winds; I do not want to know any more of them. When I gave them
over to theatrical jobbery, I cast them out, I condemned them to
the task of begging for me, of getting me money, NOTHING BUT
MONEY. Even for that purpose I should not like to employ them if
I were not compelled to do so. After the insight which I have
gained this summer, I should willingly submit to the penance of
selling all my goods and chattels, and go, naked as I am, into
the wide world, where--I swear it to you--no illusion should
tempt me any more. But my wife could not bear such a violent step
again; I know it would kill her. Well then, FOR HER SAKE I am
resolved to go on. "Tannhauser" and "Lohengrin" must go to the
Jews. But I am unable to wait and see how much more they might
bring me in in certain patiently looked-for contingencies than
now, when I am compelled to get rid of them at any price, and the
sooner the better. Tell me, dearest friend, how do matters stand
at Berlin? Did you merely rely upon making our condition
plausible to Herr von Hulsen, or had you prepared other means of
securing your honourable invitation to Berlin? I am almost
inclined to believe the latter, and to hope in consequence that
you will soon be able to announce our triumph. The want of Berlin
for my operas involves the delay of the rest of the business, and
I assure you that the spreading of my operas is entirely a matter
of BUSINESS to me. This is the only real point; all the rest is,
and remains, fictitious. Let us not attempt to look upon the
matter in any serious light except as regards money. I should
despise myself if I paid any attention to anything beyond this.
For me the song of the "world" was sung to an end long ago.
And do you know what has confirmed me in this sentiment,
inspiring me with new pride? It is YOUR WORK ABOUT THE "FLYING
DUTCHMAN." In this series of articles I have once more clearly
recognized myself, and have come to the conclusion that we have
nothing in common with this world. WHO DID EVER UNDERSTAND ME?
You, and no one else. Who understands YOU? I, and no one else. Be
sure of it. You, for the first and only time, have disclosed to
me the joy of being wholly understood. My being has passed into
yours; not a fibre, not the gentlest tremor of my heart, remains
that you have not felt with me. But I also see that THIS ALONE
means being really understood, while all else is misunderstanding
and barren error. What do I want more after having experienced
this? What do you want of me after having experienced this with
me? Let the tear of a beloved woman mingle with this joy, and
what else can we desire? Do not let us desecrate our own selves.
Let us look upon the world through the medium of contempt alone.
It is worth nothing else; to found any hope on it would be
deceiving our own hearts; it is BAD, BAD, THOROUGHLY BAD: only
the heart of a FRIEND, the tears of a woman, can dispel its
curse. We do not respect the world. Its honour, its glory, or by
whatever name its shams may be called, are nothing to us. It
belongs to Alberich, to no one else. Let it perish! I have said
enough; you now know my sentiment, which is not a momentary
emotion, but as firm and solid as adamant. That sentiment alone
gives me strength to drag on the burden of life. But I must
henceforth cling to it inexorably. I have a deadly hatred of all
APPEARANCE, of all hope, for it is self-deception. But I will
work; you shall have my scores; they will belong to us, to no one
else. That is enough. You have the "Rhinegold," have you not? I
have got to the second act of the "Valkyrie": Wotan and Fricka. I
shall succeed, you will see.
Farewell.
Are you going to write to my wife?
My cordial remembrances!
(What the other people write I cannot bear to read any longer. I
only read your "Dutchman" article; that is the reward, the pride,
of my life.)
Farewell.
Your
R. W.
166.
Zurich, September 16th, 1854
Do you know how I can manage to arrange some concerts at Brussels
and perhaps two Dutch towns, such as I gave last year at Zurich,
and do you think that by such an undertaking I might make 10,000
francs in cash? Can you make arrangements so that my offer may be
readily met, and that my programme may be translated into French
and Dutch? If you can answer these questions satisfactorily,
kindly take the matter in hand as soon as possible. I must earn
money at once. No theatre has asked for my operas; nothing is
stirring; I seem to be quite forgotten. If I could bring back
money from Belgium and Holland, I might probably resume my work.
For the present all music has been laid aside.
Your medallion is very beautiful. Many thanks. I care for nothing
else, and for good reasons.
Always your faithful
Richard 167.
