that I wrote it without ostensible object. To you alone I wanted
to speak on a topic started by yourself, because I did not desire
to support an opinion in a general way, but to effect something
real, viz., the foundation of an original theatre. I therefore
did not want to address the public--which qua public is quite
useless for that purpose--but some one who has the intellect and
before all the energy to view distinctly the accomplishment of
such an object in given circumstances. If in the actual condition
of generally accepted opinion something is to be undertaken which
combats and denies that opinion as detrimental to art, this can
of course only be done by individuals. We cannot expect a better
general condition until the individual has become perfectly
strong in itself, for the general must proceed from individuals,
and for the present therefore we must be intent upon being ready
ourselves and communicating with none but those nearest akin to
us. In this spirit I look upon the theatre. If we want to work
for a rational condition of the theatre in all Germany, we shall
never achieve anything in the slightest degree rational unless we
begin at some given point, even the smallest. That point I
imagine I have found where an embodiment of genius and energy is
already acting in the right sense. Where else can you find such
things as are done at Weimar? But through whom is this done?
Through you alone! The Court may have the best possible
intention; it is not an artist to realize its intention or even
to conceive a distinct intention, for that in this case none but
an artist can do. This is the reason why I have applied to you
alone. I had no other intention. If you think it useful and
appropriate to make a wider use of my communication, you are
quite at liberty to do so. If you think that a totally
independent word of mine as to the position of poetry and the
fine arts, especially in reference to a given object, may not be
wholly without beneficial influence on many of those concerned,
before all if you think that the object in question may be
furthered by it, I ask you to dispose of my letter as your
property. I, however, cannot undertake its publication. I should
defeat my original purpose in doing so, besides which no journals
are open to me. In the "Deutsche Monatsschrift", to which I am
now and then asked to contribute, I do not like on principle to
treat the question in this form; our object would not be
furthered by it. Act therefore entirely according to your
judgment. If you think it useless, leave it alone. If, however,
you print the letter, omit what you think unfit for publicity. I
should not willingly make additions, because they would of
necessity have reference to the "original theatre," and about
that I should have to say a great deal to make my idea
comprehensible to the general public.
You have probably received my little pamphlet "Ein Theater in
Zurich." Much, yea most, in it will not suit you, for the
conditions here are too different from those of Weimar; but my
idea of the essence of the activity of the "original theatre" the
little work will make tolerably clear. In case you ask "whether I
wish to exclude altogether everything extraneous" I reply in
advance, Yes, for the present, and until the main object is
attained, but not for the future. The main object is this: that
the theatre imagined by me should, by the originality of its
work, gain perfect individual independence, should educate itself
to be a conscious individual. This object once attained, this
individual independence achieved, then, and then only, should it
exchange its achievements with those of other equally independent
theatrical individualities, and by means of this exchange be
fructified to ever greater capability and variety, extending in
this manner to wider and generally human circles. This
fructifying exchange can be successfully accomplished only when
receiving means at the same time giving; only he who can give can
receive with benefit to himself. At present our theatres are so
wholly dependent, so entirely without individuality, that they
can do nothing but receive, without having the power of really
appropriating what they receive. Our theatres are undeveloped
beings, pulpy, pappy molluscs, which can never bring forth a man.
I must refrain from saying any more on this head; it might easily
lead me to writing another book of four hundred pages, and the
writing of books I am determined to abandon in preference to
producing a work of art. Only this much I must add: through you
Weimar is already in a good way; proceed on that way of original
achievement with conscious principle, express that principle
distinctly, and by that means gain more and more participants in
your consciousness; by that means you can easily show how an
intention may gradually become a reality. Raff's opera has
pleased me immensely; that is right, and now onwards! or, to
speak plainly, it is your turn now,
Write an opera for Weimar, I entreat you; write it exactly for
the artists who are there, and who through your work will be
elevated, made more noble, more universal. Continue, if you like,
your plans for the Italians; there also, I feel sure, you can do
famous and useful things, but at the same time abide by what is
nearest to you, by what is your present home; where you are in
bodily presence, and with your whole mental energy, be there also
with your productive will; do not trouble yourself about the
other German theatres and their conditions. You do not want them
in order to achieve something beautiful and at the same time
useful. Candidly speaking, what do you seek just now, and with
your present activity amongst the Italians, otherwise than an
increase of your fame? Very well, but will that make you happy?
For that you no longer care! Other conditions are necessary to
give you happiness. Do something for your Weimar.
Well, I will not entreat you anymore for the present; you must
find out for yourself what you have to do.
One thing more, however: work thoroughly for the culture of your
theatrical people. You will get the desired artists from nowhere
unless you create them for yourself. Be careful to make your
singers first of all good actors; how is he to sing who cannot
speak and declaim well? Nothing can here be done in a casual
manner; you must proceed on principle and with expressed
intention. (For that reason think of the Goethe foundation!) To
speak plainly, you want a good stage-manager. Genast is a
splendid fellow, but he has grown old in routine; he does not
know, and will never understand, what has to be done. A man like
Eduard Devrient would be of excellent effect for the training of
your actors, for he knows what has to be done. (I admit the
difficulty of getting such a man.) You must further have an able
singing master. I believe that Gotze has good qualities for the
post, but he ought to have power as well; people ought to be
compelled to learn from him.
I am aware that a man does not become an artist by mere training,
but he can never become an artist unless his organic faculties
are healthily developed, and that is what is wanting amongst us
almost everywhere. Other things will be easily set right if you
are more careful in the choice of works selected for performance
than is generally the case amongst us. The coarse mixture of all
genres and all styles is the evil which prevents our actors from
gaining any kind of artistic consciousness. Gluck today,
Donizetti tomorrow, Weber today, Rossini or Auber tomorrow,
serious today, frivolous tomorrow--what is the result? That the
people can do neither Gluck nor Donizetti, neither the serious
nor the frivolous. How terrible also are the translations! People
get systematically accustomed to the absolute senselessness of
scenic representations; look therefore to a rational treatment of
the translated librettos. Before all, accustom your singers to
looking upon their work in the first instance as a dramatic task;
the accomplishment of their lyrical task will after that be an
easy matter. Works of the earlier French school are most adapted
to the purpose, because in them a natural dramatic intention is
most perceptible. Singers who cannot execute well and effectively
the "Water-carrier," by Cherubini, or "Joseph," by Mehul--how are
they to be able to master the (in that case) enormous
difficulties of, for example, one of my operas? The chief thing,
however, will always be new works and such works as are adapted
to our set of artists and have been written specially for this
theatre. But enough of preaching! If I have been almost
impertinent, you must forgive me. Today is my birthday, and you
could not have sent me a better present than your letter of
yesterday.
As yet Heaven has not given us fine weather, but I wait for the
first bright, sunny day to commence the poem of my "Young
Siegfried" with the pen. In my head it is ready. In July I hope
to send you the poem.
Your last news has once more made me desirous to write to the
Hereditary Grand Duchess. The contact with a sympathetic, noble
female nature is to me an infinitely joyful feeling, and that
feeling I should like to gain as a blessing for my impending
work. If you think that I might permit myself a slight deviation
from the ordinary official style towards this lady, I should ask
you one of these days to forward a letter from me to her. The
official style I cannot manage. Our dear, foolish Zigesar always
writes to me, "Ew. Wohlgeboren," etc. I wish he would leave that
alone. I am sorry when, in his kindness towards me, I stumble
over this kind of powder and pigtail business.
May God bless you, not the "god of Buckeburg." You are right in
retiring into solitude now and then; without that men like us
cannot exist. Greet the Princess most cordially. I hope she will
soon be well again.
Farewell, dearest of friends. I press you to my heart!
Your
RICHARD WAGNER.
ENGE, ZURICH, May 22nd, 1851.
62.
DEAREST FRIEND,
Short news from me today.
I have quite finished the poem of my "Young Siegfried". It has
given me great joy; it is certainly what I was bound to do, and
the best thing that I have done so far. I am really glad about
it. With my violent way of working, I am always considerably
tired at the end. I must take some time to recover. I cannot just
yet make up my mind to copy it out for you, for many reasons, too
long to tell. I feel also some bashfulness in submitting my poem
to you without further explanation--a bashfulness which has its
reason in me, not in you. I therefore ask you whether there is
not a chance of my seeing you soon. Some time ago you made me
think so. How is it now? Can you visit me, or at least appoint a
place, accessible to me, for meeting? Please answer this question
at once. My longing to see you, dear, splendid friend, again
after two years, during which you have been more to me than I can
describe, and to spend a few days with you, is greater than I am
able to express. Can you fulfill this longing? If we could meet
shortly, I should keep my "Young Siegfried", in order to read it
to you. This would add to my peace of mind considerably. The
written word is, I fear, insufficient for my intention; but if I
could read it to you viva voce, indicating how I want to have it
interpreted, I should be quite satisfied as to the desired
impression of my poem upon you. Write to me at once what my
chances are. If, alas! you cannot come, I shall have a copy made
at once and send it you.
One thing more: in my last letters I entirely forgot to mention
the Hartel affair to you. By a certain impulse, I applied to
Breitkopf and Hartel about "Lohengrin". I owed them from of old
two hundred thalers for a grand pianoforte, and proposed to them
to wipe out this debt and to take the copyright of "Lohengrin" in
return. At first they entertained my offer as to the pianoforte
score, but I insisted again on the full score being engraved,
telling them that something might be done by subscription, and
referring them to your influential help. For a long time I heard
nothing, but today I have a letter from the H.'s, saying that
they accede to my wish and are prepared to print the full score.
How has this happened? Now that my demand has been granted, it
almost appears fabulous to me that they should publish the full
score of an opera which has only been given at Weimar.
What do you think? Can I expect this of them? This, in my
opinion, is a nobility of conduct which makes me feel ashamed. I
should almost like not to accept the H.'s offer for "Lohengrin"
on condition that they engrave the full score of my "Young
Siegfried". This child, which I have engendered and should like
to give to the world, is naturally even nearer to my heart than
"Lohengrin", for I want it to be stronger and healthier than he.
If the H.'s publish the score of "Lohengrin", it may be assumed
to a certainty that the sale will be so small as to make them
wholly disinclined for the engraving of the full score of "Young
Siegfried"; and this latter is of course of much greater
importance to me. What do you think? Advise me, dear Liszt! Shall
I hold their offer over for "Siegfried" and give up "Lohengrin"
instead? To get both appears almost impossible to me. Advise me!
Farewell for today. My pen will not obey me any longer; I am too
excited by many things.
Farewell, and write to me how you are and whether I shall see
you. Are you well? Greet the Princess! Farewell.
Your
RICHARD WAGNER.
ENGE, ZURICH, June 29th, 1851.
63.
DEAREST FRIEND,
The news of the happy birth of "Siegfried" pleases me much, and I
thank you for letting me know at once. How I should like to hear
you read it and to visit you at Zurich! But, alas! this year it
is quite impossible for me to think of any journey whatever. At
the end of this month I hope that the health of the Princess will
allow her to start; and in order to make the journey less
fatiguing, we shall return slowly by Dusseldorf, Cologne,
Frankfort, and Eisenach. You, dear friend, must need rest and a
little country life after the completion of your work. Please do
not trouble yourself on my account by making at once a copy of
"Siegfried"; you will send it me on occasion later on at Weymar,
where, locked up, still remains "Wiland", which, to my regret, I
have not been able to send you, not having the necessary keys at
hand. I have explained this to Uhlig. If he is with you, remember
me kindly to him, and excuse me to him once more for my
involuntary negligence.
