Sigmund Freud’s Enigmatic Relationship to Music

International Journal of Advances in Psychology (IJAP) Volume 4, 2015 doi: 10.14355/ijap.2015.04.001

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Sigmund Freud’s Enigmatic Relationship to Music Kimmo Lehtonen1, Michael F. Shaughnessy2 Department of Education, University of Turku, Finland

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Eastern New Mexico University, Portales, New Mexico, USA

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Abstract This paper attempts to explore Sigmund Freud’s relationship to music. A brief history is provided, and the contextual elements explored. Various theorists of the time will be discussed, and the zeitgeist of the times will be examined. It is hoped that this paper will lend some insight into these issues and clarify Freud’s relationship to music.

Keywords Sigmund Freud; Psychoanalysis; Music; Music Theory; Performance; Opera

Introduction Many scholars have been discussing and examining Sigmund Freud’s paradoxical relationship with music for decades. Freud indicated that he couldn’t feel any pleasure from music because some kind of rationalistic or analytic principle was preventing him from feeling anything. He seemed to fear his strong emotions caused by music, and in his later life, he even tried to force himself against musical emotions (Gay 2004, Jones 1981).

Also, religious experiences caused similar unexplainable emotions and that is why Freud became a dedicated resistor of religion.

According to Freud, religion was just an empty “illusion” based on unconscious human needs, wishes and fears.

Obviously, Freud thought the same way about music. He strongly resisted such illusions because he wanted to dedicate his life to the reality principle: the diminishing of human suffering by stressing the meaning of consciousness.

This article analyzes Sigmund Freud’s paradoxical relationship to music. It is possible that Freud also thought that music could be dangerous for its great manipulative power, which was effectively used by the Nazis in their partyrallies.

Freud’S Sacred Mission Freud’s sacred mission was to convince people about the meaning of consciousness, so that the world could be understood with minimal distortions. Freud’s opinion was that music and religion were nothing but empty illusions based on blind faith, and powerful emotions, and that is why they formed an ultimate contrast to the reality principle. Particularly, when related to each other, they offer a good basis for irrational fantasies.

Freud’s personal relationship to music can be also interpreted as defensive or even neurotic. It is known that as a child he was so strongly harassed by his sister’s piano playing that the family had to sell the instrument. The question is, does “the king of the unconscious” have something unanalyzed in his own personality, or did he have other reasons for his negative attitude towards music?

According to Gay (2004) Freud’s “practical personality” was the reason for this phenomenon. Freud used to tell everybody that he could not understand music or even sing in tune. He did not visit concerts or look for musicians’ company. Thus, he was a dedicated lover of the visual arts and literature. It is paradoxical that in spite of his negative attitude he enjoyed operas, such as Mozart’s Don Giovanni, Figaro’s Wedding and The Magic Flute.

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He also liked Bizet’s Carmen and Wagner’s Mastersingers. Gay thinks that such a tone-deaf person as Freud enjoyed operas because they dealt with similar human problems, which Freud was writing about-specifically: life, death, sexuality, grief and despair.

Diaz de Chumaceiro (1990a; 1990b) believes that the story of Freud’s “tone-deafness” is a myth, because a tonedeaf person cannot enjoy operas. She also asks if Freud tried to sing opera arias, which were too difficult. It is unrealistic to expect that Freud could sing demanding arias by ear.

Nevertheless, we do not know if Freud could sing easier songs. Diaz de Chumaceiro (1993a) assumes that Freud’s tone-deafness could be a consequence of his poor singing technique rather than an ability to separate and remember different tones and melodies.

According to Copland (1939) a listener’s most important qualification is their ability to hear and remember melodies. It was obvious that Freud was able to do this.

Diaz de Chumaceiro (1990a,b) thinks that Freud’s negative attitude was also caused by intonation problems, because the expression – “I don’t understand music” – is commonly used still today. When somebody is trying to avoid embarrassing musical situations it is a good excuse to use this expression, which is a good shield against other’s sarcastic comments.

Chessick (1996) thinks that Freud actually suffered from a music-related inner conflict and that is why he exaggerated his disability.

Diaz de Chumanceiro also thinks that Freud’s chain-smoking of cigars could have affected his singing voice.

Freud’s negative relationship is connected – of course – to his complex personality, but it also has connections to some persons, ideologies and events, which are later discussed in this article. Some parts of this article are speculative, because there is no clear evidence about all of the aforementioned things. One of the key figures is the composer Richard Wagner (1813–1883), who wrote anti-Semite articles and composed huge religious-mystical operas, which strongly influenced for instance, Adolf Hitler’s (1889–1945) growth and ideological thinking.

Later, Wagner became the official composer of the third Reich. (see also Diaz de Chumaceiro 1990c).

Freud’s Relationship with the Nazis It is obvious that Freud was more aware of the psychological effects of music than he led us to know. He also had connections to musicians. He knew composer Gustav Mahler, who visited his four-hour consultation (1910) for his marital problems. According to Collins (1982) Mahler told Freud, how his childhood traumas (family-violence) had affected his personality and composing. Also, several famous music critics and teachers, Max Graf (1947) and David Bach, were among the early members of Freud’s Wednesday society (Vienna’s psychoanalytic association), where they lectured and discussed musical issues. Graf was especially interested in Wagner’s and Beethoven’s life and music and he discussed this with Freud and elaborated upon, and investigated other musical issues.

