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 Sixth ATP titles, top-10 ranking and first Grand Slam semifinal
<mask> started the new season in Doha, where he reached the quarterfinals, losing to eventual champion Rafael Nadal for the seventh time in his career, in straight sets. <mask> was seeded at the 2014 Australian Open, and defeated Juan Mónaco in the first round in four sets by coming back from losing the first set. <mask> ended the tournament in the second round by losing to Sam Querrey in straight sets. <mask> reached the semi-finals of the Rotterdam Open, defeating Grigor Dimitrov and Juan Martín del Potro along the way. He lost the semi-final to the eventual champion Tomáš Berdych. <mask> won his fifth ATP title at the 2014 Open 13 in Marseille, beating 3 Frenchmen in succession without losing a set – Nicolas Mahut, then world No.9 Richard Gasquet in the semi-final, then No.10 Jo-Wilfried Tsonga in the final. With this victory, he entered the ATP Top 20 for the first time in his career, at No.18.<mask> then played in Acapulco where he was seeded seventh, beating Yen-hsun Lu and David Goffin, then losing two sets to one to eventual champion Grigor Dimitrov in the quarterfinals. Next, in March, he played at Indian Wells. He beat João Sousa, Grigor Dimitrov and Roberto Bautista-Agut, but then lost in two tie-break sets to John Isner in the 1/4-finals. At Indian Wells, he also played in the doubles with partner Milos Raonic. They beat Serbia's wildcards Novak Djokovic and Krajinović in round 1, but then lost to Swiss duo Federer and Wawrinka in the second round in two tie-break sets. <mask> then played in Miami, where he was seeded 21st and had a bye into the second round. In an almost two and a half hour match, <mask> lost in three tight sets to veteran Julien Benneteau, having conceded a match point during the match.<mask> started his clay-court season in Monte-Carlo but was defeated in the first round by Alexandr Dolgopolov in straight sets. <mask> also played in the doubles tournament with Milos Raonic, but lost in the first round to Juan Sebastián Cabal and Robert Farah. His next tournament was the Barcelona Open. Along the way to the semifinals, <mask> defeated Daniel Gimeno-Traver, Albert Montañés, and Teymuraz Gabashvili. <mask> was eventually defeated by Kei Nishikori. <mask> performed well in the Madrid Masters 1000. In the first round, <mask> defeated Jerzy Janowicz in three sets.Then, in the second round, <mask> outmatched Alexandr Dolgopolov in two sets followed by a round of 16 win against Marin Čilić in straight sets. All these tennis players were ranked among the top 30 in the ATP rankings at that time. In the quarter-finals, <mask> lost in straight sets to David Ferrer. Following the tournament, <mask> reached a new career-high ranking of No. 17. <mask> reached the quarterfinal stage also in the Rome Masters 1000, defeating Alejandro Falla and Stéphane Robert in the process. However, <mask> then lost to David Ferrer again in straight sets.In May, <mask> won his sixth ATP title, beating Federico Delbonis in the final of the ATP Nice Open. It was <mask>' first ATP singles title on clay. At the French Open, <mask> reached the quarterfinals for the second time courtesy of a five-set victory over world No. 4 and 2009 champion Roger Federer. He followed this up with a straight-set win over Tomáš Berdych to reach his first Grand Slam semifinal, where he lost to Novak Djokovic. As a result of this run, <mask> entered the ATP's top 10 for the first time in his career. <mask>' form dropped in the second part of the season, evidenced by his 9–10 win-loss record, following Roland Garros.<mask> lost to Sergiy Stakhovsky in the round of 64 at Wimbledon and to Julien Benneteau and Steve Johnson in the round of 32 at the Rogers Cup and Cincinnati Masters respectively. <mask> also struggled with a shoulder injury in the later part of the season. At the US Open, <mask> crucially lost to Dominic Thiem in five sets, losing the final three, what seemed to have a negative impact on his confidence and physical condition for the rest of the season. Despite reaching the semifinals of the Malaysian Open, <mask> retired in the round of 16 of the China Open, lost in the round of 64 of the Shanghai Masters, and was defeated in the round of 32 by Borna Ćorić at the Swiss Indoors in Basel. <mask> finished the season early due to concerns over his shoulder and illness. Nevertheless, <mask> finished his best career season as No. 13, which became his highest year-end ATP ranking.2015: Struggle with form and fall in rankings

<mask> started his season in Auckland as second seed. He lost his first match of the year to the Czech qualifier Jiří Veselý 2–6, 6–3, 1–6. At the Australian Open, <mask> was seeded eleventh, but was defeated by the Australian wildcard Thanasi Kokkinakis in the first round. At the Open 13 in Marseille, <mask> failed to defend his title from 2014, falling to Jérémy Chardy in two sets in the round of 16. <mask> took his first win of the season against Daniel Gimeno-Traver at the BNP Paribas Open in Indiana Wells. It was the latest first win of the season in ATP level tournaments for <mask> since 2007. Afterwards, he fell to Adrian Mannarino in two sets in the round of 32.<mask> also failed to defend his title from 2014 at the ATP Nice Open, losing to Dominic Thiem in two sets in the quarter-finals. At the French Open, <mask> lost in the second round to Nicolas Mahut, having won in the first round against Igor Sijsling. As a result, <mask> dropped outside the top 75 in the ATP Rankings, having failed to defend the ranking points for his semifinal appearance in 2014. <mask> then lost in the first round of Wimbledon to Lukáš Rosol in three sets. Having recorded a dismal 1–3 win-loss record at the first three Grand Slams of the season, it was the worst performance for <mask> at these tournaments since 2012. <mask> showed signs of revival at the Rogers Cup, reaching the quarter-finals. Despite having 2 match points against world No.1 Novak Djokovic in the second set, he went on to lose the match.<mask> had reached the quarter-final stage of at least one Masters 1000 tournament for a third season in a row. At the US Open, <mask> retired in the first round match against Aljaž Bedene due to injury. 2016: Continued struggle with form
Having lost in the qualifying rounds of the first two ATP tournaments of the season in Australia in Brisbane and Sydney, <mask> went on to lose in the round of 128 at the Australian Open against Jérémy Chardy. <mask> won his first match of the season against world No. 171 Quentin Halys at the 2016 Open Sud de France, but lost in the round of 16 to Richard Gasquet in straight sets, who went on to retain his title from the previous year. <mask> went through qualifying at the Rotterdam Open, but then lost in the round of 32 to Gaël Monfils. <mask> lost to Richard Gasquet for a second consecutive time in 2016 at the Open 13 in Marseille in the round of 16.Following this came a string of losses in the first rounds of four consecutive ATP tournaments: at the BNP Paribas Open in Indian Wells, at the 2016 Miami Open, at the 2016 Barcelona Open, and the 2016 BMW Open in Munich. After that, <mask> failed to qualify for the 2016 Mutua Madrid Open, losing to Lucas Pouille in qualifying. <mask> managed to break the losing streak at the 2016 Rome Master by getting through qualifying and beating Ivo Karlovic in three sets in the round of 64, but went down to Pouille in the next round for a second consecutive time (and tournament). <mask> defeated Lithuania's Ričardas Berankis in the first round of the 2016 Geneva Open, but lost in the round of 16 to Marin Cilic in straight sets. <mask> appeared resurgent at the French Open by beating Andreas Seppi, João Sousa and Jo-Wilfried Tsonga, losing his first set of the tournament only to the latter. Tsonga pulled out of the match due to injury, the second time Tsonga had to retire from a Grand Slam match against <mask>. <mask> then lost in the round of 16 to David Goffin in four sets.During the tournament, <mask> cited injury of his shoulder as the cause for poor performances since 2015, having never fully recovered from it and refusing to have surgery. Before the tournament, <mask> had split with his coach since 2012, Gunter Bresnik. <mask> lost to Benjamin Becker in the first round in Halle and at Wimbledon to Jack Sock in straight sets. 2017: Wimbledon Third round
<mask> did not play in the 2017 Australian Open and lost in qualifying in Rotterdam, Indian Wells, Miami, Barcelona, and Estoril. He lost in the first round of the 2017 Roland Garros to Marin Čilić, but made it to the third round of 2017 Wimbledon, beating Juan Martin del Potro in the second round before losing to Novak Djokovic. He made it to the second round in Bastad and the quarterfinals in Gstaad, losing to Fabio Fognini. He made it to the second round of the US Open, where he fell to Kevin Anderson.The rest of 2017 saw little success. 2018: Wimbledon Fourth round, Seventh ATP final
<mask> reached the fourth round of 2018 Wimbledon as a qualifier by defeating 4th seed Alexander Zverev in a five set match in the third round, before losing to Kei Nishikori in four sets. This was his best showing at this Grand Slam in his career. <mask> made his first ATP Tour final in four years at the 2018 Stockholm Open, losing to Stefanos Tsitsipas. This was his first loss at a final, having previously won six singles titles and two doubles titles. In 2018 <mask> made his way back to Top 100 men's singles rankings, for the first time since the summer of 2016. 2019: Dip in form and rankings
<mask> started off his 2019 year with a quarterfinal appearance at the Maharashtra Open and an Australian Open match against Stan Wawrinka where he won the 1st set 6–3 but retired in the 2nd set due to back issues.Throughout 2019, he would post a 6–17 record and his ranking would drop to 226 by the end of the year. 2020–2021: Australian Open third round, severe loss of form after COVID-19 break
<mask> started off his 2020 season with a 3rd round appearance at the 2021 Australian Open losing to Gaël Monfils in straight sets and his first challenger title since 2012 at the Pau Open. After the COVID-19 pandemic had suspended tennis from March to August, it would seem that <mask> had lost his form from early 2020. From September 2020 to February 2021, <mask> failed to win an ATP qualifying match or even a challenger match. <mask> reached the qualifying competition at 2021 Wimbledon Qualifying after he defeated Dmitry Popko in the first round and then 3rd seed Andrej Martin where he lost only three games. He lost to Brandon Nakashima in straight sets. He repeated this feat at the 2021 US Open qualifying where he defeated 26th seed Marc Polmans and Filip Horanský before losing to Quentin Halys in straight sets.Davis Cup
<mask> played in three Davis Cup ties for Latvia (four singles; three doubles with Deniss Pavlovs). His participation in the tie against Monaco in September helped Latvia to qualify for the Europe/Africa Zone Group I tier of Davis Cup for the first time in its history. In 2010, <mask> continued to participate on the Latvian Davis Cup team, playing against Poland, where he won both of his singles rubbers. In 2011, 2012, and 2013, he continued to play in Davis Cup competition for Latvia. Playing style and equipment

