在弗里德里希·尼采会见的所有人中，作曲家理查德·瓦格纳（1813-1883）毫无疑问是对他印象最深刻的人。正如许多人所指出的那样，瓦格纳与尼采的父亲年龄相同，因此可以提供年轻学者，他们在1868年第一次见面时是23岁，是某种父亲的替代品。但对尼采来说真正重要的是，瓦格纳是第一等级的创造性天才，在尼采看来，这个人为世界及其所有苦难辩护。从很小的时候起，尼采就热衷于音乐，当他还是一名学生时，他是一位非常称职的钢琴家，通过即兴表演的能力给同龄人留下了深刻的印象。在19世纪60年代，瓦格纳的明星正在崛起。他于1864年开始接受巴伐利亚国王路德维希二世的支持;特里斯坦和伊索尔德于1865年首次亮相，1869年首映的是Meistersingers，1869年首演了Das Rheingold，1870年首演了DieWalküre。虽然看到歌剧表演的机会有限，但由于地理位置和财务状况，Nietzsche和他的学生朋友们他获得了特里斯坦的钢琴成绩，并且非常崇拜他们所认为的“未来音乐”。
新加坡管理大学Essay代写：为什么尼采与瓦格纳决裂？
Of all the people who Friedrich Nietzsche met, the composer Richard Wagner (1813-1883) was, without question, the one who made the deepest impression on him. As many have pointed out, Wagner was the same age as Nietzsche father, and thus could have offered the young scholar, who was 23 when they first met in 1868, some sort of father substitute. But what really mattered to Nietzsche was that Wagner was a creative genius of the first rank, the kind of individual who, in Nietzsche’s view, justified the world and all its sufferings. From an early age Nietzsche was passionately fond of music, and by the time he was a student he was a highly competent pianist who impressed his peers by his ability to improvise. In the 1860s Wagner’s star was rising. He began receiving the support of King Ludwig II of Bavaria in 1864; Tristan and Isolde had been given its premiere in 1865, The Meistersingers was premiered in 1868, Das Rheingold in 1869, and Die Walküre in 1870. Although opportunities to see operas performed were limited, both because of location and finances, Nietzsche and his student friends had obtained a piano score of Tristan and were great admirers of what they considered the “music of the future.”