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Correspondence of Wagner and Liszt, Volume 2 (1889)
By Richard Wagner; Franz Liszt; Francis Hueffer (translator)
TABLE OF CONTENTS
BRIEF BIOGRAPHICAL SKETCH
CORRESPONDENCE OF WAGNER AND LISZT, Volume 2
INFO ABOUT THIS E-TEXT EDITION
BRIEF BIOGRAPHICAL SKETCH
The German musical genius Richard Wagner (1811-1883) could be
considered to be one of the ideological fathers of early 20th
century German nationalism. He was well-suited for this role.
Highly intelligent, sophisticated, complex, capable of imagining
whole systems of humanistic philosophy, and with an intense need
to communicate his ideas, he created great operas which, in
addition to their artistic merits, served the peculiar role of
promoting a jingoistic, chauvenistic kind of Germanism. There are
things in his operas that only a German can fully understand,
especially if he would like to see his country closed off to
outsiders. It is unlikely, however, that Wagner expected these
ideas to achieve any popularity. Time and again he rails against
philistines, irrational people and politicians in his letters.
With great exasperation and often depression he expressed little
hope that his country would ever emerge out of its "philistinism"
and embrace "rational" ideas such as he propagated. Add to this
the great difficulties he had in getting his works performed, and
one might assume that he felt himself to be composing, most of
the time, to audiences of bricks. Yes, his great, intensely
beloved friend Liszt believed in, fully understood, and greatly
appreciated Wagner's works, but Liszt was just one in a million,
and even he, as Wagner suggested, associated with a base coterie
incapable of assimilating Wagnerian messages. Considering the
sorry state of music and intellectualism in Wagner's time and
setting, he surely would have been surprised if his operas and
his ideas achieved any wide currency. That he continued to work
with intense energy to develop his ideas, to fix them into
musical form and to propagate them, while knowing that probably
no sizeable population would ever likely take note of them, and
while believing that his existence as an underappreciated,
rational individual in an irrational world was absurd and futile,
is a testimony to the enormous will-power of this "ubermensch."
CORRESPONDENCE OF WAGNER AND LISZT, VOLUME 2
143.
DEAREST RICHARD,
Yesterday (Saturday, January 7th) first performance of
"Lohengrin" at Leipzig. The public, very numerous in spite of
double prices, displayed much sympathy and admiration for this
wonderful work. The first act went tolerably well as far as the
artists were concerned. Rietz conducted in a precise and decent
manner, and the ENSEMBLES had been carefully studied. The second
and third acts, however, suffered much from the faults and
shortcomings of both chorus and principals. Further performances
will, no doubt, show an improvement, although the Leipzig theatre
does certainly not possess the proper singers and scenic artists.
The flagging in the second act, which I previously took the
liberty of pointing out to you, was felt very much on this
occasion, and the public seemed painfully and unmistakably tired.
The tempi of the choruses seemed to me considerably too fast, and
there was more than one break-down in this scene. Altogether,
without self-conceit, I may say that the Leipzig performance is
inferior to ours, as you will probably hear from other quarters.
On the other hand the Leipzig public is in many respects superior
to ours, and I feel convinced that the external success of
yesterday's performance will prove very considerable indeed. The
grand success of this work can no longer be denied; of that we
should be glad, and the rest will follow sooner or later. The
actors, Rietz and Wirsing, were called after the first act, and
after the last the representatives of the principal parts had to
appear again. T., who had come from Paris for this performance,
was very dissatisfied with it. I toned him down, not thinking it
advisable to impair the chief thing by detailed criticism. Before
all, let it be stated that "Lohengrin" is the grandest work of
art which we possess so far, and that the Leipzig theatre by
performing it has done credit to itself.
If you have to write to Leipzig show yourself, to please me,
friendly and appreciative of their goodwill, and of the success
which cannot be denied. The only remark you might make concerns
the quick tempo of the choruses in Act II., Scene iii., and of
the "Lohengrin" passage in the third act
[Here, Liszt illustrates with a 4-bar musical score example
where the words, "Ath----mest Du nicht die su--ssen Dufte" are
sung.]
as compared with YOUR METRONOMIC INDICATION. This is the more
necessary as the chorus practically broke down, and these
passages failed to produce their due effect.
On the next birthday of the Grand Duchess (April 8th) "Lohengrin" will
be given here, with Gotze (at present professor of singing at the
Leipzig Conservatoire, late first tenor of this theatre) and Frau
Fastlinger, and about the middle of May Tichatschek will sing the part
here twice. Zigesar has also asked X. to sing Ortrud, and has offered
her as well as Tichatschek very decent terms, but her answer is somewhat
vague and undecided: "Unless I have to go to England at that time," etc.
Tichatschek is again behaving splendidly on this occasion, and I
thank you for the few friendly lines you have written to him, for
he really deserves it by his warm friendship for you and your
works. He came to Leipzig together with Krebs, and during the
entr'acte we met at the buffet, when he told me that you had
written to him, which I was very glad to hear. The Hartels have
sent you three hundred thalers for the nine pieces from
"Lohengrin."
Farewell, and let me soon hear from you.
Your
FRANZ.
January 8th, 1854.
144.
