How about Raff? I thought he was writing a new work, but no; he

is remodeling an old one. Is there no LIFE in these people? Out

of what can the artist create if he does not create out of life,

and how can this life contain an artistically productive essence

unless it impels the artist continually to creations which

correspond to life? Is this artificial remodeling of old motives

of life real artistic creativeness? How about the source of all

art unless new things flow forth from it irresistibly, unless it

is wholly absorbed in new creations? Oh, ye creatures of God, do

not think that this making is artistic creating. It betrays no

end of self-complacency, combined with poverty, if we try to prop

up these earlier attempts. If Raff's opera, as you tell me, has

pleased, he ought to be satisfied; in any case he had a better

reward than I had for my "Feen," which was never performed at

all, or for my "Liebesverbot," which had one abominable

performance, or for my "Rienzi," of the revival of which I think

so little that I should not permit it if it were contemplated

anywhere. About the "Dutchman," "Tannhauser," and "Lohengrin" I

trouble myself with disgust, and only for the reason that I know

that, on account of imperfect representations, they have never

been perfectly understood. If they had had their due anywhere, I

should care devilishly little about things that I have outlived.

Good people, do something new, new, and once more new. If you

stick to the old, the devil of barrenness holds you in thrall,

and you are the most miserable of artists.

Well, this is off my heart; he who charges me with insincerity

will have to answer Heaven; he who charges me with arrogance is

silly.

I can write no more; do not be angry; my head is bursting. Only

let me say the warmest farewell that is in my heart. Love me as

before, and write soon to

Your

RICHARD WAGNER

ZURICH, September 8th, 1852

84.

DEAREST FRIEND,

After my last letter you will think that I am quite mad. Lord

knows how I wrote myself into such a fury. Today follows

something very sober, a troublesome thing for you.

Frau Rockel sent me the letter of her poor husband, without

giving me his address. I ask you therefore to forward her the

enclosed letter, also two parcels, which I have posted to you

today--(l) two little pamphlets; (2) a score of "Lohengrin"--both

meant for Rockel, and to be sent through his wife. H. was really

to have the score, but must resign it to the poor prisoner. He

must do this for the love of both of us, and Heaven will find him

another copy sooner or later. As I have once begun asking

favours, I go on. Be kind enough to send me two things:--

1. My "Faust" overture. I hope that, if you want it still, you

have had a copy made. I have a mind to rewrite it a little and to

publish it through H. Perhaps I shall get a little money for it.

B. must do the pianoforte arrangement, according to his promise

to me.

2. My instructions as to the performance of "Lohengrin" which I

sent to you from Thun by letter in the summer of 1850. I want

particularly to have my beautiful designs of the scenery. I

intend to have new designs for the scenery, according to my

indications made by a Dresden friend or through his intercession,

so as to have them in readiness for such theatres as want to

undertake "Lohengrin" in future. If the Weimar management or any

other persons desire to keep my originals, they shall be

faithfully restored to its or their possession.

Have I troubled you enough? When are you going to send me some of

your compositions? I see nothing of them here, and, in fact,

learn scarcely anything about music. Think of me occasionally.

H. also is once again reticent. Uhlig complains of him and of a

hostile feeling on his part. What is the meaning of this? Let

each go his own way without snarling at the other who goes a

different way.

Shall I soon hear from you again? How delighted I should be!

Farewell, and think of me lovingly.

Wholly thine,

RICHARD WAGNER

ZURICH, September 12th, 1852

The parcel will probably arrive a day after this.

At Berlin things now tend towards the non-performance of

"Tannhauser." The performance has been postponed. As, according

to my calculation, it could not have been produced before the end

of January, and as my niece Johanna leaves Berlin at the end of

February, I was compelled to stipulate that ten performances of

the opera should be guaranteed for this winter. Otherwise there

was the danger that this opera too would have disappeared after

three or four performances, as was the case with the "Flying

Dutchman" and "Rienzi," which for that reason were cried down as

failures. If this guarantee is refused, I have given instructions

that the score shall be withdrawn.

85.

DEAREST AND BEST OF FRIENDS,

Set my mind at rest by a few lines telling me that I did not

offend you some time ago. I live at such a distance from my

friends, that I always have a thousand anxieties, especially when

I do not receive news from them for long. Tell me, for heaven's

sake, have I written to you anything about Berlioz or Raff which

you might have misunderstood in the sense that I had something

against them? I have spoken as best I could from a distance; and,

especially with regard to Berlioz, my intentions are the best.

Therefore--a few lines, please! About Berlin everything is now

settled, but "Tannhauser" will not be fully rehearsed till about

December. Considering this delay of the matter, I do not want to

trouble Herr von Hullsen with new conditions just yet; but when

the time comes, I shall ask you to let me know once more whether

you can afford the sacrifice of going to Berlin.

Belloni, as you know, is here; he has again talked much to me

about Paris, and, to my astonishment, I hear that you still have

plans of world-conquest for me in your head. You are

indefatigable indeed! To the translation of Tannhauser I have no

particular objection, especially as in Roger I might expect the

best Tannhauser that I could think of. In addition to this,

Johanna-I confess it would not be amiss. Herwegh also is doing

something for the Paris performance. He proposes to make a richly

coloured prose translation of the poem; however, I cannot yet

think seriously of it.

My instructions as to the performance of Tannhauser have already

induced the Leipzig people to abandon the opera-a very modest

sign of acknowledgment of ill-will on their part. I am pleased to

hear, on the other hand, that Schindelmeisser in Wiesbaden, after

reading my pamphlet, has again begun the rehearsals from the

beginning. Did you like the pamphlet? As you think of studying

Tannhauser again, I assume that it will be useful to you for that

purpose with the stage-manager; the singers also may derive

excellent and much-needed service from it. But why has B. become

silent once more?

Gradually my solitude here is becoming unbearable; and if I can

afford it, I shall go to Paris for the winter. How delighted I

should be to hear something from my Lohengrin played to me by a

good orchestra! Confess that I know how to bear much.

My nerves are not in the best condition, but I have begun again

to work at my poem for an hour or so every day. I can find no

rest till it is ready, and I hope it will be soon.

Farewell, best of all men. Let me hear from you soon, and before

all that you still love me. Farewell.

Wholly thine,

RICHARD WAGNER

ZURICH, October 3rd, 1852

About the "Dutchman" I must write to you at length some day. Have

you forgotten the "Faust" overture and the designs for

"Lohengrin" for which I asked you?

86.

You are quite right, dearest friend, if you attribute the

weakness of Berlioz's mode of working to the poem, and my opinion

perfectly coincides with yours on this point; but you have been

erroneously led to believe that Berlioz is rewriting his

"Cellini." This is not the case; the question at issue is simply

as to a very considerable cut--nearly a whole tableau--which I

have proposed to Berlioz, and which he has approved of, so that

at the next performance "Cellini" will be given in three tableaux

instead of four. If it interests you, I will send you the new

libretto together with the old, and I think you will approve of

the change and of the combination of the two last tableaux in

one. I thank you cordially for your offer to let Berlioz have

"Wiland," and shall talk to him about it on the occasion of his

presence in Weymar. Unfortunately it must be feared that the

Parisians will not relish it, and Henri Blaze is in any case not

the man who could treat such a subject in a poetic manner and do

justice to it. Above all, dearest, best friend, do not imagine

that I could place a bad construction on any utterance of yours

about one man or the other. My sympathy for you and my admiration

of your divine genius are surely too earnest and genuine to let

me overlook their necessary consequences. You can and must not be

different from what you are; and such as you are, I esteem,

understand, and love you with my whole heart.

Your "Faust" overture you will receive by today's post. A copy of

it exists here, and I shall probably give it again in the course

of this winter. The work is quite worthy of you; but if you will

allow me to make a remark, I must confess that I should like

either a second middle part (at letter E or F) or else a quieter

and more agreeably coloured treatment of the present middle

part:--

[score excerpt]

The brass is a little too massive there, and--forgive my opinion-

-the motive in F is not satisfactory; it wants grace in a certain

sense, and is a kind of hybrid thing, neither fish nor flesh,

which stands in no proper relation or contrast to what has gone

before and what follows, and in consequence impedes the interest.

If instead of this you introduced a soft, tender, melodious part,

modulated a la Gretchen, I think I can assure you that your work

would gain very much. Think this over, and do not be angry in

case I have said something stupid. Lohengrin was given last night

in honour of the Prince and Princess of Prussia. The theatre was

again crowded, and Fraulein Fromann, who had been specially

invited by the Princess, has probably written to you about it.

Our further performances of Lohengrin and of "Tannhauser" will

greatly benefit by the influence of our new artistic director,

Herr Marr. I have given him your pamphlet about the performance

of Tannhauser, and we shall both do our best to satisfy your

demands. I am very glad you have published that pamphlet, and

advise you strongly to do the same thing for "Lohengrin" and the

"Flying Dutchman." I have not yet succeeded in discovering your

designs and instructions for "Lohengrin"; I gave them at the time

to Genast, and they made the round of the theatre here. If

possible, I shall send them to you, but I can make no definite

promise, for the rage for autographs may have gone so far that I

shall not be able to get them back again.

Concerning Berlin, I repeat to you what I said before, viz.:-

If you are convinced that I can be of service to the public and

still more to your works by my presence in Berlin, I am prepared

to perform this duty of art and of friendship. My efforts,

however, can lead to a good result only if Herr von Hulsen gives

me his perfect confidence and asks me to settle the necessary

steps for the rehearsals and performance of "Tannhauser." As

mouche du cache I cannot go to Berlin, and should in that

capacity be of little service to you. Your works, it is true, are

above success as at present understood, but I will bet ten to one

that "Tannhauser" or "Lohengrin," rehearsed and placed before the

public in a proper manner, will have the most decided success.

Wherever this does not happen the fault lies exclusively with the

inadequate performance. If, therefore, you wish to send me to

Berlin as your plenipotentiary, I am at your disposal, and give

you my word that the whole world, with the exception of envious

and inimical persons, who will be reduced to a small minority,

shall be content. But before I consent to this it is absolutely

necessary that Herr von Hiilsen should give me an invitation to

Berlin black on white, and also invest me with the powers which

my responsibility will make possible and desirable. In my

opinion, it behoves Berlin to find room for your three works

"Tannhauser," "Lohengrin," and the "Flying Dutchman," and I have

not the slightest doubt of a complete success if the thing is

managed properly. Herr von Hulsen will, no doubt, be of the same

opinion soon; but in the ordinary way and with the old theatrical

routine an extraordinary thing of this kind cannot be done.