Freud published a vast amount of books and articles, which are dealing with a wide variety of psychological issues from meta-psychology to popular issues. It is also interesting to focus on the things, which he did not mention or write about. It is true that he never wrote a word about music. It is also strange that he never wrote anything about Hitler or the Nazis, and their violent activities which presented the worst possible example of “the psychopathology of everyday life.”

Actually, Hitler lived in Vienna 1907–1913 where he developed most of his profound ideological principles (Shirer 2004).

Later, Freud even had an indirect contact with Italian dictator, Benito Mussolini. This happened when Freud’s colleague Eduardo Weiss brought his young patient to Freud’s consultation. The patient’s father who was Mussolini’s personal friend, asked Freud for a present for Mussolini.

Freud could not refuse the request and he picked up a book, “Warum Krieg?” that contains the correspondence between Einstein and Freud (1926). He autographed the book by writing: “A respectful greetings from the old man to 2

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the cultural hero”, with which he meant the archeological diggings in Rome organized by Mussolini. (Gay, 2004,p.

547).

During the twenties – during the first years of the Weimar republic – Berlin became a center of psychoanalysis, thus the political balance of the new republic was harassed by profound inflation, a political terror, and the Ruhr district’s occupation. Berlin also became the Nazi–center and Freud was well informed about the situation in Berlin because his colleague and close friend, the chair of Berlin’s psychoanalytic association, Karl Abraham, told him about the chaotic political situation.

Psychoanalysts in Berlin also received a good deal of benefit from the persecution and miserable conditions elsewhere. Many psychoanalysts moved to Berlin, which still was more liberal than in other towns. In 1933, just after Hitler’s ascension to power, the Nazis broke up Berlin’s psychoanalytic association and replaced its chair, Max Eitington with two Arian psychoanalysts, Felix Boehm and Carl Müller–Brauschweig (Brockman 2003, 717).

Further, the political situation in Vienna was highly unstable due to the constantly growing terror of the Nazis.

Freud had to see dark clouds gathering over this beloved hometown, but he kept silent. In his articles, Brockman (2003) blames Freud’s selfishness and arrogance for his careless relationship with the Nazis. Brockman asks why Freud did not do anything, thus he saw entire societies running into chaos. Also, Brockman’s questions can be criticized, because it could also be asked, what this 65 -year-old, seriously ill Jew could do in order to resist the crazy brown–skirts yelling and shouting in beer-halls.

Freud did not want to leave Vienna, and that is why he tried to stay out of politics. This was possible because he had a good permanent income often paid in foreign currency (Gay 2004, 716).

Brockman (2003) believes that Freud’s silence almost promoted the Nazis. He also wondered about this.Freud’s relationship with his colleague and former friend Wilhelm Reich. Reich was a radical left-winger who paid attention to the relationship between society and psychic disorders. Actually, Reich was one of the first, who understood that Hitler’s propaganda was dangerous. He wrote a book about his theory, Die Massenpsychologie der Nazismus, which was a brilliant analysis of Nazism and its racist background (Reich 1933/1982). For this reason or others, Freud’s relationship to Reich changed, and he wanted eagerly to get rid of him.

According to Reich, the “religious charm” of Nazism was based on the authoritarian personality caused by the narrow-minded and sexual-negative society. He also said that the society had alienated people from their true self and feelings, which made them helpless in front of their suggestive oppressors. Reich said that the authoritarian personality was mainly caused by sexual neuroses of childhood, which were also behind the Nazis’ ruthless brutality.

Finally, Freud had to confess that Austria’s invasion was only a matter of weeks. In spite of this, he agreed to leave Vienna only after the Nazis had terminated the psychoanalytic association and press and conducted a search of his residence. For some reason, Freud underestimated the mad brutality of the Nazis and he was not able to predict the forthcoming war that just a few years later killed millions of people-- among them-- Freud’s three sisters that were murdered in the concentration camps (Brockman 2003).

If we try to understand Freud’s thinking, we must of course read his books and articles but also pay special attention to the things, he avoided, resisted, or did not understand. Freud’s thinking had its “blind spots” especially on the things, which were close to his dearest child – psychoanalysis. In order to solve this enigma, we have to take a closer look at the composer Richard Wagner and his life and music.

Was Richard Wagner the Real “King of the Unconscious”?

Wagner’s music, personality and writings became enormously famous after his death. There are a large number of publications about Wagner, who is probably an object for the second largest number of publications in the world.

Also, the Nazi-leaders were dedicated Wagner-fans and their passionate love of Wagner’s operas is still a “one of the kind” phenomenon in music history. According to Köhler (1997) Wagner was a real forerunner of the Nazimovement. Wagner also had been connected to psychoanalysis because his operas dealt with the profound 3

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unconscious and archaic themes and symbols. Friedrich Nietzsche (1844–1900) stated in his book, Der Fall Wagner, that Wagner’s music was totally sick. As a young man, Nietzsche used to be a dedicated admirer of Wagner, but in his later life he become very critical and said that Wagner’s music was so sick and that it should belong to diseases.

Nietzsche asked: “Is Wagner even a human being? He makes everything sick, what he touches – He has made music sick.”

