something which this time will not be altogether without interest
to you. I enclose the letter of the person concerned, so that you
may be AU FAIT at once. (The enthusiasm displayed for me will, I
hope, not excite you.) B. A., according to the testimony of my
wife, is a young, very handsome, slender fellow, as, indeed, you
may have guessed by the liking of X. for him.
Arrange, therefore, that he may make his DEBUT as "Tannhauser"
and "Lohengrin" at Weimar under your direction. In that manner I
shall know that he will be under the surest guidance, and that I
shall have the best information as to the value of the young man.
Perhaps you will be kind enough to send for him previously.
I have not yet got back to the mood for writing to the kind
Princess and the good Child. I am annoyed at being always in a
state of lamentation, and must therefore wait for a favourable
hour, for I do not like absolutely to deceive you. You yourself
are used to my laments, and expect nothing else. My health, too,
is once more so bad, that for ten days, after I had finished the
sketch for the first act of "Siegfried," I was literally not able
to write a single bar without being driven away from my work by a
most alarming headache. Every morning I sit down, stare at the
paper, and am glad enough when I get as far as reading Walter
Scott. The fact is, I have once more over-taxed myself, and how
am I to recover my strength? With "Rhinegold" I got on well
enough, considering my circumstances, but the "Valkyrie" caused
me much pain. At present my nervous system resembles a pianoforte
very much out of tune, and on that instrument I am expected to
produce "Siegfried." Well, I fancy the strings will break at
last, and then there will be an end. WE cannot alter it; this is
a life fit for a dog.
I hope you are out of bed again. I wish I were a little more like
you. Can you not let me have the "Mountain Symphony?" Do not
forget to send it to me.
Adieu, my good, dear Franz. You are my only comfort.
A thousand greetings to all at Altenburg.
235.
January 27th, 1857.
Your sympathy with me makes me hope that you are at present
employed in giving the necessary helpful turn to my affairs, and
I therefore think it advisable to describe to you, in a few
words, my situation as it has lately shaped itself, so that you
may know accurately upon what I reckon, and may take steps
accordingly.
W. has bought the little country house after all, and offers me a
perpetual lease of it.
As I have given up the allowance of the R.'s, it is important for
me to settle my income on an INDEPENDENT basis. It would be
foolish if I tried to arrange my future definitely at this
moment, which will probably bring my provisional position to a
close. I am certain that my amnesty will be granted in the course
of 1858 at the latest, and I hope that this will suddenly change
my situation, to the extent, at least, that it will depend upon
myself to find a solid basis for my social existence. All I can
rationally care for, considering that I have no chance of success
in any other direction, must be to secure for myself a free,
unencumbered, and not too limited income for the next few years,
until my great work is completed and produced. Nothing appears
more adapted to the achievement of this purpose than the sale of
my "Nibelungen" to Hartel, whom I have asked to settle with me
according to his own judgment. It is most important to me that
this should come to pass, and I hope, in any case, that if Hartel
accepts the offer I shall receive all that is required. I think
they ought to pay me 1,000 thalers for each score, in each case
on delivery of the manuscript--that is, for the "Rhinegold," and
perhaps for the "Valkyrie" also, now at once. "Siegfried" will be
in their hands by the end of this year. However, as I remarked
before, I must be satisfied even if they give me a little less.
In any case, it will be enough to keep me going for several
years; and if I once know what I have, I shall make arrangements
accordingly, being resolved, in any case, to leave the management
of my income in future to my wife.
I need not tell you that if you come to terms with the Hartels
other things ought to be LEFT ALONE ALTOGETHER, for I have made
up my mind henceforth to preserve my independence as much as
possible.
You now have the complete synopsis of my situation; let me
commend it to your well-tried sympathy.
I hear with great delight that you are well again. I have
finished the composition of my first act, and, as soon as I have
recovered a little strength, hope to score it before leaving my
present house. Of resuming composition proper I cannot think
here; I have suffered too much of late by the musical and
unmusical noisiness of my lodging.
