Write to me, dear poet, and do not always wait for a REASON; and if you will give pleasure to my daughter send her for the New Year the autograph for which she has asked you.

Embrace your wife for me, and convey to her my kindest wishes. She ought to be sure of them, as indeed ought you. Have you resumed the "Valkyrie?" The duet between Siegmund and Siegliende has made me shed copious tears. It is as beautiful as love, as the Infinite, as earth and the heavens.

Your devoted,

CAROLYNE W.

December 23rdd, 1855.



206.

Today I ought to be with you and prepare your Christmas tree, where the rays and gifts of your genius should shine. And now we are apart, you troubled with erysipelas, and I with all manner of red roses grown in similar gardens. But this abominable FLORA shall not delay the joy of our meeting too long.

You probably know that I have to go to Vienna, in January, to conduct the Centenary Mozart Festival, which takes place on January 27th, and will require at least a few weeks' preparation. At the beginning of February I shall be back here. Berlioz is coming on the 8th of February, and Johanna Wagner on the 20th. Berlioz's "Faust" and "Cellini" will be given before the 16th, and your niece is announced in three roles. As soon as this is over I shall write to tell you when I can come to Zurich, but I am afraid I shall have to wait for the summer.

At Berlin, where I stayed three weeks, I attended a few pianoforte rehearsals of "Tannhauser," by invitation of Messrs. von Hulsen and Dorn, and if the first performance is not delayed after January 6th to 8th (for when it is announced), I shall be able to send you a report of it as an eye and ear witness. Johanna will sing and act Elizabeth beautifully, and Formes is studying his part most conscientiously. Dorn has already had a number of pianoforte and string rehearsals, and makes it a point of honour to produce the work as correctly and brilliantly as possible.

No doubt "Tannhauser" will become a "draw" at Berlin, which is the chief thing, even for the composer, and I hope that the CRITICAL treatment which I received at the hands of the critics will redound to the credit of "Tannhauser," and that the infallible impression of your work on the public will not be impaired by carping notices. I shall write to you about this at great length.

The day after tomorrow, Boxing-day, we shall have "Tannhauser" here, which retains its position as a "draw," a distinction which it shares at Weymar, with "Lohengrin" and "The Flying Dutchman."

Next spring "Lohengrin" is to be mounted again here. Up to the present we still want an Ortrud, and, unfortunately, cannot get a good one from elsewhere. The Leipzig one would, for example, be quite useless, and the voice of Frau Knopp is still much impaired by her late illness.

I am looking forward to "Lohengrin," that wonderful work, which, to me, is the highest and most perfect thing in art—until your "Nibelungen" is finished.

At Berlin, at Count Redern's, I heard a few pieces from "Lohengrin" splendidly executed by several regimental bands, and was reminded of our pompous entry into the "Drei Konige" of Basle: Our new Weymar Union has adopted the entry of the trumpets

[Musical notation]

as its "Hoch," and I wish we could sing it to you in chorus soon.

Of my concert affairs, etc., I have nothing to tell you. When I come to you I shall bring some of my scores with me. The rest will not interest us much. With similar compositions, the only question is, what is IN them? The publication I shall delay a few months (although six numbers are already engraved), for the reason that some of my EXCELLENT friends (an expression which Kaulbach is fond of using for people who do not like him) had the EXCELLENT intention of producing these things at once by way of a WARNING EXAMPLE. That amiable intention I want to forestall by a few performances under my own direction during the winter.

Try to get better again soon, and remember kindly

Your faithful

F. LISZT.

December 24th, 1855.

Best remembrances to Ritter.



207.

DEAR FRANZ,

I am again, or rather still, unwell and incapable of anything. I was just going to write something in the album, so that the Child might have it for the new year. But it will not do; my head is too confused and heavy. I write to you only to tell you so; a real letter I could not accomplish. Apart from this I have nothing to tell you; I mean that I have no materials.

I should like to ask you, however, to return the two acts of the "Valkyrie" to me at once before you start. I have at last found a good copyist to whom I have promised work, and I am anxious to have the copy finished soon,—perhaps for the same reason which induces insects to place their eggs in safety before they die.