<mask> primarily employs an offensive baseline playing style. <mask>' most consistent shot is his backhand, which is taken with rapid pace, relatively flat execution, and is difficult to read. <mask> is also known for his finesse shots, including the offensive topspin lob and drop shot, both of which he can strike from any position, including from deep in the court.<mask> employs the drop shot consistently and often, sometimes to the point of derision. <mask> plays an extremely aggressive, winner-driven game, which often leads to a high unforced error count, making his consistency an issue in tough matches, often causing him to be likened to Marat Safin. Despite playing a style more attuned to fast surfaces, his strong showing at the 2008 French Open, 2010 Rome Masters and 2014 French Open are attributed to his powerful and flat strokes which can play through the surface. His aggressive baseline game is coupled with an extremely powerful serve, often reaching the upper 130's and low 140's in mph; however, <mask> has struggled with his second serve, and often has high double fault statistics across the ATP leaderboard. Other weaknesses are his consistency and his nerves; despite a strong serve and return, <mask> has poor break point conversion, break point save and tie-break statistics. On numerous occasions he has had strings of uncharacteristic unforced errors when serving or returning for sets or matches, as well as hitting numerous "easy" smashes well out in tough situations, something he has become known for and often jokes about in interviews. However, to his credit, he has a good record in ATP finals, winning 6 of the 7 finals he has been in for ATP events.As of February 2013, <mask> uses a Wilson Steam 99 paintjob racquet after switching from Head. His strings are Luxilon ALU Power 16L strung at 59/57 lbs. Gulbis uses Tourna grip on a white Hydrocontrol grip. He endorses adidas for his attire. Performance timelines

Singles
Current through the 2022 Australian Open. ATP career finals

Singles: 7 (6 titles, 1 runner-up)

Doubles: 2 (2 titles)

ATP Challenger and ITF Futures finals

Singles: 13 (8–5)

Doubles: 4 (3–1)

Record against top 10 players
<mask>' match record against players who were ranked world No. 10 or higher at the time is as follows, with those who have been No.Wins over top 10 players
<mask> has a  record against players who were, at the time the match was played, ranked in the top 10. Notes

References

External links

Latvian male tennis players
Sportspeople from Riga
Tennis players at the 2008 Summer Olympics
Olympic tennis players of Latvia
1988 births
Living people
Latvian

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<mask> (born 3 July 1954, Benešov, Czechoslovakia) is a Czech composer and instrumentalist (keyboard instruments). The author of the concept of the so-called "integrated" musical form – combining contemporary classical music with dark-ambient and industrial music, his compositional style is characterized by polymodal architecture and alchemical work with sound, using mainly digital techniques to expand the action potential of the means of expression. <mask> is or was the leader of the avant-garde projects Aghiatrias, Skrol, Zygote, Subpop Squeeze, and more. From 1986 to 1996, he was a member of the experimental post-punk band Der Marabu. <mask> graduated from the Faculty of Medicine at Charles University in Prague and has been practicing medicine with shorter or longer breaks. Biography and style
<mask> was born in Benešov, lived in Ledeč nad Sázavou until he was 18 and then moved to Prague, where he now lives and works. Composing since 1973, he started with small romantic and classical compositions for piano and organ, but very soon abandoned the experiments and devoted himself only to rock and jazz.A long-time member of the Prague-based post-punk group Der Marabu, after its disintegration, he founded the ensemble Skrol (1995) and several other parallel projects like Aghiatrias, Zygote, Subpop Squeeze, Luminar Ax, etc. Without ever abandoning his projects and ensembles, in 1987 the composer began working in parallel on solo production, and around 2002 it became his main program. Emphasizing the use of modern means of expression and the search for specific compositional techniques, he bring together serial, atonal, microtonal, polymodal, and spectral music. Partly inspired by the traditions of 20th-century Slavic classical music, <mask> <mask> keeps building hybrid working models in tonal principles, composition, and instrumentation. Using digital techniques for classical orchestras together with a wide range of sound sources, he searches to achieve the alchemical transformation of sounds into a homogeneous, indivisible substance. This principle, called "integrated music" by itself, also represents the metaphysical idea of the creative concept, which consists in the collision and reconciliation of two seemingly opposite spiritual worlds within an individual. <mask> <mask> regularly gives concerts both at home and abroad, including tours in the USA, Germany, Great Britain and Italy.In 2010, an eight-disc set of key recordings was released by the Italian publishing house Ars Benevola Mater entitled "The Assent to Paradoxon". He has also collaborated with foreign artists on different projects like Dawn Carlyle aka Dove Hermosa, Nadya Feir, Cecilia Bjärgö, Igor Vaganov, Alessandro Aru, and Kenji Siratori. Creations
<mask> <mask>'s music lingers between experimental projects and compositions of a very strict compositional order, but is almost always of a conceptual nature: "It is the work of a non-conformist individualist, forging a completely original aesthetic form, where the unifying element is a rather dark, emotionally tense, often apocalyptic atmosphere of compositions, characterized by their metaphysical, existential anxiety, and spirituality." (Stephen Ellis)His most notable works include "Symphony No. 4" with the subtitle "Snímání z kříže" (in English: "Shooting from the Cross") and its revised, live version "Graue Passion" (Šedé pašije); the conceptual dark ambient albums "Underlying Scapes", "Exorcisms", "Invocations" and "Scripta Soli"; the extensive ingressive composition "Contemplatio per nexus"; the post-industrial mass "Missa Armata"; the composition for piano, percussion and combined electroacoustic techniques "Endoanathymia"; the digital symphony "Axonal Transit"; the microtonal dark ambient album" Epidemic Mind"; the selection of compositions for organ and piano "Selected Organ and Piano Works", and Concerto for Organ No. 2 "Horae". While the composer's work seems to be permeated by a very elaborate and authentic expression of the internal conflict of values within the individual and one's confrontation with the anthropocentric model of contemporary society, the composer disagrees it was the initial idea in throughout the compositions.For the insiders of the industrial and post-industrial scene, <mask> <mask> produces very intense, full of suggestive and stormy atmosphere music. <mask> <mask> was included in Olivier Bernard's Anthology of Ambient Music, and in the encyclopedic publication of composers of contemporary world music. Selected compositions
<mask>'s work is represented by the activities of his ensembles and also by an extensive collection of solo works. He is the composer of a number of conceptual albums, several symphonies, suites, concert and experimental compositions, stage music, and many smaller compositions. Selected compositions
Synthetics – Themes, op. 17, album of experimental compositions of electronic music, 1987
Symphony no. 1 in E, Op.20; symphony for two synthesizers, 1988–9
The Ambits Of Material World; cycle of organ compositions, 1990
7 Parts Of Desolation, op. 29; thematic piano cycle, 1986–1991
Aion, op. 33; composition for organ, water harp and field sound recordings, 1992
Simplicity Of Heresy, op. 37; suite for integrated music ensemble, 1996
Nenia, op. 40; experimental organ composition, 1996
Musik für die Metamorphose, op. 45; stage music for theatrical transcription of a short story Franze Kafky "Proměna", 1997
Symphony no. 2 "Defensa", op.47; symphony for synthesizers and digital technology, 1997
Concert industriel pour orgue, op. 49; concert for organ, percussion and integrated ensemble, 1997–8, existing in three versions (49a, b, c)
Casual Crime, op. 51; newly arranged compositions for jazz quartet, 1977–1998
Symphony no. 3 "Brands Of Tyranny", op. 52; symphony for integrated orchestra, organ, percussion and female vocals, 1998-9
Sense Geometry, op. 54; experimental electronic-industrial composition, 1998
Dances & Marches, op. 57; suite for organ, piano and integrated ensemble, 1998
Exorcisms, op.61; suite for Integrated File, 2000, revised 2006
Trigonal Sonata, op. 62; sonata for two pianos and digital technique, 2000
Missa armata, op. 64; industrial mass for the integrated ensemble, 1999–2004, later reworked and renamed "Cryptosynaxis"
Elegy, op. 65; experimental composition for piano and "gas-organ" (gas organ), 2000
Symphony no. 4, “Descent From The Cross” (Snímání z kříže), op. 67; symphony for integrated orchestra, solos and choir on the theme of Dostoevsky's interpretation of the painting of the same name by Hans Holbein Jr. from the altar cycle "Graue Passion" ("Šedé pašije"), 2001
De regionibus liminis, op. 68; ambient-industrial electronic album, later reworked and renamed Underlying Scapes, 2003
Hermeneutic cycle, op.70, cycle of compositions for piano, percussion, integrated ensemble and digital technology, 2004; reworked as the concept album Endoanathymia, 2009–2010
Les scènes ardentes, op. 72; conceptual album, album of compositions for integrated electroacoustic technology, 2004
Nonterra, op. 73; concept album, suite for integrated technology, 2005
Torment Of Naissance, op. 79, composition for integrated technology, concept album, 2007
Contemplatio per nexus, op. 77; two-movement composition for an integrated musical ensemble and solo singing on a theme, inspired by the work "Teologia spiritualis mystica", dealing with the process of transformation of human consciousness during mystical contemplation, 2008
Tobruk, op. 82, originally a soundtrack, later a thematic album, 2008
Epidemic Mind, op. 81, experimental electronic (electroacoustic) album, 2008
Graue Passion, op.67b, completely revised version of the 4th symphony, 2009
Markéta, the daughter of Lazar, op. 85, stage music for a theatrical play based on Vladislav Vančura's short story "Markéta Lazarová", 2009–2010
Lamiadae: Symmetric Variations, op. 88, compositions for 2 pianos and integrated technique 2011
Horae, op.90, composition for two organs, integrated ensemble, clock machines, field records and digital technology, 2012
Craving Urania, op. 95, composition for integrated techniques, 2014
Do Not Let Us Perish (St.Wenceslaus), op. 96, composition for integrated techniques (variations on the theme of the St. Wenceslas Chorale, 2015
Scripta Soli, op. 91, conceptual dark ambient album in the spirit of so-called "integrated concrete music", 2017