Tell the dear Child that she will soon receive one of those
letters from me which she likes, but not about "Indian poetry"
(droll idea!), but about that of which my heart is full, and
which I can call by no other name, than "Orpheus." But I must
wait for a favourable mood. You may tell the Child, however, that
the "white rose" is now red and in full bloom, and that the
"slender stem of the lily" looks right robust, and inspires
confidence. The Princess is angry with me--I feel it--but I know
that I shall conciliate her. A thousand greetings to her.
Farewell, dearest, dear Orpheus!
Your R. W.
236.
You could not possibly be forgotten, dearest friend, and the next
few days will give me an opportunity of looking after your
affairs most carefully. On the 22nd I go to Leipzig to stay there
for a whole week. On Thursday, the 26th, "Les Preludes" and
"Mazeppa" will be given at the Gewandhaus for the benefit of the
pension fund of the orchestra, and on the 28th I am to conduct a
performance of "Tannhauser" in Leipzig for the benefit of Herr
Behr (the Landgrave), the Mildes singing Elizabeth and Wolfram
respectively. In the interval I hope I shall succeed in getting a
little "Rhine copper" for the "Rhinegold" from the Hartels, and
shall write to you at once.
Frau X. is announced to sing Ortrud on the 8th of March. She is
to sing the part twice, and then appear as Antonina in
"Belisario." If she pleases her engagement is very probable.
I shall write very soon to Herr A., who sent me your letter by
way of introduction, and I have in the meantime asked Herr von
Beaulieu to let him make his debut as Lohengrin or Tannhauser.
Today, 16th February (the anniversary of the first performance of
"Tannhauser," in the year 1849), we shall have a gala performance
of Gluck's "Armida," with Frau Koster of Berlin. A new opera,
never yet performed, by a Belgian composer, M. Lassen, "Landgraf
Ludwig's Brautfahrt," will be put in rehearsal soon. As far as I
am concerned, while
[Musical Notation] He - da! He - do!
is hammering in my head I can enjoy nothing else, either old or
new, and dream only of the "Ring of the Nibelung," which God's
grace may soon vouchsafe to me.
Your F. L.
WEYMAR, February 16th, 1857.
The three last numbers of my Symphonic Poems will appear by the
end of this month, and I shall send them to you at once. A
similar thing, "Die Hunnenschlacht," I completed last week. The
Princess of Prussia has commanded "Tannhauser" for next Sunday.
237.
Please forward the enclosed proof to Brendel, so that the good
man may get a notion of his bad editorship.
(TO BRENDEL.) ZURICH, April 15TH, 1857. DEAR FRIEND,
The somewhat tardy publication of my letter about Liszt I
recently read in your paper, and saw, to my regret, that it was
very incorrect, and even showed several omissions, disfiguring
the sense, owing to the inattention of the printer. At first I
thought of forwarding you a list of errata, but considered, on
reflection, that such corrections are never read in context with
the article, and therefore made up my mind to send a revised
version to Zellner at Vienna, asking him to print it at once in
his paper. My intention is by no means to punish you for the
neglect shown to me, but to induce those interested in the matter
to read the corrected letter once again. In case you
intentionally made such changes as "PURER form of art" into
"NEWER," etc., you have certainly misunderstood me very much, and
in that case you must look upon my correction as a demonstration
against yourself, although only in private. But I presume that
most of the mistakes were caused by the fact that instead of my
manuscript you received a copy, which you should not have
accepted.
Shall I soon see you? I live in the greatest retirement, and do
as much work as my health will let me.
Best remembrances from
Your
RICHARD WAGNER.
238.
You have given me a delightful Easter Sunday, dearest, most
unique of friends, by your letter. By the loving "Azymen" which
you offer me with so much kindness and friendship, you have given
me strength, health, and total oblivion of all other leaven.