DEAREST FRIEND,
The "Rhinegold" is done, but I also am done for. Latterly I had
intentionally dulled my feeling by means of work, and avoided
every opportunity of writing to you before its completion. Today
is the first forenoon when no pretext prevents me any longer from
letting the long-nourished and pent-up grief break forth. Let it
break forth, then. I can restrain it no longer.
In addition to your very kindly notice of the Leipzig
"Lohengrin," I also received that of the "Deutsche Allgemeine"
Zeitung, and discover in it the scornful punishment inflicted
upon me for the crime I committed against my being and my inmost
conscience when, two years ago, I became unfaithful to my
rightful determination and consented to the performance of my
operas. Alas! how pure and consistent with myself was I when I
thought only of you and Weimar, ignored all other theatres, and
entirely relinquished the hope of any further success.
Well, that is over now. I have abandoned my purpose, my pride has
vanished, and I am reduced to humbly bending my neck under the
yoke of Jews and Philistines.
But the infamous part is that by betraying the noblest thing in
my possession I have not even secured the prize which was to be
the equivalent. I remain, after all, the beggar I was before.
Dearest Franz, none of my latter years has passed without
bringing me at least once to the verge of the resolution to put
an end to my life. Everything seems so waste, so lost! Dearest
friend, art with me, after all, is a pure stop-gap, nothing else,
a stop-gap in the literal sense of the word. I have to stop the
gap by its means in order to live at all. It is therefore with
genuine despair that I always resume art; if I am to do this, if
I am to dive into the waves of artistic fancy in order to find
contentment in a world of imagination, my fancy should at least
be buoyed up, my imagination supported. I cannot live like a dog;
I cannot sleep on straw and drink bad whisky. I must be coaxed in
one way or another if my mind is to accomplish the terribly
difficult task of creating a non-existing world. Well, when I
resumed the plan of the "Nibelungen" and its actual execution,
many things had to co-operate in order to produce in me the
necessary, luxurious art-mood. I had to adopt a better style of
life than before; the success of "Tannhauser," which I had
surrendered solely in this hope, was to assist me. I made my
domestic arrangements on a new scale; I wasted (good Lord,
wasted!) money on one or the other requirement of luxury. Your
visit in the summer, your example, everything, tempted me to a
forcibly cheerful deception, or rather desire of deception, as to
my circumstances. My income seemed to me an infallible thing. But
after my return from Paris my situation again became precarious;
the expected orders for my operas, and especially for
"Lohengrin," did not come in; and as the year approaches its
close I realise that I shall want much, very much, money in order
to live in my nest a little longer. I begin to feel anxious. I
write to you about the sale of my rights to the Hartels; that
comes to nothing. I write to Berlin to my theatrical agent there.
He gives me hopes of a good purchaser, whom I refer to the first
performance of "Lohengrin" at Leipzig. Well, this has taken
place, and now my agent writes that after such a success he has
found it impossible to induce the purchaser to conclude the
bargain, willing as he had previously been.
Confess that this is something like a situation. And all this
torture, and trouble, and care about a life which I hate, which I
curse! And, in addition to this, I appear ridiculous before my
visitors, and taste the delightful sensation of having
surrendered the noblest work of my life so far to the
predetermined stupidity of our theatrical mob and to the laughter
of the Philistine.
Lord, how must I appear to myself? I wish that at least I had the
satisfaction that some one knew how I appear to myself.
Listen, my Franz; you must help me! I am in a bad, a very bad,
way. If I am to regain the faculty of holding out (this word
means much to me), something thorough must be done in the
direction of prostituting my art which I have once taken,
otherwise all is over with me. Have you thought of Berlin again?
Something must be done there if all is not to come to a stop.
Before all, I must have money. The Hartels have been very
liberal, but what is the good of hundreds where thousands are
needed? If the Berlin purchase had come to something, I might at
least have used the offer in order to prove to a man of business
here that I possessed "capital," and to induce him to lend me the
necessary sum for three years, paying back one-third every year.
But this hope also has vanished. No one will undertake such an
affair unless he has personal confidence in my future (?)
successes. Such a man, dearest Franz, you must find for me. Once
more, I want from 3,000 to 4,000 thalers in order to find perfect
rest and equipoise. That much my operas may well bring me in in
three years IN CASE something real is done for "Lohengrin," so as
to save it. I am willing to lease my rights to the lender; my
rights in "Tannhauser" and "Lohengrin" shall be secured to him in
any way he thinks desirable or necessary. If I am not worthy of
such a service, then you must own that I am in a bad way, and
all has been a mistake! Help me over this, and I will undertake
once more to hold out.
Dear friend, do not be angry. I have a claim on you as on my
creator. You are the creator of the person I am now; I live
through you: it is no exaggeration. Take care of your creation. I
call this a duty which you have towards me.
The only thing I want is money; that at least one ought to be
able to get. Love I abandon, and art!
Well, the "Rhinegold" is ready, readier than I ever thought it
would be. I went to this music with so much faith, so much joy;
and with a true fury of despair I continued, and have at last
finished it. Alas! the need of gold held me too in its net.
Believe me, no one ever has composed in this manner; my music, it
seems to me, must be terrible; it is a slough of horrors and
sublimities.