The Hartels are quite comme il faut in their personal and
business relations. Dr. Hartel came to Weymar to hear
"Lohengrin", and I am delighted to hear that his impression has
been confirmed by an imprimatur. As you ask my advice about what
you had better do, accept his proposition or hold it over till
"Siegfried", so as to make him publish the score of a new work
for you, I have no hesitation in saying that, for all manner of
reasons, I should think it preferable to publish now only the
pianoforte score of "Lohengrin", and to make arrangements with
Hartel that the pianoforte score and full score of "Siegfried"
should appear soon after the Weymar performance, which probably,
and at the latest, will take place in February, 1853, for the
fete of H.R.H. the Grand Duchess. "Lohengrin" will lose nothing
by waiting chez nous.
As I wrote to you before, it will take some time before this
glorious work meets with the swans which are to draw its barque
to the banks of the Spree and the Elbe. Ganders and turkeys would
like to lead it to shipwreck, but do not lose patience, and have
confidence in the moderate amount of practical knowledge which
your friend places loyally at your service and disposal. In the
early days of August my pamphlet "Lohengrin et Tannhauser" will
appear; it was written for a purpose which neither you nor your
friends have hitherto been able to guess, and which it will take
me some time to attain. I am far, however, from despairing of
that attainment, but shall not let you know till the moment of
success, in order to avoid unnecessary words--a habit which is
growing upon me more and more. If you follow my advice, dear
friend, write to H. in the sense indicated by you; that is, ask
him to keep his good intentions for the engraving of one of your
full scores till after the first performance of "Siegfried", and
to publish for the present only the pianoforte score of
"Lohengrin". Send to me here, please, if you possess them, the
numbers of the "Monatsschrift" of Kollatschek containing your and
Uhlig's articles. Heine in the same number has thought it
necessary to make some of his rhymed jokes at my expense with his
usual spirit. More than a fortnight ago I subscribed to that
magazine through my bookseller, but as yet it has not reached me.
Farewell, dearest friend. Believe me that I am truly vexed at not
being able to attend the rendezvous which you propose, and which
would have given me great pleasure--the pleasure of seeing you
again and of having plenty of talk with you.
Always rely upon your
F. LISZT.
EILSEN, July 3d, 1851.
64.
MY BEST FRIEND,
I had just come down from the Alps when I found your letter,
which again has given me the greatest joy. I thank you with my
whole heart for your advice, so speedily given. You agree with me
as to Hartel's offer; I expected so much, and it is a
confirmation of my right sense in the matter. The full score of
"Siegfried" it is to be, then. I feel as safe with you as a child
in the mother's bosom; you take such care of me, dearest friend.
Uhlig is here. He has taken every trouble and made every
sacrifice to save enough for a visit to me in Switzerland.
Considering his cool, quiet, and passionless nature, the faithful
attachment and friendship of this young man are of great value to
me. As a very young musician he attracted my attention in the
Dresden orchestra by his uncommon musical certainty and
circumspection. Being struck by traits of unusual force of
character and of a firm, manly disposition, I admitted him to
intimate intercourse, and found a man who in the poorest
circumstances had developed himself entirely out of himself. Thus
I gained a friend who subsequently from a distance made it the
task of his life, as far as his power extended, to serve me in a
manner which,--the inclination being equal in both cases,--has
been surpassed only by your brilliant genius.
You wanted to have some numbers of the Deutsche Monatsschrift. I
happen to possess them, and send them to you, although I do not
quite see of what use they can be to you. My book "Oper und
Drama," in which I certainly express myself in a decisive, firm,
and detailed manner, is passing through the press very slowly,
and will probably not be ready before two months. Out of this
book I have, by special desire, communicated some articles about
modern dramatic poetry to the Monatsschrift, but am now sorry for
it, for, torn out of their context, they are not particularly
clear. I send them to you all the same, although I should almost
like to ask you to ignore them. As you will not get the
Monatsschrift, because it will be discontinued, I send you
another number with an article entitled "Wir," by Solger; it is
written so prettily that I should almost like you to read it. So
many stupid things have appeared in that Monatsschrift that the
detached good bits really deserve attention. As to Heine's stupid
joke you will probably not be in need of comfort. Lord, how
delighted I am with my "Young Siegfried"; he will deliver me once
for all from all literature and journalism. This month I require
fully to recover my health in order to rush at the music next
month. The copy of the poem I shall send you by Uhlig, if not
sooner.
May the god who dwells in both of us keep you healthy and happy.
With pleasure I see from your letter that the Princess also is
recovering. I hope you will both get safely back to Weimar, which
is more and more becoming my real spiritual home.
Farewell, and be greeted from the full heart of your
RICHARD WAGNER
ENGE, ZURICH, July 11th, 1851.
65.
I am much obliged, dearest friend, for your sending me the
Monatsschrift of Kollatschek, which I had been unable to get
previously. As soon as I have read the articles which interest me
I shall return them to you, and perhaps you might send me the
numbers which contain the continuation of Uhlig's articles on
instrumental music.
To my regret, I shall probably miss Uhlig's visit to Weymar, for
I shall not be able to leave here till between the 26th and 30th
of this month, and shall travel very slowly by Dusseldorf,
Cologne, Frankfort, to Weymar, which I shall not reach till about
the 10th of August. But in any case I shall go to see Uhlig at
Dresden in the course of the autumn, for I attach real value to
the continuance of my friendly relations with him, and I ask you
to assure him of this as well as of my sincere and loyal
sympathy.
I send you today the letter of M. Philipront, of Brussels, and
the draft of my answer, by which you can regulate your subsequent
correspondence with those gentlemen. For many reasons, I ask you
specially not to give way on the two conditions of your
collaboration in the adjustment of the French words to the music
and of your presence at the general rehearsals, which I have
mentioned distinctly to M. Philipront as necessary, and without
which, entre nous, "Lohengrin" would run a great risk of being
abominably cut and slashed.
I am delighted that you agree with my opinion about the
publication of the score of "Lohengrin." In this, as in other
matters, the Hartels have behaved with a tact and good taste for
which one ought to be truly thankful, and I feel convinced that
the scores of both "Siegfried" and "Lohengrin" will appear at
short intervals, and in the course of two years. But, all things
considered, I think it advisable to begin with the pianoforte
score of "Lohengrin", to be followed by the full score of
"Siegfried", and finally that of "Lohengrin", in 1853 or perhaps
sooner.
If Uhlig leaves you before the end of the month, he might inquire
at Buckeburg whether I have left Eilsen, for he is obliged to
pass through Buckeburg if he takes the railway from Cologne or
Dusseldorf, which will be the shortest route to return to
Dresden. I have written this to him in my last letter, which
should have reached him. I should like very much to see him here,
and you will oblige me by giving him a pressing invitation on my
account. What has become of your disciple Ritter? Remember me to
him when you see him. The manuscript of "Wiland", which is still
locked up in a chest at Weymar, will be sent on demand to Uhlig
immediately after my return there.
The Princess, who, God be thanked, has been perceptibly better
these last days, charges me with her admiration for you, to which
I add only the simple expression of my friendship and true
devotion.
F. L.
Draft of my answer to M. Philipront, which, I hope, will draw the
question of the "Lohengrin" performance at Brussels out of
confusion:--
"Sir,--As your letter of July 6th did not find me at Weymar, you
will kindly excuse the delay of my answer. When Herr Wagner
informed me of the proposal of M. Hanssens to perform "Lohengrin"
at the Brussels theatre and asked my opinion of the matter, I
advised him to thank M. Hanssens for the hospitality he had
offered to that beautiful work and to accept it on two
conditions, which seem to me indispensable for its full success.
They are that the author should collaborate in the adjustment of
the French words to the music, and that the last two rehearsals
should take place in his presence. "Lohengrin" belongs by no
means to the ordinary run of operas, but is in all respects an
exceptional and sublime work; and it would therefore, in my
opinion, be dangerous to attempt a performance which would not be
completely identified with the ideas and intentions of the poet-
composer. In another fortnight I shall have an opportunity of
sending you a copy of my pamphlet on "Lohengrin", which will
appear at the beginning of August (in French, Brockhaus,
Leipzig). If, after having read it, you continue in your
intention of giving "Lohengrin" at the Brussels theatre and of
rendering a double service to dramatic art and the author, you
can easily communicate direct with Herr Wagner as to the
arrangements for carrying out the two conditions made and
insisted upon by him.
"I am, Sir, etc.,
"F. LISZT
"EILSEN, July 16th
"The theatre of Weymar not being able to part with its one copy
of the score of "Lohengrin", in consequence of the frequent
performances of that work, it is out of my power to send it to
you; but Herr Wagner will, no doubt, send you either the original
manuscript or a copy, specially made for Brussels.
"The address of Herr Wagner is 'Abendstern, Enge, Zurich.'"
66.
DEAR LISZT,
Two words only. You have understood "Lohengrin" aright; Stahr has
not. I withdraw my consent to his opinion; it was given in haste.
You will soon hear more from me, best of all men!
Your
RICHARD WAGNER
August 23rd, 1851
67.
MY DEAR FRIEND,
At last I am able to break my long silence. The contents of this
letter will show you with regard to how many and comparatively
important matters I had to come to a clear decision before I
could write to you in the definite manner which has now become
possible.
My silence was to a large extent caused by my weak state of
health. For more than two months I have been using a water cure,
and during that time I found it quite impossible to write to you
at such length as I felt more and more every day that I ought to
do. A most cogent reason for writing to you arose to me from
reading your pamphlet on my two operas, which I received at the
hydropathic establishment. Your rare friendship for me, your
energetic love of my works, your restless zeal in making
propaganda for those works, and, before all, the splendid
enthusiasm, the spirit, the subtlety, and boldness with which
your zeal inspired you, moved me too deeply and powerfully to
allow me to express my gratitude in the excited state in which I
was. I had to leave this to a time when better health and a more
collected mind would make it possible for me to communicate with
you at greater length. I hope now to have got so far, and must
tell you first of all that the sacrifice of the most beautiful
affection which you have again offered me has moved me to the
heart and has made me very glad and happy. You have moved me most
deeply in all those parts where you had come to a perfect
agreement with me, for the reason that this agreement was not a
ready-made thing, but a discovery new to both of us. Most
specially were my attention, sympathy, and eagerness awakened
when I saw my original intention newly reflected in the mirror of
your individual conception; for here I was able to realize fully
the impression I had been fortunate enough to produce on your
fertile artistic receptivity.
What you have been to me I tried recently to explain in a public
manner, and having to write for publicity, I did so as soberly as
possible, limiting myself entirely to the facts of our relations
which I wanted to explain to those who perhaps could not
understand such a friendship nowadays. I did this, being
irresistibly impelled by my heart, in a "Mittheilung an meine
Freunde," which I prefixed as an introduction to my three
operatic poems. In the same place I stated plainly that I had
despaired of ever again undertaking an artistic task, and that to
you and your active sympathy it was solely due if I once more had
gathered sufficient courage and energy for an artistic
enterprise, which I should dedicate to you and to those of my
friends comprised in "the local idea: Weimar." The timidity of
Messrs. Hartel, the publishers of the book, has taken exception
to certain passages in that preface to which I did not wish to
have any demonstrative intention attributed, and which I might
have expressed just as well in a different way; and the
appearance of the book has in consequence been much retarded, to
my great annoyance, for special reasons.