Receive my most cordial thanks, and let it be a joy to you to
have given me so much and such heartfelt joy. That joy shall not
be disturbed by a few misprints and omissions. The essential
thing is that you love me, and consider my honest efforts as a
musician worthy of your sympathy. This you have said in a manner
in which no one else could say it. I confess candidly that when I
brought my things to you at Zurich, I did not know how you would
receive and like them. I have had to hear and read so much about
them, that I have really no opinion on the subject, and continue
to work only from persistent inner conviction, and without any
claim to recognition or approval. Several of my intimate friends-
-for example, Joachim, and formerly Schumann and others--have
shown themselves strange, doubtful, and unfavourable towards my
musical creations. I owe them no grudge on that account, and
cannot retaliate, because I continue to take a sincere and
comprehensive interest in their works.
Imagine then, dearest Richard, the unspeakable joy which the
hours at Zurich and St. Gallen gave me when your beaming glance
penetrated my soul and lovingly encompassed it, bringing life and
peace.
In a few days I shall write to you at greater length about the
Hartel affair, which unfortunately remains in a very
unsatisfactory stage. At Altenburg things are looking very sad.
The Child has been somewhat seriously ill for the last three
weeks, and cannot leave her bed. The Princess also had to doctor
herself, and is not yet allowed to leave her room; and I, after
having been in bed for quite six weeks, am only just able to
hobble about the theatre and the castle. In spite of this, I have
better and best hopes for my dear ones and for you, who live in a
high place of my heart, and to whom I feel and confess that I
wholly belong.
F. LISTZ.
April 19th, 1857.
At the beginning of next season Dingelstedt will take the place
of Herr von Beaulieu as our theatrical manager. He has been here
for the last fortnight, and his position, although not yet
officially announced, has been secured by the necessary
signatures.
By your recommendation Frau X. will sing Ortrud next Sunday. Herr
A., whom you introduced to me, has also been staying at Weymar
for the last month, but I doubt whether I shall be able to serve
him in any particular way. His vocal talent is said to be very
small as yet. Otherwise he impresses me favourably, and I shall
hear him before long.
Once more, my best, best thanks for today, when I did not want to
write to you about anything else.
239.
Your "Lohengrin" has once more pervaded my whole soul, and in
spite of my absurd indisposition, which compelled me to go to bed
immediately after the performance, I am brimful of the sublime
and tender charm of the incomparable work. I wish I could sing in
F and E major "A wonder!" just as you wrote it.
The performance was the best which we have had so far, and the
artists were most enthusiastic. Next Saturday there will be a
repetition, for which I shall get up again. With Frau Milde you
would be pleased; her singing and acting are full of magnetism.
Caspari also gave some passages beautifully, and Milde is always
noble and artistically efficient, although he does not quite
possess the great volume of voice required for Telramund. Frau X.
did not come up to the mark, and Frau Knopp, our former Ortrud,
was much more equal to the part. Frau X. had studied it
conscientiously, but neither her voice nor her enunciation are
particularly adapted to the style. The middle register decidedly
lacks strength and fulness, and the declamation moves in prosaic
theatrical grooves, without individual and deeper pathos. This is
between ourselves, for I do not want to injure a good woman and
conscientious artist; but I cannot advise her engagement at the
theatre here, and prefer to keep the place open which she would
have to fill. I believe I told you already that Dingelstedt will
assume his office of general intendant at Weymar on October 1st.
Perhaps we shall find, in the course of next season, an Ortrud
whom I should like a little younger than Frau X.
From Hanover I have been asked to get the original score of the
"Flying Dutchman" for Capellmeister Fischer there, who is
recommended to me on good authority as a sincere and energetic
admirer of your works. Fischer has the scores of "Tannhauser" and
"Lohengrin" in HIS library, and is very desirous not to be
without the "Flying Dutchman" any longer. I have been informed by
my correspondent that he is in the habit of conducting from HIS
OWN scores, and has taken much trouble to get that of the "Flying
Dutchman," but so far without success. He would of course prefer
the original to a copy, which he could take at any time. Perhaps
you will be able to find an original copy for him, for which he
would have to send you the price agreed upon. Although I do not
like to meddle with similar matters, I thought that one might
show special attention to Fischer, who has prepared your three
operas at Hanover with every care. Write to me soon what I am to
tell him. I do not know him personally.
