Music of the Future

The earliest public use of the pejorative German term Zukunftsmusik seems to date from 1853, when the music teacher and essayist Friedrich Wieck, Clara Schumann's father, used in it three new chapters (written 1852) for his collection of essays Clavier und Gesang.[1] Wieck referred to Wagner, Franz Liszt and their followers. In 1854 a Viennese critic, L. A. Zellner, used it in respect of the music of both Wagner and Robert Schumann; it was also used that year by the composer Louis Spohr. It began to be used in a specifically pejorative sense against Wagner by the editor Ludwig Bischoff, an associate of the conservative Ferdinand Hiller.[2] The term "Musique de l'avenir" was also used in France as an anti-Wagnerian slogan. This is demonstrated by some French caricatures of 1860 and 1861. They appeared in connection with Wagner's concerts on January 25, February 1 and February 8, 1860, at the Parisian Théâtre Italien and performances of his Tannhäuser in March 1861 in Paris, which ended in a debacle. In one of these caricatures an orchestra in front of a stage can be seen. The singers on the stage are two crying babies. The caption explains that the conductor Alphonse Royer had recruited "artistes de l'avenir" ("artists of the future") at an orphanage for a performance of Tannhäuser.[3] In another caricature a conductor asks one of his musicians, to play his part, to which the musician replies (as it is "musique de l'avenir"), he will play it next week.[4] "Musique de l'avenir" thus carried a meaning of musical nonsense.

By Wagner's supporters the word "Zukunftsmusik" was used in a larger, and more positive, scope. Typically, this term was used in connection with the aesthetic aims of the circle of artists around Franz Liszt in Weimar, among them Joachim Raff, Hans von Bülow, Peter Cornelius, Rudolph Viole, Felix Draeseke, Alexander Ritter and others. They regarded themselves as "Zukunftsmusiker" ("musicians of the future") with meaning of progressive artists.[5] Since they were well known as propagandists in favour of Wagner's works, Wagner's style was considered as part of "Zukunftsmusik".

Much to Wagner's anger,[6] however, Liszt did not concentrate solely on Wagner's works at Weimar. He also performed works by other contemporary composers, among them Robert Schumann, Ferdinand Hiller, Hector Berlioz, Giacomo Meyerbeer, Anton Rubinstein, Eduard Sobolewski and Giuseppe Verdi.[7] The activities of the circle around Liszt were termed in France as "École anarchique" ("Anarchic School") or "École de Weimar" ("Weimarian School"). Occasionally, Schumann was regarded as a representative of that school, and there are even examples where Felix Mendelssohn Bartholdy was called its originator.[8]

Schumann himself would not have liked to be taken as representative of Wagner's or Liszt's kind of "Zukunftsmusik". In a letter to Joseph Joachim of October 7, 1853, he referred to Liszt as "Judas Iscariot, who might quite well keep preaching at the Ilm";[9] and in a letter of February 6, 1854, to Richard Pohl, he wrote:

Those who in your view are "Zukunftsmusiker", in my view are "Gegenwartsmusiker"("musicians of the present"); and those who in your view are "Vergangenheitsmusiker" ("musicians of the past") (Bach, Handel, Beethoven), for me they seem to be the best "Zukunftsmusiker" ("musicians of (or for) the future"). I shall never be able to consider spiritual beauty in beautiful forms as an outmoded point of view. Does perhaps Wagner have them? And, after all, where are Liszt's ingenious achievements – where are they on display? Perhaps in his desk? does he perhaps want to wait for the future, since he fears he cannot be understood? right now?[10]

Pohl was a member of Liszt's intimate circle at Weimar. Liszt therefore might have heard of Schumann's opinion, but despite this he shortly afterwards published his Piano Sonata in B Minor with a dedication to Schumann.

Liszt admired Wagner as composer of genius, but he did not share Wagner's ideas on the "Music of the Future". Liszt's leading idea was to unite poetry and music in works of instrumental music, in symphonic poems and other symphonic works with a "program", subjects of non-musical nature; quite the opposite of Wagner's ideal to unite all the arts in staged music drama. In some of Liszt's essays, for example in that about Berlioz and Harold in Italy, he opposed some of Wagner's views. Wagner meanwhile had given lukewarm support to Liszt's ideas in his 1857 essay "On Franz Liszt's Symphonic Poems, ".[11]

In the beginning of 1859 came a showdown between Liszt and Wagner, whose increasing success [12] led him to feel more independent from his former mentor. Liszt had received in December 1858 the first act of Wagner's Tristan und Isolde with a dedication to him himself. In a letter to Wagner he announced that he would send scores of his Dante Symphony, dedicated to Wagner, and his Gran Mass. He received a letter from Wagner, written from Venice on December 31, 1858, stating that the Weimarians with their idealistic talk about art should leave him alone. They should send money instead, since this was all he needed and wanted to get from them. As answer, Liszt, in a letter of January 4, 1859, wrote, he would return the Tristan act. Besides, since the Dante Symphony and the Gran Mass could not be taken as stocks and bonds, it was superfluous to send such worthless scrip to Venice.[13]

From this point onwards, Liszt sought to establish his musical ideals through the Allgemeiner Deutscher Musikverein (General German Music Union) (q.v.), which he founded with the editor and critic Franz Brendel.

The origins of the essay may be traced to an open letter which Wagner wrote to Berlioz in February 1860, in response to a printed article by Berlioz.[14][15] Berlioz had poked fun at 'la musique de l'avenir'. In his letter Wagner disclaimed the use of this formulaic term, attributing it to his enemies Hiller and Bischoff, and asserted the principles he had set out in his essay The Artwork of the Future. He also took the opportunity in his letter to flatter Berlioz and to look forward to the premiere of his opera Les Troyens.

Wagner's essay "Zukunftsmusik" is dated September 1860 and is in the form of a letter to a French admirer, Frédéric Villot. It was intended as a preface to a book of French translations of some of Wagner's libretti, including Tannhäuser and Tristan und Isolde. Wagner's intention was doubtless to familiarise the Parisian public with his ideas on music and opera in advance of performances there which he hoped would secure his fame and fortune; 'a lucid exposition of my thoughts would dispel such prejudice and error'.[16]