No matter if this is true, but such expressions as sickness, enchantment, fever, hypnosis and passion are still widely used, when people discuss Wagner’s operas. Whether Wagner’s operas represent disguised religion, sickness, ideology or plain political-aesthetics, these factors tie Wagner’s music tightly to Nazi-ideology (Vihinen 2005, 138).

Perhaps Nietzsche was so harsh with Wagner, because he was dealing all his life with his own severe mental problems and perhaps that is why he was so open to Wagner’s unconscious visions.

Also, the Nobel Prize winner Thomas Mann (1875–1955) wrote about Wagner and Freud. Mann gave his wellknown lecture in Vienna at 1933, where he said that Wagner also was a forerunner of psychoanalysis. Mann stated that Wagner also was the real father of modern music who already had his other foot on atonal (chromatic) music.

Mann mentioned especially Wagner’s, Tristan und Isolde, where Wagner used strong chromatic and atonal expressions.

Mann was very courageous because he understood that this kind of lecture, where he compared the official composer of the Third Reich to Nazi-hated Freud should not be left without punishment.

Actually, Mann consciously broke every rule of the Nazi-culture politics and crossed the borders of Naziconformity. Mann had to pay a high price for his lecture and essay about Freud and Wagner, because he soon after had to leave in exile. Actually, it was just after Hitler’s regime (1933) when Hitler used the essay as a reason for press censorship. One of the official reasons was that newspapers had published distorted information about Wagner.

Mann (1947/2001) used also these ideas in his novel Doctor Faustus, which he wrote during his exile in the USA. The book is a bold mix of facts and fiction. Mann wrote that the book’s main man – composer Adrian Leverkühn, who was allied to the Devil – had invented the 12 –note-system. Mann understood that both Sigmund Freud and Arnold Schönberg, whose child the 12-note-system was, had actually made the same invention, the unconscious primary processes.

Freud’s (1900/1921) invention was based on the psychoanalytic theory, while Schönberg used the same ideas as the profound principles of the 12-note-system.

Mann, who knew both Freud and Schönberg personally, made a practical joke in his book. It is funny that Freud did not want to see similarities between psychic and musical structures and told people about his tone-deafness.

The book’s consequences were even more severe to Schönberg who never recovered from this humiliation. The book caused a neurosis and after that Schönberg had to tell everybody, that he was the real inventor of the 12 note-system. Schönberg even forced Mann to write a preface in the book’s second edition, which tells that Schönberg was the real father of the 12-note-system.

Doctor Faustus is filled with a dreamlike play between facts and fiction. More than half of the persons are real, and the book’s plot continually is a step ahead of the reader. Theodor Adorno, who also lived in U.S. for his Nazicaused exile, acted as its musical consultant.

The book’s paragon could be Wagner, the author himself, Adorno, Freud or Schönberg, but it is quite evident that the book’s leading figure is actually a combination of several persons. This means that Leverkühn is actually some kind of Richard – Theodor – Sigmund Schönberg – Leverkühn. The initials – A. L. – reminds readers of Alfred Lorenz, Hitler’s favorite musicologist, who developed a special method for investigating Wagner’s musical patterns in larger units (Tarasti, 1998).

Doctor Faustus is a many-faceted book, which inspires the reader’s imagination and its understanding requires wide expertise in music, and literature.

Probably, it was Wagner’s personality and music, which was the real inspiration for Adrian Leverkühn’s life and personality. It is evident that Leverkühn’s commitment with the Devil refers to the fact that the Nazis were

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passionate Wagner-admirers and boldly used his music for their dark purposes and Wagner-festivals held in Bayreuth became the sacred pilgrimage place for the Nazis.

Nobody knows what the real truth is, but it is commonly known that the Nazis hated psychoanalysis, Mann’s books and the 12-note-system. While Freud’s and Mann’s books were burning in book-pyres, Schönberg’s music was forbidden because it (among so called nigger-music) presented the worst kind of degenerative music.

The Rapid Change of Society Promoted Nazi-Ideology Vienna was in the center of the Nazi movement. Freud spent all of his adult life in Vienna, where young Hitler also came in 1906. Hitler got drunk with Vienna’s magnificent buildings, museums, theatres and opera. Hitler was already familiar with Wagner’s operas, which he had been listening to in Linz, with his (only) friend, a musician August Kubizek. (Kubizek 1953/2006). During Hitler’s Linz-years (1905–1906) he had seen at least Wagner’s Lohengrin and Rienzi. Kubizek indicated that after one Rienzi-performance, Hitler went into a trance and told Kubizek about his magnificent visions of the glorious future of the Germans.

Probably Hitler referred to this early Rienzi-experience, when he told Winnifred Wagner (1897–1980) about his Wagner ecstasy (Millington 2003).“That was the starting point for everything. I was totally enchanted at the very moment.

After that there were no limits for my admiration of the master of Bayreuth.”

At the time Vienna was a roaring capital, which was filled with all kinds of secret political, occult and anti-Semite societies, and activities in which, Hitler eagerly participated. During his Vienna-years, Hitler tried to get into an architect and painting training school, but was rejected as he was seen as non-talented. Hitler become bitter and lived in casual wards and paid his daily living by doing occasional odd jobs. He also collected occult-racist literature and spend his scarce coins for opera-tickets. Hitler used to be a keen admirer of Vienna’s racist major, Karl Lüger, and when leaving Vienna he was filled with burning German-nationalism and dark hate against democracy, Jews, and Marxism.