For the public declaration as to the intended destiny of my next
dramatic work would, owing to my latest resolution, require an
essential modification if it were to be quite in accordance with
actual circumstances. But, although the preface, written at the
beginning of last August, appears in the present circumstances
too late, the aforesaid declaration will be given to the public
without any change; and if I cannot fulfill the promise given in
it in the manner there stated, it may at least serve you and my
Weimar friends as a proof of the genuine sincerity of the
intention then held by me. I should also be glad to think that in
that public declaration I have furnished a sign of my gratitude
for the sympathy they have shown to me, even if, as I said
before, I cannot prove that gratitude in the exact manner there
promised.
To you, my dear Liszt, I am now compelled to confess that my
resolution of writing a new opera for Weimar has been so
essentially modified as scarcely to exist any longer in that
form.
Hear then the strictly veracious account of the artistic
enterprise in which I have been engaged for some time, and the
turn it had of necessity to take.
In the autumn of 1848 I sketched for the first time the complete
myth of the "Nibelungen", such as it henceforth belongs to me as
my poetic property. My next attempt at dramatizing the chief
catastrophe of that great action for our theatre was "Siegfried's
Death". After much wavering I was at last, in the autumn of 1850,
on the point of sketching the musical execution of this drama,
when again the obvious impossibility of having it adequately
performed anywhere prevented me in the first instance from
beginning the work. To get rid of this desperate mood, I wrote
the book "Oper und Drama." Last spring your article on
"Lohengrin" inspired me to such a degree that for your sake I
resumed the execution of a drama quickly and joyously; this I
wrote to you at the time: but "Siegfried's Death"--that, I knew
for certain, was in the first instance impossible. I found that I
should have to prepare it by another drama, and therefore took up
the long-cherished idea of making the young Siegfried the subject
of a poem. In it everything that in "Siegfried's Death" was
either narrated or more or less taken for granted was to be shown
in bold and vivid outline by means of actual representation. This
poem was soon sketched and completed. When I was going to send it
to you, I for the first time felt a peculiar anxiety. It seemed
as if I could not possibly send it to you without explanation, as
if I had many things to tell you, partly as to the manner of
representation and partly as to the necessary comprehension of
the poem itself. In the first instance it occurred to me that I
still had many and various things to communicate previous to my
coming before my friends with this poem. It was for that reason
that I wrote the long preface to my three earlier operatic poems,
of which mention has already been made. After this I was going to
begin the composition, and found, to my joy, that the music
adapted itself to these verses quite naturally and easily, as of
its own accord. But the very commencement of the work reminded me
that I should ruin my health entirely if I did not take care of
it thoroughly before yielding to my impulse and finishing the
work at a stretch and probably without interruption. When I went
to the hydropathic establishment, I felt compelled at last to
send you the poem; but, strangely enough, something always seemed
to restrain me. I was led to hesitate, because I felt as if your
acquaintance with this poem would place you in a certain awkward
position, as if you would not exactly know what to make of it,
whether to receive it with hope or diffidence. At last, on mature
consideration, my plan in its logical sequence became clear to
me. Listen to me:--
This "Young Siegfried" also is no more than a fragment, and as a
separate entity it cannot produce its proper and sure impression
until it occupies its necessary place in a complete whole, a
place which I now assign to it, together with "Siegfried's
Death," in my newly designed plan. In these two dramas a number
of necessary relations were left to the narrative or even to the
sagacity of the hearer. Everything that gave to the action and
the character of these two dramas their infinitely touching and
widely spreading significance had to be omitted in the
representation, and could be communicated to the mind alone. But,
according to my inmost conviction since formed, a work of art,
and especially a drama, can have its true effect only when the
poetic intention in all its more important motives speaks fully
to the senses, and I cannot and dare not sin against this truth
which I have recognized. I am compelled therefore to communicate
my entire myth in its deepest and widest significance with the
greatest artistic precision, so as to be fully understood.
Nothing in it must in any sense be left to be supplied by thought
or reflection; the unsophisticated human mind must be enabled by
its artistic receptivity to comprehend the whole, because by that
means only may the most detached parts be rightly understood.
Two principal motives of my myth therefore remain to be
represented, both of which are hinted at in "Young Siegfried",
the first in the long narrative of Brynhild after her awakening
(Act III.), the second in the scene between Alberich and the
Wanderer in the second act and between the Wanderer and Mime in
the first. That to this I was led not only by artistic
reflection, but by the splendid and, for the purpose of
representation, extremely rich material of these motives, you
will readily understand when you consider the subject more
closely. Think then of the wondrously fatal love of Siegmund and
Siegelinde, of Wotan in his deep, mysterious relation to that
love, in his dispute with Fricka, in his terrible self-contention
when, for the sake of custom, he decrees the death of Siegmund,
finally of the glorious Valkyrie Brynhild, as, divining the
innermost thought of Wotan, she disobeys the god, and is punished
by him; consider this wealth of motive indicated in the scene
between the Wanderer and the Wala, and at greater length in the
above-mentioned tale of Brynhild, as the material of a drama
which precedes the two Siegfrieds; and you will understand that
it was not reflection, but rather enthusiasm, which inspired my
latest plan.
That plan extends to three dramas: (l) "The Valkyrie"; (2) "Young
Siegfried"; (3) "Siegfried's Death". In order to give everything
completely, these three dramas must be preceded by a grand
introductory play: "The Rape of the Rhinegold". The object is the
complete representation of everything in regard to this rape: the
origin of the Nibelung treasure, the possession of that treasure
by Wotan, and the curse of Alberich, which in "Young Siegfried"
occur in the form of a narrative. By the distinctness of
representation which is thus made possible, and which at the same
time does away with everything of the nature of a lengthy
narration, or at least condenses it in a few pregnant moments, I
gain sufficient space to intensify the wealth of relations, while
in the previous semi-epical mode of treatment I was compelled to
cut down and enfeeble all this. I mention only one thing:--
Alberich ascends from the depth of the earth to the three
daughters of the Rhine; he persecutes them with his loathsome
wooing; rejected by one, he turns to the other; laughing and
teasing, they all refuse the gnome. Then the Rhinegold begins to
glow; Alberich is attracted; he inquires as to its meaning; the
girls tell him that they use it as a bright plaything, and that
its splendour lights up the depth of the waves with blissful
glow, but that he might work many wonders, might gain power and
strength, wealth and dominion, through means of the gold, who
could weld it to a ring. But only he who renounces love can do
this. They tell him that to prevent any one from robbing the gold
they have been appointed its warders, for he who approaches them
would certainly not desire the gold; Alberich at least is not
likely to do this, as he is so much in love with them. Again they
laugh at him. Then the Nibelung grows furious, he robs the gold,
and takes it with him into the depths.
But enough of these particulars. Let me tell you my plan for the
practical execution of the whole.
Of a separation of the materials of this great whole I cannot
think without destroying my object at the outset. The entire
cycle of dramas must be represented in rapid sequence, and their
external embodiment can be thought of only in the following
favourable circumstances. The performance of my Nibelung dramas
will have to take place at a great festival, to be arranged
perhaps especially for the purpose of this performance. It will
have to extend over three consecutive days, the introductory
drama to be given on the previous evening. If a performance in
such circumstances has been accomplished, the whole may in the
first instance be repeated on another occasion, and after that
the single dramas, being complete in themselves, may be given
separately ad libitum; but in any case the impression of a
continuous performance must have gone before.
Where and in what circumstances such a performance may become
possible I must not for the present consider, for first of all I
have to complete my great work, and that will take me at least
three years if I have any regard for my health.
A fortunate turn in the affairs of my intimate friends the R.
family has had the effect that for that time and for the rest of
my life I may attend to my artistic creations quietly and
undisturbed by material cares. When once I have finished my great
work, means will, I hope, be found of having it performed
according to my design. If Weimar is still standing then, and if
your efforts at doing something fine there have been more
fortunate than at present, alas! seems likely, and more than
likely, we shall see how the matter can be managed.
However bold, extraordinary, and perhaps fantastic my plan may
appear to you, be convinced that it is not the outgrowth of a
mere passing whim, but has been imposed upon me by the necessary
consequences of the essence and being of the subject which
occupies me wholly and impels me towards its complete execution.
To execute it according to my power as a poet and musician is the
only thing that stands before my eyes; anything else must not
trouble me for the present. Knowing your way of thinking, I do
not doubt for a moment that you will agree with me and encourage
my purpose, although it will frustrate for the moment your
flattering wish soon to produce another work of mine.
After this I may confess that the definite alteration of my plan
relieves me of an almost painful difficulty: the difficulty of
having to demand the performance of "Young Siegfried" of the
Weimar theatre. Only now, together with this explanation, do I
send you the poem of "Young Siegfried" with a light heart, for I
know that now you will read it without the anxiety which the
thought of its completion and of its performance at the Weimar
theatre, such as it is and cannot help being, would necessarily
have caused in you. Let us have no illusions on this subject.
What you, and you alone, have done for me at Weimar, is
astonishing, and was all the more important for me, as without
you I should have been entirely forgotten. Instead of this you
have used all the means which you alone could have brought
together in drawing towards me the public attention of lovers of
art with such energy and such success that your efforts on behalf
of me and my reputation are the only thing which enables me even
to think of the execution of such plans as the one I have just
communicated to you. This I see with perfect clearness, and I
call you openly the creator of my actual position, which may
perhaps lead to great things in the future.
I further ask, What expectations have you still of Weimar? With
sad candour I must tell you that, after all, I consider your
trouble about Weimar to be fruitless. Your experience is that as
soon as you turn your back the most perfect vulgarity springs
luxuriantly from the soil in which you had laboured to plant the
noblest things; you return, and have just ploughed up once more
half of the soil, when the tares begin to sprout even more
impertinently. Truly I watch you with sadness. On every side of
you I see the stupidity, the narrow-mindedness, the vulgarity,
and the empty vanity of jealous courtiers, who are only too sadly
justified in envying the success of genius.
But enough of this disgusting matter. For my sake I care no
longer about it, for I have quite made up my mind as to it, but I
care about it for your sake. I hope you will arrive at my opinion
before it is too late for your good humour.
It is quite touching to me to have in a manner to take leave of
our amiable Zigesar; I must write to him and at the same time pay
my debt to him. This last is one of the most painful features of
the explanation which will be necessary.
You are aware that I had determined upon writing a new work for
you before the pecuniary arrangement between Zigesar and me was
made. That such an arrangement was made and was offered to me by
our friend with such obvious pleasure and satisfaction was of the
greatest value to me.
This I have confessed to him candidly. It would appear almost
trivial, mean, and in a certain sense offensive on my part to
repay the sum already received on account of that agreement, for
it was given to me, not in order to place me under any
"obligation" towards you and Zigesar, but with the friendly
desire to relieve me as far as possible of domestic cares during
the composition of an opera. Nevertheless this agreement has
still another meaning, which appears all the more serious at this
moment because Zigesar has, temporarily at least, a successor in
the management of the theatre. Towards this successor I am simply
in the position of a debtor; and as I am not able to execute the
commission I had accepted, I am bound formally and materially to
dissolve a contract which cannot exist any longer. Fortunately I
am in a position not to cause you any disagreeable difficulty as
to this point.