If I ever finish the last act I will send you the whole, although you are so great a man of the world. Till then be of good cheer, and remember that if you are abused you have willed it so. I also rejoice in the FIASCO of my "Faust" overture, because in it I see a purifying and wholesome punishment for having published the work in despite of my better judgment; the same religious feeling I had in London when I was bespattered with mud on all sides. This was the most wholesome mud that had ever been thrown at me.

I wish you joy for the Vienna mud.

Adieu, and do your work well. Of your Christianity I do not think much; the Saviour of the world should not desire to be the conqueror of the world. There is a hopeless contradiction in this in which you are deeply involved.

My compliments and thanks to the Princess, and tell the Child that I was unable to manage it today. WHEN shall I? Heaven knows! It is largely your own fault.

Adieu. I cannot say more, and have, moreover, talked nonsense enough. Farewell, and enjoy yourself.



208.

TELEGRAM

TO R. WAGNER, ZELTWEG, ZURICH.

Yesterday "Tannhauser." Excellent performance. Marvellous mise- en-scene. Much applause. Good luck.

F. LISZT.

BERLIN, January 8th, 1856.



2O9.

DEAREST RICHARD,

From Berlin I brought home so dreadful a cold that I had to go to bed for a few days, and to delay my journey till this evening. I have to supplement my Berlin telegram by the following notes:—

Johanna was beautiful to see and touching to hear as Elizabeth. In the duet with Tannhauser she had some splendid moments of representation, and her great scene in the finale she sang and realised in an incomparable manner. Formes's intonation was firm, pure, and correct, and there was no sign of fatigue in the narration, where his sonorous, powerful voice told admirably. Altogether Formes is not only adequate but highly satisfactory, in spite of his small stature, which, especially by the side of Johanna, somewhat interferes with the illusion. Herr Radwaner as Wolfram, although not equal to our Milde, deserves much praise for the neatness, elegance, and agreeable style of singing with which he executed his part; and Madame Tuczek proved herself to be an excellent musician and a well-trained actress, who may be confidently intrusted with the most difficult part. Dorn and the band took every pains to carry out your intentions, and the orchestral performance was throughout successful, with the exception of two wrong tempi, in the first chorus

[Here, Wagner illustrates with a 2-bar musical example.]

where you have forgotten to mark the tempo as piu moderato, that is almost twice as slow as before, and in the G major passage (before the ensemble in B major), which, in my opinion, was also taken too fast, the rhythmical climax of the second part of the finale being considerably impaired thereby.

The chorus had studied its part well, but it is much too weak for Berlin, and in proportion to the vastness of the opera house, scarcely more efficient than ours, which always gives me great dissatisfaction. The stringed instruments, also, are not sufficiently numerous, and should, like the chorus, be increased by a good third. For a large place like this eight to ten double basses, and fifteen to twenty first violins, etc., would certainly not be too many at important performances. On the other hand, the scenery and mounting of "Tannhauser" left nothing to be desired, and I can assure you that never and nowhere have I seen anything so splendid and admirable. Gropius and Herr von Hulsen have really done something extraordinary and most tasteful. You have heard, no doubt, that his Majesty the King had ordered the decorations of the second act to be faithfully reproduced after the designs for the restoration of the Wartburg, and that he had sent Gropius to Eisenach for the purpose. The aspect of the hall with all the historic banners, and the costumes taken from old pictures, as well as the court ceremonial during the reception of the guests by the Landgrave, gave me incredible pleasure, as did also the arrangement of the huntsmen with their horns on the hill, the gradual filling up of the valley by the gathering of the hunt (four horses and a falcon bringing up the rear) in the finale of the first act; and, finally, the fifteen trumpets in the march of the second act

[Musical notation]

which blew their flourish from the gallery of the hall in a bold and defiant manner.

I only hope, dearest Richard, that you will hear and see all this before very long, and when I pay you a visit in the course of the summer, we shall have some more talk about it.

Your last letter was very sad and bitter. Your illness must have put you out still more, and, unfortunately, your friends can do little to relieve you. If the consciousness of the most sincere and cordial comprehension of, and sympathy with, your sufferings can be of any comfort to you, you may rely upon me in fullest measure, for I do not believe that there are many people in this universe who have inspired another being with such real and continual sympathy as you have me.

As soon as you are well again go to work and finish your "Valkyrie." The first two acts I returned to you. You must sing them to me at Zurich.

