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.
In other respects “business” with me is flat. You have probably heard that the manager of the Berlin court opera has procured an order which prevents the smaller theatres of Berlin, and especially Kroll’s theatre, from performing such operas as “Tannhauser.” From this we see how powerfully even a threat acts upon these people; they are of course ashamed of themselves, and do not wish to incur open disgrace. I have authorized Schoneck to announce “Tannhauser” as a “Singspiel,” but he himself is doubtful whether the thing can be managed. He loses in this manner a fine opportunity of making himself favourably known and of raising himself above his hole-and-corner circumstances. I lose a nice income for this summer, for the undertaking would have brought me in a few thousand francs. But God’s, or rather Herr von Hulsen’s, will be done. It is quite plain that in our excellent states the “other thing” has nowadays the upper hand; the Princess of Prussia may wish and desire what she likes, she will not be able to conquer that, nor Herr von Hulsen either. Good Lord, I know the thing.
However, I was peculiarly pleased that you from the first looked upon this Berlin experiment just as I did, and that we quite understood each other. I can quite imagine how the Philistine must have shaken his head. It was equally clear that you were unable to accept the proposal for the Konigsstadt Theatre with the Leipzig troupe, and I am only annoyed at their impudence in offering you such a thing. It implies indeed a gross insult, for which one must pardon our dull-headed theatrical mob. “Lord, forgive them, for they know not what they do.”
Dearest friend, have you not yet had enough of Weimar? I must own that I frequently grieve to see how you waste your strength there. Was there any truth in the recent rumour of your leaving Weimar? Have they given in?
But all this is idle talk. My brain is a wilderness, and I thirst for a long, long sleep, to awake only when my arms are around you. Write to me very precisely, also whether you are inclined, after a little stay at Zurich, to go with me to the solitude of the Grisons; St. Moritz might, after all, do you good, dearest friend; we shall there be five thousand feet high, and enjoy the most nerve-strengthening air, together with the mineral water, which is said to be of beneficial effect on the digestive organs. Think this over, consult your health and your circumstances, and let me know very soon what I may hope for.
Farewell, best and dearest of friends. Have my eternal thanks for your divine friendship, and be assured of my steadfast and warmest love.
Your
RICHARD W.
ZURICH, May 30th, 1853
112.
DEAREST FRIEND,
I have just received the enclosed letter, programme, and newspaper from Prague. If you will write a few lines to Apt, you will please him very much. Also be kind enough to send a copy of your “Nibelungen” to Louis Kohler in Konigsberg (care of Pfitzer and Heimann, music-publishers). He deserves this attention from you, and I promised it him during his stay here, when he cordially joined your banner. From Leipzig, after the performance of “Tannhauser,” he wrote me a letter which I could sign myself, and you are sure to find in Kohler a very zealous, able, and honest champion of your cause in the press.
A little book by him on the melody of speech will shortly appear. As a composer for the pianoforte he has done some excellent things. Several years ago an opera of his composition was produced at Brunswick. Kohler is about thirty-two years old, and married.
Marx was here recently. We have become friends, and shall probably approach each other still more closely. His oratorio “Moses” was given fairly well under my direction.
A little court concert was given the day before yesterday in honour of their Majesties the King and Queen of Saxony. Further details I shall tell you when I see you. Unfortunately I must doubt that the steps taken so far will lead to the desired result, but there is yet another hope before my departure, for which I must wait. The Hereditary Grand Duke will soon go to Dresden, and has promised me his intercession in this matter.
In ten or twelve days I shall give you an exact plan of my journey. It is very possible and almost probable that Joachim and Robert Franz will accompany me to Zurich. It is quite understood that I go with you wherever you like, but I shall not be able to stay with you longer than ten days altogether. Whether it will be at the beginning or the middle of July I cannot say for certain, because this journey depends on another much longer one.
Damm has told us wonderful things of your three performances. The poetic indications which I read in the programme, especially those of the introduction to “Lohengrin” and the overture of the “Flying Dutchman,” interested me very much. Before long I may send you a little article about the “Flying Dutchman”; and if you approve of it, it shall be published.
I have been much depressed these last few days by many and various things. These are the days of thunderstorms. With all my heart and soul I shall rejoice on seeing you again. Let us be faithful to one another, though the world go to ruin.
F. L.
June 8th, 1853
113.
I have nothing to write to you, dearest, except that I await you longingly. You might come before the middle of July, seeing that you will not be able to give me more than ten days in all. This of course determines me not to expect that you should go to the watering-place in the Grisons with me for a few days only. It would have been different if you could have stayed with me there for some length of time. I suppose you will not be here this month, and I may, without fear of missing you, go next week to Interlaken in the Oberland to visit part of the R. family. At the beginning of July I shall be back again, and expect you daily.
That Franz and Joachim intend to come too is famous. Franz had already half promised me. I shall be delighted to make their acquaintance. Prague and Konigsberg (Kohler) will be attended to.