Actually Hitler created his main political program – the idea of Arian superiority and getting life-space (Lebensraum) from the east – in Vienna. He created the Nazi-program’s profound cornerstones in Vienna. These ideas stayed the same to the very end of his regime (Gay 2004, Joki–Sipilä 2004, Shirer 2004).

The industrial revolution had caused a rapid collapse of traditional lifestyles in the beginning of the 19th.century.

Huge masses of peasants had moved to Vienna where they became “factory-scum” living in miserable slums.

Traditional identities and roles had disappeared and a new life-style did not offer new ones. This led to poverty and dog’s life, which provided a good basis for irrational thinking, for example nostalgic longing for “the golden era of yesterday.”

Their miserable lives promoted envy and hate towards welfare-people who could afford a better life. This crisis was a profound cornerstone for extremely radical political ideologies, which promised a better future for the masses and looked for scapegoats for their miserable life. Political agitators told naive believers that a mythical golden era of the past would soon be reality.

The humiliating loss in the First World War caused extremely hard conditions and “the shameful peace of Versailles” caused common aggression and bitterness among people. These kind of conditions promoted conspiracy theories according to which the Jews and the Bolsheviks were responsible for the humiliation, and these enemies of the state were still living among other people. The Nazis were skillful enough to take advantage of the miserable life conditions by promising a glorious Arian future for everybody.

Actually, they built their ruthless empire on bitterness, and irrational mythical-religious wishes of the common people.

They threw away Jewish Good and prophets as well as the other Christian symbols and replaced them with strong, invincible and heroic Arian-goods. Hitler’s intention was to send the entire European world back to the darkest pagan–ages. Hitler said that if somebody thinks that National Socialism is only a political movement, he does not know anything about it, because National Socialism is more than a religion and it’s purpose is to foster rebirth of 5

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the human being.

For their religious-ideological purposes, the Nazis revived ancient German religious cults and searched, reconstructed and built different cult-places. They also repaired medieval knight-castles and gave new religious meaning for the ancient rhymes, which now become an essential part of Nazi mythology.

The Nazi ideology tried to catch people’s sympathy by combining romantic folklore, fairytales, myths, fantasies and daydreams to “the facts” produced by their fake-science.” They also used music and drama for these manipulative purposes. The leading figures of Wagner’s operas, such as Wotan, Siegfried, Brunhilde and Hagen, were introduced as great Arian heroes. In his mind, Hitler was a superman and invincible hero, whose matchless “willpower” will defeat darkness and chaos and will lead the Arians to final victory. The Nazis organized hypnotic military spectacles, whose carefully chosen music, thousands of similar uniforms and visual shine and glamour hypnotized the depressed people who had lost their common sense, and dignity, in the chaotic circumstances of the society.

The Nazis were utterly interested in educating children and youth. Actually the education was some kind of obsession for the Nazi-movement. These (Hitler’s) children were intended to give birth to a blond-haired, blueeyed, strong and ruthless master race, who will soon become a leader of the world. (Knopp, 2006). Hitler said in a Nürnberg party- rally (1936), that “the main idea of National Socialism is to take special care of education, because it is the main key to its own future.”

Brockman (2003) asks, why Freud kept silent while seeing these crazy and horrible things happen just under his window. Actually, the Nazis actualized an enormous demonstration of his theory about the irrational unconscious powers, which easily defeated rationality and common sense.

Wagner as an Anti-Semite During his time, Wagner was also well–known for his openly anti-Semite essays. He wrote an essay, Das Judentum in der Musik, where he poured out his personal bitterness and hate against the Jewish composers, who were richer and more famous than him. In his writings, Wagner tried to manipulate people against the Jews. Wagner (1869) wrote that the Jews did not have taste, and their music was only imitating the real culture. He also thought that the Jews were dangerous, because they were alienating the genuine German culture from its roots. He claimed that the Jews were promoting highly questionable ideas, such as equality, democracy and human rights and they were also successors of technology and materialism, which according to Wagner will rot the real German culture, whose roots are deep in the mother’s tongue, blood and soil (Blod und Boden). The essay promoted the famous nationalistic völkisch -ideology. In this sense, Wagner’s attitudes went long before Hitler’s ideology.

Wagner became acquainted with two racist-authors, a French count and diplomat, Joseph Arthur de Cobineau (1816–1882) and an English aristocrat, Houston Steward Chamberlain (1855–1927), who had gotten their inspiration from Darwin’s writings and soon after, developed their own twisted race-theories. Wagner loved their ideas and wished that the super-talented German race would soon become a master race, who would lead the other races.

Chamberlain adored Wagner and idolized the Germans as a master race. Chamberlain also met Hitler before his regime and revered him as God’s messenger, whose sacred mission was to guide the German people out of the desert.

Thus, Cobineau’s and Chamberlain’s own countrymen did not take their thoughts seriously and they became divine persona for the Nazis. Hitler even said that Chamberlain was the real founder of the Third Reich, who stated that the question of race is the most important one, and that is why it is superior to all other questions of society (Shirer 2004).