I shall soon make a clean copy, black on white, and that will
probably be the end of it; or shall I give permission to have
this also performed at Leipzig for twenty louis d'or? I cannot
write more to you today. You are the only person to whom I could
tell such a thing; no one else has an idea of it, least of all
the people near me.
Do not think that the news of Leipzig has made me suddenly
desperate. I anticipated this, and knew everything beforehand. I
can also imagine that the Leipzig failure may still be repaired,
that "it is not as bad as we think," and much more to the same
effect. It may be, but let me see evidence. I have no faith, and
only one hope: sleep, sleep, so profound, so profound, that all
sensation of the pain of living ceases. That sleep at least is
within my reach; it is not so difficult to get.
Good heavens, I give you bad blood as well! Why did you ever come
across me?
The present of the Princess caused me a smile,--a smile over
which I could shed tears. I shall write to her when I have lived
through a few more days; then I shall also send you my portrait,
with a motto, which might make you feel awkward after all. How
are you? Burn this letter: it is godless; but I too am godless.
Be you God's saint, for in you alone I still have faith. Yea!
yea! and once more yea!
Your
R. W.
January 15th, 1854
Something must be done in London; I will even go to America to
satisfy my future creditor; this too I offer, so that I may
finish my "Nibelungen."
145.
My dearest Franz,
I write once more to try whether I can ease my heart a little.
Dearest friend, this continual suffering is becoming at last
intolerable. Always to submit to things, never, even at the risk
of one's own perdition, to give a turn to the wheel of suffering
and to determine its direction--that must at last rouse the
meekest of men to revolt. I must now act, do something. Again and
again the thought comes to me of retiring to some distant corner
of the world, although I know full well that this would mean only
FLIGHT, not the conquest of a new life, for I am too LONELY. But
I must at least begin something that will make my life, such as
it is, sufficiently tolerable to enable me to devote myself to
the execution and completion of my work, which alone can divert
my thoughts and give me comfort. While here I chew a beggar's
crust, I hear from Boston that "Wagner nights" are given there.
Every one persuades me to come over; they are occupying
themselves with me with increasing interest; I might make much
money there by concert performances, etc. "Make much MONEY!"
Heavens! I don't want to make money if I can go the way shown to
me by my longing. But if I really were to undertake something of
this kind, I should even then not know how to get with decency
out of my new arrangements here in order to go where I could make
money. And how should I feel there?
Alas! this is so impossible that the impossibility is equalled
only by the ridiculous position into which I sink when I commence
brooding over the possibility of the plan. My work, my
"Nibelungen," would then of course be out of the question.
This WORK is truly the only thing which still ties me to the
desire of life. When I think of sacrifices and demand sacrifices,
it is for this work; in it alone I discover an object of my life.
For its sake I must hold out, and hold out here, where I have got
a foothold, and have settled down to work. If I consider it
rightly, all my intended action can only have the object of
enabling me to hold out till the completion of my work. But for
that very reason I can DO nothing; all must be done by OTHERS. On
that account I latterly again felt the liveliest desire to obtain
my amnesty, and thus to gain free access to Germany. In that case
I might at least be active in helping on the performances of my
operas. I might at last produce "Lohengrin" myself, while as it
is I torture myself for the sake of it. The most necessary thing
for the moment seems to me to repair the Leipzig disaster; I was
on the point of venturing there without passport and of
endangering my personal liberty (good God! "liberty!" What
irony!). In calmer moments I intended to write to the King of
Saxony, till this also appeared quite useless and even
dishonourable to me. Then again, as lately as last night, I
thought of writing to the Grand Duke to explain my new situation
to him and to ask him for his energetic intercession at Dresden.
But this morning early I came to think that this also would be in
vain, and probably you agree with me. Where can ENERGY and real
WILL be found? Everything has to be done by halves, quarters, or
even tenths or twelfths, a la X.
So I sit down again, cross my arms, and surrender myself to pure,
unalloyed SUFFERING. I can do nothing, except create my
"Nibelungen"; and even that I am unable to do without great and
energetic help.
My dearest, my only friend, listen. I CAN do nothing unless
others do it for me. The sale of the rights of my operas must be
brought about, unless I am to free myself from my situation by
violent means. In the way of pure business this has become
impossible by the Leipzig performance, which, if my wish and my
conditions had been observed, would not have taken place; it must
be simply a work of friendship. To no one but you can I explain
myself accurately, because you are the only one who can
understand at its true estimate, and without a shake of the head,
my position, such as it has been brought about by my moods,
inclinations, whims, and wants. How can I expect a Philistine to
comprehend the transcendent part of my nature, which in the
conditions of my life impelled me to satisfy an immense inner
desire by such external means as must to him appear dangerous,
and certainly unsympathetic? No one knows the needs of people
like us; I am my self frequently surprised at considering so many
"useless" things indispensable. To YOU alone can I explain how
painfully I am placed, and how necessary immediate help is to me.
This is the first and most indispensable thing to preserve me for
my whole future. Owing to my extreme sensitiveness in this
matter, I shall otherwise be compelled--because for such a
frivolous reason I do not want to take my own life--to start at
once and fly to America.