Discography
 Synthetics – Themes, MC, D.M.R. 1987, (reissue CDr, CatchArrow Recordings 1999)
 Organ Pieces, MC, D.M.R.Invocationes, CD, Ars Benevola Mater, 2012
 Epidemic Mind, Surrism-Phonoethics, digital, 2013
 Selected Organ & Piano Works, Integrated Music Records / Surrism-Phonoethics; CDr,digital, 2013
 Axonal Transit (Symphony No.5), Integrated Music Records; CD, 2014
 Horae (Organ Concerto No.2), Surrism-Phonoethics; digital 2015
 Introscan (Subpop Squeeze) , CatchArrow Recordings, digital, 2016
 Anacreontics (Subpop Squeeze), E-Klageto (division of PsychKG), CD, 2017
 Scripta Soli, Old Captain, CD, 2017
 Ecstatic Arc, live, Integrated Music Records, digital, 2018
 Eschaton (Skrol), Old Captain, CD, 2019

Other activities
<mask> <mask> also deals with computer graphics: among other things, he is the author of the design of all his solo albums and the vast majority of albums of his projects. In this regard, he often collaborates with the Czech art photographer Jan Vávra, a representative of the so-called neopictorialism, whose works became a model for the unified design of <mask>'s set of albums "The Assent to Paradoxon". He is also the author of a number of articles and essays. not only on music and art. He has long been committed to the use of the geographical names Czechia (Česko). References

External links

1954 births
Living people
Czech composers
Czech male composers
Czech keyboardists

masks:
Vladimír Hirsch
Vladimír Hirsch
Vladimír Hirsch
Vladimír Hirsch
Vladimír
Hirsch
Vladimír
Hirsch
Vladimír
Hirsch
Vladimír
Hirsch
Vladimír
Hirsch
Hirsch
Vladimír
Hirsch
Hirsch


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<mask> (August 19, 1922 – July 17, 2015) was an American priest of the Archdiocese of San Francisco. <mask> was a professor of biology at the University of San Francisco (1947–1976), founder of United for Life of San Francisco (1968), co-founder of the St. Ignatius Institute (1976), co-founder of Priests for Life (1991), and founder of the Holy Family Oratory of St. Philip Neri. <mask>'s father, the elder <mask>, descended, on his father's side, from a tribe of shepherds in what is now the Calabria province of Southern Italy. <mask> theorizes that his father's family  were Jews who took refuge in Southern Italy after the fall of Jerusalem in A.D. 70. <mask>'s grandmothers were Rafaella Fortino and <mask>, both of whose families descended from the mountain peoples of Celtic descent in Southern Italy. These tribes descend from the Boii, a Celtic people that specialized in cattle raising and filled up the Apennines in Roman times. The name "Filice" is theorized to be either a form of the word for "fern" in the Southern Italian dialect (in which case, the accent should be on the first 'i') or a corruption of the Latin word for "happy", which is "felix".Both <mask> and Joseph G. Fucilla, in his book Our Italian Surnames, support the latter theory. In later years, Fr. <mask> would tell his friends that his name meant, "pure Easter joy." The <mask> Family, into which Fr. <mask> would be born, went to the United States from Rogliano, a small town near Cosenza in Calabria. After spending some time in Washington State, they settled in Gilroy and Hollister, agriculturally-oriented cities south of San Francisco, near San Jose. In Gilroy and Hollister, they owned various types of orchards.Early life
<mask> was born in Hollister, California on August 19, 1922. He was the firstborn son of <mask> and Antonia (Antoinette) <mask>. The elder <mask> died before his son's birth. <mask> grew up on Judah Street in San Francisco's inner Sunset District, but he also spent much of his childhood with his cousins in Gilroy and Hollister. When he was a young boy, his widowed mother married <mask>, a barber in San Francisco. They had one daughter, Gloria Garofalo <mask>i. Mrs. <mask>i inhabits the family home on Judah Street to this day and has three children of her own, as well as ten grandchildren.<mask> graduated from St. Anne of the Sunset Catholic School in 1935. He attended Polytechnic High School, and then the Christian Brothers' Sacred Heart High School, where he distinguished himself academically. Education
In 1939, <mask> enrolled at the University of San Francisco - San Francisco's Jesuit university - where he took the Bachelor of Science in 1943. In 1945, he earned the Master of Science degree at the University of California, Berkeley. In 1949, he earned the Ph.D, also at Berkeley. He published his doctoral dissertation Studies on the Cytology and Life History of a Giardia From the Laboratory Rat (Berkeley: University of California Press) in 1952. Academic career
In 1947, <mask> accepted a position as professor of biology at the University of San Francisco, where he would teach for almost 30 years.Among <mask>'s scholarly work in the field of parasitology was a study based upon his doctoral research to characterize the life cycle of the medically significant parasite causing Giardiasis. <mask> F.P. 1952. Studies on the cytology and life history of a Giardia from the laboratory rat. U.C. Publications in Zoology 57(2):53-146  University of California Press: Berkeley. In the early 1950s, <mask> and co-workers investigated levels of amino acids in the body tissues of various marine invertebrates including seastars, sea urchins and spoon worms.They were the first to demonstrate that various marine invertebrates maintain high concentrations of amino acids in their tissues in comparison to vertebrate animals. Giordano, M.F., H.A. Harper and F.P. <mask>. 1950. The amino acids of the blood of Urechis caupo. Wasmann J. Biol.8(1):1-7. Giordano, M.F., H.A. Harper and F.P<mask>. 1950. The amino acids of a starfish and a sea urchin (Asteroidea and Echinoidea). Wasmann J. Biol.8(2):129-132. Later in that decade, <mask> embarked on a scientific expedition to Baja California, and he was a leader in the "Save The Bay" organization and movement in San Francisco, which sought to deter City planners from filling in the San Francisco Bay in order to increase development of the Bay Area. In this respect, he published three significant studies in the field of marine ecology:

<mask>, F.P., 1954. An ecological study of the Castro Creek area of San Pablo Bay. Wasmann J. Biol. 12(1):1-24. <mask>, F.P., 1958.Invertebrates from the estuarine portion of San Francisco Bay and some of the factors influencing their distribution. Wasmann J. Biol. 16:159-211. <mask>, F.P., 1959. The effects of wastes on the distribution of bottom invertebrates in San Francisco Bay estuary. Wasmann J. Biol. 17:1-17.Pro-life activism
Also central to his work as a professor of biology was the defense of unborn human life. Prior to the late 1960s, abortion was illegal in  every state of the United States, except in cases where the pregnancy posed a risk to the mother's life. This changed in 1967 when Colorado became the first state to legalize abortion in cases of rape, incest, or when there was a threat of permanent disability to the pregnant women. During this period, when the topic of overpopulation first became widely discussed, <mask> recalls that not a month would pass when he did not receive, as a biology professor at USF, a free copy of a textbook which called into question population growth. The first such book was The Population Bomb. Dr. <mask> found the arguments made in such books unconvincing and began to speak against them at various meetings. At this time, <mask> was invited to participate in a panel discussing concerns over population at a local high school, by a former student of his who was teaching biology.In his observation, the speakers affiliated with Planned Parenthood and the representative of the Human Population Institute of Stanford only talked about how to get an abortion, without addressing the population question at all. This concerned <mask>, and, as a result, he called the chancery of the Archdiocese of San Francisco to ask what they were doing to respond. Finding out that they did not have a plan for action, <mask> asked if they minded if he tried something. The Chancellor of the Archdiocese told him to go ahead. <mask> had a student, John Martin, who had become a Lutheran, and, when <mask> expressed his concern about how things were developing, this student told him that his pastor had expressed the same concerns. As a result, he invited his pastor to have lunch with <mask> at USF. Pastor Kangas was pastor of the Finnish Lutheran Church of St. Francis on Church Street in San Francisco.Pastor Kangas was from Ohio. <mask> found him to be a very spiritual man. <mask> also invited to the lunch meeting Eileen Ziomeck (now Dr. Aicardi, a pediatrician in San Francisco), who, in <mask>'s words, was "smartest student I ever had". The four people who attended the luncheon decided to start an educational group aimed at countering the claims regarding population growth made in the media. Pastor Kangas knew an Episcopalian minister who was of the same mind. He was Rev. Charles Carroll, chaplain at UCSF and pastor of the church that is now the Catholic chapel of St. John of God.Rev. Carroll had been a Catholic, at one time, but now served under the Episcopalian Bishop of San Francisco. His presence on the committee added a socially upscale quality to the movement. So the four contacted Rev. Carroll and called a meeting. St. Mary’s Hospital let them use a meeting room. No doctors were at the meeting.Those in attendance at this first meeting were: <mask>, Eileen Ziomeck, John Martin, John Galten, Clayton Barbeau (a Catholic author), Rev. Bernie Bush, S.J., Rev. Theodore Taheny, S.J., Rev. Carroll, <mask>, Bob Augros (a philosophy professor at USF), and others whom <mask> cannot remember. He does remember that there were fourteen people present. They decided that the political problem was impractical to address directly, and that what was needed was an educational group to counter the arguments of the pro-choice movement. <mask> remembers going around the room and asking each if they wanted to be chairman, but each of them declined.So, by default, <mask> became the chairman of this emergent pro-life group in San Francisco. Thus was born United for Life of San Francisco. United for Life met every two weeks for the next seven years. At their first official meeting, Dr. Raymond Dennehy came up from Santa Clara University, where he taught philosophy. Dr. Augros and he took the task of countering the arguments of their opposition, and they developed a pamphlet in question-and-answer form that became the source of arguments against abortion for all the pro-life groups in the United States. This pamphlet was later the basis of a book by Dr. Jack and Barbara Willke from Ohio. United for Life developed the first pro-life newsletter in the United States and contacted all the groups in California and the United States.In most densely populated areas, ad hoc groups formed. For example, across the bay in Oakland, "Voice of the Unborn" was formed by a number of housewives. In Los Angeles, a right-to-life organization was formed by a group of doctors’ wives. There was a network of such groups who brought information to their legislatures and to young people. In addition, United for Life developed speakers bureaus: lawyers, scientists, students, and women who went to every school in the Bay Area to present the pro-life message. They purchased films which explored prenatal development. They asked to address every event in the Bay Area where their opposition would be.United for Life organized the opposition to the bills in the California State Assembly to strike down all the abortion laws, and they "defeated it handsomely." Mary Ann Schwab and Alice Austurias, members of United for Life, organized the Catholic Office for Life in the Archdiocese of San Francisco and staffed it for many years. Some of the members of United for Life organized the Political Action organization in California as a separate organization because of the tax laws. The Birthright organization was started in San Francisco by Dr. <mask>'s second-oldest daughter, Carol Brown. A similar organization with the same name had been started in Toronto, Ontario. Brown and her helpers contacted the Toronto office, and they joined with the international organization. This helped the spread of Birthright offices on the West Coast.Of Roe v. Wade, <mask> has stated: "A purely fabricated case went to the Supreme Court and Justice Blackmun, without shame, wrote a majority opinion that is a masterpiece of false logic. The Court struck down all the laws protecting the child. In doing so they threw our legal system into a shambles. To this day, the effects are felt in the grossly unjust decisions made by the courts to protect the capacity to kill the child in the womb". <mask> finds noteworthy that the pro-life effort was the first effort by Catholic lay people in the United States without the help of the clergy; it was an entirely lay movement, the first, in <mask>'s experience, in the United States where the people acted without the leadership of their pastors. This was important because the Catholic organizers wanted non-Catholics to join in. Their conviction was that abortion is a human problem and not just a religious one.The early pro-life activists felt that they, as citizens, had to educate the voters in the United States. As a result, many Catholic priests felt that it was not their fight. All that has changed by now, Fr. <mask> points out: Priests for Life  grew out of United for Life. Personal life
In 1947, <mask> married Barbara Ann Fate, the daughter of Michael and Blanche Fate. Michael Fate was half Italian and half Irish, and Blanche Fate was half Irish and half Swedish. Ms.Fate had earned a baccalaureate degree at Lone Mountain College in San Francisco. <mask> had six children. The <mask> Family would settle on 24th Avenue in San Francisco's Richmond District, attending St. Monica's parish and school. <mask>'s daughters attended Presentation High School, while his sons attended St. Ignatius, San Francisco's Jesuit high school. In the early 1960s, <mask> participated in one of the first cursillo retreats given in San Francisco, and he became a Third Order Carmelite. In 1964, he took his family on a pilgrimage to the Shrine of Our Lady of Guadalupe in Mexico City. From the early 1960s to the middle 1970s, <mask> was involved with the St. Vincent de Paul Society and the pro-life movement.Mrs. <mask> died from complications related to kidney failure on February 11, 1976. Soon after, Dr. <mask> retired from his professorship at the University of San Francisco and was accepted by Archbishop Joseph Thomas McGucken as a seminarian of the Archdiocese of San Francisco. From 1977 to 1979, he was engaged in formation for the priesthood at St. Patrick's Seminary in Menlo Park, CA. He was ordained a priest of Jesus Christ on May 19, 1979 at St. Mary's Cathedral in San Francisco. The ordaining prelate was Archbishop John R. Quinn of San Francisco. <mask> served as a parochial vicar in various parishes of the Archdiocese of San Francisco until 1986, when, with the permission of Archbishop Quinn, he established the Holy Family Oratory of St. Philip Neri in the Archdiocese of San Francisco. The impetus for the foundation of the Oratory was an awareness of the attacks on the family in the West, which had taken deep root in the culture.Fr. <mask> sought to combat these evils by engaging in a sustained and organized apostolic service to the family in the context of the Oratorian life. In addition, he saw the common life of the Oratory as a healthy form of community life for secular priests engaged in pastoral ministry. The Oratory had pastoral care of the students of San Francisco State University until 1991, when it transferred its operations to the parish of San Jose de la Mesa in Tijuana, Mexico. Fr. <mask> served there until 1996, when Archbishop William Levada called him home to the Archdiocese of San Francisco. Fr.<mask> was assigned to be chaplain of the Veterans Administration Hospital in San Francisco. He served in that capacity until his retirement in the early 2000s. <mask> then resided in San Francisco as senior priest in residence at St. Thomas the Apostle Church in the outer Richmond District. He also served as full-time chaplain to the Sisters of Perpetual Adoration at 771 Ashbury Street in San Francisco. He was also part-time chaplain at the San Francisco County Jail, the Richmond Jail, and the San Bruno Jail, and at the Novitiate of Blessed Teresa of Calcutta's Missionaries of Charity, at St. Paul's on Church Street in the Noe Valley neighborhood of the Mission District. <mask> died on July 17, 2015, at Nazareth House in San Rafael surrounded by many of his family members. He was 92 years of age and until recent months had remained quite active in his ministry since his ordination in 1979.See also

References

American anti-abortion activists
American Roman Catholic priests
American people of Italian descent
University of San Francisco alumni
University of California, Berkeley alumni
University of San Francisco faculty
Catholic clergy scientists
Saint Patrick's Seminary and University alumni
People from Gilroy, California
1922 births
2015 deaths
Activists from California
Scientists from California
People of Calabrian descent
American biologists
Catholics from California

