The Problem with the Term
Wagner opens his essay by expressing skepticism toward the increasingly popular use of the term Musikdrama. While it seems to have been coined to honor his later works, he finds the word both linguistically flawed and conceptually misleading. In German, compound words must reflect a logical relationship between their parts. A term like Zukunftsmusik (“music of the future”) makes sense, but Musikdrama—interpreted literally as “drama for the sake of music”—echoes the very libretto-based opera tradition Wagner aims to transcend.
A Misguided Hybrid
According to Wagner, the confusion around the term reflects a deeper conceptual problem: the mistaken notion that music and drama are equal partners in a fusion. He argues that this is fundamentally incorrect. While drama means a deed or action displayed on stage, music in its deepest sense is the primordial womb from which drama arises—not its peer or servant. True music does not simply decorate a dramatic structure, but gives birth to it. Thus, any attempt to name the union as if it were a balanced partnership misrepresents the artistic hierarchy.
Historical Context and Artistic Lineage
Wagner compares his vision to the origins of Greek tragedy, which was born of sacred musical chant. He laments the degeneration of this lineage into modern Italian and French opera, where musical and theatrical elements often conflict. The Italians’ Dramma per musica and the later, more ambiguous opera (a mere plural of opus) betray this confusion. Instead of deepening the spiritual origin of the artwork, they blur it with superficial entertainment. Wagner thus sees the term opera as more appropriate for his contemporaries, who prioritize spectacle and virtuosity over meaning.
Toward a New Designation
Faced with the inadequacy of existing terms, Wagner admits he has avoided giving a name to his own works. They defy existing categories, being neither traditional opera nor conventional play. He offers the idea of calling them “deeds of music brought to sight,” though he recognizes that this is too philosophically abstract. His ultimate solution is the term Bühnenfestspiel (“stage-festival-play”), which he adopted for the Bayreuth Festival. This term emphasizes the celebratory and sacred function of the theatrical experience, elevating the stage itself as a site of communal ritual.
Conclusion: Naming the Nameless
Wagner ends by suggesting that perhaps the best name for his art is none at all. Just as Greek tragedy required no artificial designation, perhaps the profoundest works speak for themselves. The festival at Bayreuth will be the proving ground, not only for a new kind of theatrical art, but also for a renewed spiritual engagement with the stage—one where music reclaims her ancient role as the mother of all dramatic expression.