I am in a pitiful condition, and I know that to such a friend as
you pity comes from love. Give me up if you can; that will settle
all. With my terrible care my violent nervous disorder has also
returned. During my work I frequently felt quite well; the
thunder-clouds seemed to have cleared away. I often felt
beautifully elevated, gently supported; generally I was silent,
but it was from inner joy; even hope wound itself softly round my
heart; the children of fable came to the weeping elf, saying,
"Weep not; thou too mayst still be happy." But the word resounded
from farther and farther distance, till at last I could hear it
no longer. Silence! now the old night holds me again; let it
devour me altogether!
Pardon me. I CANNOT help it.
Farewell, my Franz; farewell; farewell.
Your
R. W.
146.
Dear Friend,
You were going to send me your "Kunstler." Why does it not
arrive?
How about the "Faust" symphony? I am writing the "Rhinegold" at
once in full score. I did not see my way to jotting down clearly
the introduction (the depth of the Rhine) as a sketch; so I hit
upon the full score. This is a slower way of proceeding, and my
head is still a little confused.
The Princess has done well; greet her and thank her warmly from
me. Who knows how it will turn out? I do not care to know.
This is a sign of life to which you must respond sympathetically.
Your
R. W.
Zurich, February 7th, 1854
147.
Dearest Richard,
It is a sad fate that we have to live apart from each other. I
can tell you nothing but that I think of you constantly and love
you from my heart of hearts.
Latterly my time has been painfully occupied by all manner of
business, visits, work, etc. I have written to nobody, as you may
well imagine, because you did not receive a letter from me.
Together with this I send you the score of my "Kunstler" chorus,
and between this and the autumn I intend to publish half-a-dozen
orchestral pieces, also in full score. By October the "Faust"
symphony will be finished, which also will be published soon
afterwards.
Let us leave these trifles alone and speak of your "Rhinegold."
Have you really finished it? That has been wonderfully quick work
indeed. You know how delighted I should be if you would let me
see the score. Send it to me as soon as you can do without it.
In the meantime I have not neglected your pecuniary affairs, and
hope that my intentions will not be frustrated. CANDIDLY answer
me two questions:--
1. Have you pressing debts, and what sum do you absolutely
require to meet them?
2. Can you manage to live this year on your present income?
There is a probability that Berlin may come off next autumn, and
in that case I shall let you know the little result of my effort
in good time. For the present DO NOT SPEAK ABOUT IT. Dorn was
here, and conducted the second performance of his "Nibelungen."
The work is to be given at Berlin in six weeks.
Brendel wrote several things to me about the "Lohengrin" affair
in Leipzig. In my opinion, nothing further can be done for the
moment, and you have every reason to be calm and SATISFIED.
Lohengrin's barque is drawn by a swan; the cackling of geese and
the barking of dogs are of no avail.
Berlioz is coming to Hanover at the end of March, and goes from
there to Dresden, where he will conduct a few concerts at the
theatre. Fischer wrote to me recently about an intended
performance of "Cellini" at Dresden. This is as yet a secret,
which I, for my part, should like to see made public very soon.
The opera is Berlioz's freshest and roundest work, and its
failure in Paris and London must be attributed to low villainy
and misapprehension. It would be a fine thing if Dresden were to
offer him a brilliant REVANCHE, such as he deserves.
Brendel will publish his book within a few days. When you have
read it, tell me your candid opinion. Raff also has finished a
stout volume on the "Wagner Question" (!). He refuses to show me
ANYTHING of it, although he has read parts to several other
persons. Fortunately you are no longer to yourself nor to me a
QUESTION....
[Here, Liszt illustrates with a 3 1/2 bar musical score example
where the words "Ath - mest Du nicht die hol den Duf - te--" are
sung.]
Live in your "Rhinegold," and think lovingly of
F. L.
WEYMAR, February 21st, 1854.
148.
DEAR FRANZ,
Many thanks for your "Kunstler." You had in me a somewhat adverse
judge of this composition--I mean, I was not in the mood for it.
I have got so unaccustomed to judging in an objective sense that
in everything I go entirely by inclination. I take up only what
attracts my sympathy, and enjoy it, without in the least
analysing that enjoyment in a critical manner. Imagine then the
contradictions which the very choice of the poem necessarily
roused within me. It is more or less a didactic poem. In it
speaks to us a philosopher who has finally returned to art, and
does so with the greatest possible emphasis of resolution;--in
brief Schiller to the life! Besides this, a chorus for a concert!