According to Chamberlain, there existed only two pure races – the Jews and the Germans – thus he also mentioned “half-blooded” Mediterranean race. He said that that the Germans deserve the highest racial position, because they are the Teutons, who will save people from the endless night and who are the only hope of the mankind.

Chamberlain thought that the Teutons are “the soul of the civilization” and that is why their most important duty

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was to keep their blood pure. It is quite obvious that Chamberlain was insane, but he also was the first of the European intellectuals, who foretold Hitler’s future.

It was Chamberlain who introduced Hitler to the Wagner-family; Cosima, Siegfried and Winnifried Wagner, who became his dedicated admirers. The Wagner-family’s wide social and economical relations brought Hitler many rich and powerful supporters from the intellectual and economic elite of Germany (Vihinen 2005, 153).

The Nazi’s Party-Rallies as a “Theatre of the Unconscious” Hitler was a dedicated “Wagnerian”, who already in his teens had been enchanted by Wagner’s operas. Hitler strongly identified with Wagner and thought that he was just like him, an extremely powerful rebel, who was ready to fight to the death for his ideology. Also, Wagner had taken part in the bloody appraisal in Dresden, where he stayed alive almost by a miracle. After the Dresden-experience, Wagner’s thinking became passionately radical.

Like Hitler, he strongly supported an alliance between the arts and politics.

According to him, the world should be ruled by a strong artist-elite, who procured absolute power. Wagner thought that music was an essential, inseparable part of politics. Also, Hitler saw himself as an artist, who hated all kinds of bureaucratic nonsense.

Wagner promoted his radical political ideas by using music and writings. The most important principle of his operas was the idea of “the total work of art”, which means that the music, drama and words were working together and were tightly tied together in order to create an optimal artistic experience. Actually in his essays (Oper und Drama and Die Zukunft der Kunstwerkes) Wagner presented a profound prosodic (speech’s music) analysis of accents and words in speech and music.

His theory’s main principal was that a melody should be directly based on the natural rhythm of the poem. He also represented the system of led–motives which caused continuous memory flashbacks, which will lead to maximal artistic experience. (Millington 2003, Reiser 1993, Wagner 2002). According to Gregor–Dell (1983) Wagner’s music and thoughts form a total system, which could be seen as “a religion in disguise.”

Wagner’s operas were seducing strongly touched listeners, who little by little fell into a kind of mass-hypnosis.

This is highly contradictory to Freud’s thoughts because instead of stressing a rational thinking and an alert consciousness, Wagner offered music and drama as a substitute for consciousness.

Wagner’s operas were filled with archaic Oedipal and incest fantasies and they seemed to ask people to throw away their hesitation and run into the world of sexual passion. Chessick (1993) also claims that Wagner’s operas are preaching some kind of religion of the death. This means that only death finally solves eventual conflicts of the human life. The same kind of “death-cult” shadowed Hitler’s last days in the Berlin-bunker, where he killed himself with his mistress, Eva Braun. Hitler thought that the Germans had betrayed, him and that is why they should be destroyed with him.

Music was a grateful object for politicizing for the Nazis. The most important members of the Nazi-elite used to be keen music lovers and music had a special position in their party-rallies and mass meetings. Hitler and Goebbels adorned “the Arian artists and composers” (Wagner, Bach and Bruckner) who had a special position in Nazi culture-politics. The Nazis even established a special office – Reichsmusikkammer – who was responsible for the censorship of music. The Nazis divided music roughly in two categories; acceptable and degenerative. Arian music was highly recommendable, while modernists like Schönberg, Webern and Berg represented its worst degenerative forms.

Goebbels said in 1933, that Wagner was a cornerstone of the Nazi-culture – “the incarnation of the Third Reich.”

The Nazi movement was actually a religious movement that used an enormous religious power to manipulate people. Hitler said, that “those who think that the National Socialism is just a political movement-- they do not know anything about it because National Socialism is more than a religion, and it purpose is to recreate the human being.”

The word “fasist” actually means a whip-bunch, which is a symbol of tight togetherness and dignity. For a common man, it meant strong collective power through the identification with German blood and soil.

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National Socialism managed to eliminate people’s rational thinking and individuality by replacing them with collective irrational fantasies and blind faith. It is quite evident that Hitler’s opera-ecstasy in Linz had exposed him to the extreme emotional power of music, which he organized as an essential part of the Nazi meetings, where music, highly suggestive speech and drama created extremely strong religious feelings of togetherness (Unio Mystica). Under those circumstances, boundaries between individuals disappeared and peoples’ wishes and fantasies replaced their common sense. The Nazis planned their party rallies very carefully in order to maximize their collective hypnotic power. The highly suggestive mass-meetings were filled with over-exaggerated (Hitler was an excellent speaker) dramatic speech and body language as well as very carefully selected music and songs.

The Nazis also built special architectural surroundings and used collective symbols: an enormous sea of red, black and white swastika-flags and thousands and thousands of similar military uniforms, which could hypnotize and overwhelm participants.

Wagner was interested in the union of speech, drama, music and architecture and he used very similar means in his operas. Wagner placed his unconscious themes and symbols right on the stage, where the enchanted audience can hear, see and identify with a dream-like flow of opera events. During opera-performances, the audience was silently falling into its mysterious heroic “underworld”, filled with extreme passion, hate and violence. Wagner’s operas are like tourist-trips to a dream–world, whose cruel heroes represent the dark side of the human soul, where merciless hero-gods ruthlessly crash their friends and enemies.