Send me soon your instructions for the "Flying Dutchman." I

should like you to write a few lines to Marr, so as to gain his

goodwill completely for your cause and to induce him to undertake

the stage-management of the "Flying Dutchman." Eduard Devrient

paid me a visit last month. We talked a great deal about you, and

I hope he will do something useful in Carlsruhe later on.

You are good enough to ask for some of my compositions, but you

must allow me to delay this communication till we meet. I hope to

visit you, unless you visit Weymar next summer, and shall then

play many things to you. Of my orchestral pieces I might sooner

or later send you "Prometheus," but would rather not think of it

till I have done other things. Unfortunately I have been much

detained from working latterly, but I shall not tell you of my

pains and sorrows; you have more than enough of your own. Let us

stand bolt upright and trust in God. When shall I have your

poems? How long do you think that the four scores will

approximately occupy you? Can you expect to be ready by the end

of 1854?

Of a Paris performance of "Tannhauser" we must not think for the

present; and extraordinary as is my confidence in your

extraordinary work (although personally like "Lohengrin" still

better), I cannot fail to take into account my experience of

operatic performances in Paris and to think that the

incompatibility of "Tannhauser" with the operatic tricks now in

vogue might interfere with its success. Germany, first of all,

must take the lead, for you have the advantage and the misfortune

of being an arch-German poet and composer. As far as I know your

works, I still think that "Rienzi" would be most adapted for a

French version, but do not vainly trouble your mind about it.

Write your "Nibelungen," and care about nothing else. All other

things will arrange themselves of their own accord when the time

comes.

Farewell, and be as happy as I wish you to be with all my heart.

Your

F. LISZT

WEYMAR, October 7th, 1852

87.

MY DEAREST, BEST-BELOVED FRIEND,

For your last letter, and especially for your remark about the

"Faust" overture (which has delighted me!), I owe you a regular

long letter, and must wait till I am in a good mood for it; for I

know that only in that case my answer can give you real pleasure.

Today I write you two hurried lines to say that I have accepted

your generous offer and, relying upon your kindness, have asked

Herr von Hulsen in a decided manner that you should be invited to

Berlin to take my place at the performance of "Tannhauser". I

have, I think, left nothing untried in order to induce Hulsen to

get over any possible difficulties in connection with his own

conductors there; I have made it a matter of personal feeling

between him and me, just as it is between you and me. I hope that

if Hulsen consents, his invitation will find you in a good and

favourable mood. I know how great this new sacrifice is which I

expect of you and how difficult you will find it to make but your

friendship makes me venture upon anything Hulsen, who probably

will not write to me himself, is to answer me through you; and

you also must tell me that you do it willingly for my sake.

Of the great success of "Tannhauser" at Breslau you have probably

heard.

But no more today. Weary as I am, I should only produce halting

things.

Soon I shall write better and more.

My best regards to H. Farewell, and do not lose your temper with

Your old plague,

RlCHARD WAGNER

ZURICH, October 13th, 1852

88.

MY DEAR FRIEND,

I have to write to you, and am so annoyed about what I have to

write to you that I would rather not take pen in hand any more.

Hulsen has declined; I enclose his letter. He has no notion of

what the matter is about, and it will never be possible to give

him a notion of it. This Hulsen is personally a well-disposed

man, but without any knowledge of the business under his care. He

treats with me about "Tannhauser" just as he might with Flotow

about "Martha." It is too disgusting. I see fully that I have

made a great mistake. From the beginning I ought to have made it

the first and sole condition that everything concerning the

performance of "Tannhauser" should be left wholly and entirely to

you. I can explain to myself how it happened that I did not hit

upon this simple method: The first news from Berlin about

"Tannhauser" only frightened me. I had no confidence in anything

there, and my instinct advised me to decline the thing

altogether. It is true that you occurred to me at once as my only

guarantee, but I had first to secure your consent to undertake

"Tannhauser" in Berlin. In order, as it were, to gain time, I

sent to Berlin the demand for 1,000 thalers, so as to keep them

going, and at the same time I applied to you, with the urgent,

impetuous question whether you would see to this matter.

Simultaneously with your answer in the affirmative I received

from Berlin the news of the delay and postponement of

"Tannhauser" till the new year. Being under the impression that

my niece would leave Berlin at the beginning of February, I

thought the "Tannhauser" performance would have to be given up

altogether, and instructed my brother to get the score back

unless Hulsen could guarantee me ten performances this winter. I

thought the matter ended, when I was told in reply that my niece

would stay till the end of May and that Hulsen would undertake to

announce the opera six times during the first month. Thus the

possibility of a performance of "Tannhauser" at Berlin, wholly

given up by me, was once more restored.

From all the letters of Hulsen and my brother I could in the

meantime see perfectly well that these people were without any

understanding of what was to me essential and important in this

matter; that in all their views they were so totally incapable of

leaving the grooves of routine that I should have to fear they

would never understand my desire to invite you to Berlin. I

confess that I had some anxiety on the point, but at last I wrote

to Hulsen myself as clearly, warmly, cordially, and persuasively

as was in my power; I at once called his attention to the fact

that the hostility of the very insignificant Berlin conductors

would be as nothing compared with the favourable influence which

you would exercise on every side; in short, I wrote in such a

manner that I could not believe in the possibility of an

unfavourable answer. Read that answer, and take notice that I

have once more met with my usual fate: the fate of calling out to

the world with my whole soul and of having my calls echoed by

walls of leather. I am now discussing with myself what I shall

do. To give up everything and simply demand my score back--that

would be most agreeable to me. As yet I have not replied with a

line to either Hulsen or X. What do you think? Or shall I look on

indifferently, amuse myself when I can make a hundred thalers,

buy champagne, and turn my back upon the world? It is a misery.

I am going from bad to worse every day, and lead an indescribably

worthless life. Of real enjoyment of life I know nothing; to me

"enjoyment of life, of love," is a matter of imagination, not of

experience. In this manner my heart has to go to my brain, and my

life becomes an artificial one; only as an "artist" I can live;

in the artist my whole "man" has been sunk.

If I could visit you in Weimar and see a performance of my operas

now and then, I might perhaps still hope to recover. I should

there find an element of incitement, of attraction for my

artistic being; perhaps a word of love would meet me now and

then;--but here! Here I must perish in the very shortest space of

time, and everything--everything will come too late, too late! So

it will be.

No news can give me pleasure any more; if I were vain and

ambitious, it would be all right; as I am, nothing "written" can

attract me. All this comes--too late!

What shall I do? Shall I implore the King of Saxony, or perhaps

his ministers, for mercy, humble myself, and confess my

repentance? Who can expect that of me?

You, my only one, the dearest whom I have, you who are to me

prince and world, everything together, have mercy on me.

But calm! calm! I must write to you about the "Faust" overture.

You beautifully spotted the lie when I tried to make myself

believe that I had written an "Overture to 'Faust'." You have

felt quite justly what is wanting; the woman is wanting. Perhaps

you would at once understand my tone-poem if I called it "Faust

in Solitude".

At that time I intended to write an entire "Faust" symphony; the

first movement, that which is ready, was this "solitary Faust,"

longing, despairing, cursing. The "feminine" floats around him as

an object of his longing, but not in its divine reality, and it

is just this insufficient image of his longing which he destroys

in his despair. The second movement was to introduce Gretchen,

the woman. I had a theme for her, but it was only a theme. The

whole remained unfinished. I wrote my "Flying Dutchman" instead.

This is the whole explanation. If now, from a last remnant of

weakness and vanity, I hesitate to abandon this "Faust" work

altogether, I shall certainly have to remodel it, but only as

regards instrumental modulation. The theme which you desire I

cannot introduce; this would naturally involve an entirely new

composition, for which I have no inclination. If I publish it, I

shall give it its proper title, "Faust in Solitude", or "The

Solitary Faust", "a tone-poem for orchestra."

My new poems for the two "Siegfrieds" I finished last week, but I

have still to rewrite the two earlier dramas, "Young Siegfried"

and "Siegfried's Death", as very considerable alterations have

become necessary. I shall not have finished entirely before the

end of the year. The complete title will be "The Ring of the

Nibelung", "a festival stage-play in three days and one previous

evening: previous evening, "The Rhinegold"; first day, "The

Valkyrie"; second day, "Young Siegfried"; third day, "Siegfried's

Death." What fate this poem, the poem of my life and of all that

I am and feel, will have I cannot as yet determine. So much,

however, is certain: that if Germany is not very soon opened to

me, and if I am compelled to drag on my artistic existence

without nourishment and attraction, my animal instinct of life

will soon lead me to abandon art altogether. What I shall do then

to support my life I do not know, but I shall not write the music

of the "Nibelungen", and no person with human feelings can ask me

to remain the slave of my art any longer.

Alas! I always relapse into the miserable keynote of this letter.

Perhaps I commit a great brutality in this manner, for perhaps

you are in need of being cheered up by me. Pardon me if today I

bring nothing but sorrow. I can dissemble no longer; and, let who

will despise me, I shall cry out my sorrow to the world, and

shall not conceal my misfortune any longer. What use would it be

if I were to lie to you? But of one thing you must think, if

nothing else is possible: we must see each other next summer.

Consider that this is a necessity; that it must be; that no god

shall prevent you from coming to me, as the police (make a low

bow!) prevent me from coming to you. Promise me for quite certain

in your next letter that you will come. Promise me!

We must see how I shall be able to exist till then. Farewell.

Bear with me. Greet H., and be of good cheer. Perhaps you will

soon be rid of me. Farewell, and write soon to

Your

RICHARD WAGNER

ZURICH, November 9th, 1852

89.

MY DEAR FRIEND,

I wait with great longing for a letter from you.

For today one urgent request. Send at once the scores of the

"Dutchman" after which that of Weimar was corrected to Uhlig at

Dresden. In Breslau they have very long been waiting for a copy

to be arranged in the same manner. Please, please see to this at

once. Next week you will receive my remarks on the performance of

the "Flying Dutchman". Farewell, and remember lovingly

Your

RICHARD WAGNER

December 22nd, 1852

90.