DEAREST FRANZ,
My wife is going to Germany, in the first instance on a visit to
her parents. At present she is with Alwine Frommann, Berlin (10,
Linden). In a week's time at the latest she will be in Leipzig
(at A.'s, Windmuhlengasse). From there she will return via
Frankfort. If she could hear one of my operas--"Lohengrin" of
course in preference--at Weimar, she would like to stop a day
there. If you can manage this, kindly write to her at Berlin or
Leipzig, or, in case you can let me know BY RETURN, write to ME
at Zurich, so that I can advise her in time.
From H. you will have in a few days the score of "Rhinegold",
which I sent to him in separate pieces for the purpose of having
a copy made at Dresden. But as I have recently finished a clean
copy myself, I cannot bear the thought that the work should not
yet be in YOUR HANDS. I did not want to let you have the
fragments, for I consider it an important and significant event
to place the WHOLE in your hands. Keep it for a month, to have a
look at it occasionally; after that I shall ask you to return it
for a time, so as to get the complete copy done.
My best love to Daniel, the foolish boy.
I write nothing else, either about myself or about your article.
If I once began about these two things, I should not know where
to stop. It is a great pity that I did not see you this year.
Altogether I feel so boundlessly miserable that I begin to
despise myself for bearing this misery. Enough. Farewell.
The worker in plaster-of-Paris has not yet returned your
medallion; the margin was a little damaged. Why do you keep the
"Indian fairy tale" to yourself? I have plenty of prosaic things
around me, and could find a place for it.
My best remembrances to the Princess.
Your
RICHARD.
ZURICH, September 29th, 1854.
168.
DEAR FRANZ,
I begin to find out more and more that you are in reality a great
philosopher, while I appear to myself a hare-brained fellow.
Apart from slowly progressing with my music, I have of late
occupied myself exclusively with a man who has come like a gift
from heaven, although only a literary one, into my solitude. This
is Arthur Schopenhauer, the greatest philosopher since Kant,
whose thoughts, as he himself expresses it, he has thought out to
the end. The German professors ignored him very prudently for
forty years; but recently, to the disgrace of Germany, he has
been discovered by an English critic. All the Hegels, etc., are
charlatans by the side of him. His chief idea, the final negation
of the desire of life, is terribly serious, but it shows the only
salvation possible. To me of course that thought was not new, and
it can indeed be conceived by no one in whom it did not pre-
exist, but this philosopher was the first to place it clearly
before me. If I think of the storm of my heart, the terrible
tenacity with which, against my desire, it used to cling to the
hope of life, and if even now I feel this hurricane within me, I
have at least found a quietus which in wakeful nights helps me to
sleep. This is the genuine, ardent longing for death, for
absolute unconsciousness, total non-existence; freedom from all
dreams is our only final salvation.
In this I have discovered a curious coincidence with your
thoughts; and although you express them differently, being
religious, I know that you mean exactly the same thing. How
profound you are! In your article about the "Dutchman" you have
struck me with the force of lightning. While I read Schopenhauer
I was with you, only you did not know it. In this manner I ripen
more and more. I only play with art to pass the time. In what
manner I try to amuse myself you will see from the enclosed
sheet.
For the sake of that most beautiful of my life-dreams "Young
Siegfried," I shall have to finish the "Nibelungen" pieces after
all; the "Valkyrie" has taken so much out of me that I must
indulge in this pleasure; I have got as far as the second half of
the last act. The whole will not be finished till 1856; and in
1858, the tenth year of my Hegira, the performance may take
place, if at all. As I have never in life felt the real bliss of
love, I must erect a monument to the most beautiful of all my
dreams, in which, from beginning to end, that love shall be
thoroughly satiated. I have in my head "Tristan and Isolde," the
simplest but most full-blooded musical conception; with the
"black flag" which floats at the end of it I shall cover myself
to die.
When you have had enough of "Rhinegold," send it to Chorusmaster
Fischer at Dresden, instructing him in my name to give it to the
copyist Wolfel, so that he may finish the copy which he has
begun. Your cheering words about the "Rhinegold" were splendid,
and it has really turned out well. I hope there will be enough
counterpoint in it to please Raff. My anxiety as to this troubles
me very much.
Is M. ill? How can I do anything to help her? She should come in
the summer to Seelisberg, on the lake of Lucerne. It is the
dearest discovery I have made in Switzerland; up there all is so
joyful, so beautiful, that I long to return--to die there.
There we must meet next summer; I mean to write "Young Siegfried"
there, and you must assist me. Perhaps I shall assist you too.
