphony No. 5 (Adagietto)
Candide (Overture)
Symphony No. 6 (Scherzo)
Symphony No. 5 in c minor, Op.67 (Allegro)
Concerto for Horn and Orchestra (Adagio)
Classical Music for the Internet Era™
Courtesy of The International Festival-Institute at Round Top
Located in historic Round Top, Texas, The James Dick Foundation for the Performing Arts and its sole project, The International Festival-Institute at Round Top, were founded in 1971 by world-renowned concert pianist James Dick. Begun with a handful of gifted young pianists in rented space on the town square, the project is now an internationally acclaimed European-styled music institute for aspiring young musicians and distinguished faculty. Over a thirty eight year period and with the help of its patrons and friends, The James Dick Foundation for the Performing Arts has developed superb year round education and performance programs.