After all these explanations, I send you, my dear friend and
brother, the poem of my "Young Siegfried", such as I designed and
executed it when I still thought of its separate performance. In
connection with the other dramas it will naturally have to
undergo many alterations, and especially some beneficial
abbreviations in the narrative portion. Many things will strike
you in it, notably its great simplicity and the few characters
amongst whom the action is distributed; but if you think of this
piece as placed between the "Valkyrie" and "Siegfried's Death",
both of which dramas have a much more complicated action, you
will, I have little doubt, in accordance with my intention,
receive a peculiar and sympathetic impression from this forest
scene, with its youthful, fearless solitude. As I told you
before, I can now send you this poem willingly and without fear,
for you are no longer required to glance from it anxiously
towards your public. You need, for example, no longer trouble
about what will be thought of the "woman" by people who see in
"woman" only their own wives, or at the outside some girl, etc.,
etc. From this anxiety also I know you to be free, and am glad
that I can disclose to you my artistic intention without fear of
a real misunderstanding. Could I but succeed in engaging your
favour and sympathy for my plan whenever and wherever it may be
accomplished! I firmly hope for a future realization, for there
is too much creative impulse in me not to nourish hope along with
it. My previous continual anxiety about my health has also now
been relieved by the conviction I have since gained of the all-
healing power of water and of nature's medicine; I am in the way
of becoming and, if I choose, of remaining a perfectly healthy
man. If you wretched people would only get a good digestion, you
would find that life suddenly assumes a very different appearance
from what you saw through the medium of your digestive troubles.
In fact, all our politics, diplomacy, ambition, impotence,
science, and, what is worst, our whole modern art, in which the
palate, at the expense of the stomach, is alone satisfied,
tickled, and flattered, until at last a corpse is unwittingly
galvanized--all this parasite growth of our actual existence has
no soil to thrive in but a ruined digestion. I wish that those
could and would understand me to whom I exclaim these almost
ridiculously sounding but terribly true words!
But I notice that I am straying from one thing to another, and
therefore will conclude at last. I ask you fervently, my dear
Liszt, to write me soon and fully what you think of this letter
and parcel. May I always find in you the kind friend and
protector that you have been and are to me, and whom at all times
I shall embrace with grateful, fraternal love.
Your deeply obliged
RICHARD WAGNER.
ALBISBRUNN, November 20th, 1851.
When you receive these lines, I shall be back in Zurich, where my
address will be "Zeltweg, Zurich."
68.
Your letter, my glorious friend, has given me great joy. You have
reached an extraordinary goal in your extraordinary way. The task
of developing to a dramatic trilogy and of setting to music the
Nibelung epic is worthy of you, and I have not the slightest
doubt as to the monumental success of your work. My sincerest
interest, my warmest sympathy, are so fully secured to you that
no further words are needed. The term of three years which you
give to yourself may bring many favourable changes in your
external circumstances. Perhaps, as some papers state, you will
soon return to Germany; perhaps by the time you finish your
"Siegfried" I shall have other resources at my disposal. Go on
then and do your work without care. Your programme should be the
same which the Chapter of Seville gave to its architect in
connection with the building of the cathedral: "Build us such a
temple that future generations will be obliged to say, 'The
Chapter was mad to undertake so extraordinary a thing.'" And yet
the cathedral is standing there at the present day.
I enclose a letter from Herr von Zigesar, the contents of which I
know, but have by no means inspired. Zigesar is a sure,
excellent, sterling character, and you may always count upon his
friendship in that capacity. I hope that as soon as his painful
disease of the eyes will allow him he will resume the management,
probably by next spring.
Your well-accounted-for and justified fears as to my Weymar
activity I pass by without reply; they will be proved or
disproved by facts during the few years that you dwell amongst
your Nibelungs. In any case I am prepared for better or worse,
and hope to continue quietly in my modest way. Raff has finished
a thick volume of preparatory studies for the composition of his
new Biblical opera "Simson" (pronounce Schimmeschon), The opera
itself will be finished next year. Cordial thanks, dear friend,
for sending me "Young Siegfried". Unfortunately I was last week
in such a turmoil of business that I could not find a quiet hour
to read the book. Can you let me keep it till Christmas? When
will your three dramas "Flying Dutchman", "Tannhauser", and
"Lohengrin" appear? Have you rewritten the preface? H. promised
it to me, but up till now I have received nothing. Have you
perhaps changed your publisher? Let me know about it on occasion
through B., who is writing to you at the same time with this.
Farewell, and live, if possible, in peace with the upper world
and with your lower stomach, to which in your letter you
attribute many things not quite pertaining to it. People may
think as they like, I cannot get rid of the definition "L'homme
est une intelligence servie par des organes," and that your
organs serve you excellently well is proved by your writing the
Nibelung trilogy with prologue.
May the living God bless you and have you in His keeping!
Your cordially devoted friend,
F. LISZT.
WEYMAR, December 1st, 1851.
69.
MY DEAREST FRIEND,
Today only a few lines of thanks for your last letter, which has
rejoiced me unspeakably. I showed it to every one who is in the
least near to me, and told them, "Behold, I have such a friend!"
The full and unconditional approbation with which you receive my
new plan is the best proof to my mind that I have hit upon the
right thing. To be understood by you, and in the peculiar
circumstances, in an undertaking which, besides thwarting your
personal wish, can, on account of its unmeasured boldness, be
understood by almost no one but him who is impelled to it by
inward necessity--this, my dearest Liszt, makes me as happy as if
my plan had been successfully accomplished. To Herr von Zigesar
also I ask you to express my most cordial thanks for the very
kind manner in which he has received and replied to my last
communication. He has by that means laid me under a new
obligation, and I can only wish that I may be able to show my
gratitude.
As far as I am concerned, I am still occupied in resting from the
finally somewhat powerful effect of my cure. I shall not
undertake much this winter, but shall get everything out of the
way, so that the whole poem may be ready by the beginning of
summer.
How could you think that I had sent you "Young Siegfried" only to
look at? The copy which you have has been made specially by me
for you, and I ask you to accept it, although it is not written
as beautifully as might be. One thing I must ask you to do for
me: send me your medallion, so that I may give it to myself as a
Christmas present. I had wanted a long time to ask you for this;
and now that, after a prolonged fugitive state, I begin to be a
little settled in my small but cheerful dwelling, I want you
amongst my Penates in one form or another. If you have a really
good portrait, I should like to have that too. You need not be
ashamed of hanging on my wall; at present I have there only
Beethoven, besides the Nibelung design by Cornelius.
"Oper und Drama" has long been published, as you probably know.
The three operatic poems, with a communication to my friends,
will appear at the end of this month, together with the
pianoforte score of "Lohengrin." Please order a copy at once; you
are nearer to it than I. I bet that the preface will interest you
very much. The conclusion I have recently altered a little, but
in such a manner that everything referring to Weimar remains
unchanged.
Farewell, dear friend, and let me very soon again hear from you.
Your
RICHARD WAGNER.
ZURICH (ZELTWEG), December 14th, 1851.
70.
DEAREST FRIEND,
I am very late in telling you how we have all been delighted and
enlivened by your splendid work. How can we thank you for it? How
can I more especially express my gratitude? B. and Br. have
written to you that the sixth performance of your "Lohengrin" has
been, comparatively speaking, a satisfactory one. What I wrote to
you at once after the very feeble and faulty first performance
has actually happened. The comprehension and interest of the
actors, together with those of the public, have increased with
every performance; and I feel convinced that the seventh
performance on Saturday, January 24th, will be even more
successful. Next season we shall without delay attack your
"Flying Dutchman," which, for local reasons explained to B., I
did not propose this winter. We shall then probably be able to
add and improve several things in regard to the scenery, etc., of
your "Lohengrin." You may firmly rely upon me for bringing your
works at Weymar more and more up to the mark, in the same measure
as our theatre in the course of time gets over divers economic
considerations, and effects the necessary improvements and
additions in chorus, orchestra, scenery, etc. Excuse my bad
German style; I am better at doing a thing than at writing about
it.
Cordial thanks for your splendid gift of "Siegfried." I took the
liberty of arranging a recital of it for the Hereditary Grand
Duke and his wife at Zigesar's. Zigesar, who had previously read
your poem, is in a state of enthusiasm about it, and the small
circle of about fifteen persons whom he assembled on that evening
was selected exclusively from the most zealous Wagnerites--the
real creme de la creme. I am very curious as to how you are going
to execute the work musically, what proportions the movements
will have, etc.
Go at it as soon as possible. Perhaps you will be able to
complete the whole work in less than three years. As regards the
performance, we shall manage to arrange it somewhere by strictly
observing your orders and indications. With all the genius of
your fancy, you are so eminently experienced and practical that
you will of a certainty write nothing unpractical. Difficulties
are necessary--in order to be overcome. If, as I do not suppose,
you should not be back in Germany by that time, I charge myself
with the whole thing, and shall only trouble you to give me an
exhaustive programme of all that you desire and expect in the
performance of this gigantic work. To that I shall strictly
adhere. Persons and things shall be provided somehow. But I look
forward to the pleasure of enjoying your Nibelung trilogy more
quietly from a stall or a seat in the balcony, and I invite you
for four consecutive days to supper after the performance at the
Hotel de Saxe, Dresden, or the Hotel de Russie, Berlin, in case
you are able to eat and drink after all your exertions.
Of the conclusion of the preface to the three operatic poems I
say nothing. It has hit me in my heart of hearts, and I have shed
a manly tear over it.
My portrait I shall send you through H.; the medallion I must
order from Paris, as there are only galvanoplastic copies in
Germany.
The Princess has written a few words to you after the performance
of "Lohengrin," which I enclose.
Farewell, and live as tranquilly as possible, my glorious friend.
Let me soon hear something of you.
Your
F. LISZT.
WEYMAR, January 15th, 1852.
71.
Just returned home, with my eyes still moistened by the tears
brought to them by the moving scenes of "Lohengrin," to whom
should my thought turn at this moment but to you, sir, with the
desire that you could have witnessed the effect produced by your
beautiful work, better understood as it is every day by
executants and spectators? I cannot tell you with how much zeal
the former endeavour to respond to the efforts of Liszt for the
worthy interpretation of your drama. Having been ill and absent
from Weymar for a year, I was this evening able to judge how
indefatigable Liszt has been in his instruction, recommenced
again and again, and becoming ever more fruitful. You would
certainly be satisfied with the progress they all make at each
new representation.
Fraulein Fastlinger having left our theatre, Frau Knopp Fehringer
takes the part of Ortrud. The former having been generally
successful, both as a singer and an actress, opinions are divided
as to the latter; and you, as the creator of the part, can alone
decide which of them is really preferable. The former had the
undoubted advantage of eighteen years, a pretty face, a slim,
tall figure, which qualities, as they placed her in age and in
beauty near to Elsa, suggested the idea of secret rivalry between
woman and woman. One thought that she not only desired to win the
throne of Brabant, but was also jealous of Frederick and of the
charms of her from whom she had torn him away. The timidity
natural to so young an artist gave to her movements the restraint
which is characteristic of youth and of the instinct of a rival.
