You finish your score! and in the meantime let Hartel or some one else publish the poem as a forerunner.

How about the performance of "Tannhauser" at Berlin? I quite approve of your exceptional demand of 1,000 thalers for the same reasons which induced you to make that demand, and I thank you cordially for the artistic confidence with regard to the preparations which you have placed in me. Although a journey of Berlin would in existing circumstances be somewhat inconvenient, I am quite at your disposal, with the sole condition—which alone would make my journey useful and serviceable to "Tannhauser"— that the Royal management asks me to come to Berlin by your desire and to settle with that management and with the other persons concerned the necessary preparations for the best possible success of your work. In any other circumstances I should be in an awkward and useless position at Berlin, without achieving the slightest thing. If you consider the matter, you will certainly agree with me, and see that this is the only way in which I perhaps might be of use to you.

As you know already, the "Flying Dutchman" is announced for the next birthday of H.I.H. the Grand Duchess: February 16th, 1853. Care will be taken that the opera is properly mounted. Zigesar is full of enthusiasm for your genius, and will work with a will. The corrected score has been sent at once to the copyists, and in six weeks the work will be rehearsed comme il faut.

The theatrical season begins with Verdi's "Hernani," after which Spohr's "Faust," with new recitatives, will follow soon. By the middle of November I expect Berlioz, whose "Cellini" (with a considerable cut) must not be shelved, for, in spite of all the stupid things that have been set going about it, "Cellini" is and remains a remarkable and highly estimable work. I am sure you would like many things in it.

Raff has made great changes in the instrumentation and arrangement of his "Alfred," and probably the opera in its new form will have better effect even than before, although the three or four first performances were much applauded. Altogether I look upon this opera as the ablest work that has been written by a German composer these ten years. You of course are not included; you stand alone, and can be compared with no one but yourself.

I am very glad you have taken this trip. The glaciers are splendid fellows, and in the years of my youth I, too, had struck up a friendship with them. The tour round Mont Blanc I recommend you for next year; I made it partly in the year 1835, but my traveling companion was soon fatigued, and fatigued me still more.

Farewell. Be at peace with yourself, and soon publish your "Nibelung" poem, in order to prepare the public and put it in the proper mood. Leave all manner of "Grenzboten", "Wohlbekannte", "Kreuzseitungen", and "Gazettes Musicales" on one side, and do not bother yourself with these miserable scribblings. Rather drink a good bottle of wine, and work onwards, up to eternal, immortal life.

Your cordially grateful and truly devoted

F. LISZT

WEYMAR, August 23rd, 1852



83.

DEAREST FRIEND,

A thousand thanks for your last letter. Unfortunately I cannot reply to it as I should like to do; the nerves of my brain are once more in a state of great suffering, and for some time I ought to give up all writing and reading, I might say all mental existence. Even the shortest letter wearies me terribly, and only the most perfect quiet (where and how shall I find that?) may or might restore me. But I do not wish to complain, only to explain to you why it is that today I must limit my communication to stating briefly what is absolutely necessary. Do not be angry with me for not writing with that joyful expansion which is intended to make up for the impossibility of personal intercourse. As to Berlin nothing is settled yet. Hulsen considered my demand as a vote of want of confidence in his personal intentions, and this error I had to dispel by laying my most perfect confidence as a weight on his conscience. All I want him to do now is to acknowledge in a few words that he perfectly understands my difficult position with regard to "Tannhauser" at Berlin, and that he undertakes the performance with the desire of conquering that difficult position. The whole subject of honoraria I leave to him. One thing has recently calmed my anxiety: I have written tolerably comprehensive instructions for the performance of "Tannhauser", and have had them printed as a pamphlet and sent a sufficient number of copies to the theatres which had bought the score. I hope this will be of use. I send you herewith half-a-dozen copies. There will not be much that is new to you in the pamphlet, because I have discussed most things with you by letter; still it might be useful to you, because it will materially assist you in your purpose of restudying "Tannhauser" if you will give it to the stage-manager and the singers. This therefore I would ask you to do. The work has been a perfect torture to me. This eternal communication by letter and in print is terrible to me, especially when it is about things the significance of which has for a long time lain far behind me. In fact, if I still trouble myself about these earlier operas, it is only from the necessity of circumstances, not from any desire to hark back. This leads me to Berlioz and Raff. Candidly speaking, I am sorry to hear that Berlioz thinks of recasting his "Cellini". If I am not mistaken, this work is more than twelve years old. Has not Berlioz developed in the meantime so that he might do something quite different? It shows poor confidence in himself to have to return to this earlier work. B. has shown quite correctly where the failure of "Cellini" lies, viz., in the poem and in the unnatural position in which the musician was forcibly placed by being expected to disguise by purely musical intentions a want which the poet alone could have made good.

This "Cellini" Berlioz will never put on its legs. But which of the two after all is of more importance, "Cellini" or Berlioz? Leave the former alone, and help the second. To me there is something horrible in witnessing this attempt at galvanizing and resuscitating. For heaven's sake let Berlioz write a new opera; it will be his greatest misfortune if he fails to do this, for only one thing can save him, the drama, and one thing must lead him to ever deeper ruin, his obstinate avoidance of this sole refuge: and in this latter he will be confirmed by occupying himself again with an old attempt, in which he has been deserted by the poet, for whose faults he will try once more to make up by his music.

Believe me, I love Berlioz, although he keeps apart from me in his distrust and obstinacy; he does not know me, but I know him. If I have expectations of any one, it is of Berlioz, but not in the direction in which he has arrived at the absurdities of his "Faust". If he proceeds further in that direction, he must become perfectly ridiculous. If ever a musician wanted the poet, it is Berlioz, and his misfortune is that he always prepares this poet for himself, according to his musical whim, arbitrarily handling now Shakespeare, now Goethe. He wants a poet who would completely penetrate him, who would conquer him by delight, who would be to him what man is to woman. I see with dismay that this exceedingly gifted artist is perishing in his egotistic solitude. Can I save him?

You do not want to have "Wiland." I believe it to be a beautiful poem, but am no longer able to execute it for myself. Will you offer it to Berlioz? Perhaps Henri Blaze would be the man to treat it in French.

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?