DEAREST FRIEND,

If through any delay the model score of the "Flying Dutchman" has

not yet been sent to Dresden, these lines may serve to inform you

of the great difficulty in which I have today been placed towards

a second theatre--that of Schwerin--because I cannot supply it

with the score which they urgently demand. I am truly sorry that

I have to plague you with such "business matters;" but who else

is there in Weimar?

I wait with indescribable longing for a letter from you.

Farewell.

Wholly thine,

RICHARD WAGNER

December 24th, 1852

91.

December 27th, 1852

Pardon me, dearest friend, for my long silence. That I can be so

little to you and to your interests is a great grief to me. Your

last letter, of about six weeks ago, has made your whole sorrow

and misery clear to me. I have wept bitter tears over your pains

and wounds. Suffering and patience are unfortunately the only

remedies open to you. How sad for a friend to be able to say no

more than this. Of all the sad and disagreeable things which I

have to suffer I shall not speak to you; do not think of them

either. Today I will, before all, tell you something pleasant,

viz., that I shall visit you in the course of next summer,

probably in June. I shall not be able to stay in Zurich long,

where there is nothing but you to attract me. It is possible--but

this must not yet be spoken of--that on my way back I may conduct

a kind of festival at Carlsruhe. Can you by that time prepare an

orchestral work for the purpose?--perhaps your "Faust" overture--

for I should like to produce a new work by you besides the

"Tannhauser" overture.

Eduard Devrient wrote to me some days ago that the Court Marshal,

Count Leiningen, who is a friend of mine, had spoken to him of

the plan for a musical festival, to be conducted by me. It may be

predicted that considerable means will be at hand in Carlsruhe,

but as yet the public and the papers are to know nothing of it.

Write to me when convenient about some pieces which you could

recommend for the programme. I think, amongst other things, of

the "Missa Solemnis" (D major) by Beethoven, but should not like

to have again the ninth symphony, so as not to repeat the

Ballenstedt programme in extenso.

The rumour reported by several papers that I am about to leave

Weymar and settle in Paris is quite unfounded. I stay here, and

can do nothing but stay here. You will easily guess what has

brought me to this maturely considered resolution. In the first

instance I have faithfully to fulfill a serious duty. Together

with this feeling of the most profound and constant love which

occupies the faith of my whole soul, my external life must either

rise or sink. May God protect my loyal intention.

How far have you got with your "Nibelungen"? It will be a great

joy to me to grasp your creation through your immediate aid. For

heaven's sake, let nothing distract you from this, and continue

to weld your wings with steadfast courage!

All is perishable, only God's word remains for ever, and God's

word is revealed in the creations of genius.

Yesterday your "Tannhauser" was given apart from the subscription

nights, before an overcrowded house. A new scene had been painted

for the revised conclusion of the piece, and for the first time

we have given the entire finale of the second act (a splendid,

masterly finale!) and the entire prayer of Elizabeth in the third

act without any cut. The effect was extraordinary, and I think

you, would have been pleased with the whole performance. I

celebrated on this occasion a perfect triumph in your cause, for

now that the success has been so decided, I may tell you candidly

that no one here cared for the troublesome study of the finale or

for the execution of the revised close, and that the talking

backwards and forwards about the change lasted several months.

"Why," it was said, "do we want a different "Tannhauser" from the

one we are accustomed to?" Several people who had seen

"Tannhauser" in Dresden declared decidedly that our performance

was much better, and that it would lose by the new close and by

the restoration of the entire finale, etc., etc. To all these

excellent arguments I had but one answer: "For Weymar it is a

duty to give Wagner's works when and as far as it is possible in

accordance with the wishes and intentions of the composer."

And, behold! in spite of all the previous chatter, the decisive

success of yesterday has been wholly in favour of my assertion.

Herr von Zigesar has today written to Tichatschek to ask him to

sing "Lohengrin" here on February 26th, and has offered him a fee

of fifty louis d'or, an unheard-of sum for Weymar. I sent

Tichatschek the part soon after the first performance of

"Lohengrin" here, and hope that he will give us the pleasure of

complying with our request. I wish you could write to him direct

on this matter, or else induce him to come here through Uhlig or

Fischer. With the performance of "Lohengrin" I am in parts still

very much dissatisfied. The chief evil lies, as you say, in the

as yet unborn representative of the chief part. For the

performance of February 26th a new scene is being prepared for

the second act, for the one hitherto used is miserable. The

question of cuts, as you know, arose only in connection with the

second performance; at the third I again produced the entire work

unmutilated. With Heine and Fischer, who attended the last

performance, I had much talk about this glorious drama, to me the

highest and most perfect work of art. If Herr von Hulsen had

invited me to Berlin, I should probably have persuaded him to

give "Lohengrin" first; and I repeat that in Berlin I will lay

any wager on the colossal success of "Lohengrin", provided it is

given faithfully and enthusiastically, to do which would not be

excessively difficult in Berlin with goodwill and true

understanding.

That Herr von Hulsen hesitates to call me to Berlin does not

surprise me, but as you have honoured me with your confidence, I

am sorry I cannot justify it in a brilliant manner. During his

last visit here the Prince of Prussia spoke to me about my

participation in the study of "Lohengrin" at Berlin. The Prince

has a high opinion of you as a poet and musician, and seems to

take an interest in the success of your works at Berlin. Beyond

this I can unfortunately have no influence in the matter, and

must quietly wait to see how they are going to cook up

"Tannhauser" there. In any case do not trouble yourself about the

future and contemplate the course of events in an objective mood.

When you hear particulars about the "Tannhauser" performances at

Berlin, write to me, for I hear from time to time the most

contradictory rumours of pourparlers.

Have you received the book about "Tannhauser" by X.? The

dedication was quite unexpected to me, because for several months

I have not had the old friendly intercourse with the author. I

shall, however, call on him tomorrow, and am quite willing to

forget many disagreeable things which he has caused me for your

sake. The "Flying Dutchman" will go to Uhlig tomorrow. I was

unable to send it sooner, because the copying here is done with

the most troublesome slowness. It is therefore no fault of mine

that this return has been delayed so long, for I have pushed it

on every day. The two first pianoforte rehearsals of the "Flying

Dutchman" I have already held, and can guarantee a successful

performance on February 16th. After the second on the 20th

"Tannhauser" is to be given, and on the 26th "Lohengrin" will

follow. Let me ask you once more to persuade Tichatschek not to

leave us in the lurch at the latter. I have special hopes for

this performance of "Lohengrin", and should not like to let it be

spoiled on account of our small means. I can assure you, however,

that the interest of the public in "Lohengrin" is in the

ascendant; at every performance the strangers in our theatre

increase in number, and you are very popular at the various

hotels in Weymar, for on the days when one of your operas is

performed it is not easy to find a room.

One other favour. I have recently made a pianoforte arrangement

of the "Tannhauser" march and of the wedding procession (I don't

know how to name the piece) in the second act of "Lohengrin" (E

flat major), and should like to publish these two pieces. Tell me

whether Meser has still the copyright of the melodies of

"Tannhauser", and whether I must ask his permission to publish

this piece, together with the other from "Lohengrin", with

Hartel. As Kistner has already printed the "Evening Star", I do

not anticipate any particular difficulty in letting Hartel

publish the "Tannhauser" march; at the same time, I should like

to be safe from any possible discussion afterwards, and therefore

inquire of you how the matter stands.

Joachim goes on the lst of January to Hanover as concert-master.

A very able violinist, Ferdinand Laub, has been engaged for our

orchestra.

I am glad that my marginal notes to your "Faust" overture have

not displeased you. In my opinion, the work would gain by a few

elongations.

Hartel will willingly undertake the printing; and if you will

give me particular pleasure, make me a present of the manuscript

when it is no longer wanted for the engraving. This overture has

lain with me so long, and I have taken a great fancy to it. If,

however, you have disposed of it otherwise, do not mind me in the

least, and give me some day another manuscript.

Au revoir then in a few months! I look forward to the moment with

joy. My pen is getting too horribly blunt to write to you. One

single chord brings us nearer to each other than any number of

phrases:--

[score excerpt] Continue to love me, even as I am cordially

devoted to you.

F. L.

Your pamphlet on the rendering of "Lohengrin" I have read with

much interest, and, let us hope, with some benefit for our

representations. I am glad to see that in several indications of

tempo I had guessed your meaning, and that many of your

intentions had been realized here in advance. H. will soon write

to you about yesterday's performance.

92.

BEST OF FRIENDS,

Have not in your version the overture and the close of the last

finale of the "Flying Dutchman" been rearranged in accordance

with a special score written by me last year? The close of the

overture especially has been entirely changed in the

instrumentation. The score containing this change I sent a year

ago to Uhlig, and he wrote to me that he had sent it to Weimar,

together with a second score containing the changes in the

remainder of the instrumentation. Please ask H. B.; you must have

received two scores. Look also in your score at the theatre. If

in that the close of the overture has been considerably changed,

and if especially at page 43 a new bar has been inserted, then

your score must have been arranged after that second one sent to

you, and the model copy must still be with you, for in the

Dresden score the close of the overture had been only very

slightly changed (a little in the violins). Two things I have to

ask you: if the second score is with you, send it at once to

Dresden, addressed to Choir director W. Fischer; if it does not

exist at Weimar, Uhlig having forgotten to send it to you, and if

therefore in your score at the theatre the close of the overture

has not been changed much (in the instrumentation), and no new

bar inserted at page 43, then let Fischer know at once, so that

he may send you the materials for making this important

alteration. I shall send him the score which is at the theatre

here, and in which I hope the matter has been corrected.

To your most important kind letter recently received I shall soon

send an answer which, I hope, will please you. Today only this

business in great haste.

Farewell.

Ever thine,

RICHARD WAGNER

ZURICH, January 8th, 1853

93.

DEAREST FRIEND,

After many inquiries, thoughts, and searches the affair of the

"Flying Dutchman" scores has turned out to be as follows:--

The score containing the corrected close of the overture and of

the finale of the opera is the same which you left me here as a

present. I never thought of using it for our performance, and

therefore wrote to Uhlig (whose death has affected H. and me

painfully) shortly before his death that he had made a mistake in

demanding back two theatre scores, as one of them we necessarily

required here, while the other had already been returned to him.