I read today in the “Neue Zeitschrift fur Musik” the article by T. in Posen, in which there is a stupid thing, viz., an exaggeration, where he says that I consider “Schoneck one of my most gifted disciples.” Schoneck as a musician is quite insignificant, and as a man without particular culture; he is simply a theatrical conductor–at least as far as I know him. I was struck, however, by his uncommon and specific talent as a conductor, as well as by his nervous, restless, and very active temperament, combined with a strong turn for enthusiasm. He once saw me study Beethoven’s music with an orchestra, and conduct it, and devoured what could be acquired with genuine astonishment, making it his own with so much cleverness that later on at Freiburg he produced the music to “Egmont,” which he had heard me do, with very great success, as competent witnesses have assured me. It was the same afterwards with the “Flying Dutchman,” which he grasped completely as a conductor. But beyond his specific gift as a conductor, I do not think that I have influenced him particularly, and should certainly not like him to be considered my representative, although I may count upon his devotion. If the Berlin plan at Kroll’s is, after all, realized–and there is again strong opposition to it now-I must think of having my intentions more specially represented, and have young Ritter in view for that purpose. As to this also we must have a talk. However, the success of “Tannhauser” at Posen, under Schoneck’s direction, is again a striking incident. Within six days they gave it four times, with the largest receipts. Only think what trouble I had at the time with this opera at Dresden.
But enough. That you, like me, do not seem to be in good spirits, grieves me very much, but I become more and more convinced that people like us must always be uncomfortable, except in the moments, hours, and days of productive excitement; but then we enjoy and luxuriate during that time more than any other man. So it is! Soon we shall talk! I am almost afraid of this joy! You will write, will you not?
Adieu, dearest friend.
Your
R. W.
ZURICH, June 14th, 1853
114.
BEST OF FRIENDS,
Today week–Thursday, June 28th–I start from here. At Carlsruhe I shall have to stop till July 1st, in order to look at the localities, and to make some preparations for the impending Musical Festival there. On July 2nd I shall therefore hope to be with you at Zurich. My time will be very short, but it will be an unspeakable pleasure to live with you for a few days.
I enclose a few disappointing lines concerning your affair, which have been sent to me by an unknown hand. I hope to be able to tell you better news when I see you. I shall go straight from the mail office to you at Zeltweg, to ask you about the hotel where I shall stop. Probably Joachim and Franz will come with me. If it is not too much trouble, notify my arrival at Winterthur to Kirchner and Eschmann, whose personal acquaintance I should like to make.
I have just received from Hartel your portrait, which seems to me more like than the previous one. If there is a decent sculptor at Zurich, you must oblige me by giving him a few sittings, for him to model a large medallion in relief of you. I cannot bear lithographed portraits; to me they have always a somewhat bourgeois appearance, while sculpture represents a man in a very different way.
In ten days, dearest friend, we shall wholly possess each other. If you like to write to me, address Poste restante, Carlsruhe, where I shall be till July 1st.
Your
F. LISZT
June 23rd, 1853
[ENCLOSURE.]
If I venture to trouble you with a few lines, my motive, I hope, will gain me your kind forgiveness. In today’s number of the “Freimuthige Sachsen-Zeitung” the old Steckbrief (order of arrest) (v. 49) against Capellmeister Richard Wagner has been copied, with the remark “that it is said that he intends to return to Germany, and therefore the police are requested to keep a watchful eye on him, and, in case he is found in Germany, to arrest him and deliver him here.”
Although I know Capellmeister R. Wagner from of old, I do not know how to communicate this news to him, because it is said that most of the letters sent to refugees in Switzerland are either opened or never delivered; and I am not acquainted with any other safe way.
A consultation which I had with some of Richard Wagner’s friends led us to determine, as the only means, upon asking Court- Capellmeister Dr. Liszt, one of the most faithful and best-known friends of the great composer, “to acquaint Capellmeister R. Wagner with the above by some sure ways and means.”
Asking you once more to pardon me for the trouble I give you, I remain, with the greatest esteem and veneration,
—–
115.
DEAREST FRIEND,
I have just returned from a trip, and find your letter. Thank God, I have not much to write in answer beyond expressing my joy that you are coming so soon. Saturday, July 2nd, in the morning, or at the latest in the evening, I shall await you at the mail office. You might stay with me, but I am afraid you would not be comfortable, especially if you come with Joachim and Franz. All this we shall settle at once at the office. There is a good hotel, Hotel Baur. I shall let Kirchner and Eschmann know. Good Lord, how glad I am. Not another word by letter!
Au revoir.
Your
RICHARD WAGNER
Could you let me know by telegram exactly when you are coming?
We have beautiful weather.
116.
You see, dear friend, that I am approaching; and unless official impediments delay me one day, I start the day after tomorrow- Friday, July 1st–by the afternoon train for Basle, and arrive at Zurich by the mail-coach on Saturday, early in the morning. At the latest, I shall be there on Sunday at the same hour. Joachim I expect here; Franz, I am sorry to say, will not be able to come till later on.
Your
FRANZ LISZT
CARLSRUHE, June 29th
117.
FRANKFORT, Tuesday, July 12th, 1853, 6 p.m.
