King Ludwig and Richard Wagner
Richard Wagner, in the preface to his Niebelungenlied, asks the
following question:--"Is the prince to be found who will make possible
the representation of my work?" Ludwig of Bavaria read these lines
as Crown Prince, and exclaimed, with enthusiasm: "When I am a King
I will show the world how highly I prize his genius!"
Hardly a month after his accession Ludwig sent his private secretary,
Herr von Pfistermeister, to invite Wagner to Munich. The secretary
sought Wagner first in Vienna; but the poet-musician had been obliged
to flee the Austrian capital for some place where his pursuers
could not reach him, having been threatened with arrest for debt. He
was traced to some friends in Stuttgart. There the King's emissary
delivered to him a photograph of Ludwig and a ring, set with a ruby,
and informed him that, as the stone in the ring glowed, so his ruler
burned with longing to behold him.
On his sixteenth birthday the Crown Prince of Bavaria had been
present at a representation of Lohengrin. This opera had made the
deeper impression on him from the fact that the legend of the swan
knights was connected with Hohenschwangau, which, as we know, had been
from his childhood his favourite place of residence. During the years
preceding his ascent of the throne his interest in the "musician of
the future" increased. When visiting his aunt, the Duchess Ludovica,
at Possenhofen, he had found Wagner's compositions on her pianoforte,
and from this time forth he studied his works with zeal. Ludwig was not
the possessor of any distinctly musical gifts. A musician who gave him
lessons on the piano was even of opinion that he was wanting in ear;
and Wagner's works probably attracted him more from their fantastic
poetry than on account of their musical qualities.
It was with feelings of joyful expectation that the master accepted the
young King's invitation. He arrived at Munich at the beginning of May
(1864), and was received with consideration. His personality made a
strong impression on Ludwig, who assured him of his favour and warm
interest. "The unthinkable, and the only thing that I required, has
become a reality. Heaven has sent me a patron. Through him I live and
understand myself!" exclaimed the poet-musician to friends who were
awaiting him on his return from the Palace. After staying a few days
in the Bavarian capital he continued his journey to Vienna, being now
able, thanks to Ludwig's generosity, to discharge his debts. He soon,
however, returned to Munich, and Pfistermeister, in the name of his
master, bade him welcome to a beautifully situated villa on the lake
of Starnberg, where he might live undisturbed for his art.
Ludwig was in residence at this time at the adjacent Schloss Berg,
where Wagner frequently visited him, and performed his works before
him. The master's imagination, poetry, his attractive manner,
all transformed the royal enthusiast's admiration into blind
admiration. The elder man exerted a superhuman power over the
youth, and his proximity had a positively electrifying effect on
the King. Their life together became a decisive event in the lives
of both. Full of pity for him, and happy in the consciousness of
being able to assist him, Ludwig wrote on the day following their
first meeting: "Feel assured that I will do all that lies in my
power to make reparation to you for your earlier sufferings. I will
for ever chase away the trifling sorrows of everyday life from your
head. I will give you the repose you require, so that undisturbed
in the pure sphere of your art you can unfold your genius in its
entirety.... Unknowingly you were the only source of my joys. From my
earliest years you were to me a friend who as no other spoke to my
heart, my best teacher and upbringer." In spite of their difference
in age it is placed beyond a doubt, that Wagner from the first moment
warmly reciprocated the feelings of his protector. He thus writes to
his friend Frau von Wille (May 1864): "He (the King) is unhappily
so handsome and so intellectual, so full of soul and so glorious,
that I fear his life must disappear like a fleeting dream of gods in
this commonplace world. He loves me with the tenderness and warmth
of first love. He knows me and all about me, and understands me as he
does his own soul. He wishes me to live with him altogether, to work,
rest, and have my works performed. He will give me everything I may
require for this purpose. I am to complete the "Ring"; and he will
have them put on the stage in the manner I desire. I am to be my own
master, not Kapelmeister, nothing except myself and his friend!... All
need is to be taken away from me, I am to have all that I require,
only I am to remain with him!... You cannot imagine the charm of
his glance. I only hope he may live; it is a real marvel!" Of their
personal intercourse he writes, on another occasion: "I always hasten
to him as to a loved one. It is a glorious intercourse ... and, in
addition, this kind care of me, this charming modesty of the heart
when he assures me of his happiness in possessing me. We often sit for
hours lost in the contemplation of one another." The same feeling of
exuberant joy is apparent in a letter written on the 20th of May to his
friend Weissheimer: "Only two words to assure you of the indescribable
happiness which has become my lot. Everything has happened in such a
manner that it is impossible to imagine it more beautiful. Thanks to
the affection of the young King, I am for all time insured against
every pecuniary care. I can work, I need not trouble myself about
anything. No title, no functions, no duties! As soon as I wish anything
staged the King places everything I require at my disposal.... My
young King is a wonderful dispensation of fate to me. We love one
another as only master and pupil can love one another. He is happy
in having me and I am happy on account of him.... And then he is so
beautiful, so profound, that daily intercourse with him carries me
away, and gives me an entirely new life."