Uhlig does not seem to have known that one of the three scores

which were here for some time was my personal property; and I, on

my part, could not admit his justification in describing my copy

as a score belonging to the theatre. The confusion which had

previously happened in connection with the "Dutchman" score, sent

from and returned to Dresden, made me assume that Uhlig had made

a second mistake. Your letter today explains the matter; and I

promise you that by tomorrow evening the theatre score shall be

carefully corrected after my copy, and that my copy, containing

the newly corrected close of the overture, etc., will be sent to

Fischer the day after tomorrow. You need not trouble yourself

about it, and may dispose of this score as you like.

Kindly excuse these delays. Musikdirektor Gotze, who had to make

these alterations in the score, has been much detained from his

work, and only your letter explained the matter to me in the

sense that you wish to dispose of my copy, which is cordially at

your service. Nunc et semper.

Your truly devoted

F. LISZT

January 12th, 1853

Your remarks about the rendering of the "Flying Dutchman" have

safely reached me, and I have already communicated them to the

singers. Farewell, and be God's blessing upon you.

94.

MY DEAR LISZT,

The real answer to your last great letter you do not receive

today; I hold it over for a good reason. But I must tell you

something at once. Yesterday I heard from my niece at Berlin that

"Tannhauser" there could not be thought of for the present,

because the "Feensee" and Flotow's "Indra" had first to be given.

(The last thing that Hulsen had said was that "Tannhauser" should

be put in rehearsal after the Queen's birthday, November 13th,

1852.) I have let them know that I look upon this cavalier

treatment as an insult, and consider all previous transactions

finished, demanding at the same time the immediate return of my

score. This has eased my heart, and by Hulsen's fault I have been

released from all previous concessions.

Now, dearest friend, comes the principal thing. I accept your

generous offer, and place all my further relations with Berlin in

your hands. Hulsen may reply to me what he likes; he may offer to

produce "Tannhauser" at once. I am determined to answer that in

my present condition I am unable to take a leading part in so

important a matter as the performance of my operas at Berlin, and

that therefore I refer him once for all, and concerning

everything in connection with the performance of my works at

Berlin, to you, who have unlimited power to do or leave undone in

my name what seems good to you. Let it be settled in this way,

and I ask you to act in the matter quite according to your own

opinion. I should think it most advisable if you had nothing

further to do with Hulsen, who is merely an instrument without a

will of his own. You will, I think, prefer to keep up

communication solely with the Prince and Princess of Prussia. I

was very glad to learn that even the Prince of Prussia understood

at once that your personal direction was inseparable from an

important performance of my operas.

This then is the only basis on which a performance, be it of

"Tannhauser" or of "Lohengrin", will henceforth be possible in

Berlin. Without your direction I should not consent to such a

performance, even if you were to ask me. Our motto therefore must

be "Patience!"

It is true that the hope of good receipts for next Easter had

made me a little soft towards the Berlin project. Lord knows, I

poor devil, should have liked to have a few thousand francs in my

pocket, so as to divert my thoughts and cure myself of my

terrible melancholy by a journey to Paris or Italy. However, I

must bear this and remain in my old state of resignation and

want. For all that I thus remain in want of, the unspeakable joy

of seeing you at last in the summer will compensate me; believe

me, that will make up for all.

But let us stick to the point. Time will be needed, but perhaps

you will succeed in obtaining through the Prince and Princess for

next winter the invitation and commission to perform my two last

operas in Berlin. You will then probably begin with "Tannhauser".

This would appear to me a more natural order of things: perhaps

in the first half of the season "Tannhauser" and soon afterwards

"Lohengrin". It is true that you cannot count upon my niece, who

will be in Paris next winter. But there is little harm in this,

for Elizabeth is not of the first importance, and as regards

"Lohengrin" I am in a dilemma which it would perhaps be difficult

to solve. Six years ago I intended Elsa for my niece; now she

would have served me better as Ortrud.

Therefore--just as you decide; I am content with everything. From

this day I shall have no further transactions with Berlin.

The Leipzig people also have eaten humble-pie; they have

capitulated to me through Hartel. The performance there will

probably take place soon. Could you occasionally look after it a

little?

At Frankfort they will begin next Saturday. The conductor writes

to me that he hopes for a good success. We shall see.

I have written to Luttichau and asked him not to perform

"Lohengrin" at present, because I have not sufficient confidence

in any of his conductors.

I am sorry to say I cannot write to T. He is very angry with me

on account of my instructions for the rendering of "Tannhauser."

Of course he cannot understand me.

Do arrange that about the close of the overture to the "Flying

Dutchman." In case the one score should have been lost (a rather

serious loss to me), let Fischer know, and he will send the new

close to you; but do not give the overture without this change.

Herewith I send you another alteration; you will see where it

belongs. The effect of the brass and the kettledrums was too

coarse, too material; the spectator should be terror-struck by

the cry of Senta on seeing the Dutchman, not by kettledrum and

brass. God bless you. You will soon have news from me again.

Farewell, and remember kindly your

RICHARD WAGNER

ZURICH. January 13th, 1853

95.

DEAREST FRIEND,

I cannot thank you for your more than royal present otherwise

than by accepting it with the deepest, most heartfelt joy. You

are best able to feel yourself how I was affected by the receipt

of your splendid presents, how I greeted the three scores with

plentiful tears. The Florentines carried the Madonna of Cimabue

round the city in triumphal procession, amidst the ringing of

bells. I wish it were given to me to arrange a similar festival

for your works. In the meantime the three scores will repose in a

particular niche near me; and when I come to see you, I will tell

you more.

First of all, the three works must be performed here in a proper

manner. All the changes in the score of the "Flying Dutchman"

have been carefully copied into the parts, and I shall not forget

the pizzicato you sent last.

[A musical score illustration appears here.]

Tichatschek has accepted Zigesar's offer, but Luttichau cannot

give him leave for the end of February. In consequence we must

wait for another opportunity, and Beck will sing "Lohengrin" and

"Tannhauser." Brendel and some other papers will probably notice

these performances. The "Flying" Dutchman presents no great

difficulties to our well-drilled artists, and I look forward to a

better performance, comparatively speaking, than of either

"Tannhauser" or "Lohengrin." The latter, however, goes much

better than at the four first performances, and upon the whole

one need not be dissatisfied. By the middle of May the newly

engaged tenor, Dr. Lieber, will arrive here, and I shall not fail

to study the three parts properly with him and to sing them to

him. I hear that he has a splendid voice and the best intention

to join in our movement.

Till the end of May I must in any case remain in Weymar, much as

I long to see you again. The wedding festivities for the marriage

of Princess Amalie (daughter of Duke Bernhard, brother of our

Grand Duke) with Prince Henry of the Netherlands (brother of the

reigning King of Holland and of our Hereditary Grand Duchess) are

to take place in May, when probably "Lohengrin" or "Tannhauser"

will be given again, besides a grand orchestral concert in the

hall of the castle.

The honorarium for the "Flying Dutchman" you will receive

immediately after the first performance (about February 20th).

How about Berlin? Has Hulsen replied to your last letter, and to

what effect? In case the whole matter is settled, as you indicate

to me, you may wholly rely and count upon me. Your annoyance at

the delay of the performance of "Tannhauser" is quite

comprehensible; and, in my opinion, you were right in demanding

back the score. Whether they will comply with your demand is a

different question. We must now see how we can achieve our

purpose in the quietest and safest manner. I need not repeat to

you that I desire with all my heart to justify the honour of your

confidence, but I earnestly hope that I shall be able to prove

this practically as soon as possible. Once more I thank you with

all my soul, and remain immutably

Your sincerely devoted

F. LISZT.

WEYMAR, January 23rd, 1853.

96.

MY DEAREST FRIEND,

Herewith you receive a whole heap of new stuff. You perceive that

my poem is ready, and although not yet set to music, at least set

in type, and printed at my own expense, and in a few copies only,

which I shall present to my friends, so that they may have my

legacy in advance in case I should die during the work. He who

knows my position will again think me very extravagant in the

face of this luxurious edition; let it be so; the world, properly

so called, is so stingy towards me, that I do not care to imitate

it. Therefore, with a kind of anxious pleasure, I have secretly

(in order not to be prevented by prudent counsel) prepared this

edition the particular tendency of which you will find stated in

an introductory notice. Only a few copies have been struck off,

and I send you herewith a parcel of them, asking you to dispose

of them in the following manner. Of the three copies in a de luxe

binding you must accept the first as a present from me. The

second I have destined for the Grand Duchess on her birthday.

Tell her I have heard that she is indisposed and will probably be

unable to appear on her birthday in public. As therefore she will

not hear the "Flying Dutchman" at the theatre, I ask her to cast

a glance at my latest work. Tell her that, if it did not please

her throughout, I still thought I might assure her that woman had

never yet received such a tribute as every one who understood it

must find in my poem. The third copy de luxe forward to the

Princess of Prussia. Fortunately I have been able to get the

type, printing, and binding done in good time, and I assume

therefore that you will be in a position to present the gift on

the 16th. Of the other copies sent herewith, I ask you to keep

two in your own possession to lend them out according to your

discretion, and you will oblige me particularly by thinking soon

of A. Stahr, to whom I wish to be kindly remembered. He was the

first litterateur who ever paid attention to me as a poet. A

third copy please to forward in my name, with cordial greeting,

to Herr von Zigesar. Apart from this I send the following

parcels:--

1. For B., containing two copies: one for himself, the other for

my poor friend Roeckel.

2. For Herr F. M., whose title I have unfortunately forgotten,

and my answer to whom, in return for his kind present, I have

held over till today.

3. For A. F., who has just written to me that she is going to

Weimar for the festival; kindly give the parcel to her as to the

others.

If you further find that you can dispose of some other copies

where they will be well and thankfully received, kindly let me

know soon; for that and similar emergencies I have kept back a

small number of copies.

About the poem itself I cannot, and do not care to, say anything

more to you; when you find leisure to read it sympathetically,

you will say to yourself all that I could tell you. I shall never

again write poetry. But I am looking forward with much delight to

setting all this to music. As to form, it is quite ready in my

mind, and I was never before so determined as to musical

execution as I am now and with regard to this poem. All I want is

sufficient charm of life to get into the indispensable cheerful

mood from which motives spring forth gladly and spontaneously. As

to this I once before made bitter moan to you; I desired

salvation from the killing circumstances in which I am placed at

Zurich; I inquired as to the possibility of being permitted to

make a trip to Germany now and then, so as to witness a

performance of my works, because otherwise I should perish here

for want of encouragement. To your great grief, your answer had

to be in the negative, and you admonished me to have--patience.