UNIQUE FRIEND,
The Musical Festival at Carlsruhe will take place on September 20th, and I write you these few lines in haste to ask you to send me the altered passage in the score of “Lohengrin” at Weymar.
If not inconvenient to you, I should be glad if you could lend me for six weeks your Zurich parts of the overture to “Tannhauser” and the pieces from “Lohengrin” for use at the Carlsruhe festival; send them straight to Devrient. As the Hartels have not printed the parts, it will not injure their interests; and we shall at least be sure that the parts are correctly copied, as you have already used them at Zurich. From Weymar I shall bring the parts of the “Tannhauser” overture with me. At the two concerts of the Carlsruhe festival the orchestras and artists of the Darmstadt, Mannheim, and Carlsruhe theatres will co-operate. As the performances take place at the theatre, the trebling of the parts will be quite sufficient, for the house does not hold more than fourteen or fifteen hundred people, and an orchestra of a hundred and ninety and a chorus of something like a hundred and sixty will consequently have a good effect. As soon as the programme is settled I shall send it to you; for the present I tell you only that the “Tannhauser” overture will make the commencement of the first concert and the “Lohengrin” pieces the close of the second. In addition to this, there will be two pieces by Berlioz, the finale of Mendelssohn’s “Loreley,” the Ninth Symphony, etc. Frau Heim will, I hope, on this occasion be the reporter for Zurich, and I shall do my best to put her in a good temper. Johanna sings this evening at a concert in the theatre for the benefit of a local actress. “Tannhauser” will not be given tomorrow. After the concert I shall see Schmidt, and shall inquire as to particulars. . . . In case J. is still here tomorrow, I shall pay my most humble respects to her. She appeared first as Romeo, and yesterday sang Fides for the benefit of the Pension Fund. With E. Devrient I spent a few hours yesterday at Badenweiler. He is going to visit you at Zurich, but can make no certain plans for the present, as he expects the Prince Regent at Badenweiler. His daughter suffers a great deal, and his wife also appeared to me in very weak health. Frau Meyerbeer also I met at Badenweiler. With Schindelmeisser I shall communicate by telegraph early tomorrow morning; and in case “Lohengrin” is given on Thursday, I shall run over to see it, and return home to Weymar on Friday.
Through your hat I nearly got into difficulties with the police at Carlsruhe, because its species and colour are considered specially suspicious, being accounted red, although grey. I was accidentally advised of this; nevertheless I have got on well so far, and shall always maintain that the hat is well-conditioned and loyal, because you have given it to me.
Apropos, neither of the two persons to whom I have hitherto talked about it was inclined to believe in your wholly unpolitical position and mode of feeling. It will certainly take some time before a more correct opinion of your circumstances and your whole individuality is arrived at.
My best compliments to your wife, and many thanks for the kindness and love she showed me during my stay at Zurich.
Do not forget either my most “well-conditioned” homages to Frau Kumner and her sister. To our Grutly brother and his wife say all the friendly and true things which I feel for them, and to Baumgartner give a good “shake-hand” (translated into musical Swiss) in my name. The days at the Zeltweg remain bright, sunny days for me. God grant that we may soon be able to repeat them.
Your
DOPPEL PEPS, alias “Double Extract de Peps,” or “Double Stout Peps con doppio movimento sempre crescendo al fffff,” which latter we shall live to witness at the performance of the “Nibelungen.”
Once more I ask you if possible to grant the “Tannhauser” and “Lohengrin” parts to the Carlsruhe festival, and kindly to write a few words to that effect to Devrient. I am off to the concert.
Johanna sings three songs by Schubert (“Wanderer,” “Trockne Blumen,” and “Ungeduld”), and I sing
[Figure: a musical score]
Pardon me if I have put the bars in the wrong places, and whistle it better for yourself. Address Weymar.
118.
DEAR, DEAR FRANZ,
Here I am in the capital of the Grisons; all is grey, grey. I must take rose-coloured paper to get out of this grey, just as a certain tinge of red glimmers through your grey hat. You see I am compelled to take to bad jokes, and may therefore guess at my mood. Solitude, solitude, nothing but horrible grey solitude, since you went away! Wednesday evening my Zurich people tried to dispel this grey solitude with their torches; it was very pretty and solemn, and nothing like it had happened to me in my life before. They had built an orchestra in front of my house in the Zeltweg, and at first I thought they were erecting a scaffold for me. They played and sang, we exchanged speeches, and I was cheered by an innumerable multitude. I almost wish you had heard the speech of the evening; it was very naive and sincere; I was celebrated as a perfect saviour. The next morning I left in company with St. George; since then rain has fallen incessantly. Last night we found the only mail-coach from Coire to St. Moritz full, and had to make up our minds to stop here for another two nights and one day. Before leaving Zurich I fetched your Frankfort letter from the post-office; alas! it was the last joy which I took with me from deserted Zurich. Be cordially thanked for it, you dear, departed joy!
Today I inaugurate your new writing-case with a first “written” communication to you. Let me talk of business; all else has become too terrible for my pen and ink since I possessed you wholly, heard your noble voice, pressed your divine hand. Therefore to–business!