I have no longer any feeling for that kind of thing, and could
not produce it at any price. I should not know where to take my
inspiration. One other thing: my musical position towards verse
and metre has undergone an enormous change. I could not at any
price write a melody to Schiller's verses, which are entirely
intended for reading. These verses must be treated musically in a
certain arbitrary manner, and that arbitrary manner, as it does
not bring about a real flow of melody, leads us to harmonic
excesses and violent efforts to produce artificial wavelets in
the unmelodic fountain. I have experienced all this myself, and
in my present state of development have arrived at an entirely
different form of treatment. Consider, for instance, that the
ENTIRE instrumental introduction to the "Rhinegold" is based upon
the common chord of E flat. Imagine then how sensitive I am in
these matters and how startled I was when, on opening your
"Kunstler," I hit upon the exact contrary of my PRESENT system. I
do not deny that I shook my head while going on, and that
stupidly I observed in the first instance only the things which
startled me--I mean details, always details. At the same time,
there was something in these details which seemed to strike me in
spite of my unsympathetic mood. At the close I reflected and
arrived at the reasonable idea of letting the WHOLE pass by me in
full swing. In fact, I imbibed it in a manner with the most
fortunate results. I saw you suddenly at your desk, saw you,
heard you, and understood you. In this way I received another
proof of the experience that it is our own fault if we cannot
receive what is magnanimously offered. This your address to the
artists is a grand, beautiful, splendid trait of your own
artistic life. I was deeply moved by the force of your intention.
You give utterance to it, body and soul, at a time, in
circumstances, and before people who would be well advised in
trying to understand you. You have done well in drawing
Schiller's lines out of their literary existence and in
proclaiming them loudly and clearly to the world with trumpet
sound. You have, as I say, done well. How to do it was your own
affair. YOU knew HOW these lines should be proclaimed to the
world, for to none but you had occurred the necessity of that
proclamation. I at least know nobody who could do something of
this kind with such force. WHAT an artist intends to do shows to
him HOW he should do it, and by this HOW we recognize the WHAT.
What you intended to do here you could not have expressed
otherwise than by this tremendous display of eloquence, of
emotion, of overpowering strength. This is my criticism. I have
no other. But who will be able to sing this to your liking? Mercy
on me when I think of our tail-coated concert singers! During the
performance at Carlsruhe you had, probably from your own
inspiration, worked yourself into such a state of excitement,
that you thought you heard them sing as they should have sung. I
suspect, however, that the public heard correctly what was sung,
and therefore could of course not understand the matter at all.
Dear friend, you require singers such as I want for my Wotan,
etc. Consider this! I have become so abominably practical that
the moment of actual representation is always before my eyes, and
this is another source of my joyful despair.
Thanks then for your "Kunstler." I feel as if it were meant for a
present to myself only, and as if no one else were to know what
you have really given to the world.
I am hard at work. Can you tell me of any one who would be able
to compile a score from my wild pencil sketches? I worked this
time quite differently from what I did before, but this having to
make a clean copy kills me. I lose time over it which I might
employ to better purpose; and apart from this, the continual
writing tires me to such an extent that I feel quite ill and lose
the inclination for real work. Without a clever man of this kind
I am lost; WITH HIM the WHOLE will be finished in two years. For
that time I should require the man. If there were a pause in the
scoring, he might copy parts in the meantime. Look out for one.
There is no one here. It is true that it may seem absurd that I
am going to keep a secretary, who can scarcely keep myself.
If you can help me, you will be doing God's work. Am I not worth
a few thousand thalers for half a year to some German enthusiast?
I will give him full security on the royalties due to me in the
autumn.
On Monday I expect Gustav Schmidt, of Frankfort. I have summoned
him in order to go through "Lohengrin" with him, and perhaps he
will bring his tenor. I am glad to see him so full of zeal.
As to the rest, I shut my ears against all the world. I do not
want to know how low I have sunk.
Shall I hear from you soon? If you think of me at all, think of
me always as of one hard at work and profoundly melancholy.
Farewell, best and dearest friend. The "Kunstler" is splendid.
Greet all at home.
From your
R. W.
ZURICH, MARCH 4TH, 1854.
149.
UNIQUE FRIEND,
I am frequently sad on your account; and on my own account I have
not much reason to rejoice. My chief object and task is taking a
very serious and painful turn. I had no right to expect much else
in that direction, and was prepared, but these long entanglements
which I have to submit to have caused me much trouble and have
jeopardised my pecuniary position, so that at present I am unable
to assist a friend. This I feel very much, and prefer to say
nothing further about it. You will understand me and not
misinterpret my silence. When the time comes, I shall explain my
affairs to you by word of mouth; they are not rose-coloured, and
another man might have perished, which other men might not have
disliked to see.
Today I only want to tell you that on the day of the performance
of the opera by the Duke of Gotha I met Herr von Hulsen at
dinner. He led the conversation to the performance of your works
at Berlin, and told me that he was only waiting till you had sold
your rights to Messrs. Bote and Bock in order to produce them. I
made bold to say that I had reason to doubt very much whether
this would be done, and that even if B. and B. bought the scores
of "Tannhauser" and "Lohengrin" I did not think for a moment that
you would abandon your previous demand of my being invited to
Berlin in order to secure an adequate rendering of your works.
Write to me how this matter stands. I do not want to advise you,
but I think that the Berlin performance is an important point for
you, and that you would gain nothing by altering your previous
position--I mean that the performance should not take place
except through my medium and according to my directions.
I was told that the Konigsberg troupe intended to perform
"Tannhauser" at Berlin this summer. I tell you this because I
think that you will not approve of the plan, and will refuse your
consent if asked for it.
I am very weary and tired, but spring will give us new strength.
Write soon to your affectionate and truly devoted
F. LISZT.
GOTHA, APRIL 4TH, 1854.