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<mask> ( ; ; 22 May 181313 February 1883) was a German composer, theatre director, polemicist, and conductor who is chiefly known for his operas (or, as some of his mature works were later known, "music dramas"). Unlike most opera composers, <mask> 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, <mask> 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. <mask> 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. <mask> 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, <mask>'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 – particularly, 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.Biography

Early years

<mask> was born to an ethnic German family in Leipzig, who lived at No 3, the Brühl (The House of the Red and White Lions) in the Jewish quarter on 22 May 1813. He was baptized at St. Thomas Church. He was the ninth child of Carl Friedrich <mask>, who was a clerk in the Leipzig police service, and his wife, Johanna Rosine (née Paetz), the daughter of a baker. <mask>'s father Carl died of typhus six months after <mask>'s birth. Afterwards, his mother Johanna lived with Carl's friend, the actor and playwright Ludwig Geyer. In August 1814 Johanna and Geyer probably married—although no documentation of this has been found in the Leipzig church registers. She and her family moved to Geyer's residence in Dresden.Until he was fourteen, <mask> was known as <mask> Geyer. He almost certainly thought that Geyer was his biological father. Geyer's love of the theatre came to be shared by his stepson, and <mask> took part in his performances. In his autobiography Mein Leben <mask> recalled once playing the part of an angel. In late 1820, <mask> was enrolled at Pastor Wetzel's school at Possendorf, near Dresden, where he received some piano instruction from his Latin teacher. He struggled to play a proper scale at the keyboard and preferred playing theatre overtures by ear. Following Geyer's death in 1821, <mask> was sent to the Kreuzschule, the boarding school of the Dresdner Kreuzchor, at the expense of Geyer's brother.At the age of nine he was hugely impressed by the Gothic elements of Carl Maria von Weber's opera Der Freischütz, which he saw Weber conduct. At this period <mask> entertained ambitions as a playwright. His first creative effort, listed in the Wagner-Werk-Verzeichnis (the standard listing of <mask>'s works) as WWV 1, was a tragedy called Leubald. Begun when he was in school in 1826, the play was strongly influenced by Shakespeare and Goethe. <mask> was determined to set it to music and persuaded his family to allow him music lessons. By 1827, the family had returned to Leipzig. <mask>'s first lessons in harmony were taken during 1828–31 with Christian Gottlieb Müller.In January 1828 he first heard Beethoven's 7th Symphony and then, in March, the same composer's 9th Symphony (both at the Gewandhaus). Beethoven became a major inspiration, and <mask> wrote a piano transcription of the 9th Symphony. He was also greatly impressed by a performance of Mozart's Requiem. <mask>'s early piano sonatas and his first attempts at orchestral overtures date from this period. In 1829 he saw a performance by dramatic soprano Wilhelmine Schröder-Devrient, and she became his ideal of the fusion of drama and music in opera. In Mein Leben, <mask> wrote, "When I look back across my entire life I find no event to place beside this in the impression it produced on me," and claimed that the "profoundly human and ecstatic performance of this incomparable artist" kindled in him an "almost demonic fire." In 1831, <mask> enrolled at the Leipzig University, where he became a member of the Saxon student fraternity.He took composition lessons with the Thomaskantor Theodor Weinlig. Weinlig was so impressed with <mask>'s musical ability that he refused any payment for his lessons. He arranged for his pupil's Piano Sonata in B-flat major (which was consequently dedicated to him) to be published as <mask>'s Op. 1. A year later, <mask> composed his Symphony in C major, a Beethovenesque work performed in Prague in 1832 and at the Leipzig Gewandhaus in 1833. He then began to work on an opera, Die Hochzeit (The Wedding), which he never completed. Early career and marriage (1833–1842)

In 1833, <mask>'s brother Albert managed to obtain for him a position as choirmaster at the theatre in Würzburg.In the same year, at the age of 20, <mask> composed his first complete opera, Die Feen (The Fairies). This work, which imitated the style of Weber, went unproduced until half a century later, when it was premiered in Munich shortly after the composer's death in 1883. Having returned to Leipzig in 1834, <mask> held a brief appointment as musical director at the opera house in Magdeburg during which he wrote Das Liebesverbot (The Ban on Love), based on Shakespeare's Measure for Measure. This was staged at Magdeburg in 1836 but closed before the second performance; this, together with the financial collapse of the theatre company employing him, left the composer in bankruptcy. <mask> had fallen for one of the leading ladies at Magdeburg, the actress Christine Wilhelmine "Minna" Planer and after the disaster of Das Liebesverbot he followed her to Königsberg, where she helped him to get an engagement at the theatre. The two married in Tragheim Church on 24 November 1836. In May 1837, Minna left <mask> for another man, and this was but only the first débâcle of a tempestuous marriage.In June 1837, <mask> moved to Riga (then in the Russian Empire), where he became music director of the local opera; having in this capacity engaged Minna's sister Amalie (also a singer) for the theatre, he presently resumed relations with Minna during 1838. By 1839, the couple had amassed such large debts that they fled Riga on the run from creditors. Debts would plague <mask> for most of his life. Initially they took a stormy sea passage to London, from which <mask> drew the inspiration for his opera Der fliegende Holländer (The Flying Dutchman), with a plot based on a sketch by Heinrich Heine. The <mask>s settled in Paris in September 1839 and stayed there until 1842. <mask> made a scant living by writing articles and short novelettes such as A pilgrimage to Beethoven, which sketched his growing concept of "music drama", and An end in Paris, where he depicts his own miseries as a German musician in the French metropolis. He also provided arrangements of operas by other composers, largely on behalf of the Schlesinger publishing house.During this stay he completed his third and fourth operas Rienzi and Der fliegende Holländer. Dresden (1842–1849)

<mask> had completed Rienzi in 1840. With the strong support of Giacomo Meyerbeer, it was accepted for performance by the Dresden Court Theatre (Hofoper) in the Kingdom of Saxony and in 1842, <mask> moved to Dresden. His relief at returning to Germany was recorded in his "Autobiographic Sketch" of 1842, where he wrote that, en route from Paris, "For the first time I saw the Rhine—with hot tears in my eyes, I, poor artist, swore eternal fidelity to my German fatherland." Rienzi was staged to considerable acclaim on 20 October. <mask> lived in Dresden for the next six years, eventually being appointed the Royal Saxon Court Conductor. During this period, he staged there Der fliegende Holländer (2 January 1843) and Tannhäuser (19 October 1845), the first two of his three middle-period operas.<mask> also mixed with artistic circles in Dresden, including the composer Ferdinand Hiller and the architect Gottfried Semper. <mask>'s involvement in left-wing politics abruptly ended his welcome in Dresden. <mask> was active among socialist German nationalists there, regularly receiving such guests as the conductor and radical editor August Röckel and the Russian anarchist Mikhail Bakunin. He was also influenced by the ideas of Pierre-Joseph Proudhon and Ludwig Feuerbach. Widespread discontent came to a head in 1849, when the unsuccessful May Uprising in Dresden broke out, in which <mask> played a minor supporting role. Warrants were issued for the revolutionaries' arrest. <mask> had to flee, first visiting Paris and then settling in Zürich where he at first took refuge with a friend, Alexander Müller.In exile: Switzerland (1849–1858)

<mask> was to spend the next twelve years in exile from Germany. He had completed Lohengrin, the last of his middle-period operas, before the Dresden uprising, and now wrote desperately to his friend Franz Liszt to have it staged in his absence. Liszt conducted the premiere in Weimar in August 1850. Nevertheless, <mask> was in grim personal straits, isolated from the German musical world and without any regular income. In 1850, Julie, the wife of his friend Karl Ritter, began to pay him a small pension which she maintained until 1859. With help from her friend Jessie Laussot, this was to have been augmented to an annual sum of 3,000 Thalers per year, but the plan was abandoned when <mask> began an affair with Mme. Laussot.<mask> even plotted an elopement with her in 1850, which her husband prevented. Meanwhile, <mask>'s wife Minna, who had disliked the operas he had written after Rienzi, was falling into a deepening depression. <mask> fell victim to ill-health, according to Ernest Newman "largely a matter of overwrought nerves", which made it difficult for him to continue writing. <mask>'s primary published output during his first years in Zürich was a set of essays. In "The Artwork of the Future" (1849), he described a vision of opera as Gesamtkunstwerk ("total work of art"), in which the various arts such as music, song, dance, poetry, visual arts and stagecraft were unified. "Judaism in Music" (1850) was the first of <mask>'s writings to feature antisemitic views. In this polemic <mask> argued, frequently using traditional antisemitic abuse, that Jews had no connection to the German spirit, and were thus capable of producing only shallow and artificial music.According to him, they composed music to achieve popularity and, thereby, financial success, as opposed to creating genuine works of art. In "Opera and Drama" (1851), <mask> described the aesthetics of drama that he was using to create the Ring operas. Before leaving Dresden, <mask> had drafted a scenario that eventually became the four-opera cycle Der Ring des Nibelungen. He initially wrote the libretto for a single opera, Siegfrieds Tod (Siegfried's Death), in 1848. After arriving in Zürich, he expanded the story with the opera Der junge Siegfried (Young Siegfried), which explored the hero's background. He completed the text of the cycle by writing the libretti for Die Walküre (The Valkyrie) and Das Rheingold (The Rhine Gold) and revising the other libretti to agree with his new concept, completing them in 1852. The concept of opera expressed in "Opera and Drama" and in other essays effectively renounced the operas he had previously written, up to and including Lohengrin.Partly in an attempt to explain his change of views, <mask> published in 1851 the autobiographical "A Communication to My Friends". This contained his first public announcement of what was to become the Ring cycle:
I shall never write an Opera more. As I have no wish to invent an arbitrary title for my works, I will call them Dramas ... I propose to produce my myth in three complete dramas, preceded by a lengthy Prelude (Vorspiel). ...