Hitler himself identified with Wotan, who wanted to drown the whole world in blood and fire. Wotan was also Wagner’s self-portrait because his cruel and controversial personality represented the dark ambivalence of Wagner’s personality. Wotan was also in Nietzsche’s mind when he wrote, Also Sprach Zarahustra”, which had such a strong impact on Hitler’s thinking (Hayman 2000).

According to Perez (2001) music communicates the first and foremost feelings and feeling of togetherness. Music brings this about with its rhythms and tunes. Especially marches and work songs offer people strong experiences of being together. Music is more interaction than communication (Lång 2004, 86). According to Rechardt (1984) especially “mystic rhythms” are the key to this phenomenon. Rhythms affect us already in the mother’s womb, and the interaction between mother and child uses bodily rhythmic codes.

Also, later on, people are trying to reach these early stages of integration (unio mystica) by using suitable rhythms and sounds. According to Canetti (1998) music can take an individual in its chest and cradle him/her in its arms.

He also claims that being a member in a huge crowd of people arouses the same kind of collective bodily feelings, when member’s hearts are beating in the same rhythm (also Lång 1984, Rechardt 1984, Salomonsson 1991).

The secret of Wagner’s ultimate creative power can be found from his early childhood. Wagner was a weird and sensitive child, who used to live in his own fantasy world. Wagner’s childhood fantasies were so strong that he used to disturb others sleep by screaming and shouting all night long. Later, Wagner used his infantile fantasies as a thematic starting point for his operas filled with infantile sexuality, hero-myths and Oedipal fantasies. Wagner mixed his fantasies with ancient German mythology in order to make his operas more appealing. It could be said that Wagner has already created the primitive Arian-illusion in his operas. The Third Reich just based its religious movement on the same hero-myths.

The Germans had already lived in their myths before the First World War. Many myths were actually variations from Bible-stories. The Arian mythology told stories about chosen people, a desert wanderer, the final battle and the nation of 1000 years. The Nazis replaced the Christian ideals; love, mercy and forgiveness with cruelty and ruthlessness. This was very appealing for people, who had lost their dignity and prosperity in the shameful war and the economic depression that followed. We should ask if the Nazis were in Freud’s mind, when he wrote his book, Future of Illusion (Freud 1926), which was extremely critical towards religion. We should also ask if the real aim of the book was to warn people about the extreme irrational power of Nazism.

Wagner’s Tristan as a Psychoanalytic Work of Art We should ask if Wagner’s Tristan is one of the keys to the mystery. It is commonly known that Hitler had seen 8

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Tristan 20–30 times in Vienna. Tristan was also Thomas Mann’s favorite composition and he used its chromatic themes in his daily piano-improvisations. Tristan’s atonal chromatic themes were also the source of Nietzsche’s improvisations even then, when mental illness had brought him outside of spoken language. (Hayman 2000, 564).

Nevertheless, Tristan’s plot reminds us of Freud’s topographic theory. The opera is located in the day- and the night -world (the unconscious and the conscious).

In Tristan’s second act, daylight represents a metaphor of the reality principle, moral and common sense. In Wagner’s imaginary medieval surroundings day means gathering prestige, honor, power and prosperity. When Tristan falls into the night-world, he understands that prestige and honor are nothing but lies and delusions.

Tristan and Isolde are living in two contradictory worlds. While the rational thinking and moral are ruling the dayworld, the night-world is ruled by constantly growing sexual passion and lust. The more the lovers try to resist their forbidden lust, the greater it becomes. This is similar to the principles of Freud’s Libido theory.

Wagner’s intuitive ideas are also much like the Freudian theory of unconscious impulses. Just as in Freud’s theory, Wagner’s unconscious impulses move from one world to another and change their character during a journey.

Tristan can also be seen as a forerunner of Freudian theory of two contradictory psychic powers, Eros and Thanatos (life- and death-drive), which are constantly seeking balance. Eros and Thanatos are tied together like lovers – Tristan and Isolde – who finally reach the final peace by committing their double-suicide (Freud 2005a, 2005b).

In his operas, Wagner used the primary process thinking by replacing thoughts with pictures, scenes and visions, which were accompanied by multileveled music (lead motifs), filled with memory-flashbacks, expectations and associations. Wagner’s music was orchestrated in a new radical way; he used unisons of two wind instruments in order to create new sounds, which do not remind either of the original ones. So, he was using a kind of early sound synthesis in order to create new sounds.

Wagner was also strongly influenced by Arthur Schopenhauer (1788–1860) and his book Oper und Drama, which shows that he has already developed his own ideas about the unconscious before he had read Schopenhauer’s books, but after Wagner read (1854) Schopenhauer’s (1819/1999), Die Welt als Wille und Worstellung, the author’s huge influence began to have an impact on his creative activities. Schopenhauer has influenced Wagner’s theoretical writings, opera-texts and music. (Pylkkö, 2005, p. 77).

Wagner’s unconscious differs radically from Freud’s ideas, because Wagner’s unconscious was tightly connected to the mysticism of the Early–Romanticism and mythical communication, while Freud’s conscious belongs clearly to the Enlightenment and modern psychology.