Already at this time, however, he adds: "You can imagine what a vast
amount of envy I meet with!"
The same year he addresses Ludwig: [4]
"O, König! Holder Schirmherr meines Lebens!
Du, höchster Güte wonnereicher Hort!
Was Du mir bist, kann staunend ich nur fassen,
Wenn mir sich zeigt, was ohne Dich ich war.
Du bist der holde Lenz, der neu mich schmückte,
Der mir verjüngt der Zweig und Aeste Saft;
Es war dein Ruf, der mich der Nacht entrückte,
Die winterlich erstarrt hielt meine Kraft.
Wie mich Dein hehrer Segengruss entzückte,
Der wonnenstürmisch mich dem Leid entrafft,
So wandl' ich stolzbeglückt nun neue Pfade
Im sommerlichen Königreich der Gnade."
At the beginning of October, Wagner moved from the lake of Starnberg
to Munich, Ludwig having given him a furnished villa in Brienner
Strasse. The royal gardeners transformed an adjoining garden into a
pretty park, and he was granted a considerable monthly pension. The
intercourse between the friends continued apparently undisturbed; they
spent their days in each other's society, and often remained together
half the night. The Monarch showered gifts on the poet-musician,
and fulfilled all his wishes.
On the 25th of November the newspapers of the capital published
an official announcement, which ran as follows:--"His Majesty has
decided that a school of operatic music shall be founded, under the
direction of Wagner, in which male and female singers who wish to
prepare themselves for the stage may receive the necessary practical
instruction. The royal Residenz Theater will be placed at the disposal
of the pupils for purposes of rehearsal."
Der Fliegende Holländer was given at the Hof Theater on the 4th
of December. The house was filled to overflowing, and the audience
followed the opera with interest. Wagner, who made his first public
appearance that evening as conductor in Munich, was recalled after the
second act and the conclusion of the performance. In order further
to seal the position he had won, it was decided that he should give
a concert the following Sunday in the Hof Theater, where several of
his compositions would be performed. It was, however, badly attended;
and the critics deemed Wagner more a poet than a musician.
A few weeks afterwards the King received in special audience the
architect Semper, who had come to Munich at the suggestion of
Wagner, it being the latter's wish that a large new theatre after
his own notions should be built in the Bavarian capital. It was
intended that this edifice should be situated on the highest part
of the Maximilian Anlage, a bridge in Renaissance style being thrown
across the river. The cost of the theatre was estimated at a million
guldens, and including the projected bridge and laying out of the
adjacent ground, Semper further calculated the sum necessary at
five millions of guldens. His plans and drawings met with Ludwig's
fullest approval. The officials of the privy purse, however, used to
the economy of former reigns, strongly opposed the scheme. The King,
therefore, thought himself constrained to postpone indefinitely the
execution of his plans; and later on entirely abandoned them. [5] The
capital of Bavaria was the loser by this, for the theatre would not
only have been an embellishment to the town, but would have attracted
thither a countless number of visitors. The outlay in course of time
would have been covered many times over.