At a specially-appointed Festival, I propose, some future time, to produce those three Dramas with their Prelude, in the course of three days and a fore-evening [emphasis in original]. <mask> began composing the music for Das Rheingold between November 1853 and September 1854, following it immediately with Die Walküre (written between June 1854 and March 1856). He began work on the third Ring opera, which he now called simply Siegfried, probably in September 1856, but by June 1857 he had completed only the first two acts.He decided to put the work aside to concentrate on a new idea: Tristan und Isolde, based on the Arthurian love story Tristan and Iseult. One source of inspiration for Tristan und Isolde was the philosophy of Arthur Schopenhauer, notably his The World as Will and Representation, to which <mask> had been introduced in 1854 by his poet friend Georg Herwegh. <mask> later called this the most important event of his life. His personal circumstances certainly made him an easy convert to what he understood to be Schopenhauer's philosophy, a deeply pessimistic view of the human condition. He remained an adherent of Schopenhauer for the rest of his life. One of Schopenhauer's doctrines was that music held a supreme role in the arts as a direct expression of the world's essence, namely, blind, impulsive will.

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 This doctrine contradicted <mask>'s view, expressed in "Opera and Drama", that the music in opera had to be subservient to the drama.<mask> scholars have argued that Schopenhauer's influence caused <mask> to assign a more commanding role to music in his later operas, including the latter half of the Ring cycle, which he had yet to compose. Aspects of Schopenhauerian doctrine found their way into <mask>'s subsequent libretti. A second source of inspiration was <mask>'s infatuation with the poet-writer Mathilde Wesendonck, the wife of the silk merchant Otto Wesendonck. <mask> met the Wesendoncks, who were both great admirers of his music, in Zürich in 1852. From May 1853 onwards Wesendonck made several loans to <mask> to finance his household expenses in Zürich, and in 1857 placed a cottage on his estate at <mask>'s disposal, which became known as the Asyl ("asylum" or "place of rest"). During this period, <mask>'s growing passion for his patron's wife inspired him to put aside work on the Ring cycle (which was not resumed for the next twelve years) and begin work on Tristan. While planning the opera, <mask> composed the Wesendonck Lieder, five songs for voice and piano, setting poems by Mathilde.Two of these settings are explicitly subtitled by <mask> as "studies for Tristan und Isolde". Among the conducting engagements that <mask> undertook for revenue during this period, he gave several concerts in 1855 with the Philharmonic Society of London, including one before Queen Victoria. The Queen enjoyed his Tannhäuser overture and spoke with <mask> after the concert, writing of him in her diary that he was "short, very quiet, wears spectacles & has a very finely-developed forehead, a hooked nose & projecting chin." In exile: Venice and Paris (1858–1862)