How full my heart is when I think of it! Many thanks to the
Princess; at her desire, I send the enclosed autograph. Nothing
about business! What do we care about such miserable things? When
shall I see your symphonic poems, your "Faust?"
Farewell, my Franz.
169.
Brynhild sleeps; I am, alas! still awake.
Today I was asked, on the part of the Philharmonic Society of
London, whether I should be inclined to conduct its concerts this
year. I asked in return, (1) Have they got a second conductor for
the commonplace things? and (2) Will the orchestra have as many
rehearsals as I may consider necessary? If they satisfy me as to
all this, shall I accept then? If I could make a little money
without disgrace, I should be pleased enough. Write to me at once
what you think of this.
How are you otherwise? 170
First of all, dearest friend, my best wishes for the new year
1855! May it turn out luckier for us than its predecessors have
been.
I have permitted myself a little indiscretion in Brendel's paper,
and have written for the specimen number of the journal (which is
going to have a new publisher), as well as for the first number
of the new year, a few columns about your "Rhinegold." I hope you
will not be angry with me. My intention was good, and it will do
no harm to draw a little public attention to the matter. The
score I shall one of these days send to Fischer at Dresden,
according to your instructions.
The offer of the Philharmonic Society is very acceptable, and
your friends will be pleased with it. You do not say whether it
is the Old Philharmonic Society or the New Philharmonic Society
which has invited you. The latter Berlioz conducted for one or
two seasons, in conjunction with Dr. Wylde, a protege of one of
the chief shareholders of that Society, whose name I forget. In
both Societies you will find a numerous orchestra and ample
materials. You will know how to bring life into them and to do
something extraordinary. If I can possibly get away from here, I
shall perhaps visit you in London during the season. In the
meantime let me know something more about this Philharmonic
business, which will probably turn out to your satisfaction. I
recommend you, by your leave, some caution, and the tedious but
useful method of waiting.
I have heard nothing from Berlin, and shall write to Alwine
Frommann before long. Our theatre will not be able to perform
your works for several months to come. Frau von Milde is in
interesting circumstances, and cannot appear before the middle of
April, and our public would tolerate no other Elizabeth, Elsa, or
Senta. Besides this, our first tenor has lost his voice, and will
be replaced next month by C., who sang "Tannhauser" here in
November on trial.
I expect Berlioz about the middle of February. Do you know the
score of his "Damnation de Faust?"
My "Faust" symphony is finished. There are three movements:
"Faust," "Gretchen," and "Mephistopheles." I shall bring it to
you at Zurich next summer.
Remember me to your wife, and continue to love
Your
F. L.
January 1st, 1855.
The Princess sends her thanks and congratulations.
171.
DEAR FRANZ,
I am able today to send you particulars about London. Mr.
Anderson, treasurer of the Philharmonic Society and conductor of
the Queen's band, came specially to Zurich to arrange the matter
with me. I did not like the idea much, for it is not my vocation
to go to London and conduct Philharmonic concerts, not even for
the purpose of producing some of my compositions, as is their
wish. I have written nothing for concerts. On the other hand, I
felt distinctly that it was necessary for me to turn my back once
for all upon every hope and every desire of taking an active part
in our own artistic life, and for that reason I accepted the hand
held out to me.
London is the only place in the world where I can make it
possible to produce "Lohengrin" myself while the kings and
princes of Germany have something else to do than grant me my
amnesty. It would please me very much if I could induce the
English people next year to get up a splendid German opera with
my works, patronised by the court. I admit that my best
introduction for that purpose will be my appointment as conductor
of the Philharmonic (THE OLD), and so I consented at last to the
sale of myself, although I fetched a very low price: 200 pounds
for four months. I shall be in London at the beginning of March
to conduct eight concerts, the first of which takes place March
12th, and the last June 25th. At the beginning of July I shall be
at Seelisberg. It would be splendid if you could visit me in
London; in any case I must produce something of yours there.
Consider this.
Do not forget Joachim; when I am once in London, I can easily
arrange the matter.
It is splendid that you have finished "Faust," and you may
imagine that I am most anxious to see it; on the other hand, it
is a pity that you will not show it me sooner. At the same time,
I shall be glad to go through it WITH YOU at the piano, and to
make its acquaintance in that way, seeing that my attendance at a
good performance under your direction is for the present out of
the question. The vivid idea which you know how to convey cannot
even approximately be replaced by anything else; and I am more
than ever intent upon getting the right impression from the
first, for I greatly distrust acquaintances made by means of the
abstract notes.