Dear, noble friend, consider that patience is only just

sufficient to preserve bare life, but that the vigour and

fullness which enable one to enrich life and employ it creatively

no man has ever yet drawn from patience, i.e., from absolute

want. Neither can I succeed in this. Listen to me! You are very

reticent as to the point in question. Let me know whether

anything has been done from Weimar in order to obtain for me at

Dresden permission to return to Germany, also what impediments

have been found in the way. If everything has not already been

tried, I should make the following suggestion: The Weimar court

invites me to visit Weimar for a few weeks, and sends me a

passport for four weeks; it then inquires, through its minister

at Dresden, whether they object, and would be likely to demand my

extradition to Saxony. If the answer were satisfactory--somewhat

to this effect: that the prosecution instituted against me four

years ago would be suspended for that short time--I might be with

you very quickly, hear my "Lohengrin", and then return straight

to Switzerland and wait for your visit (I might also read my poem

at court). See what can be done in this. I must hear "Lohengrin";

I will not and cannot write music before.

The German theatres do not cause me much delight; there is a

hitch everywhere, and I confess candidly that I often feel great

repentance at having consented to any performance outside Weimar.

Even two years ago I was conscious of myself, clear, and firm,

while I allowed myself no thought of the further expansion of my

work. Now I am torn to pieces, wavering, uncertain, and exposed

to every breath of wind, because I have to read now one thing,

now another, but never an intelligent judgment about my works in

the newspapers. I am much lowered in my own eyes. How

disgustingly dirty was again this Leipzig affair! The manager

makes sacrifices, enlarges the orchestra, reconstructs the same,

etc.; he hopes soon to recover his outlay, and raises the prices

as for an extraordinary thing; the enthusiastic public--stops

away and leaves the second performance empty. Oh, how different I

am from such canaille! But what a bad, disgusting scandal this

is! I am never to enjoy my life again.

You thought the score would not be returned to me from Berlin at

my demand; this time you were mistaken. The score was returned at

once, and neither from Hulsen nor from any one else have I had a

line about it. Disgusting as such conduct is, showing as it does

how they felt in Berlin towards "Tannhauser", I must yet be glad

at this issue, first because it proves that in such circumstances

the opera, if it had been performed, would have been lost, and

second because now tabula rasa has been made, and everything has

been committed to your faithful care. The Berlin affair has

herewith taken an entirely new form; no obligation exists, and

your hand is henceforth perfectly free, provided that I may place

the matter once for all in your hands, while I have no longer

anything to concede or refuse, and am towards Berlin as one of

the dead. Cassel has asked for the score of "Tannhauser", and

there, I presume, the matter ends; I do not count upon any other

theatre. I can now therefore sum up my gain from this glorious

undertaking; very slender it is, and I must thank God that the R.

family continue to assist me. Otherwise I should (after buying a

few commodities for house and body, of which we were very short)

have reached once more the bare rock of my existence, and this

through the noble sympathy of that splendid Germany.

I have no hopes at all for the further spreading of my operas. To

theatres like those of Munich and others I should have to refuse

them, because the conductors there would have nothing better to

do than to ruin me thoroughly. Once more I have to regret that I

yielded to a sanguine hope.

How long I shall endure this terrible joylessness I cannot tell.

About the middle of last month, I was on the point of succumbing,

and thought that I should soon have to follow my poor Uhlig. I

was persuaded to call in a doctor, and he, a careful,

considerate, and conscientious man, takes much trouble with me.

He visits me nearly every other day, and I cannot but approve of

his treatment. Certain it is that if I do not recover, it will

not be his fault. The isolation of my position is too great; all

my social intercourse has died away; I was fated to survive and

cast from me everything. I stand in a desert, and feed on my own

vitals; I must perish. Some people will be sorry for this one

day, perhaps even the King of Saxony.

What nonsense am I talking! Let us leave it alone; we cannot

alter it; it has always been so.

Much luck to the "Flying Dutchman"! This melancholy hero is never

out of my head. I always hear

[score excerpt] "Ach moch-test Du, blei-cher See-mann sie fin-

den!"

With the

[Score excerpt] "Doch kann dem blei-chen Manne Er-lo-sung ein-

sten noch wer-den!"

all is over. For me there is no salvation but death. Would that

it found me in a storm at sea, not on a sick-bed! Yea, in the

fire of Valhall I should like to perish. Consider well my new

poem; it contains the beginning and the end of the world.

I shall have to set it to music, after all, for the Jews of

Frankfort and Leipzig; it will just suit them.

But stop; my epistle is getting wild and wilder; therefore I must

conclude. Adieu, my Franciscus, the first and only one who stands

before me like the heart of a giant! You indefatigable one,

farewell. When they play the ballad tomorrow, think of me. I am

sitting alone on the sofa, staring at the lamp and brooding over

my good fortune in having gained you from this miserable world.

Yes, yes, it is that which supports me.

Farewell, my friend. My affectionate regards to you!

Your

RICHARD WAGNER.

ZURICH, February 11th, 1853.

97.

BEST OF FRIENDS,

H. sent you yesterday a long account of the first performance of

the "Flying Dutchman". The rendering was satisfactory, and the

reception such as I had reason to expect--decidedly warm and

sympathetic. The two Mildes did their very best to give to the

parts of the Dutchman and of Senta their full significance, and

they were completely successful. The overture raged and crashed

superbly, so that, in spite of the usual custom not to applaud on

the fete-day of the Grand Duchess, they clapped their hands and

called "Bravo!" with enthusiasm. Our orchestra is now on a good

footing; and as soon as the five or six new engagements which I

have proposed have been made, it may boast of being one of the

most excellent in Germany.

Enclosed I send you the honorarium for the score of the "Flying

Dutchman", about which Herr von Zigesar has also written to you

yesterday. At the performance of the day before yesterday the

following princely personages, strangers here, were present: the

Duke of Coburg, the Duke of Mecklenburg-Schwerin and his wife,

Prince Charles of Prussia, the Hereditary Prince of Meiningen and

his wife, Princess Charlotte of Prussia, the son of the Prince of

Prussia, heir-presumptive to the throne, the Prince of

Sondershausen; also several ambassadors from Dresden, General

Wrangel, and Prince Pukler-Muskau.

In a few weeks the King of Saxony is expected here.

Write to me soon what titles I am to give to the "Tannhauser"

march and the "Lohengrin" procession (E flat, Act II.), which I

have arranged for H. for drawing-room use. H. has forwarded you

two letters: one from Count Tichkiewitz, who is said to be a

passionate admirer of your genius (he wrote to me soon after the

appearance of my "Lohengrin" article a very enthusiastic letter,

and has now caused the "Tannhauser" overture to be played at

Posen; his family belongs to the higher aristocracy of Poland);

the other letter, from S. in H., I merely wanted to communicate

to you without wishing to influence your decision in this matter.

I made the acquaintance of S. in Weymar in a very casual

manner... and... so on....

I call your special attention to the postscript with regard to

Gotha which H. has added to his letter of yesterday by my desire.

The time has not yet come for explaining the details of this

matter to you, and probably nothing further will come of it. In

any case I ask you, if they should apply to you direct from

Coburg-Gotha, to give me exclusive power to carry on this little

transaction, without troubling you with it.

My most cordial thanks to you, best of friends, for all the

pleasure your "Dutchman" gives me; this summer we will have

another chat about it. Write soon to

Your faithful

F. LISZT.

WEYMAR, February 18th, 1853.

98.

DEAREST FRIEND,

I have just received the incredible news from the Prague manager

that, after the censorship had authorized the performance of

"Tannhauser", permission was suddenly withdrawn by a higher

personage, in other words that the opera was forbidden. There

must surely be some personal stupidity at work here. I should

like to assist the man; and thinking it over, I hit--as I always

do when there is need--on you. You have influence everywhere,

and, as far as I know, can say a word to some very influential

persons at Vienna. Kindly consider to whom you could apply, so as

to win over some one who would interest himself in the withdrawal

of this absurd prohibition. If it is not too much trouble, I ask

you specially to arrange this also for me. You can do so many

things. Adieu, dearest! Shall I soon hear from you?

Your

RICHARD WAGNER.

February 19th, 1853.

At Riga, in Russia, the performance has been permitted.

99.

You are truly a wonderful man, and your "Nibelungen" poem is

surely the most incredible thing which you have ever done. As

soon as the three performances of the "Flying Dutchman",

"Tannhauser", and "Lohengrin" are over I shall lock myself in for

a few days to read the four poems; as yet I have been unable to

get a free hour for it. Excuse me therefore for not saying more

today than that I rejoice in the joy which the printed copies

have given to you.

The one intended for the Grand Duchess I have presented to her,

and that for the Princess of Prussia I have given to her brother,

the Hereditary Grand Duke. The others also have been forwarded to

their respective owners. If it is possible, send me about three

copies more; I can make good use of them.

Your letter I have not put on the shelf, and hope to be able in

about six weeks to give you a definite and (D.V.) a favourable

answer concerning your return. I am extremely sorry that hitherto

I have had to be so "reticent," but you may be sure that I have

not omitted to do all that appeared to me opportune and was in my

power. Unfortunately I have nothing but very timid hopes; still

they are hopes, and all timidity and lukewarmness must be far

from me in my endeavour to gain you back for yourself. Rely upon

my warmest friendly love in this as in other matters.

The Berlin affair you have arranged in the best possible manner,

and it is probable that, if henceforth you leave it entirely to

me, you will be satisfied with the final result. Whether

"Tannhauser" and "Lohengrin" are given in Berlin a year sooner or

later matters little to you; the chief question is how and in

what manner they are given: and as long as you are not back in

Germany, I believe that in our actual musical circumstances I can

offer you the only perfect security on this point. Moreover,

Berlin is the most important field for your works, and on the

success of those works there your whole position depends in the

most decisive manner. However, the performances at Frankfort,

Breslau, Schwerin, Leipzig, etc., are in themselves very

desirable, because they keep the matter warm and facilitate the

conquest of Berlin. They have also tended to place the artistic

question which has arisen through your means in a clearer light

than was previously possible.