Wagner based Tristan exclusively on Schopenhauer’s influence. Shopenhauer wrote about “vital energy” (Wille), which is much stronger than the consciousness or common sense. As a matter of fact, Schopenhauer described his ideas by using a metaphor of a strong blind man carrying a seeing cripple. This metaphor is comparable to the Freudian libido, whose vital energy is behind all of our activities. Freud also said that the libido is also giving traumatic experiences their compulsive nature. There are a lot of other similarities between Wagner’s and Schopenhauer’s thinking, and it is also quite obvious, that Freud (in spite of his resistance) could not avoid their influence on his thinking.

Freud was conscious of his defensive attitude toward these ideas. In his letter to Lothar Bicket (Gay 2004, 75) he wrote that he was familiar with philosophical thinking and that is why he tries to avoid reading books of certain philosophers. He was anxious about a possibility that those books will lead his thinking to a direction he could not accept. Freud also points out that he had stopped reading Nietzsche’s books for this particular reason. He also indicated that in those books, there were many ideas that were reminiscent of his own psychoanalytic thinking from those books.

Freud’s defensive attitudes occurred especially with the ideas and thoughts, which were near to his dearest child psychoanalysis. We should ask if the same principle had its impact on his paradoxical music-relationship. Actually, Freud seemed to avoid ideas, which were too close to his own psychoanalytic theories. This happened, thus he said 9

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that he never asked for the inventor’s honor of psychoanalysis, but it is also clear that he wanted to be a key actor in the history of psychoanalysis, not a person, who only collected and systemized his forerunner’s ideas.

Psychoanalytic theory is based on theoretical generalizations, which Freud formulated according to his own clinical experiences. The clinical work also stressed the gap between words and experiences, which are always much richer than their verbal or literal expressions.

Freud’s favorite motto was: “It is hunger and love that finally are the only real philosophy.” Words and experiences belong to different worlds, which cannot be unified.

As Ricoeur (1981) puts it, words are at the same time expressing and hiding things. Human experiences contain a lot of sensual things that cannot be expressed with worlds. Also, psychoanalysis is different as a theory, and as an experience.

Nietzsche suffered from the same problem. He said that words are an invisible “jailhouse” that prevents people from understanding the world’s original essence. Wagner was a father figure for young Nietzsche, who was sure that Wagner has in his total works of art created a unique form of expression by uniting speech to music and drama.

Nietzsche thought, that Wagner had finally created a synthesis of art and philosophy. Thus, Nietzsche influenced Wagner’s ideas, the situation was also vice versa, because Wagner heavily influenced Nietzsche’s thoughts. Also, Nietzsche wanted to be a composer, because as a philosopher he felt that he was unable to express the total richness of his thoughts verbally.

Freud also suffered from this antagonism between human experiences, and their verbal expressions.

Wagner, Schopenhauer and Nietzsche warned people to not underestimate the unconscious powers by stressing common sense and conscious thinking. (Gay 2004, 75, 196). It is worth questioning, if Freud’s resistance was caused by the fact that his theories actually owe much to Wagner, Schopenhauer and Nietzsche. Wagner (1857) wrote that sexuality is the strongest power against common sense and Schopenhauer said that a body expresses its superiority to mind when falling in love, which asks a human being to forget his/her moral and common sense.

In The Interpretation of Dreams Freud (1900/2001) compares dreams to music. This citation shows us that he was actually very conscious of the psychological effects of the opera. As such a “tone-deaf person” Freud easily perceived the essence of music: “A dream does not have to repeat the whole image of the past step by step because it is enough when it – so to say – touches a part of it. I mean that, when the orchestra is playing two bars of Don Giovanni and somebody says this is Mozart from Figaro’s wedding. A dream touches unconscious memories, whose all details cannot reach my consciousness. This keymessage forms just like a break-through point, from where a whole front starts moving. It is much the same with unconscious thinking. The wakening impulse opens a way to the key-point, from where the whole front starts to move…!

(Freud 1900/2001) 1.

Freud also had other connections to music and he had to be aware of its direct connections to the unconscious.

From the very earliest times, Freud had a close relationship with Otto Rank and Hans Sachs, who later established the psychoanalytic journal Imago that integrated psychoanalysis with anthropological and cultural ideas. The journal published Teller’s article Musikgenuss und Phantasie as early as 1917, whose main idea dealt with music’s ability to decrease Ego-control and its ability to open new routes for unconscious impulses – associations, mental pictures and fantasies.

Freud also was Imago’s editor-in-chief when the journal published Mosonyi’s (1935) classical article Die Irrationalen Grundlage der Musik in which the author analyses the meta-psychology of music as well as the structural resemblance between music and dreams. According to Mosonyi, music helps psychic tensions to burst out because he compared music to a child’s “hide and seek” play, where familiar themes disappear and return. This reduces psychic tension and causes pleasure.

Freud’s description is similar with Wagner’s ideas about lead-motives, where every figure and scene have his/her own theme, which an orchestra is playing before for example some figure is coming to the stage or something is about to happen.