It is an absurd coincidence that just at this time I have been
taken with a desire to remodel my old "Faust" overture. I have
made an entirely new score, have rewritten the instrumentation
throughout, have made many changes, and have given more expansion
and importance to the middle portion (second motive). I shall
give it in a few days at a concert here, under the title of "A
'Faust' Overture." The motto will be--
"Der Gott, der mir im Busen wohnt, Kann tief mein Innerstes
erregen; Der uber allen meinen Kraften thront, Er kann nach
aussen nichts bewegen; Und so ist mir das Dasein eine Last, Der
Tod erwunscht, das Leben mir verhasst!"
but I shall not publish it in any case.
I was at first startled at your new year's article, but soon
perceived that here again I am indebted to your ever-increasing
sympathy. If, however, you represent my work as something
colossal, you mistake, in my opinion, the standard of
measurement; to me our artistic publicity, the spirit of our
means of representation, etc., appear to be very small and
miserable, while my work is just in accordance with ordinary
human proportions, and appears gigantic only when we try to
confine it to those unworthy conditions. When therefore we call
our plan chimaeric and eccentric, we in reality flatter the
actual worthlessness of our artistic publicity, and in a manner
mark it as the just and rational measure. We should not give that
wrong impression to people. Every one of your letters is worth to
me gold, and more, but ANSWERS in the proper sense I scarcely
ever receive from you, and you treat many of my questions as if
they had never been asked. Instead of that you always give me
something new; that is splendid, but an answer also would
sometimes be useful.
Well, let me hear something good of you soon, and in London let
me SEE you. I shall take my work with me, and hope to finish the
instrumentation of the "Valkyrie" there.
Adieu, dearest Franz.
How are you? Best remembrances from my wife and many greetings
from me to you all.
Your
R. W.
ZURICH, January 19th, 1855.
172.
DEAREST RICHARD,
The London Philharmonic comes in very aptly, and I am delighted.
As lately as six months ago people used to shake their heads, and
some of them even hissed, at the performance of the "Tannhauser"
overture, conducted by Costa. Klindworth and Remeny were almost
the only ones who had the courage to applaud and to beard the
Philistines who had made their nests of old in the Philharmonic.
Well, it will now assume a different tone, and you will revivify
old England and the Old Philharmonic. I commend to you
Klindworth, a Wagnerian DE LA VEILLE. He is an excellent
musician, who formerly acted as conductor at Hanover, and there
gave a performance of the "Prophet" at the Tivoli Theatre, of
which the newspapers were full some years ago. He is also a
splendid pianist, who studied eighteen months with me at Weymar,
and you must allow me to send Klindworth a few lines of
introduction to you. As far as I know, there is in London no
pianist like him; but, on account of his determined and open
sympathy with the so-called "music of the future," he has placed
himself in a somewhat awkward position towards the Philistines
and handicraftsmen there.
I was present at the first performance of "Tannhauser" at Gotha.
Capellmeister Lampert had taken much trouble, as had also Beer
(Tannhauser), and the performance was, comparatively speaking,
very satisfactory. The musical part is better with us, but it is
different with the dresses and scenery, which are much more
tasteful at Gotha than at Weymar. I have spoken very strongly on
that point here; and as my prayers and admonitions in this
respect have so far been of little avail, I am determined not to
conduct "Tannhauser" and "Lohengrin" again until the necessary
improvements in the scenery have been made. This negative
measure, which I had kept in reserve, will probably be effective.
In the meantime our opera remains in a stagnant condition. Since
the last performance of "Tannhduser" (December 10th), I have not
been at my desk, neither shall I conduct the festival performance
of "Belisario" on February 16th. Nothing can be done till after
the confinement of Frau Milde.
APROPOS, what do you think of Meffert, the tenor? Would he be any
good to us, and how old is he? Write to me about this.
You accuse me in your last letter of rarely giving you an answer.
This alludes, I presume, to two things: Berlin and Dresden. Alas!
alas! I cannot report from either place what I should wish and,
in spite of all, still hope to report. With wranglings and
trifles I do not care to trouble you.
Stop; one thing I forgot to write to you: your "Tristan" is a
splendid idea; it may become a glorious work. Do not abandon it.