<mask>'s uneasy affair with Mathilde collapsed in 1858, when Minna intercepted a letter to Mathilde from him. After the resulting confrontation with Minna, <mask> left Zürich alone, bound for Venice, where he rented an apartment in the Palazzo Giustinian, while Minna returned to Germany. <mask>'s attitude to Minna had changed; the editor of his correspondence with her, John Burk, has said that she was to him "an invalid, to be treated with kindness and consideration, but, except at a distance, [was] a menace to his peace of mind." <mask> continued his correspondence with Mathilde and his friendship with her husband Otto, who maintained his financial support of the composer.In an 1859 letter to Mathilde, <mask> wrote, half-satirically, of Tristan: "Child! This Tristan is turning into something terrible. This final act!! !—I fear the opera will be banned ... only mediocre performances can save me! Perfectly good ones will be bound to drive people mad." In November 1859, <mask> once again moved to Paris to oversee production of a new revision of Tannhäuser, staged thanks to the efforts of Princess Pauline von Metternich, whose husband was the Austrian ambassador in Paris. The performances of the Paris Tannhäuser in 1861 were a notable fiasco.This was partly a consequence of the conservative tastes of the Jockey Club, which organised demonstrations in the theatre to protest at the presentation of the ballet feature in act 1 (instead of its traditional location in the second act); but the opportunity was also exploited by those who wanted to use the occasion as a veiled political protest against the pro-Austrian policies of Napoleon III. It was during this visit that <mask> met the French poet Charles Baudelaire, who wrote an appreciative brochure, "". The opera was withdrawn after the third performance and <mask> left Paris soon after. He had sought a reconciliation with Minna during this Paris visit, and although she joined him there, the reunion was not successful and they again parted from each other when <mask> left. Return and resurgence (1862–1871)
The political ban that had been placed on <mask> in Germany after he had fled Dresden was fully lifted in 1862. The composer settled in Biebrich, on the Rhine near Wiesbaden in Hesse. Here Minna visited him for the last time: they parted irrevocably, though <mask> continued to give financial support to her while she lived in Dresden until her death in 1866.In Biebrich, <mask> at last began work on Die Meistersinger von Nürnberg, his only mature comedy. <mask> wrote a first draft of the libretto in 1845, and he had resolved to develop it during a visit he had made to Venice with the Wesendoncks in 1860, where he was inspired by Titian's painting The Assumption of the Virgin. Throughout this period (1861–64) <mask> sought to have Tristan und Isolde produced in Vienna. Despite many rehearsals, the opera remained unperformed, and gained a reputation as being "impossible" to sing, which added to <mask>'s financial problems. <mask>'s fortunes took a dramatic upturn in 1864, when King Ludwig II succeeded to the throne of Bavaria at the age of 18. The young king, an ardent admirer of <mask>'s operas, had the composer brought to Munich. The King, who was homosexual, expressed in his correspondence a passionate personal adoration for the composer, and <mask> in his responses had no scruples about feigning reciprocal feelings.Ludwig settled <mask>'s considerable debts, and proposed to stage Tristan, Die Meistersinger, the Ring, and the other operas <mask> planned. <mask> also began to dictate his autobiography, Mein Leben, at the King's request. <mask> noted that his rescue by Ludwig coincided with news of the death of his earlier mentor (but later supposed enemy) Giacomo Meyerbeer, and regretted that "this operatic master, who had done me so much harm, should not have lived to see this day." After grave difficulties in rehearsal, Tristan und Isolde premiered at the National Theatre Munich on 10 June 1865, the first <mask> opera premiere in almost 15 years. (The premiere had been scheduled for 15 May, but was delayed by bailiffs acting for <mask>'s creditors, and also because the Isolde, Malvina Schnorr von Carolsfeld, was hoarse and needed time to recover.) The conductor of this premiere was Hans von Bülow, whose wife, Cosima, had given birth in April that year to a daughter, named Isolde, a child not of Bülow but of <mask>. Cosima was 24 years younger than <mask> and was herself illegitimate, the daughter of the Countess Marie d'Agoult, who had left her husband for Franz Liszt.Liszt initially disapproved of his daughter's involvement with <mask>, though nevertheless, the two men were friends. The indiscreet affair scandalised Munich, and <mask> also fell into disfavour with many leading members of the court, who were suspicious of his influence on the King. In December 1865, Ludwig was finally forced to ask the composer to leave Munich. He apparently also toyed with the idea of abdicating to follow his hero into exile, but <mask> quickly dissuaded him. Ludwig installed <mask> at the Villa Tribschen, beside Switzerland's Lake Lucerne. Die Meistersinger was completed at Tribschen in 1867, and premiered in Munich on 21 June the following year. At Ludwig's insistence, "special previews" of the first two works of the Ring, Das Rheingold and Die Walküre, were performed at Munich in 1869 and 1870, but <mask> retained his dream, first expressed in "A Communication to My Friends", to present the first complete cycle at a special festival with a new, dedicated, opera house.Minna had died of a heart attack on 25 January 1866 in Dresden. <mask> did not attend the funeral. Following Minna's death Cosima wrote to Hans von Bülow several times asking him to grant her a divorce, but Bülow refused to concede this. He consented only after she had two more children with <mask>; another daughter, named Eva, after the heroine of Meistersinger, and a son Siegfried, named for the hero of the Ring. The divorce was finally sanctioned, after delays in the legal process, by a Berlin court on 18 July 1870. <mask> and Cosima's wedding took place on 25 August 1870. On Christmas Day of that year, <mask> arranged a surprise performance (its premiere) of the Siegfried Idyll for Cosima's birthday.The marriage to Cosima lasted to the end of <mask>'s life. <mask>, settled into his new-found domesticity, turned his energies towards completing the Ring cycle. He had not abandoned polemics: he republished his 1850 pamphlet "Judaism in Music", originally issued under a pseudonym, under his own name in 1869. He extended the introduction, and wrote a lengthy additional final section. The publication led to several public protests at early performances of Die Meistersinger in Vienna and Mannheim. Bayreuth (1871–1876)
In 1871, <mask> decided to move to Bayreuth, which was to be the location of his new opera house. The town council donated a large plot of land—the "Green Hill"—as a site for the theatre.The <mask>s moved to the town the following year, and the foundation stone for the Bayreuth Festspielhaus ("Festival Theatre") was laid. <mask> initially announced the first Bayreuth Festival, at which for the first time the Ring cycle would be presented complete, for 1873, but since Ludwig had declined to finance the project, the start of building was delayed and the proposed date for the festival was deferred. To raise funds for the construction, "Wagner societies" were formed in several cities, and <mask> began touring Germany conducting concerts. By the spring of 1873, only a third of the required funds had been raised; further pleas to Ludwig were initially ignored, but early in 1874, with the project on the verge of collapse, the King relented and provided a loan. The full building programme included the family home, "Wahnfried", into which <mask>, with Cosima and the children, moved from their temporary accommodation on 18 April 1874. The theatre was completed in 1875, and the festival scheduled for the following year. Commenting on the struggle to finish the building, <mask> remarked to Cosima: "Each stone is red with my blood and yours".For the design of the Festspielhaus, <mask> appropriated some of the ideas of his former colleague, Gottfried Semper, which he had previously solicited for a proposed new opera house at Munich. <mask> was responsible for several theatrical innovations at Bayreuth; these include darkening the auditorium during performances, and placing the orchestra in a pit out of view of the audience. The Festspielhaus finally opened on 13 August 1876 with Das Rheingold, at last taking its place as the first evening of the complete Ring cycle; the 1876 Bayreuth Festival therefore saw the premiere of the complete cycle, performed as a sequence as the composer had intended. The 1876 Festival consisted of three full Ring cycles (under the baton of Hans Richter). At the end, critical reactions ranged between that of the Norwegian composer Edvard Grieg, who thought the work "divinely composed", and that of the French newspaper Le Figaro, which called the music "the dream of a lunatic". The disillusioned included <mask>'s friend and disciple Friedrich Nietzsche, who, having published his eulogistic essay "<mask> Wagner in Bayreuth" before the festival as part of his Untimely Meditations, was bitterly disappointed by what he saw as <mask>'s pandering to increasingly exclusivist German nationalism; his breach with <mask> began at this time. The festival firmly established <mask> as an artist of European, and indeed world, importance: attendees included Kaiser Wilhelm I, the Emperor Pedro II of Brazil, Anton Bruckner, Camille Saint-Saëns and Pyotr Ilyich Tchaikovsky.<mask> was far from satisfied with the Festival; Cosima recorded that months later, his attitude towards the productions was "Never again, never again!" Moreover, the festival finished with a deficit of about 150,000 marks. The expenses of Bayreuth and of Wahnfried meant that <mask> still sought further sources of income by conducting or taking on commissions such as the Centennial March for America, for which he received $5000. Last years (1876–1883)
Following the first Bayreuth Festival, <mask> began work on Parsifal, his final opera. The composition took four years, much of which <mask> spent in Italy for health reasons. From 1876 to 1878 <mask> also embarked on the last of his documented emotional liaisons, this time with Judith Gautier, whom he had met at the 1876 Festival. <mask> was also much troubled by problems of financing Parsifal, and by the prospect of the work being performed by other theatres than Bayreuth.He was once again assisted by the liberality of King Ludwig, but was still forced by his personal financial situation in 1877 to sell the rights of several of his unpublished works (including the Siegfried Idyll) to the publisher Schott. <mask> wrote several articles in his later years, often on political topics, and often reactionary in tone, repudiating some of his earlier, more liberal, views. These include "Religion and Art" (1880) and "Heroism and Christianity" (1881), which were printed in the journal Bayreuther Blätter, published by his supporter Hans von Wolzogen. <mask>'s sudden interest in Christianity at this period, which infuses Parsifal, was contemporary with his increasing alignment with German nationalism, and required on his part, and the part of his associates, "the rewriting of some recent Wagnerian history", so as to represent, for example, the Ring as a work reflecting Christian ideals. Many of these later articles, including "What is German?" (1878, but based on a draft written in the 1860s), repeated <mask>'s antisemitic preoccupations. <mask> completed Parsifal in January 1882, and a second Bayreuth Festival was held for the new opera, which premiered on 26 May.<mask> was by this time extremely ill, having suffered a series of increasingly severe angina attacks. During the sixteenth and final performance of Parsifal on 29 August, he entered the pit unseen during act 3, took the baton from conductor Hermann Levi, and led the performance to its conclusion. After the festival, the <mask> family journeyed to Venice for the winter. <mask> died of a heart attack at the age of 69 on 13 February 1883 at Ca' Vendramin Calergi, a 16th-century palazzo on the Grand Canal. The legend that the attack was prompted by argument with Cosima over <mask>'s supposedly amorous interest in the singer Carrie Pringle, who had been a Flower-maiden in Parsifal at Bayreuth, is without credible evidence. After a funerary gondola bore <mask>'s remains over the Grand Canal, his body was taken to

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 Germany where it was buried in the garden of the Villa Wahnfried in Bayreuth. Works

<mask>'s musical output is listed by the Wagner-Werk-Verzeichnis (WWV) as comprising 113 works, including fragments and projects.The first complete scholarly edition of his musical works in print was commenced in 1970 under the aegis of the Bavarian Academy of Fine Arts and the Akademie der Wissenschaften und der Literatur of Mainz, and is presently under the editorship of Egon Voss. It will consist of 21 volumes (57 books) of music and 10 volumes (13 books) of relevant documents and texts. As at October 2017, three volumes remain to be published. The publisher is Schott Music. Operas

<mask>'s operatic works are his primary artistic legacy. Unlike most opera composers, who generally left the task of writing the libretto (the text and lyrics) to others, <mask> wrote his own libretti, which he referred to as "poems". From 1849 onwards, he urged a new concept of opera often referred to as "music drama" (although he later rejected this term), in which all musical, poetic and dramatic elements were to be fused together—the Gesamtkunstwerk.<mask> developed a compositional style in which the importance of the orchestra is equal to that of the singers. The orchestra's dramatic role in the later operas includes the use of leitmotifs, musical phrases that can be interpreted as announcing specific characters, locales, and plot elements; their complex interweaving and evolution illuminates the progression of the drama. These operas are still, despite <mask>'s reservations, referred to by many writers as "music dramas". Early works (to 1842)
<mask>'s earliest attempts at opera were often uncompleted. Abandoned works include a pastoral opera based on Goethe's Die Laune des Verliebten (The Infatuated Lover's Caprice), written at the age of 17, Die Hochzeit (The Wedding), on which <mask> worked in 1832, and the singspiel Männerlist größer als Frauenlist (Men are More Cunning than Women, 1837–38). Die Feen (The Fairies, 1833) was not performed in the composer's lifetime and Das Liebesverbot (The Ban on Love, 1836) was withdrawn after its first performance. Rienzi (1842) was <mask>'s first opera to be successfully staged.The compositional style of these early works was conventional—the relatively more sophisticated Rienzi showing the clear influence of Grand Opera à la Spontini and Meyerbeer—and did not exhibit the innovations that would mark <mask>'s place in musical history. Later in life, <mask> said that he did not consider these works to be part of his oeuvre; and they have been performed only rarely in the last hundred years, although the overture to Rienzi is an occasional concert-hall piece. Die Feen, Das Liebesverbot, and Rienzi were performed at both Leipzig and Bayreuth in 2013 to mark the composer's bicentenary. "Romantic operas" (1843–51)

<mask>'s middle stage output began with Der fliegende Holländer (The Flying Dutchman, 1843), followed by Tannhäuser (1845) and Lohengrin (1850). These three operas are sometimes referred to as <mask>'s "romantic operas". They reinforced the reputation, among the public in Germany and beyond, that <mask> had begun to establish with Rienzi. Although distancing himself from the style of these operas from 1849 onwards, he nevertheless reworked both Der fliegende Holländer and Tannhäuser on several occasions.These three operas are considered to represent a significant developmental stage in <mask>'s musical and operatic maturity as regards thematic handling, portrayal of emotions and orchestration. They are the earliest works included in the Bayreuth canon, the mature operas that Cosima staged at the Bayreuth Festival after <mask>'s death in accordance with his wishes. All three (including the differing versions of Der fliegende Holländer and Tannhäuser) continue to be regularly performed throughout the world, and have been frequently recorded. They were also the operas by which his fame spread during his lifetime. "Music dramas" (1851–82)