P.S.--This afternoon I return to Weymar. R. Pohl and his wife are
there, and I have asked him to give you an account of the
impending performances of "Tannhauser" and "Lohengrin."
150.
MY DEAR FRANZ,
Heaven knows how anxiously I waited this time for your letter! I
reply at once in order to explain the "business" part.
I knew nothing about Messrs. Bote and Bock, but have now come to
the conclusion that they must be the purchasers of my operas whom
my Berlin agent had in his eye when necessity compelled me last
winter to apply to him. I declare that at present I should not
sell my operas to Bote and Bock or anybody else, for reasons
which I need scarcely tell you. I find it difficult to understand
how Herr von Hulsen can be naive enough to think that I should
consent to the performance of "Tannhauser" at Berlin by the
Konigsberg troupe. I shall write to Konigsberg about it this very
day, and I ask you also to write to Hulsen at once and to
announce my VETO to him. You may do this in MY NAME, and mention
at the same time that I have ONCE FOR ALL placed everything
concerning my operas at Berlin in YOUR HANDS, being firmly
resolved to treat with Berlin only through you and according to
your opinion, but never again personally. You may further say
that if Herr von Hulsen intended to give an opera by me, and was
waiting till he had no longer to treat with me, but with a third
person (Bote and Bock, as he thought), because he had fallen out
with me personally, he would now have a splendid opportunity of
settling everything without coming in personal contact with me,
because he would have to deal with you alone; that, as my
plenipotentiary, you were compelled to protest against the
performance by the Konigsberg troupe, but that in the same
capacity you were prepared to arrange the matter with him in some
other way. I think this would be a good opportunity of bringing
the Berlin affair to a satisfactory conclusion. There is much
need for it, I can assure you. Heaven only knows how I am to pull
through; and although I do not wish to torture you any more, I
may tell you that in my present position you can do me a great
and very valuable service by your intercession in another
quarter. Listen! They have performed "Tannhauser" at Augsburg,
badly enough, it is true, but it has paved the way for Munich.
Dingelstedt has written me an amiable and encouraging letter, and
I have sent him the opera which is to be given there in the
summer. As regards honorarium, I have entreated him to procure me
the best possible terms, as these operas are my only capital, and
I must mainly rely upon the great court theatres. I have,
however, made no definite demand, having full confidence in him.
You know Dingelstedt intimately, and you would oblige me by
asking him to get me something substantial, royalties in
preference. Before all, I should wish to have some money BEFORE
THE END OF THIS MONTH, either as an advance on these royalties
or, if that is impossible, as the final purchase money, in which
case I think I might ask a hundred louis d'or. (Dresden always
used to pay me sixty louis d'or; but as "Tannhauser" has
everywhere proved a great draw, I think I might expect the lump
sum of a hundred louis d'or from so great a court theatre as
Munich.) He is probably on his travels now, but if you address to
the care of W. Schmidt, inspector of the Court Theatre, the
letter will, I think, be forwarded to him. Do not be angry with
me.
It is only a friend like you whom one can ask to be of active
help to others while he himself is in such a painful position as
you, poor man, seem to be. Although I have a general idea of your
situation, I am very desirous to know precisely how your affairs
and those of your dear ones really stand. I feel aggrieved
because you touch upon them always in a very cursory manner. From
all I can make out, I must fear that the Princess has been cut
off from her estate permanently and completely, and I must own
that such losses are well adapted to upset one's equanimity. I
also understand that you look into the future with a heavy heart,
as the fate of a most lovable, youthful being is equally
involved. If you had to inform me that you three dear ones were
now quite poor and solitary, even then I could not be very sorry-
-so stupid am I--especially if I saw that you had kept up your
courage. My dearest, dearest, unique Franz, give me the heart,
the spirit, the mind of a woman in which I could wholly sink
myself, which could quite comprehend me. How little should I then
ask of this world. How indifferent would be to me this empty
glitter, which, in my despair, I have latterly again been tempted
to gather round me as a diversion of my fancy. If I could live
with you in beautiful retirement, or, which would be the same
thing, if we could live here wholly for each other instead of
frittering our beings away with so many insipid and indifferent
people, how happy I should be. And "off and on" we should be sure
to undertake something to give vent to our energies in the outer
world.
But I am talking wildly. Correct me if I deserve it; I shall
never be anything but a fantastic good-for-nothing.
Has Eugene sent you my medallion? It is not bad, only a little
sickly.
I shall soon have to write again; I have more materials than I
can deal with today.
The instrumentation of the "Rhinegold" is going on apace. At
present I am with the orchestra down in "Nibelheim." In May the
whole will be ready, but not the clean copy, only single sheets
with illegible pencil sketches on them. It will be some time
before you can see anything of it. In June I have to begin the
"Valkyrie." When are you coming? You say nothing about it, and
yet you talk of "verbal communications." Schindelmeisser wrote to
me yesterday, asking me to come to Darmstadt on the sly on Easter
Monday, because "Lohengrin" would be splendid. That I shall leave
alone.
Adieu, dearest, dearest Franz. I have so many things to write to
you, that I must close for today.
Convey my best regards.
Your
R. W.
ZURICH, April 9th, 1854.
151.