Before all, regain your health, dearest friend. We shall soon

take some walks together, for which you will want good steady

legs. I do not mean to drink tisane with you at Zurich; therefore

you must take care that I do not find you a hospital patient. The

Prague affair can, I hope, be arranged, and I am willingly at

your service. A very reasonable and intelligent man, whom I used

to know very well at Lemberg, Herr von Sacher, is now commandant

of Prague, and I shall apply to him in this matter. Write to me

at once, by return of post, from what quarter and when the

prohibition of the "Tannhauser" performance was issued, and send

me the letter of the Prague manager, so that I may be able to

explain the matter properly. Apart from this, I can knock at

another door in Prague.

But, before all, I must be more accurately informed of the actual

state of things.

Your

F. LISZT

WEYMAR, February 20th, 1853

The Princess read your "Ring of the Nibelung" the first day from

beginning to end, and is full of enthusiasm for it.

100.

BEST OF FRIENDS,

Please let me have two words to say whether you have received a

parcel, sent from here on February 11th, and containing several

copies of my new poem, "The Ring of the Nibelung."

I had hoped that it would reach you before the 16th, but your

letter makes no mention of it. I am very anxious about this,

because it has spoiled a great pleasure to me. Therefore one

word, please! If it has not arrived, I must apply for it at the

post-office. All the rest I shall answer later on.

Your

R. W.

ZURICH, February 28th, 1853.

101.

MY DEAR FRIEND,

I send you today, immediately on receipt of your kind letter, the

epistle from the Prague manager announcing the prohibition of my

"Tannhauser". This is all I know of the matter. It would be an

excellent thing if you could succeed in having this interdict

withdrawn. It annoys me specially on account of the manager, who

in the whole affair has behaved energetically and charmingly. We

should both be very grateful to you.

In order not to forget your question as to the titles, I will

answer it at once, as best I can. Nothing occurs to me but "Two

Pieces from "Tannhauser" and "Lohengrin"."

1. Entrance of the guests at Wartburg.

2. Elsa's bridal progress to the minster.

This, in my opinion, would best indicate the character of the

pieces in accordance with the events represented. I am looking

forward to your pianoforte arrangement of these pieces in the

ingenious manner peculiar to you; and, above all, I am most

agreeably flattered by it. I myself nurse the plan of calling a

good orchestra together here next May in order to give to the

people who would like to hear some of my music a characteristic

selection (not dramatic, but purely lyrical) of pieces from my

operas. I have composed the following programme. By way of

introduction:

The March of Peace from "Rienzi". After that--

I. "Flying Dutchman".

A. Ballad of Senta.

B. Sailors' song (in C).

C. Overture.

II. "Tannhauser".

A. Entrance of the guests at the Wartburg.

B. Tannhauser's pilgrimage (i.e., introduction to the third act

complete and with programme); then, joining on immediately, the

song of the returning pilgrims (E flat major).

C. Overture. III. "Lohengrin".

A. Instrumental prelude.

B. The whole scene for male chorus commencing with the song of

the watchman on the tower, which enters in D major immediately

after the great prelude in A major, and thus leads from the

heights to the earth. This is followed (after a transition

specially written) by Elsa's bridal progress (with a close,

specially written in E flat).

C. Wedding music (introduction to Act III.); bridal song; then

wedding music in G major repeated. This makes the conclusion.

I undertake the whole thing only to hear something out of

"Lohengrin", and would willingly abandon this substitute if I

could once hear the real "Lohengrin".

Well, you have at least hopes. I sigh on your and my own account

when I hear you say so.

But all this leads me beyond the purpose of these hasty lines.

To Zigesar I hope to write tomorrow; I have to thank him for his

unusually rich gift for the "Dutchman". To my disgrace, I must

confess that it came very conveniently, although it curiously

reminded me of the fact that last year I visited the islands of

the Lago Maggiore at the expense of friend Liszt. Lord knows, I

shall always remain a disreputable fellow. Why do you have

anything to do with me? (In the spectre scene of the third act of

the "Flying Dutchman" you might have made cuts without

hesitation.)

I am much obliged to the Princess for her zeal in making

acquaintance with my new poem; if I could only read it to you

both, I should have no fear.

The three copies I shall send you before long.

Farewell for today, you dear, good friend.

Your

RICHARD WAGNER.

ZURICH, March 3d, 1853.

102.

MY DEAREST FRIEND,

As to one thing I must ask you seriously not to misunderstand me.

If your gigantic perseverance of friendship should succeed in

opening my return to Germany, be assured that the only use I

should make of this favour would be to visit Weimar now and then,

take part for a short time in your activity, and witness an

important performance of my operas from time to time. This I

want; it is a necessary of life to me, and it is this which I

miss so cruelly. I should derive no other benefit from it; I

should never permanently settle in Germany, but should retain as

the scene of my life, or rather work, calm, beautiful

Switzerland, endeared to me by nature. How little I am able to

endure the permanent excitement which would be involved in my

frequent public appearances I know full well; after each

explosion, such as I want them now and then, I should require the

most perfect quietude for my productive labour; and this I can

have here without stint. A permanent position I therefore could

never resume in Germany, and it would not fall in with my views

and experiences. On the other hand, temporary outings for the

purposes already indicated are, as I said before, indispensable

to me; they are to me the rain which I require unless my plant is

to wither and to die; I can only live in extremes--great activity

and excitement and--most perfect calm.

I have already contemplated what my position would be, for

example, towards Berlin in case my return were granted, and have,

after mature consideration, come to the conclusion that even then

I should ask you earnestly to undertake the performances of my

operas there.

Twice I have produced an opera of my own at Berlin, and have been

unfortunate each time; this time I should therefore prefer to

leave the undertaking wholly to you; at the utmost I should enjoy

your doings incognito. In any case you alone would be able to

influence in my favour the circumstances and personal relations

which are indispensable; I should again spoil everything. This

therefore is prudence. Moreover, I cannot express to you how my

heart rejoices at the thought that I might look on from a hidden

corner while you instilled my work into the Berliners; this

satisfaction to my feelings I must live to see!

But enough for today. Of your visit to Zurich I dream every day,

and make earnest preparations for being able to dispense with my

tisane. Don't come too late.

Write to me soon how you like my poem; in the summer I shall read

it to you. If all goes well, there will also be musical sketches,

but before the middle of May I cannot really set to work.

A thousand warm greetings from your

R. W.

March 4th, 1853.

103.

Bach's "Passion Music" will be performed this evening, which will

account for my extraordinary notepaper.

I have forwarded your letter to the D. of C, and he has replied

in a very friendly and amiable manner. Finally he says to me, "On

verra ce qu'on pourra faire pour lui plus tard," and this point I

shall not fail to discuss with the D. on occasion. You have of

course not the slightest doubt as to my view of this matter;

otherwise, my dearest friend, I should have to think that you had

gone out of your mind. Excuse the word! You could not have

possibly seen the matter in any other light from what you have

done, and for the same reason I had to remain perfectly passive

and neutral. For heaven's sake, keep as well as you can, and do

not be annoyed by the inevitable stupidity and malice which are

opposed to you so frequently from different quarters.

The affair at Prague appears to me somewhat complicated. Laub,

who has taken Joachim's place in our orchestra, wrote to me from

Prague yesterday that the prohibition of "Tannhauser" must be a

theatrical trick of St.'s, the director of police (President

Sacher) having informed him that he knew nothing of that

prohibition. I have asked Laub in consequence to ferret out the

matter carefully and to ask St. to write to you or me plainly and

precisely. Before taking an official step, one must know by whom

and in what manner the prohibition has been issued, and on whom

the withdrawal thereof depends. I mentioned to you President

Sacher as the director of police in Prague because in the

Austrian monarchy similar orders are made by that official. If he

declares that "he knows nothing about it," I know still less

where the difficulty lies and at what door I should have to

knock. On April 4th the "Tannhauser" overture will be played at

Prague, and until then I wait for further information from Laub.

In the meantime I think it advisable that you should write a

friendly letter to St., asking him in what manner Tannhauser has

been prohibited at Prague, and to whom one would have to apply in

order to get rid of this difficulty. It is of course far from my

wish to inspire you with suspicion against St.; but it is

necessary for us to sift the matter thoroughly, and after so many

experiences it may be permitted to anticipate different and even

contradictory possibilities.

Your

F. LISZT.

LEIPZIG, March 25th, 1853.

104.

MY DEAREST FRIEND,

I hear much too little of you. This is not a reproach, but merely

a complaint. That you work for me daily and always, I know; in

return I live almost entirely with you, and from my place of

abode here I am always absent. I live here a perfect dream life;

when I awake, it is with pain. Nothing attracts or holds me, or

rather what attracts and holds me, is in the distance. How can I

avoid being deeply melancholy? It is only the post that keeps me

alive; with the most passionate impatience I expect the postman

every morning about eleven. If he brings nothing or brings

something unsatisfactory, my whole day is a desert of

resignation. Such is my life! Why do I live? Often I make

unheard-of efforts to get something from abroad; lately, for

instance, I had my new poem printed, to give a strong sign of

life. I sent it to all the friends who, I might assume, would

take an interest in me, and in this manner I hoped to have

compelled people to vouchsafe me a sign. What is the result?

Franz Muller in Weimar and Karl Ritter have written to me; no one

else has thought it worth while even to acknowledge receipt.

If it had not been for a few enthusiastic women at Weimar, I

should have heard nothing of the third opera week. Even the most

unheard-of efforts which you make on my behalf become an empty

breath of air to me. I am condemned to perish amidst leather and

oppressive dullness.

Would it not be possible to leave all this and begin an entirely

new life? How absurd it is on your part to worry yourself in

order to help me! Alas! no, you cannot help me in this manner,

only my "fame," and that is something entirely different from me.

Nothing on paper can be of any use to me, and yet my whole

intercourse with the world is entirely through paper. What can

help me? My nights are mostly sleepless; weary and miserable, I

rise from my bed to see a day before me which will bring me not

one joy. Intercourse with people who torture me, and from whom I

withdraw to torture myself! I feel disgust at whatever I

undertake. This cannot go on; I cannot bear life much longer.