Starting the Ring

<mask>'s late dramas are considered his masterpieces. Der Ring des Nibelungen, commonly referred to as the Ring or "Ring cycle", is a set of four operas based loosely on figures and elements of Germanic mythology—particularly from the later Norse mythology—notably the Old Norse Poetic Edda and Volsunga Saga, and the Middle High German Nibelungenlied. <mask> specifically developed the libretti for these operas according to his interpretation of Stabreim, highly alliterative rhyming verse-pairs used in old Germanic poetry.They were also influenced by <mask>'s concepts of ancient Greek drama, in which tetralogies were a component of Athenian festivals, and which he had amply discussed in his essay "Oper und Drama". The first two components of the Ring cycle were Das Rheingold (The Rhinegold), which was completed in 1854, and Die Walküre (The Valkyrie), which was finished in 1856. In Das Rheingold, with its "relentlessly talky 'realism' [and] the absence of lyrical 'numbers, <mask> came very close to the musical ideals of his 1849–51 essays. Die Walküre, which contains what is virtually a traditional aria (Siegmund's Winterstürme in the first act), and the quasi-choral appearance of the Valkyries themselves, shows more "operatic" traits, but has been assessed by Barry Millington as "the music drama that most satisfactorily embodies the theoretical principles of 'Oper und Drama'... A thoroughgoing synthesis of poetry and music is achieved without any notable sacrifice in musical expression." Tristan und Isolde and Die Meistersinger
While composing the opera Siegfried, the third part of the Ring cycle, <mask> interrupted work on it and between 1857 and 1864 wrote the tragic love story Tristan und Isolde and his only mature comedy Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg), two works that are also part of the regular operatic canon. Tristan is often granted a special place in musical history; many see it as the beginning of the move away from conventional harmony and tonality and consider that it lays the groundwork for the direction of classical music in the 20th century. <mask> felt that his musico-dramatical theories were most perfectly realised in this work with its use of "the art of transition" between dramatic elements and the balance achieved between vocal and orchestral lines.Completed in 1859, the work was given its first performance in Munich, conducted by Bülow, in June 1865. Die Meistersinger was originally conceived by <mask> in 1845 as a sort of comic pendant to Tannhäuser. Like Tristan, it was premiered in Munich under the baton of Bülow, on 21 June 1868, and became an immediate success. Millington describes Meistersinger as "a rich, perceptive music drama widely admired for its warm humanity", but its strong German nationalist overtones have led some to cite it as an example of <mask>'s reactionary politics and antisemitism. Completing the Ring
When <mask> returned to writing the music for the last act of Siegfried and for Götterdämmerung (Twilight of the Gods), as the final part of the Ring, his style had changed once more to something more recognisable as "operatic" than the aural world of Rheingold and Walküre, though it was still thoroughly stamped with his own originality as a composer and suffused with leitmotifs. This was in part because the libretti of the four Ring operas had been written in reverse order, so that the book for Götterdämmerung was conceived more "traditionally" than that of Rheingold; still, the self-imposed strictures of the Gesamtkunstwerk had become relaxed. The differences also result from <mask>'s development as a composer during the period in which he wrote Tristan, Meistersinger and the Paris version of Tannhäuser.From act 3 of Siegfried onwards, the Ring becomes more chromatic melodically, more complex harmonically and more developmental in its treatment of leitmotifs. <mask> took 26 years from writing the first draft of a libretto in 1848 until he completed Götterdämmerung in 1874. The Ring takes about 15 hours to perform and is the only undertaking of such size to be regularly presented on the world's stages. Parsifal
<mask>'s final opera, Parsifal (1882), which was his only work written especially for his Bayreuth Festspielhaus and which is described in the score as a "Bühnenweihfestspiel" ("festival play for the consecration of the stage"), has a storyline suggested by elements of the legend of the Holy Grail. It also carries elements of Buddhist renunciation suggested by <mask>'s readings of Schopenhauer. <mask> described it to Cosima as his "last card". It remains controversial because of its treatment of Christianity, its eroticism, and its expression, as perceived by some commentators, of German nationalism and antisemitism.Despite the composer's own description of the opera to King Ludwig as "this most Christian of works", Ulrike Kienzle has commented that "<mask>'s turn to Christian mythology, upon which the imagery and spiritual contents of Parsifal rest, is idiosyncratic and contradicts Christian dogma in many ways." Musically the opera has been held to represent a continuing development of the composer's style, and Millington describes it as "a diaphanous score of unearthly beauty and refinement". Non-operatic music

Apart from his operas, <mask> composed relatively few pieces of music. These include a symphony in C major (written at the age of 19), the Faust Overture (the only completed part of an intended symphony on the subject), some concert overtures, and choral and piano pieces. His most commonly performed work that is not an extract from an opera is the Siegfried Idyll for chamber orchestra, which has several motifs in common with the Ring cycle. The Wesendonck Lieder are also often performed, either in the original piano version, or with orchestral accompaniment. More rarely performed are the American Centennial March (1876), and Das Liebesmahl der Apostel (The Love Feast of the Apostles), a piece for male choruses and orchestra composed in 1843 for the city of Dresden.After completing Parsifal, <mask> expressed his intention to turn to the writing of symphonies, and several sketches dating from the late 1870s and early 1880s have been identified as work towards this end. The overtures and certain orchestral passages from <mask>'s middle and late-stage operas are commonly played as concert pieces. For most of these, <mask> wrote or rewrote short passages to ensure musical coherence. The "Bridal Chorus" from Lohengrin is frequently played as the bride's processional wedding march in English-speaking countries. Prose writings

<mask> was an extremely prolific writer, authoring many books, poems, and articles, as well as voluminous correspondence. His writings covered a wide range of topics, including autobiography, politics, philosophy, and detailed analyses of his own operas. <mask> planned for a collected edition of his publications as early as 1865; he believed that such an edition would help the world understand his intellectual development and artistic aims.The first such edition was published between 1871 and 1883, but was doctored to suppress or alter articles that were an embarrassment to him (e.g. those praising Meyerbeer), or by altering dates on some articles to reinforce <mask>'s own account of his progress. <mask>'s autobiography Mein Leben was originally published for close friends only in a very small edition (15–18 copies per volume) in four volumes between 1870 and 1880. The first public edition (with many passages suppressed by Cosima) appeared in 1911; the first attempt at a full edition (in German) appeared in 1963. There have been modern complete or partial editions of <mask>'s writings, including a centennial edition in German edited by Dieter Borchmeyer (which, however, omitted the essay "Das Judenthum in der Musik" and Mein Leben). The English translations of <mask>'s prose in eight volumes by W. Ashton Ellis (1892–99) are still in print and commonly used, despite their deficiencies. The first complete historical and critical edition of <mask>'s prose works was launched in 2013 at the Institute for Music Research at the University of Würzburg; this will result in at least eight volumes of text and several volumes of commentary, totalling over 5,000 pages.It was originally anticipated that the project will be completed by 2030. A complete edition of <mask>'s correspondence, estimated to amount to between 10,000 and 12,000 items, is under way under the supervision of the University of Würzburg. As of January 2021, 25 volumes have appeared, covering the period to 1873. Influence and legacy

Influence on music

<mask>'s later musical style introduced new ideas in harmony, melodic process (leitmotif) and operatic structure. Notably from Tristan und Isolde onwards, he explored the limits of the traditional tonal system, which gave keys and chords their identity, pointing the way to atonality in the 20th century. Some music historians date the beginning of modern classical music to the first notes of Tristan, which include the so-called Tristan chord. <mask> inspired great devotion.For a long period, many composers were inclined to align themselves with or against <mask>'s music. Anton Bruckner and Hugo Wolf were greatly indebted to him, as were César Franck, Henri Duparc, Ernest Chausson, Jules Massenet, <mask>, Alexander von Zemlinsky, Hans Pfitzner and many others. Gustav Mahler was devoted to <mask> and his music; aged 15, he sought him out on his 1875 visit to Vienna, became a renowned <mask> conductor, and his compositions are seen by <mask> as extending <mask>'s "maximalization" of "the temporal and the sonorous" in music to the world of the symphony. The harmonic revolutions of Claude Debussy and Arnold Schoenberg (both of whose oeuvres contain examples of tonal and atonal modernism) have often been traced back to Tristan and Parsifal. The Italian form of operatic realism known as verismo owed much to the Wagnerian concept of musical form. <mask> made a major contribution to the principles and practice of conducting. His essay "About Conducting" (1869) advanced Hector Berlioz's technique of conducting and claimed that conducting was a means by which a musical work could be re-interpreted, rather than simply a mechanism for achieving orchestral unison.He exemplified this approach in his own conducting, which was significantly more flexible than

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