Frau Knopp has over Fraulein Fastlinger the advantage of
consummate and very impressive dramatic talent, but she is not
very beautiful, in spite of regular features, and not in her
first youth, besides which her figure is rather thickset. Her
action indicated every nuance with admirable eloquence; she
rendered the disdain, the hatred, the rage, which alternately
inspire her with gestures and pantomimic actions of such striking
reality that she might be compared to the greatest artists in the
most famous parts. But she could not be more than an ambitious
woman. Between her and Elsa the spectator's mind could not see
any comparison or rivalry, and this has no doubt put out many of
the audience without their being able to account for the reason,
for nothing could have been more admirable than the acting of
Frau Knopp, infinitely more energetic, more richly coloured, more
living, more certain, more bold, than that of Fraulein
Fastlinger.
It is then for you, sir, to say whether in general it is better
to give the part to a young and beautiful artist, whose acting is
naturally less experienced and more subdued, or to a woman of
mature talent, who gives us an Ortrud less young, but more
inflamed and devoured by the secret flames of the hatred of one
who is vanquished and the revenge of one who is oppressed. As to
myself, I cannot say which of these two conceptions produces the
greater impression; the second has certainly something more
sombre, more inexorable, about it. One trembles in advance for
Elsa on seeing that such hands will fashion her destiny; one is
inclined to say that the premeditation of a whole life gives more
grandeur to the struggle between ambition and innocence.
Pardon, sir, this long digression; it will show to you how much
your poetic conceptions occupy us here. I must not close these
lines without telling you how I have been touched by the manner
in which you speak of him whose glorious name I am soon to bear.
Who could fail to speak of his spirit, of his genius, of his
intelligence? But one must have a high-toned and delicate soul to
understand the infinite tenderness of his soul, which so few can
feel or divine. He will, no doubt, write to you soon. This
evening, after the close of the performance, he accompanied some
people who had come from Leipzig to hear your "Lohengrin". Good-
bye, dear sir. Permit me to thank you for all the rare pleasures
we owe to you by the contemplation of your beautiful works, and
accept the expression of my distinguished esteem.
CAROLYNE.
WEYMAR, January 4th, 1852.
72.
MY DEAR FRIEND,
Accept my cordial thanks for your last kind letter, and for the
beautiful performance of "Lohengrin" which you have again
accomplished; according to all accounts, it must have realized my
wishes in a high degree. In such circumstances my longing
increases to enjoy my work, of which hitherto I have only felt
the pains of giving birth to it; and my grief at being condemned
to the fate of a blind and deaf man towards my own artistic
creations begins to have a more and more depressing effect upon
me. The existing impossibility of seeing and hearing my works
makes the inspiration for new creations so grievously difficult,
that I can only think with sorrow and with an unspeakably bitter
feeling of the execution of new works. I tell you this for the
sake of truth, and without accompanying my complaint by wishes
which, as no one knows better than I, must remain unfulfilled.
As regards my "Nibelung" drama, you, my good, sympathetic friend,
regard my future in too rosy a light. I do not expect its
performance, not at least during my lifetime, and least of all at
Berlin or Dresden. These and similar large towns, with their
public, do not exist for me at all. As an audience I can only
imagine an assembly of friends who have come together for the
purpose of knowing my works somewhere or other, best of all in
some beautiful solitude, far from the smoke and pestilential
business odour of our town civilization. Such a solitude I might
find in Weimar, but certainly not in a larger city. If I now turn
to my great work, it is done for the purpose of seeking salvation
from my misery, forgetfulness of my life. I have no other aim,
and shall think myself happy when I am no longer conscious of my
existence. In such circumstances my only joy is to know at least
that I may benefit my friends by my art; in their sympathy with
my works lies the only enjoyment I find in them. For that reason
I am very pleased that you are thinking of performing the "Flying
Dutchman", and I hope that those who love me will reward you for
your trouble. As to the representation, and especially the
scenery, I shall come to an agreement with you in due time; in
Kassel it is said to have been not unsatisfactory, and some
communication with the scenic artist there as to the arrangement
of the ships, etc., would therefore seem desirable. Do not begin
the copying of the orchestral parts until I have sent to you from
here a copy of the score, in which, in accordance with my more
recent experiences of orchestral effect, I have revised the
instrumental parts.
As regards "Tannhauser", I am glad to learn that you think of
complying with my wish to have it given in the form on which I
have fixed as the best. On that condition only a permanent
success of that opera at Weimar can be of interest to me. I had
not the slightest fault to find with you for thinking certain
omissions necessary when you first rehearsed "Tannhauser" at
Weimar. You did not do this because you objected to the omitted
parts, but because the artistic resources which were then at your
disposal filled you with natural diffidence. I know in particular
that in this manner arose the large cut in the finale of the
second act which displeased me so much when I attended the
rehearsal at Weimar. This is the scene where Elizabeth throws
herself in front of the knights to protect Tannhauser. In scenes
of this kind, before all others, my feeling for the perfect truth
and nature of things impels me to use all the means of art which
are within my grasp, and the grandeur of the situation can only
be rendered if not the slightest of its essential parts is
wanting. In this scene it is necessary that those who rush at
Tannhauser should not be driven away from him like children.
Their wrath, their fury, which impels them to the immediate
murder of the outlaw, should not be quelled in the turning of a
hand, but Elizabeth has to employ the highest force of despair to
quiet this roused sea of men, and finally to move their hearts to
pity. Only then both fury and love prove themselves to be true
and great; and just in the very gradual calming down of the
highest excitement, as represented in this scene, I discover my
greatest merit in the interest of dramatic truth. After you have
in "Lohengrin" solved much more difficult problems of
representation, it becomes--I tell you so openly, dear friend--
your duty to give this scene completely, and I know that success
will reward you. It is the same with all other things. In
Tannhauser's narration (Act III.) the trombones in the
reminiscence of Rome cannot produce the right impression unless
this theme has before been heard completely and in fullest
splendour, as I give it in the instrumental introduction to the
last act, etc. I ask you therefore to adhere strictly to the full
score which I had sent to you from Dresden with all my marks; and
I will only add that the song of Tannhauser in the first act
should be sung in its entirety (the three verses): the real
climax, especially in its effect upon Venus, is otherwise totally
lost.
Concerning the new conclusion of the last act, I was very angry
that it was not given at Weimar from the first, as I assumed at
the time that it would be. Even then I did not want a new public
to know the first version, which was caused by a misapprehension
on my part of the essence of the scene, as to which unfortunately
only the first performance at Dresden enlightened me. Nothing
that lies within the possibilities of representation on the stage
should be only thought or indicated, but everything should be
actually shown. The magical illumination of the Venusberg was,
however, no more than an indication; the magic event becomes
reality only if Venus herself appears and is heard. This is so
true that the afterthought of this situation brought me great
wealth of music; consider the scene with Venus in the last act,
and you will agree with me that the previous version stands to it
in the relation of an engraving to an oil picture. It is just the
same with the appearance of the body of Elizabeth. When
Tannhauser sinks down by the side of that body, and sighs, "Holy
Elizabeth, pray for me!" that is realized which was formerly only
indicated.
As I said before, if the performance of "Tannhauser" in Weimar
cannot be a complete one, it loses all value for me, for in that
case I shall not have drawn the public up to me, but shall have
accommodated myself to the public, and that I do not care to do
any longer.
Through B. I hear that the "Liebesmahl der Apostel" is on
occasion to be given at Weimar. I call your attention to the fact
that the orchestration of this work was designed for a vast space
(the Frauenkirche of Dresden) and for a chorus of a thousand men.
For a smaller room and a less numerous chorus the brass orchestra
should be reduced to the usual limits, and especially the four
trumpets should be reduced to two. That reduction will have no
great difficulties, and B., if I ask him, will be quite able to
perform the task well.
To Princees Wittgenstein, who has delighted me with a very
friendly letter, I ask you to express my best thanks for her
kindness. The deep interest which she has again shown in my
"Lohengrin", particularly at the last representation, is of
priceless value to me. Her intelligent remarks on the character
of Ortrud attracted me especially, as well as the comparison she
makes between the efforts of the previous and the actual
representative of that part. To which side of the question I
incline your valued friend will recognize at once when I explain
to her my view of the character by simply saying that Ortrud is a
woman who does not know love. By this everything that is most
terrible is expressed. Politics are her essence. A political man
is repulsive, but a political woman is horrible. This horror I
had to represent. There is a kind of love in this woman, the love
of the past, of dead generations, the terribly insane love of
ancestral pride which finds its expression in the hatred of
everything living and actually existing. In man this love is
ludicrous, but in woman it is terrible, because a woman, with her
strong natural desire for love, must love something; and
ancestral pride, the longing after the past, turns in consequence
to murderous fanaticism. In history there are no more cruel
phenomena than political women. It is not therefore jealousy of
Elsa perhaps for the sake of Frederick which inspires Ortrud, but
her whole passion is revealed only in the scene of the second act
where, after Elsa's disappearance from the balcony, she rises
from the steps of the minster, and invokes her old, long-
forgotten gods. She is a reactionary person who thinks only of
the old and hates everything new in the most ferocious meaning of
the word; she would exterminate the world and nature to give new
life to her decayed gods. But this is not merely an obstinate,
morbid mood in Ortrud; her passion holds her with the full weight
of a misguided, undeveloped, objectless feminine desire for love:
for that reason she is terribly grand. No littleness of any kind
must occur in this representation; she must never appear simply
malicious or annoyed; every utterance of her irony, her
treachery, must transparently show the full force of the terrible
madness which can be satisfied alone by the destruction of others
or by her own destruction.
She of the two actresses who approaches this intention most
nearly must therefore be thought the better of the two.
Once more, dear friend, my best compliments to the Princess, and
my warmest thanks for her communication. Permit me to recall to
your memory the medallion I asked you for; it will give great
pleasure to me.
Farewell, best of friends, and make me soon happy again by a few
lines from you.
Wholly thine,
RICHARD WAGNER.
ZURICH, January 30th, 1852.
73.
DEAREST FRIEND,
I send you enclosed an explanation of my "Tannhauser" overture,
written for our public here, which, I have reason to hope, will
soon hear a very good performance of that composition. When I had
finished this programme, I read over once more what you have
written about this overture, and had again to give way to the
utmost astonishment. Herwegh has had the same experience with
regard to your work. Only he can fail to understand your style
who does not understand the music either; to see how you express
precisely and keenly in words the feelings which music alone can
evoke in us fills every one with delight who himself experiences
those feelings without finding words for them. This perusal,
which really filled me with astonishment, has once more roused in
me the wish, expressed to you some years ago, that you might
become your own poet. You have the necessary qualities as much as
any one. Write French or Italian verse; in that direction you
might produce something quite new and cause a great revolution.
Let me hear about this from you, dearest friend.
Of my health B. probably gives you news occasionally; he writes
to me more frequently now, and I always reply to him. That B.'s
article about the S. has caused such a disastrous sensation
amongst you confirms my opinion of the deep decay of our artistic
and public conditions.