I ask you with the greatest urgency and decision to induce the

Weimar court to take a definite step, in order to ascertain once

for all whether I have sure and immediate expectations of having

the return to Germany opened to me. I must know this soon and for

certain. Be perfectly open with me. Tell me whether the Weimar

court will take this step; and if it takes it, and takes it soon,

let me know the result. I am not inclined to make the slightest

concession for the sake of this wish; I can assure you that I

shall take no part whatever in politics, and any one who is not

absolutely silly must see that I am not a demagogue with whom one

must deal by police measures. (If they wish it, they may place me

under police supervision as much as they like.) But they must not

expect of me the disgrace of making a confession of repentance of

any kind. If on such conditions a temporary return could be

granted to me, I do not deny that it would be a lift to me. If,

however, it is not possible, and if a definite negative answer is

given, let me know at once and without any prevarication; then I

shall know where I am. Then I shall begin a different life. Then

I shall get money how and where I can; I shall borrow and steal,

if necessary, in order to travel. The beautiful parts of Italy

are closed to me unless I am amnestied. So I shall go to Spain,

to Andalusia, and make friends, and try once more to live as well

as I can. I should like to fare round the world. If I can get no

money, or if the journey does not help me to a new breath of

life, there is an end of it, and I shall then seek death by my

own hand rather than live on in this manner.

I must forge myself artificial wings, because everything round me

is artificial, and nature everywhere is torn and broken.

Therefore hear and grant my prayer. Let me know soon, and know

for certain, whether I may come back to Germany or not. I must

take my decision accordingly.

After this language of despair, I cannot find the tone which I

should have to assume in writing to you about other matters which

I might wish to communicate to you. Most of these would be

effusions of thanks, as you know. Good Lord, that also drives me

wild: that I always have to write this to you. My impatience to

see you grows into a most violent passion; I can scarcely wait

for the day of your arrival. "Write" to me definitely about what

date you will be here. Let it not be too late. Can you come in

May? On May 22nd I shall be forty. Then I shall have myself

rebaptised; would you not like to be my godfather? I wish we two

could start straight from here to go into the wide world. I wish

you, too, would leave these German Philistines and Jews. Have you

anything else around you? Add the Jesuits, and then you have all.

"Philistines, Jews, and Jesuits," that is it; no human beings.

They write, write, and write; and when they have "written" a

great deal, they think they have done something wonderful. Stupid

fools! do you think our heart can beat for you? What do these

wretched people know about it? Leave them alone, give them a kick

with your foot, and come with me into the wide world, were it

only to perish bravely, to die with a light heart in some abyss.

Let me soon have news of you; and, before all, let me know when

you are coming. Farewell, farewell, longingly waited for by

Your

RICHARD WAGNER

ZURICH, March 30th, 1853

105.

DEAREST FRIEND,

Your letters are sad; your life is still sadder. You want to go

into the wide world to live, to enjoy, to luxuriate. I should be

only too glad if you could, but do you not feel that the sting

and the wound you have in your own heart will leave you nowhere

and can never be cured? Your greatness is your misery; both are

inseparably connected, and must pain and torture you until you

kneel down and let both be merged in faith!

"Lass zu dem Glauben Dich neu bekehren, es gibt ein Gluck;" this

is the only thing that is true and eternal. I cannot preach to

you, nor explain it to you; but I will pray to God that He may

powerfully illumine your heart through His faith and His love.

You may scoff at this feeling as bitterly as you like. I cannot

fail to see and desire in it the only salvation. Through Christ

alone, through resigned suffering in God, salvation and rescue

come to us.

I had already indicated to you that I did not expect an answer

from Dresden before my departure from here. If you accuse me of

negligence and lukewarmness, you are unjust to me, but I can

forgive you. If, in accordance with your desire, I made your

affair dependent on an immediate "Yes" or "No," I should greatly

compromise it. Our court here is very favourably inclined towards

you, and you may feel sure that every possible step is being

taken to open your return to Germany. A few days ago I spoke

about it to our Hereditary Grand Duke, who positively assured me

that he would actively intercede for you. This you must not

mention anywhere; but it would be well if you were to write a

letter to the Hereditary Grand Duke, telling him that you have

been informed through me of his magnanimous disposition and

asking him not to forget you altogether. Do not write too

diplomatically, but give vent to the feelings of your heart, and

send me the letter, which I will hand him at once. In spite of

all, I hope to find you in a good mental and physical condition

when I visit you at the end of May. By then you must turn out

your whole hospital, and I promise you to leave mine en route to

take it up again on my way back. As the wedding festivities of

Princess Amalie and Prince Henry of the Netherlands will not take

place till after the middle of May, I shall not be with you

before the first days of June. Seven or eight weeks must

therefore still elapse.

The "Tannhauser" overture was received with enthusiasm and

encored at Prague, as Laub told me, who was present at the

performance.

As regards the performance of "Tannhauser," the real state is

very nearly what I wrote to you. The tenor St., brother of the

manager, will shortly leave Prague, and there will then be no

singer for the principal part. I also hear that there is no

Elizabeth, and until you give me further information in the

matter I am not inclined to put down the non-performance of

Tannhauser to a fictitious order of the police while such real

theatrical impediments are in the way. Has St. replied to you?

From Laub I hear that the supposed difficulties have been

discussed in high circles (Count Nostitz, Princess Taxis, etc.)

in a manner not favourable to St, I should, however, not like to

accuse St. till we have sufficient proof of his bad conduct. If

you write to him in the sense indicated in my letter to you from

Leipzig, we shall soon get to the bottom of the matter. Kittl is

at present at Frankfort-On-Main, where his "operatic wants" are

being supplied by "Die Franzosen bei Nizza." The work is to be

given on April 11th. Probably he will stay here for a day on his

way back, and through him I mean to get more accurate information

as to the Prague complications.

Kossak's critique of "Indra" has amused me. If you have not read

it, I shall send it to you.

Brendel has grand schemes, which he will probably communicate to

you. He is coming here for the next performance of Raff's opera

"King Alfred," in order to talk to me about the new paper which

he would like to bring out in the course of the summer. The

enterprise is in itself good enough, but I have still my doubts

as to the means at disposal. What do you mean by Raff's

confidential letter against the "Tannhauser" notice in the

Grenzboten?

Do not be offended, dearest friend, because I have not yet

written to you about the "Ring of the Nibelung" at greater

length. It is not my business to criticize and expound so

extraordinary a work, for which later on I am resolved to do

everything in my power in order to gain a proper place for it. I

have always entreated you not to abandon the work, and am

delighted by the perfection of your poetic workmanship. Almost

every day the Princess greets me with the words--

"Nicht Gut, nicht Geld,--noch gottliche Pracht; Nicht Haus, nicht

Hof,--noch herrischer Prunk; Nicht truber Vertrage trugender

Bund, Noch heuchelnder Sitte hartes Gesetz: Selig in Lust und

Leid, lasst--die Liebe nur sein!"

Counsellor Scholl will shortly read the four dramas at the

Altenburg to a small circle which I shall invite for the purpose;

and when I come to Zurich, you must be good enough to go through

the whole with me, so that we may exchange heart and soul on the

occasion.

S. wrote me a longish letter, in which he plainly says that the

poem is a total mistake, etc. I have not sent you this letter,

because I think it useless, and shall never be of his opinion. By

word of mouth I shall let you know about various opinions which

in the meantime I listen to without comment or discussion.

Your truly devoted

F. LISZT

WEYMAR, April 8th, 1853

106.

Herewith, dearest, best of friends, I send you the answer of the

Prague manager, containing particulars as to the prohibition of

"Tannhauser." If you have time and care to do so, co-operate in

this affair also, in accordance with the love you bear me.

I long for a letter from you, and am curious to hear from

yourself what truth there is in your rumoured breach with Weimar.

I live in the expectation of your visit; surely you have not

abandoned it.

Adieu. A thousand greetings from your

R. W.

ZURICH, April 11th, 1853

107.

[FRAGMENT.]

How ever could you think that I should "scoff" at any of your

magnanimous effusions? The forms in which we endeavour to gain

comfort in our miserable circumstances depend wholly upon our

nature, our wants, the character of our culture and of our more

or less artistic sensations. Who could be heartless enough to

believe that to him alone the true form has been revealed? Only

he could think so who has never fashioned for himself such a form

of his hope and faith, but into whose dull mind it has been

instilled from outside as some one else's formula, who therefore

does not possess sufficient inner power to preserve his own empty

existence by dint of vital instinct, and who thus again

communicates the formula received from others as a formula for

others. He who himself longs and hopes and believes will surely

rejoice in the hope and faith of others; all contention about the

true form is mere empty self-assertion. Dear friend, I also have

a strong faith, on account of which I have been bitterly scoffed

at by our politicians and sages of the law. I have faith in the

future of the human race, and that faith I draw simply from my

inner necessity. I have succeeded in observing the phenomena of

nature and of history with love and without prejudice, and the

only evil I have discovered in their true essence is

lovelessness. But this lovelessness also I explain to myself as

an error, an error which must lead us from the state of natural

unconsciousness to the knowledge of the solely beautiful

necessity of love. To gain that knowledge is the task of history;

and the scene on which that knowledge will be practically shown

is none other than our earth, than nature, in which there are all

the germs tending to this blissful knowledge. The state of

lovelessness is the state of suffering for the human race; the

fullness of this suffering surrounds us now, and tortures your

friend with a thousand burning wounds; but, behold, in it we

recognize the glorious necessity of love: we call to each other

and greet each other with the power of love, which would be

impossible without this painful recognition. In this manner we

gain a power of which man in his natural state has no idea, and

this power, expanded to the power of all humanity, will in the

future create on this earth a state of things from which no one

will long to fly to a hereafter henceforth become unnecessary;

for all will be happy, will live and love. Who longs to fly from

this life while he loves?

Well, well, we suffer now. We now should despair and go mad

without faith in a hereafter; I also believe in a hereafter, and

have just shown you this hereafter. If it lies beyond my life, it

does not lie beyond that which I can feel, think, conceive, and

comprehend; for I believe in mankind, and require nothing

further.

I now ask you, Who at the bottom of his heart shares my faith

more than do you, who believe in me, who know and demonstrate

love as no one else has proved and practiced it yet? You realize

your faith in every moment of your life; I know deeply and inly

what you believe; how then could I scoff at the form from which

such a miracle springs? I should not be as much of an artist as I

am if I did not joyfully understand you.

Let us bravely fight and struggle; then all whims will disappear.

That I must remain so far from my battlefield is what makes me

complain so often.

Well, my highest hope will be fulfilled:

I shall see you again.

This implies everything that can give joy to me; and I am sure

that at your arrival, and through means of it, you will find me

so elated that you will take my present and past complaints for

pure hypocrisy. My nerves, it is true, suffer a great deal, and

for a very natural reason. But I am now in hopes of strengthening

them thoroughly; for that I shall want a little "life:" the

medical cure alone will not be sufficient. That "life" you will

bring to me, and I promise you that you will find me hale and

hearty.