The real opposition against Wagner began in Munich on the day when his
extensive theatre plans became known. The nobility saw in him the bad
genius of the young King, one who would prevent the aristocracy and
gentry from having access to the presence. The clergy were incensed
against him because he was a freethinker. Among musicians there
was a considerable number who admired the composer of Der Fliegende
Holländer, Lohengrin, and Tännhauser, but who, nevertheless, frankly
opposed the "music of the future" as an aberration. Others of his
fellows looked upon him as the greatest musical genius of that day;
but they envied his ability to bask in the favour of royalty, and
dragged his personal weaknesses forth before the public.
Wagner, on his side, was not without blame in these enmities. The
exaggerated luxury displayed by him incensed the thrifty burghers. At
every turn he boasted of the royal favour. It was generally said that
he misused his protector's open purse. He was in the habit of buying
articles on credit and referring the purveyors for payment to his
"royal friend," and it was feared in extended circles that he was
leading Ludwig into profligacy. He, moreover, caused a considerable
amount of ill-feeling by his irritability and impatience where the
execution of his plans was concerned. A large part of the press began
to show hostility towards him; the comic papers occupied themselves
with him; and he suffered much under the forging of these links:
On the 7th of March 1865 he wrote to August Röckl: "All I want is to
get away to a pretty corner of Italy ... so as to be able to nurse
my poor nerves. But how, on the other hand, can I leave this poor
young King, in his abominable surroundings, and with his heart so
wonderfully fastened on me?"
At Wagner's suggestion the King summoned Hans von Bülow and several
of the musician's other adherents to Munich. Bülow was appointed court
choirmaster and "leader" to his Majesty. He treated the artists of the
royal chapel like schoolboys. They were received in the best society
of the capital, and their displeasure was implanted further. On the
7th of May 1865 the following announcement appeared in the Neuesten
Nachrichten:--"Men whose veracity we have no reason to doubt inform
us that at a recent rehearsal of Wagner's Tristan und Isolde Herr von
Bülow demanded an extension of the orchestra. The stage manager, Herr
Penckmayer, answered that in such a case thirty stalls would have to
be done away with. Bülow thereupon observed: 'What does it matter if
there are thirty rascals more or less in the theatre!'" The overstrung
musician frequently let his sharp tongue run away with him, and could
not deny that he had made use of this expression. He found himself
obliged to declare publicly that in saying so he had in his mind
only that portion of the public who had taken up a hostile attitude
towards Wagner. The general dislike of Hans von Bülow, despite his
admitted ability, was very detrimental to the poet-composer; moreover,
others of his friends who had come to Munich at this time wounded the
inhabitants of the city by their frankly expressed contempt for its
music, and by permitting themselves criticisms at its expense. But
more than anything else public opinion was incensed against Wagner
from the fact that Frau Cosima von Bülow, née Liszt, had attained
the part of lady of the house at the villa in Brienner Strasse.
It became known that the mutual admiration between her and Wagner had
taken the form of a liaison, and the judges of morality on this ground
sided vehemently against him. Only at the court did his position appear
to be unshaken. Ludwig did not hear the reports which were current with
regard to Bülow's wife and his friend, nor had he more than a slight
knowledge of the hostility of which the latter was the object. Articles
in the different newspapers which had come to his knowledge had,
however, greatly embittered the sensitive youth. "Forgive them,
for they know not what they do," he wrote, with reference to this,
to Wagner. "They do not know that you are everything to me, and
will continue to be so until death." In another letter he exclaims:
"Ah, my friend, how difficult they make things for us! But I will
not complain. I have him, my friend, the only one." [6]
At the Hof Theater in Munich the master's glorious composition
Tristan und Isolde was being studied, no theatre up to this time
having attempted to produce it. The well-known singers Ludwig and
Malwina Schnorr von Carolsfeld came from Dresden to take the title
parts. Bülow, whom the composer called "his other self," [7] was to
conduct the opera. The rehearsals began in Wagner's house, but were
later transferred to the royal Residenz Theater which was placed at
his absolute disposal for this purpose. The master instructed each
one of the artists himself. The little man with the great head was
all fire, carrying everyone with him. When a difficult passage had
been performed with especial success he would spring up and kiss and
embrace the singer, male or female; and at times even stand on his
head on the sofa from sheer delight. [8]
The performances of Tristan und Isolde had been fixed for the 15th, the
18th, and the 22nd of May, the latter day being Wagner's birthday. His
followers, and representatives of the press, had come from all parts
of Germany and from abroad, to be present at the representation, which
was considered an event in the musical world. But Frau Schnorr von
Carolsfeld suddenly fell ill, and the performance had to be postponed.