One thing grieves me: that the Goethe foundation had applied to
the S.; and one thing pleases me: that her assistance came to
nothing, and that a complete breach with the spurious element was
thus effected.
My letter to you about the Goethe foundation will, with your
permission, be published; many things are said in it which had to
be said at this moment, and which, if I had wished to say them in
a new and different form, would have withdrawn me again from my
artistic projects. I will have nothing more to do with
literature. As soon as the air grows a little warm and clear the
poem will be begun.
Let me hear from you again.
Wholly thine,
RICHARD WAGNER.
ZURICH, March 4th, 1852.
74.
How are you, most excellent of men? It is too long since I heard
from you. The rehearsals of Cellini, many visits from abroad,
several pieces and transcriptions for the pianoforte, have much
occupied my time during the last month. Of the performance of
Berlioz's opera H. gives a most detailed account in Brendel's
paper. This much I may add: that the motives which made me select
this opera proved to be right and favourable to the further
progress of my work here. "Why Cellini at Weymar?" is a question
which I need not answer to the first comer, but the practical
solution of which will be such that we may be satisfied with it.
Perhaps you yourself did not at first look upon the thing in the
practical light in which it will appear to you later on. In any
case I believe that you will agree with me, unless you are
inclined to aim at thin air. I have just been positively informed
that you have handed in your petition for a free pardon at
Dresden. How is this? Write to me as to this point, in perfect
reliance on my discretion. I might possibly be of service to you
in the matter.
A few days ago I saw here Madame B. D. She looks very well; and
her husband is a handsome, decent gentleman. Amongst other
things, she told me that she had been unable to understand the
part of your preface which referred to her, and that her husband,
after reading the passage several times, had remained in the same
state of ignorance. As to the rest, she speaks well of you, and
wishes very much to see "Lohengrin" here. Unfortunately Fraulein
Fastlinger has left for Dresden, and Frau Knopp is continually
ill, so that there is little hope of an immediate performance of
that opera, for which even those are longing who formerly were of
the opposition. Moreover, the deep court mourning in consequence
of the death of Duchess Bernhard leaves me little hope that a
performance of "Lohengrin" will be given by command. For next
season, in February at the latest, the "Flying Dutchman" is set
down.
It would be a beautiful and gladsome thing if by that time you
were back in Germany. We should then sing your finale of
"Tannhauser", "Er kehrt zuruck," with seven times seventy-seven
throats and hearts. Have you any particular instructions for your
"Liebesmahl der Apostel"? I think of producing it here in the
course of the summer. At the next concert of the Gesangverein we
shall have your "Faust" overture.
Farewell. Be as much as possible at peace with yourself and
others, and write soon to your cordial and devoted friend,
F. LISZT.
WEYMAR, April 7th, 1852.
75.
My best thanks, dearest friend, for your last letter, which came
to me quite unexpectedly, for you have weaned me from expecting
letters from you, so seldom do you write to me. H. also has again
been owing me an answer some time.
I feel so-so; the beautiful spring weather cheers me after a
somewhat dreary winter, and I shall begin my poem again. If I
lived in Naples, or Andalusia, or one of the Antilles, I should
write a great deal more poetry and music than in our grey, misty
climate, which disposes one only to abstraction. I am in the
midst of rehearsing my "Flying Dutchman". Some of my friends here
would not leave me in peace; having heard my "Tannhauser"
overture, they wanted absolutely to have a taste of one of my
operas. I allowed myself at last to be talked over, and am now
about to introduce to the imagination of my friends a travesty of
my opera, as closely resembling it as possible. Everything as
regards scenery and orchestra is done to help that resemblance;
the singers are not a bit better or worse than everywhere else;
so I shall find out what can be done by the best intentions and a
fabulous faith in me. So much I am confident in saying, that the
performance would not be uninteresting to you, and therefore I
invite you quite seriously, after receipt of this letter, to get
leave for a week, trust yourself to the railway, and visit me at
Zurich. The first performance takes place Wednesday, April 21st,
and between that and May 1st there will be two repetitions. Are
you no longer capable of this piece of folly? I am sure that you
can if you will, and you would rejoice in the joy which your
visit would give to me. Nothing else you could do in these days
would compensate you for it. Do come! To Germany I shall not
return; I have no hope and no wish for it. There are too few
people whom I should care to see again, and those few I should
like to see anywhere but in Germany. You, my dearest friend, for
example, I should like to see in Switzerland. Please contradict
most positively the rumour that I have pleaded for grace; if it
were to spread and to be seriously believed, I should feel
compelled to make a public declaration, which, for every reason,
I should like to avoid.
Leave this matter alone; if the return to Germany were open to
me, I should certainly use it only to make perhaps an incognito
visit to you at Weimar.
Apropos! Ernst was here, and gave concerts, and he told me that
the hope of seeing the "Flying Dutchman" had induced him to
remain in Switzerland till the end of this month. You would
therefore see him too.
Bring the Hereditary Grand Duchess along with you. As you are
going to give the "Flying Dutchman" at Weimar, you would be
interested to see the scenic arrangements which I have made for a
small stage.
What is this you have heard about me in connection with your
performance of "Cellini"? You seem to suppose that I am hostile
to it. Of this error I want you to get rid. I look upon your
undertaking as a purely personal matter, inspired by your liking
for Berlioz; what a beast I should be if I were to criticize that
liking and that undertaking! If every one would follow the inner
voice of his heart as you do, or, better still, if every one had
a heart for such a voice as you have, things would soon be
changed. Here again I must rejoice in you. But where a pure
matter of the heart is submitted to speculative reason, I must
find that mistakes creep in which a third person can perceive. In
the consequences which, as I am told, you expect from the
performance of "Cellini", I cannot believe; that is all. But can
this my unbelief in any way modify my judgment of your action?
Not in the least. With my whole heart I say, you have acted
rightly, and I wish that I could say as much to many people.
I am sorry that you have not produced "Lohengrin" again; you were
in the right swing with it this season. What a pity that only a
single performance should have been possible! This shows of what
use half a year may be.
That Madame D. and her husband were unable to understand the
passage in my preface proves their exceedingly fine tact. This
was, no doubt, the best way for them of saving themselves a
painful impression, and I am glad that they were able to do this,
for it was really and truly far from my mind to annoy them. Ah, I
wish I could this summer make at last a beautiful journey, and
that I knew how to set about it! To this sigh only my own voice
replies as echo from the wall of leather which surrounds me. This
longing for a journey is so great in me that it has already
inspired me with thoughts of robbery and murder against
Rothschild and Co. We sedentary animals scarcely deserve to be
called men. How many things we might enjoy if we did not always
sacrifice them to that damnable "organ of sitting still."
Alas! this "organ of sitting still" is the real lawgiver of all
civilized humanity. We are to sit or at best to stand, never to
walk, much less to run for once in a while. My hero is the "bold
runner Achilles." I would rather run to death than sit still and
get sick. That is your opinion also, is it not? and therefore I
may expect you for the Flying, not the lying-down, Dutchman.
We shall see. Live gloriously and well! Wholly thine,
RICHARD WAGNER.
ZURICH, April 13th, 1852.
76.
That I was unable to fly to your "Flying Dutchman" was not my
fault; how genuinely glad I should be to see you again, and what
beautiful enjoyment your splendid work would give me, I need not
tell you, most excellent friend. The news I received from various
sides as to the performances of the "Flying Dutchman" could not
but greatly please me. Next winter you shall have news of our
performance at Weymar, for we must not delay it any longer, and
hope that it will be a success on the part of the artists, for as
to the work itself there can be no question. Be kind enough to
let me have as soon as possible the exact alterations, additions,
and omissions you have made in the score, for I want to have the
copies made at once. Quite lately I again expressed the principle
that our first and greatest task in Weymar is to give the operas
of Wagner exactly selon le bon plaisir de l'auteur [according to
the good pleasure of the author]. With this you will, no doubt,
agree, and in consequence we shall, as before, be bound to give
"Lohengrin" without cut and to study the whole finale of the
second act of "Tannhauser," with the exception of the little cut
in the adagio. This will be done at our next representation. Send
me therefore the necessary instructions about the study of the
"Flying Dutchman," and be assured that I shall not deviate from
them by a hair's breadth.
For your kind offer of the designs I thank you, and accept it
eagerly. Send them to me soon; we have here a very clever young
scene-painter and engineer, Herr Handel, late of the Hamburg
theatre, who will take every care to comply with your demands. I
have advised Baron von Beaulieu-Marconnay, the intendant, of the
impending arrival of your designs, and the honorarium (five louis
d'or) will be sent to you by the end of August. If you would
rather have this small sum at once, I will remit it by return.
I have asked B. to tell you of the crime committed by me during
the visit of his Majesty the Emperor of Russia. "Tannhauser" had
been announced for the evening, when it was hoped that his
Majesty would visit the theatre. Knopp and Milde wereunable to
sing a note, and Frau von Milde also was hoarse. It was
impossible to give a whole opera, so I coolly took the first act
of "Tannhauser" as far as the end of the Pilgrims' Chorus,
closing in G major, then after a pause commenced again in G major
with the prelude to the third act of "Lohengrin," and so
continued with the whole act to the end of the duet, winding up
the performance with the overture "Carneval Romain" and the
second act of "Benvenuto Cellini," omitting the baritone air.
Fraulein Fromann was present, and has probably written to you
about it.
By the end of this month the Empress of Russia is expected, and
"Tannhauser" is again announced for the 31st. Beck takes the part
of "Tannhauser," and the entire finale of the second act will be
sung. The new close, however, must unfortunately wait till next
season, for a new scene is being painted for it, which cannot be
finished; everything else is ready and copied out.
For next season we have Spohr's "Faust," with new recitatives,
and shall give Schumann's "Manfred" at the beginning of June. Of
the Ballenstedt Musical Festival, with the "Tannhauser" overture,
and the "Liebesmahl der Apostel," you have probably heard.
Your "Faust" overture made a sensation, and went well.
Farewell, and have a go at "Siegfried."
Your
F. L.
77.
DEAREST FRIEND,
Today I write only a few hurried lines in order to avoid a
misunderstanding. Herr C. has made the sketches for the "Flying
Dutchman;" but, as I look at his work, it weighs heavily on my
heart that you are to pay five louis d'or for it, which,
according to my inmost conviction, it is not worth. (The man is
altogether extremely mediocre, and the only thing that attracted
my attention towards him was that he became acquainted with the
subject under my own extremely painstaking direction, and in
accordance with my most special intentions.) I have told him that
the management at Weimar had a good scene-painter, and that you
would only make occasional use of his sketches; if he would send
them to you, you could offer him no more than the small
remuneration of fifty francs.
If he sends the sketches, please make Herr von Beaulieu
acquainted with this arrangement, so that he may reply to him in
the sense above indicated and send him the honorarium to his own
address.
Pardon me, but I could not make up my mind to allow you to pay
five louis d'or for this trifle. About everything else I shall
write to you at greater length within the next few days.
Farewell.
Your
RICHARD WAGNER
ZURICH, May 25th, 1852
78.