I have to ask you yet another favour today. Schlesinger, of Berlin, is bringing out a new edition of the scores of Gluck's overtures, which is dedicated to me, and he wishes to print your close of the overture of "Iphigenia in Aulis" in addition to that by Mozart. For that purpose he wants your special permission, and has asked me to get it from you. If you have no objection to this close—which has already been published in Brendel's paper— appearing in this edition, be kind enough to give me your consent in a few lines, and address your letter, "Hotel Zur Kaiserin von Oestreich," Vienna, for which I start to-night.

I shall conduct the two concerts for the Mozart centenary celebration on the 27th and 28th instant, and shall be back in Weymar on February 4th.

Your speedy recovery and patience is the wish with all his heart, dearest Richard, of

Your faithful

F. LISZT.

WEYMAR, January 14th, 1856.



210.

ZURICH, January 18th, 1856.

My letter, dear Franz, you will have received at Vienna through Gloggl. I once more put the question contained therein, and ask you: Can you GIVE me the thousand francs, which would be still better, and can you settle the same sum on me annually for two years more? If you CAN, I know that you will willingly join with those who keep me alive by their pecuniary assistance. My own income is insufficient for the very expensive style of living here, and every new year I am troubled by a deficit, so that I am really no better off now than I was before. If it were not for my wife you would see something curious, and I should be proud to go about the world as a beggar; but the continual uncertainty, and the miserly condition in which we live, affects my poor wife more and more, and I can keep her mind at rest only by a certain economical security. More of this when I see you. That I ask you this question at the present moment when I am sick of life, and would see the end of it today rather than tomorrow, you will probably understand, when you realise that from the deepest mental grief I am incessantly aroused to nothing but the mean troubles of existence, this being my only change. I have no doubt of your WILL, and believe even that it would give you pleasure to belong to those from whom I receive a regular pension. It remains to be asked only: Can you? I know that some time ago you were not able, although even at that time you occasionally made real sacrifices to assist me. Perhaps a change has taken place since then, and on the chance of this "perhaps" I venture to trouble you with my question.

One other matter I have to place before you. You remember that I wrote to you some time ago that I had at last discovered here an excellent and intelligent copyist for my musical manuscripts. To him I gave, in the first instance, Klindworth's pianoforte score of the "Valkyrie," and he brought me the first act beautifully written; but his charge for the time employed, moderate enough though I found it, appeared to me so high, that I could not possibly afford the expense from my yearly income. I considered what might be done, and found that, if I really went on with my composition, I should have exactly three years' occupation for a copyist This would include the copying of the full scores, the pianoforte scores, and all the vocal and orchestral parts. If the enterprise of the performance should in any way be accomplished, three years' salary for a copyist might well be added to the estimate of the costs, and the question would be whether one could find, at this moment, a small number of shareholders who would advance the necessary funds. I should have to engage my amanuensis for exactly three years, and pay him an annual salary of eight hundred francs. The only awkward part would be that I should have to bind myself to furnish the compositions in this given time. I might, however, as soon as I found myself unable to continue, give notice to both shareholders and copyist. For one year I have more than sufficient work for the copyist, and whatever he had written might, in such a case, be handed over to the shareholders as a security. I think that would be fair enough. Kindly see, dearest Franz, whether you can manage this for me. In the meantime I let him go on with the pianoforte arrangement, but as soon as you are bound to give me a negative answer I shall stop him, for, as I said before, I cannot bear this expense from my housekeeping money.

It was an evil, evil fate that we did not see each other last year. You must come soon, if POSSIBLE this SPRING. I feel that on our meeting this time everything, everything depends. I am continually at war with my health, and fear a relapse at every moment. But let us leave this for today. We shall soon meet.

Many thanks for your letter from Berlin, received today. Alwine Frommann writes to me every day, always in a great state of anxiety about the positive and permanent success of "Tannhauser." It appears that in over-witty and wholly unproductive Berlin everything has to be born anew. "Kladderadatsch" was quite right in taunting me with the fact that I had surrendered "Tannhauser" to Berlin, solely for the sake of the royalties. That is so. It is my fault, and I have to suffer for it as vulgarly as possible. Very well, I suffer, but unfortunately I do not even get anything by it.