What do you think, dear friend? Would it be of any use if I sent
you a letter to the King of Saxony, which the Grand Duke of
Weimar might forward to him through a confidential person
(perhaps his ambassador)? I admit that the Prime Minister of
Saxony would be more important than the King, but to such a
person I cannot possibly apply. Would the Grand Duke do this?
Something must be done; I must be able to fly from my ordinary
condition at least "off and on," otherwise--
How are YOU? Do write!
Your
R. W.
152.
For five days, dearest Richard, I have been in bed suffering from
catarrh and intermittent fever, and shall probably have to be
very careful till next week.
I wrote to Dingelstedt long ago, and asked him to reply to you
direct and make the contents of his letter as weighty as
possible. Dingelstedt is a gentleman, and will no doubt behave in
such a manner as will satisfy you.
"Lohengrin" and "Tannhauser" were given here last week. On the
first occasion the house was illuminated, because the Grand
Duchess visited the theatre for the first time since her
confinement. Gotze (at present professor at the Leipzig
Conservatoire, previously for fifteen or twenty years tenor at
our theatre) sang "Lohengrin," and gave the lyrical portions of
the part with much greater effect than had previously been the
case. He had studied the part thoroughly at numerous
performances, both here and at Leipzig, and therefore sang the
music with absolute certainty. "Tannhauser" drew, as usual, a
full house; at the "Lohengrin" performance many strangers who had
only arrived in the afternoon had to be refused admission.
Pohl's wife played the harp part very well, and I asked him to
write to you about the performance. Pohl is a zealous and warm
adherent of yours.
The newspapers announce that you are going to conduct the
impending Musical Festival in Canton Valais. Is there any truth
in it? What part will Methfessel take in the direction? Let me
know about this, as I have been asked several times.
----
I had got so far in my letter when yours was brought to me.
That is once more a dark, hopeless complaint! To help or to look
on calmly--the one is almost as impossible to me as the other.
After the experiences I have had, and of which I told you only
the smaller part, I can scarcely believe that the King of Saxony
will perform the act of grace desired by us. However, I will try
again. Send me your letter to his Majesty. I hope it will be
placed before him soon and in the best possible way. Our Grand
Duke is for the moment absent, and I shall not be able to see him
before next week. Write to me at once, and concoct your letter
for Dresden, which you must send to me open.
I have looked out for the copyist you require for your
"Nibelungen." It is difficult to find the proper individual who
could undertake such a task. I know several young men who would
willingly try, but they are not sufficiently skilful and
competent. I have sent a message to one of my former friends at
Berlin asking him whether he could place himself at your
disposal. With him you would be quite satisfied. In case my
inquiry leads to a favourable result, I will let you know. You
ask me how I am ...
"When need is highest, God is highest."
Do not be anxious about my indisposition; it will soon be over,
and my legs have to carry me a good way further still.
Your
F. LISZT.
153.
DEAR, DEAR FRANZ,
I can never complain to you again. I go on worrying you with my
confidences in a sinful manner, while you keep your own grief to
yourself. My troublesome candour knows no bounds; every drop of
the fount of my sorrow I pour out before you, and--I must hope
that that is the very reason why you are so silent as to your own
circumstances. But I begin to feel that the best remedy for our
sufferings is sympathy with those of others. My only sorrow today
is that you hide your grief from my sympathy. Are you really too
proud to let me know, or do you refrain from giving me back the
painful impression I made on you with my complaints, because you
were unable to assist me? Be it so, dear friend; if you do not
feel the want of making a clean breast of it all, be silent! But
if you do feel such a want, then esteem me worthy of listening to
your grief. Do not think me as weak as I may appear to be. My
difficulty lies in the abominable meanness of my situation; but
of that I can take a larger view if some strong sympathy induces
me to break with my habit of thought. I think I have said enough.
If more were needed, even this would have been too much.
Assume henceforth that all is right with me; that I have no other
care but that which your troubles give me.
The letter to the King of Saxony I shall leave alone; I should
not know how to utter any truth in it that he would comprehend,
and to tell lies I do not care; it is the only sin I know. I
shall finish my "Nibelungen;" after that there will be time to
take a look round the world. For "Lohengrin" I am sorry; it will
probably go to the d-- in the meanwhile. Well, let it go; I have
other things in my bag. Well then, I have once more needlessly
troubled you.
Dingelstedt has not replied to me yet; he will have difficulties;
it is not the custom to pay decently for dramatic work. Neither
do I know how to oust X. from "Tannhauser." He is said to be a
complete ass and a blackguard to boot. Hartinger, the tenor, is
very good and full of his task; but it was just he who told me
that he did not see how X., even with the best intentions, could
execute such music. You of course I cannot expect to venture into
this wasp's nest of Philistines.
The Konigsberg manager has replied to me, saying that he has no
idea of producing "Tannhauser" at Berlin. What nonsense Herr H.
has been talking to you! Do you care to write to him about it?
Do not misunderstand me if now and then I leave something
concerning myself unmentioned to you. The cause generally is that
I attach no importance to it. The truth about the Valais Musical
Festival is as follows. The committee asked me some time ago to
conduct that festival, which I flatly declined, declaring,
however, my willingness to undertake a symphony by Beethoven
(that in A) if they would appoint for the festival proper another
conductor who would agree to that arrangement. This they readily
accepted, and engaged Methfessel, of Berne, who is quite devoted
to me. In their announcements they think it useful to put the
matter in such a way as to make it appear that I have undertaken
the direction of "the Musical Festival" conjointly with M.