DEAREST FRIEND,
In addition to my last hurried lines, I write to you today a
little more comprehensively. First of all, I must thank you for
the news of the continued activity which you employ in the
propaganda of my works. Expressions of praise on that account I
omit once for all, for you are far above praise. Of the
performance of the "Faust" overture I had heard nothing beyond
your own brief notice. I cannot be angry with this composition,
although many detached things in it would not now flow from my
pen; especially the somewhat too plentiful brass is no longer to
my mind. If I knew that the Hartels would pay me a nice sum for
it, I should be almost inclined to publish the full score,
together with a pianoforte arrangement, which H. would have to
make; but I should like to be warmly persuaded to this, for on my
own account I do not care to propose such things. Am I really
going to figure at the next Musical Festival? People say that I
am a famous "made" man; if that is true, who is the maker? Do not
forget to add to the programme the explanation of the
"Tannhauser" overture which I wrote last winter for the Zurich
performance, and which I consider indispensable, because it gives
briefly a condensed picture of the poetic subject, which is
conceived in the overture quite differently from what it is in
the opera itself. (In that sense you are quite right in saying
that this overture is altogether a work by itself.) A copy of my
explanation you probably possess; if not, Uhlig has plenty.
I really cannot understand why our numberless male choir
festivals, etc., have never yet produced the "Liebesmahl der
Apostel." But so many things are now to me inconceivable and yet
quite conceivable. In a large room, and with a strong chorus, you
may leave the instrumentation as it is; but I call your attention
to the fact that at Dresden I was compelled, after certain
important divisions of the composition, to have the key indicated
by two harps: the larger the chorus, the more inevitable is the
dropping of the pitch from time to time; but of this you would
probably have thought yourself.
Concerning the (future) complete performance of "Tannhauser" I
have still many things on my heart, of which I do not find it
easy to unburden myself. First, certain minor matters. I do not
know exactly whether Walther von der Vogelweide in the contest of
the minstrels sang his song with you in the original B flat major
or in C major. There is here some inconsistency. I am aware that
B flat does not agree with the rest of the somewhat high-lying
part, and a singer who has the voice for the whole part cannot
make much effect in B flat, for which reason I was compelled at
Dresden to transpose the piece to C. But this C major is
altogether out of relation to the other songs of the singers'
contest, and more especially it destroys the transition to the
bright tone of the ensuing song of "Tannhauser," who, with his C
major, is supposed to go beyond Walther. Apart from this, the
song of Walther loses by means of this higher C major much of the
calm dignity which is its character. The dilemma can be solved
only by the part of Walther being sung by a low tenor and that of
Heinrich der Schreiber by a high tenor. The two parts therefore
must be rewritten, and in all the ensembles Walther should sing
the notes which in the score are assigned to Heinrich der
Schreiber, and vice versa. Only in the first finale Walther
retains all the solo passages. This is what I should like. I
further hope that you will give the scene between Venus and
Tannhauser in its entirety. The necessity of three verses of the
"Tannhauser" song I have, I believe, already pointed out to you.
But now comes the principal thing; i.e., the great adagio of the
second finale. When at Dresden, after the first performance of
"Tannhauser," I made the cut in this adagio, I was in complete
despair, and in my heart cut every hope of "Tannhauser" as well,
because I saw that T. could not understand, and therefore much
less represent, the part. That I had to make this cut was to me
tantamount to abandoning altogether the purpose of making my
"Tannhauser" really understood. Kindly look at the omitted
passage, dearest friend, and realize what it contains. While
previously everything was grouped round Elizabeth, the
peacemaker, she being the centre, and all the others listening to
her and repeating what she said and sang, "Tannhauser" here
recognizes his terrible crime, and breaks down in the most
terrible repentance. When he once more finds words for his
emotion, which he can scarcely utter, because he lies on the
ground in a state of semi-consciousness, he suddenly becomes the
principal person, and the whole scene is grouped round him, just
as before it was round Elizabeth. All else is thrown into the
background, and in a manner only accompanies him as he sings:--
"Zum Heil den Sundigen zu fuhren, Die Gottgesandte nahte mir:
Doch ach! sie frevelnd zu beruhren Hob ich den Lasterblick zu
ihr! O! du, hoch uber diesen Erdengrunden, Die mir den Engel
meines Heil's gesandt: Erbarm' dich mein, der ach! so tief in
Sunden Schmachvoll des Himmels Mittlerin verkannt!" In this
stanza and in this song lies the whole significance of the
catastrophe of Tannhauser, and indeed of the whole essence of
Tannhauser; all that to me makes him a touching phenomenon is
expressed here alone. His grief, his sad pilgrimage of grace--all
this springs forth from the meaning of these lines; without
hearing them, and hearing them in this place, the spectator sees
in Tannhauser an inconceivable, arbitrary, wavering, miserable
creature. (The commencement of his tale in the last act comes too
late to make up for that which here must penetrate our mind like
a thunderstorm.) Not only the close of the second act, but the
entire third act, and in a sense the whole drama, receive their
true significance only when the centre of the whole drama, round
which it develops itself, as round its kernel, becomes perfectly
clear and lucid in that particular passage. And that passage, the
keynote of my whole work, I was compelled to cut at Dresden.
This I declare: no representation of "Tannhauser" answers my
purpose if that passage has to be omitted. For its sake I will,
if need be, consent to the cut in the allegro of the finale,
which contains what is really the continuation of that passage--I
mean the place where Elizabeth takes up the B major theme as
canto fermo, while Tannhauser at the same time gives passionate
vent to his wild despair. If at some future time a performance of
this opera were wholly to satisfy me, Tannhauser would have to
sing this passage also in such a manner that it would not appear
long.
You will ask me, "What are we to do? How can we expect a minor
singer to do what T. failed to accomplish?" I reply that T., in
spite of his voice, failed to accomplish many things that were
not beyond much less gifted singers. At the Tannhauser rehearsal
which I attended at Weimar the invalided Gotze brought out
passages and interpreted intentions in respect of which T.
remained my debtor. This latter has nothing but either brilliancy
or tenderness in his voice; not a single true accent of sorrow.
The singer of the "Flying Dutchman" here did a great deal more
than those at Dresden and Berlin, although they had better
voices. Try what you can do with Herr Beck, and explain to him
what is the important part. Only in case this passage comes out
well the Weimar public will see what the whole is about. (I add a
technical remark: If the singer in this passage is quite sure,
let him take the tempo freely; all the others must go with him:
he rules alone.)
If a performance of Tannhauser were to be quite perfect, the last
finale of the opera would have to be given as it stands in the
new edition of the pianoforte score, including the song of the
younger pilgrims. Your score of the Flying Dutchman you can send
to Uhlig, who possesses a newly revised score, and will arrange
yours in strict accordance with it.
When the time for the rehearsals comes, I will let you have some
further details. For the present I shall be satisfied if the
parts are copied in accordance with Uhlig's score and if the
scenery is painted after the sketches which I hope C. will send
you.
The "Flying Dutchman" has made an indescribable impression here.
Philistines who never go to a theatre or concert attended each of
the four performances in one week, and are supposed to have gone
mad. With the women I have made a great hit. The pianoforte
scores sell by the half-dozen. I am now in the country, and feel
tolerably cheerful. My work also pleases me again; my Nibelung
tetralogy is completely designed, and in a few months the verse
also will be finished. After that I shall be wholly and entirely
a "music-maker," for this work will be my last poem, and a
litterateur I hope I shall never be again. Then I shall have
nothing but plans for performances in my head; no more writing,
only performing. I hope you will help me.
Are you going to make a trip this year? How about the rendezvous
which you made me look for as long ago as last summer? Are we
never to meet again?
H. also ought to write to me again. Is he so busy with his
compositions? Of the Imperial Russian "Tannhauser"-"Lohengrin"-
"Cellini" theatre bill he told me nothing.
Are you going to have "Tannhauser" the day after tomorrow? Good
luck to you! Make my compliments to the sovereign lady of all the
Russias. I hope she will send me an order, or at least traveling
money for Italy, where I should like to roam beyond anything.
Tell her so. I hear those people throw plenty of ducats out of
window just now. I am sorry to think that you will not be able to
manage "Lohengrin" for such a long time; the pause is too long.
As a punishment I shall dedicate the score to you when it appears
in print. I do not ask you whether you accept the dedication or
not, for punishment there must be. I must ask you to send me the
score of my "Faust" overture; I do not possess a copy.
Farewell, and be greeted with all my heart.
Your
RICHARD WAGNER. ZURICH, May 29th, 1852.
79.
DEAREST FRIEND,
I have a favour to ask.
I am hard at work and eager to finish the poem of my "Valkyrie"
in a fortnight. Some recreation after that will be a necessity; I
want the change of traveling, and should especially dislike to
finish my last poetic work, the great introductory play, here,
where the monotony of my accustomed surroundings oppresses me,
and where troublesome visitors put me generally in a bad temper.
I want to go to the Alps, and should like at least to have a
taste of the frontier of Italy, and to make a short sojourn
there. Such extravagances I cannot afford from my ordinary
income. For next winter I expect some extraordinary incomings
("Tannhauser" at Leipzig and presumably at Breslau). But, before
all, I reckon upon the money which you will get me for the
"Flying Dutchman" at Weimar. This latter I may calculate at
something like twenty to twenty-five louis d'or. Could you get
any one to advance me that sum?
Unless Zigesar is again at the head of affairs, I should think it
inadvisable to apply to the theatrical exchequer for this advance
of honorarium, but perhaps some benevolent private person might
be found who would not refuse to disburse this sum for me. You
would at the same time furnish the best guarantee that the money
would really be forthcoming, for your zeal secures the
performance of the "Flying Dutchman" at Weimar during the winter.
This advance would give me great satisfaction, but I should want
the money by the end of June at the latest. Kindly see how you
can arrange this.
My "Valkyrie" (first drama) turns out terribly beautiful. I hope
to submit to you the whole poem of the tetralogy before the end
of the summer. The music will be easily and quickly done, for it
is only the execution of something practically ready.
Farewell, and let me soon have news of you. Did the Imperial
Russian "Tannhauser" come off? You are in the midst of great
Musical Festival troubles, are you not? Much luck and joy to it!
Wholly thine,
RICHARD WAGNER
June 16th, 1852
Do you know anything about "Tannhauser" being contemplated for
Munich next autumn? I know nothing. It would be nice of Herr
Dingelstedt to think of such a thing.
80.
Herewith I send you a bill for one hundred thalers, and cordially
wish you good luck and a good mood, fine weather externally and
internally, for your Alpine trip. Let all be well with you, my
glorious friend, and proceed bravely with the completion of your
tetralogy. When do you think it will be ready? Is there a
possibility of thinking of its performance in the months of
August and September, 1854? Do not allow other undertakings or
claims to detract or detain you from this great enterprise, the
task of your life.
For the dedication of "Lohengrin" I thank you most cordially; I
am delighted with it.
The "Flying Dutchman" will most certainly be performed here next
February. Send me the designs soon, so that all may be prepared
in good time. Zigesar will probably resume the management before
long, at which I am very glad.
Beaulieu has taken leave officially, and is gone to Kreuznach.
The "Liebesmahl der Apostel" was satisfactorily given by the
Pauliner choir of Leipzig, under the direction of its conductor,
Langer. I was truly delighted with it, and mean to repeat the
splendid work as soon as there is a good opportunity. Although
external success and a certain (very uncertain) pleasing quality
are a secondary consideration with me in the case of works which
are decidedly above the public, it was agreeable all the same to
see that success and that pleasing quality as fully confirmed as
one could have desired.