It was not until the 10th of June that the first performance could
take place. Early in the forenoon all the seats in the house were
sold at considerably increased prices. The royal boxes, flanking
the stage, were filled with spectators: among those present being
Prince Luitpold with his elder sons, Prince Adalbert with his wife,
King Ludwig I., and Duke Max, who nearly all remained in the theatre
until the conclusion of the opera.
At ten minutes past six the King appeared in the so-called "Imperial
box." He was received with loud acclamations, and the orchestra added
its quota of fanfares. Ludwig was evidently pleased, and thanked his
people by bowing cordially to all sides. The next moment Hans von
Bülow stepped into the conductor's place, and the performance began.
It was not at that time usual to applaud the actors and actresses
when the Sovereign was present, until the latter had given the
signal. After the first act, however, a great number of those present
were so delighted that they could not refrain from recalling Herr
and Frau Schnorr von Carolsfeld. No sooner had they done this than
hisses were to be heard, though deadened by applause. After the second
act the two chief singers were recalled, this time amid unanimous
recognition. At eleven o'clock the performance concluded. Once again
there was a difference of opinion, and applause and hisses sought
for mastery. Herr and Frau Schnorr von Carolsfeld led Wagner on to
the stage. He was received with a storm of ovations, though here and
there hisses were audible. The King, who had followed the performance
with the most strained attention, and who in the third act had been
affected to tears, trembled with emotion. He stood up in his box,
and clapped enthusiastically.
At last there was quiet; the curtain fell. Wagner's genius had
conquered.
There was not in the whole of Europe a newspaper of any consideration,
still less one for the criticism of music, which did not mention
this evening. Opinions as to the work were divided, but there was
only one opinion as to the excellence of the orchestra under Hans
von Bülow's leadership and the singing of Ludwig and Malwina Schnorr
von Carolsfeld. A Frenchman who was present wrote [9]: "I doubt that
Wagner's Tristan will ever be popular, for it is not remarkable
for clearness and simplicity. On the other hand, musicians will
find treasures in it.--I have never been present at an opera which
so quickly wearies the attention and which demands such an immense
amount of mental strain. But neither do I know any with such lofty
and enchanting beauties.
"We must do the young King the justice to allow that without him the
representation could never have been possible. He has worked for it
with all his might, and Wagner's triumph is in truth his. Ludwig's
behaviour during the five hours that the opera lasted was likewise
a feature in the play. Be sure that this young man will cause the
world to talk about him! A Monarch of twenty years more open-minded
than his Opposition, whom he drives forward--a King who does not draw
back before the highest problems in art is a rare figure in history!"
Wagner received from his royal protector a letter in which was written:
"Uplifted, Divine Friend,
"I can hardly wait for the morrow, I long so already for the
second performance.... Is it not so, my very dear friend, the
courage to create new things will never leave you!... I ask you
never to lose heart. I ask it of you in the name of those whom
you fill with joy--a joy which otherwise only God grants!
"You and God!
"To death and after death. In the kingdom on the other side
I remain,
"Your faithful,
"Ludwig."
To Hans von Bülow likewise he expressed his thanks in a flattering
letter, which was accompanied by a diamond ring; and he also caused
diamond rings to be conveyed to Herr and Frau Schnorr von Carolsfeld,
in which souvenirs of the festival were ingeniously set.