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This phenomenon is also an essential part of verbal propaganda, which is based on repeating the same ideas over and over again in different situations. Hitler’s speeches almost hypnotically repeated the same simple things over and over again with minimal variations, which made them more suitable for different audiences. The hypnotic speech is not intended for the Ego because it talks straight to the unconscious and tries to manipulate it to accept the speaker’s ideas.

Actually, we saw the same idea before the Iraq war when the same arguments about chemical weapons were repeated in the mass media on a daily basis. The message told us that the war (for peace) is the only possibility.

The power of this rhetoric is based on musical expressions; repeating and variations (Lång 2004, 193). It offers something familiar and something new at the same time and the listeners sank themselves (regression) to the early stages of the Ego, which gives them safely and certainty (Friedman 1960, Kohut & Levarie 1957, 7– 19).

Also, Teller stressed music’s ability to bring unconscious material to the consciousness by disguising it into fantasies, associations and daydreams. Later, Noy (1967) connected Teller’s ideas to hypnosis by citing Frey (1951), who made research by playing music during hypnosis and after that, analyzing its impacts on contents of hypnotic sleep. According to Frey, music promoted symbolic processes, which brought a lot of material from the unconscious. In its early days also GIM –therapy (Guided Imagery and Music) combined music with LSD in order to make mental pictures and fantasies more intensive. After LSD was criminalized, the therapy form continued without it (Bonny, 1975).

Even Freud himself was enchanted by Jean Martin Charcot’s hypnotic demonstrations in Paris and Freud also used hypnosis in his early analytic work. Hypnosis has had a special position also in the beginning of psychoanalysis.

The very first happenings are related to discussions between Freud and his colleague Josef Breuer. These discussions concerned Breuer’s patient, “Anna O”, who was remembering such traumatic things in hypnosis, that she could not remember without hypnosis.

The case of this patient was one of the reasons for the birth of psychoanalysis in its modern form. Freud himself was also a cocaine addict for several years. Freud started to use cocaine in order to cope with his depression and anxiety (Gay 2004). Freud was well aware of hypnotic states of mind, but soon he rejected the use of them. Freud wanted to communicate with the unconscious indirectly through Ego, not to use hypnosis to make a direct contact with it.

Lehtonen (1988, 1996) has stated that music is a form of archaic thinking – a process of forming bodily meanings that do not need words to be understood. Music activates the symbolic processes of the unconscious, which enables archaic bodily meanings to integrate to the conscious. Also, Mosonyi paid attention to the similarity of dream-work and musical processes.

Conclusions Our final statement is that Freud’s tone-deafness was based on his conscious choice, because he was afraid of music’s suggestive and manipulative power and its direct connections to the irrational powers of the unconscious, which are easily agitated by music. Obviously, Freud was thinking that music could be dangerous because its collective irrational power could not be controlled. Freud was afraid of “black mud of the occult.” It was evident that the Nazis consciously used this as an essential part of their propaganda. They used music as a promoter of ideological agitation, which caused extremely strong primitive regressive feelings, which could be compared to mass-psychosis. Nazism was like a religious cult that used architecture, literature and art for its dark purposes.

Music was probably the most powerful of its means.

Music has always been a part of religion and religious cults in every culture from primitive to modern times. To Freud, Nazism was more like a religious cult than a political movement, which shamelessly used music as a matter of mass-suggestion especially in its party-rallies. This kind of atmosphere is suggesting participants to forget their moral and common sense and blindly run into religious ecstasy. Freud thought that music was a form of mythical communication, which very effectively activated the dark powers of the unconscious.

On the other hand, music was too close to Freud’s own child – psychoanalysis – which Freud wanted to connect 11

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exclusively to verbal communication and consciousness. Thus, he was desperately conscious about the unconscious functions of music and its capability of connecting verbal and non-verbal sides of a human mind. The real nature of music works for psychic integration; it connects mind and body, the conscious and the unconscious, verbal and non-verbal as well as other human polarities. Freud had to be aware of this, because in his metapsychological writings, for instance, about psychic binding – he was actually very near to the analysis of psychological functions of music (Ikonen & Rechard 1980. Lehtonen 1993, Lång 2004).

There are also a lot of people, who think that Freud did not want to analyze music because he also had a dark and unanalyzed side in his own personality, which was a reason for his paradoxical relationships with music. Others have said that his relationship was caused by the fact that Freud did not have proper musical training or musical competence in order to write about music or to analyze its effects. So Freud decided not to pay attention to it.

Perhaps one of the major reasons was the fact that the Nazis were very interested about the manipulative power of music and they also boldly used it for their inhuman purposes. The other important reason was that Wagner’s music and political thoughts and the books of Schopenhauer and Nietzsche had a strong influence on Hitler and also every one of them had written about the unconscious and music.

These authors actually were the forerunners of Freud’s own theory. Nazism itself actually was like a fight between common sense and Niebelung’s dark and destructive spirits, which nearly crushed their opponent. Psychological effects of Wagner’s operas were emotionally much stronger that Freud’s own clinical results.

Thus, an opera-experience does not ask people to think by themselves or analyze their life. Wagner’s music asks people to close their eyes and run wildly into their dreams, wishes and fears. Wagner’s operas were (and still are) like tourist-trips to the wonders of the unconscious. So, it is not a miracle that Freud did not want to write about or analyze music. While letting it be, he also left an open field for psychoanalysts interested in music.

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