You were quite right in arranging a new score of your "Faust"
overture. If you have succeeded in making the middle part a
little more pliable, this work, significant as it was before,
must have gained considerably. Be kind enough to have a copy
made, and send it me AS SOON AS POSSIBLE. There will probably be
some orchestral concerts here, and I should like to give this
overture at the end of February.
Hartel is having the scores of Nos. 3 and 4 of my symphonic poems
("Les Preludes" and "Orpheus") engraved. I am as yet uncertain
whether I shall publish the nine pieces together or these two
numbers (3 and 4) in advance. In any case I shall send you the
proofs of "Les Preludes" and "Orpheus" before your departure to
London, so that my scribbling may amuse you too. I am sincerely
grateful for your friendly proposal of producing something of
mine at the Philharmonic, but I think it will be more advisable
to leave it till next season (1856). For the present you will
have your hands full enough with your own things, and during the
first year you ought to play a waiting game. The chief thing for
you is to gain firm ground in London, and first of all to impress
your conception of Beethoven, Gluck, etc., on the orchestra and
the public. At the same time, the people should learn to listen
to and understand the "Tannhauser" and "Faust" overtures, and
finally to rejoice in and be elevated by the prelude to
"Lohengrin." Your plan of conducting next year performances of
"Tannhauser," "Lohengrin," and the "Flying Dutchman" with
efficient artists is very good. We talked about this at Weymar in
the year 1849; and, in my opinion, the enterprise can be made to
succeed completely. This year must serve you as a preparation;
and when you are once accustomed to London air, it may be
expected that you will settle there comfortably. Beware of the
theatrical speculators, who will be sure to try and make the best
of you, and might be dangerous both to your purse and to your
position. Once more, good luck!
Your
F. L.
WEYMAR, January 25th, 1855.
Best remembrances to your wife. For the first year she will, I
suppose, remain at Zurich.
Do not keep me waiting too long for a letter, and send me your
"Faust." The Princess and the Child greet you cordially.
I shall send you in a few days an English translation of your
three opera poems in manuscript; it may be of use to you in
London.
173.
Herewith, dearest Franz, you receive my remodelled "Faust"
overture, which will appear very insignificant to you by the side
of your "Faust" symphony. To me the composition is interesting
only on account of the time from which it dates; this
reconstruction has again endeared it to me: and with regard to
the latter, I am childish enough to ask you to compare it very
carefully with the first version, because I should like you to
take cognisance of the effect of my experience and of the more
refined feeling I have gained. In my opinion, new versions of
this kind show most distinctly the spirit in which one has
learned to work and the coarsenesses which one has cast off. You
will be better pleased with the middle part. I was of course
unable to introduce a new motive, because that would have
involved a remodelling of almost the whole work; all I was able
to do was to develop the sentiment a little more broadly, in the
form of a kind of enlarged cadence. Gretchen of course could not
be introduced, only Faust himself:--
"ein unbegreiflich holder Drang, trieb mich durch Wald und Wiesen
hin," etc
The copying has unfortunately been done very badly, and probably
there are many mistakes in it.
If some one were to PAY ME WELL for it, I might still be inclined
to publish it. Will you try the Hartels for me? A little money
would be very welcome in London, so that I might the better be
able to save something there. Please see to this. All this,
however, is only the prelude to your "Faust" symphony, to which I
look forward with infinite pleasure. I have nothing further to
tell you, except that I have been fool enough to take more
trouble about a performance of "Tannhauser" at the local theatre
than had been my intention. It will take place tomorrow, and,
considering the miserable conditions, will turn out fairly well.
But I shall not conduct. Cordial thanks for your pieces of
advice, which have my full approval. I intend to appear in London
only as a conductor, and to be very tough about my compositions.
The score of the first act of the "Valkyrie" will soon be ready;
it is wonderfully beautiful. I have done nothing like it or
approaching it before. My complaint that you seldom ANSWER me in
the proper sense of the word you have misunderstood. It did not
refer to EXTERNAL matters, like Dresden and Berlin, but
exclusively to INTERNAL ones, for which I thought I had given you
plenty of material.
After having been in Paris together, should we not try to meet in
London also? How can we manage it? And how about the translation?
I am looking forward to it with immense pleasure, and shall use
it for learning English after all. Shall I receive it here?