After many verbal and written discussions of the "Nibelungen"
question with Hartel (in which I throughout stuck to the chief
point of Hartel's FIRST OFFER, without allowing him to swerve from
it on the vague chance of some other and lower proposal), the
matter has about reached this point, that I may assume that he will
not give a negative answer to a letter from you, in which, making
reference to his conversation with me, you should simply and a
little politely ask him to carry out his former proposal. On this
first proposal, I think, the resumption of the transaction must
necessarily be based, and I must tell you candidly that Hartel did
not appear very ready to act upon it now, because the turn given by
you to the matter in your second letter has almost offended him.
Consider, therefore, whether you will write him to this effect,
which I should advise you to do, for it cannot easily be
anticipated that a better proposal will be made to you from
another quarter, and yet it appears important to me that your
work should be published.
Concerning the performance itself, I am still in hopes that the
Grand Duke will supply the means to me, or rather to you, for in
that case I should only act as your assistant.
Go on with your gigantic work bravely and cheerfully. The rest
will be arranged, and I shall be in it.
F. L.
WEYMAR, April 28th, 1857.
240.
ZURICH, May 8th. 1857.
At last I sit down to write to you, dearest Franz. I have had a
bad time, which now, it is true, appears to give place to a very
pleasant state of things.
Ten days ago we took possession of the little country house next
to W.'s villa, which I owe to the great sympathy of that friendly
family. At first I had to go through various troubles, for the
furnishing of the little house, which has turned out very neat,
and, according to my taste, took much time, and we had to move
out before there was any possibility of moving in. In addition to
this my wife was taken ill, and I had to keep her from all
exertion, so that the whole trouble of moving fell upon me alone.
For ten days we lived at the hotel, and at last we moved in here
in very cold and terrible weather. Only the thought that the
change would be definite was able to keep me in a good temper.
At last we have got through it all; everything is permanently
housed and arranged according to wish and want; everything is in
the place where it is to remain. My study has been arranged with
the pedantry and elegant comfort known to you. My writing-table
stands at the large window, with a splendid view of the lake and
the Alps; rest and quiet surround me. A pretty and well-stocked
garden offers little walks and resting-places to me, and will
enable my wife to occupy herself pleasantly, and to keep herself
free from troubling thoughts about me; in particular a large
kitchen garden claims her tenderest care. You will see that a
very pretty place for my retirement has been gained, and if I
consider how long I have been wishing for this, and how difficult
it was even to bring it into view, I feel compelled to look upon
the excellent W. as one of my greatest benefactors. At the
beginning of July the W.'s hope to move into their villa, and
their neighbourhood promises many friendly and pleasant things to
me. Well, so much has been achieved.
Very soon I hope to resume my long-interrupted work, and I shall
certainly not leave my charming refuge even for the shortest trip
before Siegfried has settled everything with Brynhild. So far I
have only finished the first act, but then it is quite ready, and
has turned out stronger and more beautiful than anything. I am
astonished myself at having achieved this, for at our last
meeting I again appeared to myself a terribly blundering
musician. Gradually, however, I gained self-confidence. With a
local prima-donna, whom you heard in "La Juive", I studied the
great final scene of the "Valkyrie." Kirchner accompanied; I hit
the notes famously, and this scene, which gave you so much
trouble, realised all my expectations. We performed it three
times at my house, and now I am quite satisfied. The fact is,
that everything in this scene is so subtle, so deep, so subdued,
that the most intellectual, the most tender, the most perfect
execution in every direction is necessary to make it understood;
if this, however, is achieved, the impression is beyond a doubt.