The chorus was not very numerous (about a hundred and twenty),
but well balanced, and the whole sounded beautifully. Milde and
his wife sang the duet from the "Flying Dutchman", which was much
applauded, and the "Tannhauser" overture went splendidly, and was
repeated by desire at the close of the Musical Festival on the
second day. The orchestra and the public were unanimous in their
enthusiasm, as indeed must be the case wherever the performance
is adequate.
Long accounts of the Musical Festival you will find in Brendel's
"Neue Zeitschrift" (Brendel himself was at Ballenstedt), the
"Signale", "Rheinische Musikzeitung", and "Berlin Echo".
Your
F. LISZT
June 26th, 1852
Perhaps you can spare a few minutes before starting on your
journey to write a few friendly lines to Langer about the
performance of the "Liebesmahl" at Ballenstedt. He has behaved as
excellently as might have been expected, and the chorus of
students is splendid. Without it the performance would have been
impossible, because the other singers were only just sufficient
to strengthen the chorus. Send your letter to Brendel, who will
give it to Langer, and let me have without delay the designs for
the "Flying Dutchman".
81.
Cordial thanks, best of friends, for sending me the money, in
connection with which I am troubled by one thing only: you do not
tell me that the hundred thalers have been advanced on account of
the honorarium for the "Flying Dutchman". I asked for the sum on
that understanding, and no other, and only if I may assume that
no one has been inconvenienced in this manner will it give me
pleasure to spend the money on a trip of recreation. That trip,
on which I start tomorrow, has come just in time; uninterrupted
work has again strongly affected me, and the nerves of my brain
are so overwrought that even these few lines put me in a state of
violent excitement, wherefore I must ask you not to be angry if I
make them very short. I feel that I am still capable of doing
good things, but only by keeping very strict diet, and especially
by frequently interrupting my work and entirely diverting my
thoughts before going on again. The "Valkyrie", the poem of which
I finished on July lst, I wrote in four weeks; if I had spent
eight weeks over it, I should now feel better. In future I must
adopt this course, and cannot therefore fix a term for the
completion of the whole, although I have reason to suppose that
the music will not give me much trouble.
I am surprised that you ask me for the designs for the "Flying
Dutchman," because I have left the whole matter to the designer,
Herr C. This man, with whom I do not care to have any further
dealings, because he has a passion for borrowing from a poor
devil like me, wrote to me lately to say that he had applied by
letter to Weimar in this matter, but had as yet had no reply. If
you care to have the designs, all that is necessary will be for
the management to reply to C.'s letter, and I ask you therefore
to see that this is done.
Uhlig will arrange the score for you as soon as he receives your
copy.
A thousand thanks for all you have again done for my works
lately. I was not able to read the account of the Ballenstedt
Musical Festival with anything but deep emotion. I am sure that
by these performances you have again won many new friends for me,
and I have no doubt that if ever I come to the fore it will be
your doing.
Farewell, and be happy!
Your
RICHARD WAGNER
82.
MOST GLORIOUS FRIEND,
You have once more given me real, God-sent joy by your dedication
of "Lohengrin". Accept my most cordial, most fervent thanks in
return, and be convinced that it will be the task of my life to
be worthy of your friendship. The little that so far I have been
able to do for you and through you for the honour of art has
chiefly this merit: that it encourages me to do still better and
more decisive things for your works in the future. But what do
you mean by occupying yourself with the bad jokes which have been
circulating in a few newspapers, and by even accusing me of
having been the cause of them? The latter is quite impossible,
and H, has probably told you already that the manuscript of
"Siegfried" has not been out of his hands for months. Some time
ago I lent it, by your desire, to Fraulein Fromann alone, and the
reading that took place at Zigesar's at the beginning of last
year for the Hereditary Grand Duke cannot very well have
originated the bad joke in the "Kreuzzeitung". However, that joke
is quite harmless and insignificant, and I ask you urgently to
ignore totally this kind of gossip once for all.
What can it matter to you whether people indulge their silliness
in connection with you and your works? You have other cats to
flog--"d'autres chats a fouetter," as the French proverb has it.
Do not therefore hesitate on your account or on my account to
publish the "Nibelung" tetralogy as soon as it is finished.
Hartel spoke to me about your letter in connection with this
affair about two months ago; and, in my opinion, you cannot do
better than give the poem to the public while you finish the
score. As to the definite performance of the three operas we must
have a good talk when the time comes. If in the worst case you
are not then back in Germany (and I need not tell you how I wish
that this worst case should not happen), I shall stir in every
possible way for the production of your work. You may rely on my
practical talents for that purpose and have implicit confidence
in me. If Weymar should prove too mean and poor, we shall try
somewhere else; and even if all our strings snap (which is not to
be expected), we may still go on playing if you give me full
power to organize an unheard of music or drama festival, or
whatever the thing may be called in any given place, and to
launch your "Nibelungen" there.
You finish your score! and in the meantime let Hartel or some one
else publish the poem as a forerunner.
How about the performance of "Tannhauser" at Berlin? I quite
approve of your exceptional demand of 1,000 thalers for the same
reasons which induced you to make that demand, and I thank you
cordially for the artistic confidence with regard to the
preparations which you have placed in me. Although a journey of
Berlin would in existing circumstances be somewhat inconvenient,
I am quite at your disposal, with the sole condition--which alone
would make my journey useful and serviceable to "Tannhauser"--
that the Royal management asks me to come to Berlin by your
desire and to settle with that management and with the other
persons concerned the necessary preparations for the best
possible success of your work. In any other circumstances I
should be in an awkward and useless position at Berlin, without
achieving the slightest thing. If you consider the matter, you
will certainly agree with me, and see that this is the only way
in which I perhaps might be of use to you.
As you know already, the "Flying Dutchman" is announced for the
next birthday of H.I.H. the Grand Duchess: February 16th, 1853.
Care will be taken that the opera is properly mounted. Zigesar is
full of enthusiasm for your genius, and will work with a will.
The corrected score has been sent at once to the copyists, and in
six weeks the work will be rehearsed comme il faut.
The theatrical season begins with Verdi's "Hernani," after which
Spohr's "Faust," with new recitatives, will follow soon. By the
middle of November I expect Berlioz, whose "Cellini" (with a
considerable cut) must not be shelved, for, in spite of all the
stupid things that have been set going about it, "Cellini" is and
remains a remarkable and highly estimable work. I am sure you
would like many things in it.
Raff has made great changes in the instrumentation and
arrangement of his "Alfred," and probably the opera in its new
form will have better effect even than before, although the three
or four first performances were much applauded. Altogether I look
upon this opera as the ablest work that has been written by a
German composer these ten years. You of course are not included;
you stand alone, and can be compared with no one but yourself.
I am very glad you have taken this trip. The glaciers are
splendid fellows, and in the years of my youth I, too, had struck
up a friendship with them. The tour round Mont Blanc I recommend
you for next year; I made it partly in the year 1835, but my
traveling companion was soon fatigued, and fatigued me still
more.
Farewell. Be at peace with yourself, and soon publish your
"Nibelung" poem, in order to prepare the public and put it in the
proper mood. Leave all manner of "Grenzboten", "Wohlbekannte",
"Kreuzseitungen", and "Gazettes Musicales" on one side, and do
not bother yourself with these miserable scribblings. Rather
drink a good bottle of wine, and work onwards, up to eternal,
immortal life.
Your cordially grateful and truly devoted
F. LISZT
WEYMAR, August 23rd, 1852
83.
DEAREST FRIEND,
A thousand thanks for your last letter. Unfortunately I cannot
reply to it as I should like to do; the nerves of my brain are
once more in a state of great suffering, and for some time I
ought to give up all writing and reading, I might say all mental
existence. Even the shortest letter wearies me terribly, and only
the most perfect quiet (where and how shall I find that?) may or
might restore me. But I do not wish to complain, only to explain
to you why it is that today I must limit my communication to
stating briefly what is absolutely necessary. Do not be angry
with me for not writing with that joyful expansion which is
intended to make up for the impossibility of personal
intercourse. As to Berlin nothing is settled yet. Hulsen
considered my demand as a vote of want of confidence in his
personal intentions, and this error I had to dispel by laying my
most perfect confidence as a weight on his conscience. All I want
him to do now is to acknowledge in a few words that he perfectly
understands my difficult position with regard to "Tannhauser" at
Berlin, and that he undertakes the performance with the desire of
conquering that difficult position. The whole subject of
honoraria I leave to him. One thing has recently calmed my
anxiety: I have written tolerably comprehensive instructions for
the performance of "Tannhauser", and have had them printed as a
pamphlet and sent a sufficient number of copies to the theatres
which had bought the score. I hope this will be of use. I send
you herewith half-a-dozen copies. There will not be much that is
new to you in the pamphlet, because I have discussed most things
with you by letter; still it might be useful to you, because it
will materially assist you in your purpose of restudying
"Tannhauser" if you will give it to the stage-manager and the
singers. This therefore I would ask you to do. The work has been
a perfect torture to me. This eternal communication by letter and
in print is terrible to me, especially when it is about things
the significance of which has for a long time lain far behind me.
In fact, if I still trouble myself about these earlier operas, it
is only from the necessity of circumstances, not from any desire
to hark back. This leads me to Berlioz and Raff. Candidly
speaking, I am sorry to hear that Berlioz thinks of recasting his
"Cellini". If I am not mistaken, this work is more than twelve
years old. Has not Berlioz developed in the meantime so that he
might do something quite different? It shows poor confidence in
himself to have to return to this earlier work. B. has shown
quite correctly where the failure of "Cellini" lies, viz., in the
poem and in the unnatural position in which the musician was
forcibly placed by being expected to disguise by purely musical
intentions a want which the poet alone could have made good.
This "Cellini" Berlioz will never put on its legs. But which of
the two after all is of more importance, "Cellini" or Berlioz?
Leave the former alone, and help the second. To me there is
something horrible in witnessing this attempt at galvanizing and
resuscitating. For heaven's sake let Berlioz write a new opera;
it will be his greatest misfortune if he fails to do this, for
only one thing can save him, the drama, and one thing must lead
him to ever deeper ruin, his obstinate avoidance of this sole
refuge: and in this latter he will be confirmed by occupying
himself again with an old attempt, in which he has been deserted
by the poet, for whose faults he will try once more to make up by
his music.
Believe me, I love Berlioz, although he keeps apart from me in
his distrust and obstinacy; he does not know me, but I know him.
If I have expectations of any one, it is of Berlioz, but not in
the direction in which he has arrived at the absurdities of his
"Faust". If he proceeds further in that direction, he must become
perfectly ridiculous. If ever a musician wanted the poet, it is
Berlioz, and his misfortune is that he always prepares this poet
for himself, according to his musical whim, arbitrarily handling
now Shakespeare, now Goethe. He wants a poet who would completely
penetrate him, who would conquer him by delight, who would be to
him what man is to woman. I see with dismay that this exceedingly
gifted artist is perishing in his egotistic solitude. Can I save
him?
You do not want to have "Wiland." I believe it to be a beautiful
poem, but am no longer able to execute it for myself. Will you
offer it to Berlioz? Perhaps Henri Blaze would be the man to
treat it in French.