Perhaps it was this that surprised you. Altogether not much that
is "musical" can be expected from this gathering. People frighten
me about the orchestra they are likely to bring together, but
there are even greater doubts as to the collection of a decent
chorus. As, moreover, they are going to have only ONE rehearsal,
you will easily understand why I did not want to have much to do
with the affair, and especially had no thought of making
propaganda. Latterly, it is true, they have asked me to produce
something of my own, and I have given up to them the "Tannhauser"
overture, but with the condition that I must see myself whether
they can manage it; after the rehearsal I shall be at liberty to
withdraw it. The whole thing attracts me only because it gives me
an opportunity for an Alpine trip (by the Bernese Oberland to
Valais). In the same sense I have sent out invitations right and
left, especially to Joachim, who had already promised me his
visit for the summer, and whom I have asked to arrange so as to
be here about that time; he might in that case do a little in the
"festivalling" line in Valais. B. I also invited, but to YOU I
had so many other things to write at the time that I forgot about
this invitation, and the same might easily have occurred again
today. However, how do matters stand? You are sure to come to me,
are you not? And will you follow me across the Alps? It is to be
at the beginning of July.
If Joachim would like on the same occasion to let me hear
something, I could easily get him a regular engagement for the
festival.
To Brendel I have been owing a letter some time for his book; I
don't know what to write to him. All that is very well, and those
who cannot do anything better should do what these people do, but
I have no inclination that way any longer.
By your activity, however, I am delighted. What a lot of things
you do! Do not think I am indifferent because I keep silence; no,
I am really glad! May you succeed in all you do! About this
another time.
The clean copy of my scores I shall, after all, have to make
myself. It would be difficult to compile it to my liking,
especially as the sketches are frightfully confused, so that no
one but myself could make head or tail of them. It will take more
time; that is all. Many thanks for your trouble in this matter
also. We may perhaps talk about it; and if it tires me too much,
I may still make use of your Berlin friend.
God bless you, dear Franz; you must soon let me hear MUCH, ALL!
Have confidence in your devoted
RICHARD.
ZURICH, MAY 2ND, 1854.
While I am composing and scoring, I think only of YOU, how this
and the other will please you; I am ALWAYS dealing with you.
154.
(FROM HERR VON HULSEN.)
MUCH-ESTEEMED DOCTOR,
In reference to our conversation when I had the honour of seeing
you at Gotha, I beg to ask,--
If I should wish to produce "Tannhauser" at the beginning of next
winter, what would be the conditions?
Be kind enough, dear sir, to let me have your answer as soon as
possible.
With the greatest esteem,
Your obedient servant,
HULSEN.
BERLIN, May 17th, 1854.
[MY ANSWER.]
DEAR SIR,
I have the honour to return the following answer to your question
as to the "conditions" of the performance of Wagner's operas in
Berlin:--
It need not be explained at length that the performances of
"Tannhauser" and "Lohengrin" which have so far been given by
theatres of the second and third rank, satisfactory and
creditable for them though many of them have been, cannot be
accepted as a standard for the performances contemplated at
Berlin. For the very reason that Wagner attributes special
importance to the Berlin stage, he has asked and commissioned me
to assist him in this matter as a friend and an artist, and has
given me unlimited power to act for him. The conditions are
really none other than a dignified and adequate representation,
which would guarantee a more than ordinary success for these
works. The latter result is not doubtful to me provided that the
representation is worthy of the Berlin stage, and I venture to
think that you, dear sir, would share this opinion after the
final rehearsals. But in order to arrive at rehearsals at all, I
consider it necessary that a conclusive and brief conversation
should without delay take place between you and me to settle the
following points:--
A. The cast.
B. The arrangement of the rehearsals, at some of which I must be
present.
If you desire it, I am prepared to come to Berlin at the end of
the theatrical season here (June 24th), in order to arrive at an
understanding with you about the whole matter, which cannot be
difficult.
As to the honorarium claimed by Wagner, I can assure you in
advance that he will make no unreasonable demands, and I shall
let you know his decision after communicating once more with him.
As a minor point, concerning my humble self, I may add that
although my personal participation in the performance of a work
by Wagner would involve a stay in Berlin of about a month, and
the sacrifice of time would therefore be considerable, I should
be so delighted at the anticipated success of this matter, that I
should not like to mix it up with an estimate of my own expenses.
One other point I must mention: I have heard lately that Wagner
makes my direction of his operas an absolute condition for
Berlin. Highly flattered as I must be by Wagner's confidence, I
take the liberty, in accordance with my unlimited power, of
considering the question of my direction as a QUESTION RESERVEE,
which I shall decide later on, ACCORDING TO CIRCUMSTANCES. I hope
some means will be found of preserving my responsibility towards
Wagner and his works without leading to an intrusion of myself on
the Berlin artists. Accept, etc., etc.
Your obedient servant,
F. L.
WEYMAR, MAY 20TH, 1854.