But of course a thing of this kind is always on the verge of
being quite misunderstood, unless all concerned approach it in
the most perfect, most elevated, most intelligent mood; merely to
play it through as we tried, in a hurried way, is impossible. I,
at least, lose on such occasions instinctively all power and
intelligence; I become perfectly stupid. But now I am quite
satisfied, and if you hear the melting and hammering songs of
"Siegfried" you will have a new experience of me. The abominable
part of it is that I cannot have a thing of this kind played for
my own benefit. Even to our next meeting I attach no real hope; I
always feel as if we were in a hurry, and that is most
detrimental to me. I can be what I am only in a state of perfect
concentration; all disturbance is my death.
I am deeply touched to hear that my letter has given you so much
pleasure; I am sure you have taken the good will for the deed,
for what I wrote cannot mean MUCH to the many, just because it
was so difficult to write MUCH that might have been more useful
and important to the multitude. A description of your single
poems I had to refrain from altogether, for the reason which I
candidly state in the letter itself. I cannot and will not
attempt such insufficient things again. I had, therefore, to
confine myself to showing to INTELLIGENT persons the road which I
had discovered for myself. Those who cannot follow in this road
and afterwards help themselves further along, I cannot help along
either; that is my sincere opinion. Concerning the misprints, I
shall send you one of these days a corrected copy, just for the
sake of the joke. You will then understand that I might well be
annoyed, but the fault seems to lie less with Brendel than with
the copyist of my manuscript, who has performed his task in a
very perfunctory manner. I do not speak of the intentional
omissions, which were your doing, and to which you were fully
entitled, but of simple abominations. However, that has been set
right now, and will not happen again.
Many thanks also for LOHENGRIN. It must remain a shadow to me, I
really have forgotten it; I do not know it. You do all this
amongst yourselves, and seem scarcely to think that I too might
wish to be present. But I honour the mysterious silence which is
so conscientiously preserved on the awkward question of my
return by my high and highest patrons. Joking apart, the Emperor
of Brazil has invited me to come to him at Rio Janeiro, where I
am to have plenty of everything. Therefore if not at Weymar, then
at Rio.
Why do I hear so much about Frau X.? I did not specially
recommend her for Ortrud. In my introduction I only spoke of an
experienced singer of second parts, who, for want of a better,
and, if she were taken in hand properly, might perhaps do for
Ortrud. In saying this I specially had regard to her agreeable,
although perhaps slightly enfeebled, voice, and her well-known
industry. But that this unfortunate person should have been
engaged specially for the part of Ortrud, which she had never
studied, and that she should have been considered as my chosen
representative of that part, was a little hard on her and on me.
Please do not turn me into the "father" of this DEBUTANTE, whose
interest I should have considered better if I had arranged her
first appearance in some piece by Verdi or Donizetti, or indeed
anything but LOHENGRIN. But enough of such stuff, although I am
grieved to see Herr A., the tenor of the future (if well
prepared), dwindle into thin air also. May heaven grant that
Caspari will keep on, or that a decent tenor may come to you from
some other place.
APROPOS, I must ask you to inform the Royal Capellmeister Fischer
in Hanover, that he must make a copy of the DUTCHMAN score do for
the present. The few autographed copies which were made at the
time, not by myself, but by a copyist, have been reduced to so
few that I cannot possibly spare another. The first twenty-five
copies I scattered about recklessly, before any cock crowed for
this opera, and the very few remaining ones are naturally of
value to me. Excuse me, therefore, and refer him to the time when
the sale of my works will have become so lucrative that the full
scores can be engraved. I am, however, very grateful to him for
his sympathy. Hanover has become a perfect repository of my
scores.
Many thanks also for your hints regarding the Hartel affair.
Candidly speaking, the settlement of it is so important to me,
that I immediately followed your advice, and wrote to the Hartels
in such a manner that they will probably accept my offer,
provided that they have been properly informed of the object by
you. This, of course, I assume, and thank you cordially for it.
Well, we shall see.