I am almost glad that you are not coming to my musical

performances here, which will take place May 18th, 20th, and

22nd; we shall afterwards be more by ourselves, belong to each

other more. Oh, how I rejoice in the thought!

You will find everything comfortable with me; the devil of luxury

has taken hold of me, and I have arranged my house as pleasantly

as possible. When the real thing is wanting, one does what one

can to help one's self. Well, come; you will find me half mad;

you, you, you, and no one else!

What further shall I say in reply? I find I have taken to

chatting on the main thing.

S.'s judgment of my poem satisfies my vanity--I mean, because it

proves my judgment. In spite of all, I took S. from the beginning

for a confirmed litterateur whom you for a moment had carried

away with you, but only for a moment. A litterateur cannot

understand me; only a complete man or a true artist can. Leave it

alone; it will be all right. When once I have cast everything

aside to dive up to the ears into the fount of music, it will

sound so well that people shall hear what they cannot see. We

must have a long talk about my further practical plans as to the

performance.

All scribbled things are absolutely distasteful to me, and it is

the greatest effort to me to read the musical paper. I wish that

all this had no reference to me; let the people do for their own

sakes what they think they ought not to omit; what was necessary

for me you have done. Dearest, dearest friend, do not think that

I meant to reproach you when recently again I wrote with furious

impatience about my return to Germany. I do this quite at random;

I call out when I am in pain, but I accuse no one, certainly you

least of all. You are unfortunate in being so near to my heart;

for that reason you hear everything that I sigh and complain of

violently and painfully. Be not angry, and forgive me cordially.

I will write to the Hereditary Grand Duke, because it gives me

pleasure.

Enough for today; my fingers are becoming cramped. But how many,

many things I shall have to say to you. I keep everything for

that occasion, and have really not written to you once about your

performance of my operas, of which quite recently again I heard

such wonders. All that will come by word of mouth, if only I do

not go mad!

Farewell. Greet the Princess. A thousand kisses from

Your

RICHARD WAGNER

April 13th, 1853

108.

Bravo, Schoneck! Long live Kroll's theatre! Those people have

rational ideas, and work bravely. The fact that you are friendly

with Schoneck, and can count upon his goodwill and musical

intelligence, gives a favourable turn to the performance of

"Tannhauser" at Kroll's theatre, and I, for my part, do not

advise you against it, the less so as you seem to like it. Your

citing Mirabeau as marchand de draps is quite applicable to

"Tannhauser" at Kroll's theatre; and if Schoneck manages to fill

the parts moderately well, the thing will, no doubt, hugely amuse

you.

Simultaneously with this I write, by your desire, to Schoneck to

compliment him on the impending performances. I have advised him

to go to work prudently, as the whole matter is in his hands. We

may anticipate a very good result, which will cordially please

Your

FRANZ LISZT

I shall write to Prague tomorrow, to President Sacher; this

matter will probably drag on for some time.

109.

MY DEAR FRIEND,

In the most frightful turmoil of business, I must send you a few

words of enthusiasm. I have been writing an explanatory programme

for my musical performance here, and was led on that occasion to

look once more through your pamphlet on my opera. How can I

describe my feelings? When has an artist, a friend, ever done for

another what you have done for me? Truly, when I should be

inclined to despair of the whole world, one single glance at you

raises me again high and higher, fills me with faith and hope; I

cannot conceive what I should have done without you these last

four years. Oh, and how much you have made of me; it has been

indescribably beautiful for me to observe you during that space

of time. The idea and the word "gratitude" cannot contain my

meaning!

You say that you do not yet expect to get your leave of absence!

Do not frighten me, and tell me by return that you are coming,

and coming soon.

I have engaged Damm. It was a mad undertaking to find an

orchestra of seventy men when there were only fourteen competent

musicians in the place. I have plundered all Switzerland, and all

the neighbouring states as far as Nassau. It was necessary to

raise the guarantee fund to 7,000 francs in order to cover

expenses, and all this that I might hear the orchestral prelude

to "Lohengrin."

I expect you for certain in the first days of June. If only the

joy of seeing you again does not drive me mad! Adieu. Come to

Your

R. W.

ZURICH, May 9th, 1853

110.

Your splendid programme for the musical performances at Zurich,

May 18th, 20th, and 22nd, has made me quite sad, dearest friend.

Why can I not be present to make some returns to you for all I

owe you? But what is the good of questioning, brooding, and

sorrowing? I cannot get away from here before the end of June.

Tomorrow (the 20th) we have a grand court concert (the programme

is of no interest to you), and ten days afterwards the

performance of "Moses" by Marx, which I have to conduct. On June

15th takes place the jubilee of the Grand Duke, for which his

Majesty the King of Saxony will probably come here, and the 20th

is the birthday of the Hereditary Grand Duke. On the 26th or 28th

I accompany my mother, who is still half lame, to Paris; and by

the middle of July at the latest I shall be with you in Zurich.

Till then I must have patience, and need not give you any further

explanations.

I talked some time ago with the Princess of Prussia about you.

The performance of "Tannhauser" at Kroll's is variously commented

upon. I am still of opinion that the personal influence and

ability of Schoneck are in this matter decisive. Since my last

letter to Schoneck I have heard nothing from him, but I believe I

told you of an offer that was made to me to take the Leipzig

opera to Berlin and to conduct "Tannhauser" at the Konigsstadt

Theatre. I have naturally declined this offer.

I hope Schoneck will keep his word and bear the responsibility of

an adequate performance of "Tannhauser" honourably, thus

justifying your confidence. When you hear further particulars,

ask him to communicate them to me, as I have been questioned on

various sides about this matter, and have warmly defended

Schoneck's undertaking against the wavering portion of your

friends and the public.

Alwine Fromann was here for some days. I have learnt to love her

through you. Your "Nibelungen" has been read excellently on four

evenings at the Altenburg by Counsellor Sauppe, director of the

Grammar School, who formerly lived for some years at Zurich. The

whole subject of the "Nibelungen" I shall work out with you in

conversation; in the meantime only this: that I am wholly in

favour of it, and ask you urgently to take the musical part

seriously in hand.

I hear from Prague that "Tannhauser" is being prepared there for

next autumn. If this is confirmed, the other step which I

contemplated will become useless. In any case I shall wait a

little while to gain better ground for the matter.

"Lohengrin" will be given at Wiesbaden, and at Schwerin the

"Dutchman" is heaving in sight. Have you finished the "Faust"

overture? Damm has probably told you that we have given it here

several times fairly well. Apropos of Damm, tell him that he can

stop as long as he likes. I envy the fellow his good time with

you.

This afternoon Louis Kohler, from Konigsberg, will arrive here to

hear your "Lohengrin." Alas! alas! "Indra," by Flotow, absorbs

all the delicate attentions of our artistic direction; and this

wretched medley will be given the day after tomorrow as festival

opera. Did you formerly have intercourse with Kohler? I only know

him through some very amiable notices of a few of my pianoforte

works. His last letter is a kind of dithyramb about "Lohengrin,"

which naturally predisposes me favourably towards the man.

Farewell, you unique man! and may we soon be together.

Your

F. L.

Let me soon have news of your performances at Zurich, and do not

forget to send Brendel a notice of them for his paper. About

Brendel, who recently visited me here, I have several things to

tell you.

Please God, I may have good news to bring you from Dresden; it is

that which keeps me here till the end of June.

111.

DEAREST,

I feel beaten down and weary. Damm has probably written to you

about my musical performances. Everything went off right well,

and Zurich was astonished that such a thing could have happened.

The Philistines almost carry me on their hands; and if I cared

for external success, the effect of my performances would more

than satisfy me. But, as you know, my chief object was to hear

something from "Lohengrin," and especially the orchestral

prelude, which interested me uncommonly. The impression was most

powerful, and I had to make every effort not to break down. So

much is certain: I fully share your predilection for "Lohengrin";

it is the best thing I have done so far. On the public also it

had the same effect. In spite of the "Tannhauser" overture,

preceding them, the pieces from "Lohengrin" made such an

impression, that they were unanimously declared to be the best

thing. For the "Bridal Procession" I had specially written a very

effective new close, which I must communicate to you; following

upon the "Bridal Song," I repeated the G major prelude (wedding

music), after a short transition, and gave a new conclusion to

this also. These pieces have had a tremendous popular success;

everybody was delighted. It was a real feast for the world around

me. All the women are in my favour.

I might have repeated the concerts six times, and they would have

been full on every occasion, but I stuck to three performances,

because I had enough of it, and was afraid of getting tired.

Besides this, I could not have retained the orchestra any longer;

many had to go home, especially eight musicians from Wiesbaden,

the best of the orchestra there, who had given me great pleasure

by coming. I had almost nothing but concert-masters and musical

directors--twenty most excellent violins, eight tenors, eight

splendid violin-cellos, and five double-basses. All had brought

their best instruments; and in the acoustical orchestra,

constructed according to my indication, the tone of the

instruments was most bright and beautiful. It is true that the

whole cost 9,000 francs.

What do you think of our citizens raising all that money? I

believe that in time I shall be able to do unheard-of things

here, but for the present it has cost me unheard-of trouble.

During the week preceding the performances, I read in my way,

which you will hear later on, my three operatic poems before a

very large audience in public and gratis, and was delighted by

the powerful impression they produced on my hearers. In the

intervals I studied my choruses with amateurs, and these tame,

four-part people at last sang as if they had swallowed the devil.

Well, I am a little lame and weary in consequence. It is hard

that you will have to leave me in my loneliness for the whole

month of June.

Why have your festivities been suddenly postponed? Not till the

middle of July? Just now you would have been of infinite benefit

to me; I am very lonely.

For the present I must try to pick up a little by a wandering

life; perhaps I shall go for a few weeks to Brunnen, on the lake

of Lucerne, and try to settle down to work. I shall make

excursions from there to the Bernese Oberland and thus pass the

time till your much-desired arrival. How long shall you be able

to stay? In the second half of July I am to go to St. Moritz, in

the Grisons, to go through a cure there from which they promise

great benefit for my health. Will you follow me to that

beautiful, wild solitude? That would be splendid! By the end of

August, when you have to leave me again, I shall go to Italy, as

far as it is accessible to me. (I wish it could be to Naples! The

King of Saxony might manage that!) The means I must get somehow,

if I were to steal them.