Could I only bring back the state of things of four years ago! Enough. It is my own fault, and it serves me right.

Try to be as little annoyed as possible at Vienna. I am anxious to learn whether you will be at all satisfied.

Your letter has once more done me a great deal of good. Yes, dear Franz, I trust in you, and I know that there is some higher meaning in our friendship. If I could live together with you I might do many fine things yet. Farewell, and be cordially thanked for your glorious friendship.

Your

R. W.

I have no objection to my close of Gluck's "Iphigenia" overture being used, seeing that I have already published it. It would be advisable, however, that the overture should appear with the correct tempi and some necessary marks of expression. Apart from this, Herr Schlesinger, in his musical paper, might adopt a pleasanter tone towards me in case Herr M. will permit him to do so.

R. W.



211.

DEAR FRANZ,

My letters to Vienna seem to have put you in a very awkward position. Forgive me, and do not punish me any longer by your silence!

Before anything else in the world I ask you to pay me as soon as possible the visit, which was so unfortunately postponed. My desire to consult with you definitely about my future life has reached a painful pitch, and my longing for you is unspeakable. I am very unhappy.

Your

R. W.

March 21st, 1856.



212.

DEAREST RICHARD,

At last I am able to tell you that you will receive one thousand francs at the BEGINNING of May. When you wrote to me at Vienna about this matter it was impossible for me to tell you anything definite, and even now I am unable to undertake an ANNUAL obligation.

I am always sincerely sorry to have to tell you anything disagreeable, and for that reason I waited for the moment when I should be able to state that the aforesaid sum would be sent to you. I have more than once explained to you my difficult pecuniary situation, which simply amounts to this, that my mother and my three children are decently provided for by my former savings, and that I have to manage on my salary as Capellmeister of one thousand thalers, and three hundred thalers more by way of a present for the court concerts. For many years, since I became firmly resolved to live up to my artistic vocation, I have not been able to count upon any additional money from the music publishers. My Symphonic Poems, of which I shall send you a few in full score in a fortnight's time, do not bring me in a shilling, but, on the contrary, cost me a considerable sum, which I have to spend on the purchase of copies for distribution amongst my friends. My Mass and my "Faust" symphony, etc., are also entirely USELESS works, and for several years to come I have no chance of earning money. Fortunately I can just manage, but I must pinch a good deal and have to be careful not to get into any trouble, which might affect my position very unpleasantly. Do not be angry, therefore, dearest Richard, if I do not enter upon your proposal, because for the present I can really not undertake any regular obligations. If, which is not quite impossible, my circumstances should improve later on, it will be a pleasure to me to relieve your position.

About my journey to Zurich I can tell you nothing until I know when the consecration of the Gran cathedral is to take place. Some papers state that this solemnity will come off in the course of September. In that case I shall come to you before, at the beginning of August. As soon as I have official news I shall write to you. In the meantime I must stay here. On April 8th, the birthday of the Grand Duchess, I have to conduct "I due Foscari" by Verdi, and at the end of April the performances of your niece Johanna.

Unfortunately I missed Carl Ritter when he called; I had gone to Gotha for that day to hear the Duke's opera "Tony." Carl Formes sang the title part. I hope I shall see Carl at Zurich. Remember me kindly to him. Through his sister Emilie you have probably had news of our last "Lohengrin" performance, which went off very well. Caspari sang "Lohengrin" much better than it had been heard here before. The Princess of Prussia had asked for the performance, and for want of a local Ortrud (Frau Knopp, who used to sing the part here, has given up her engagement and gone to Konigsberg) we had to write for Madame Marx, of Darmstadt, in all haste. An overcrowded house and a most attentive public were foregone conclusions. Berlioz was present.

Do you correspond with Counsellor Muller? He is sincerely devoted to you, and well intentioned.

Dingelstedt, who was here lately, intends to give "Lohengrin" next winter, and NOT BEFORE. Of the very DECIDED success of the performance at Prague you have probably heard. Fraulein Stoger, daughter of the manager there, sang Ortrud, and wrote me a letter full of enthusiasm about the enthusiasm of the public and the musicians. She was engaged at Weymar until last season.

Farewell, and be patient, dearest friend, and write soon to

Your

F. L.

March 25th, 1856.



213.

DEAREST FRANZ,

Your letter has grieved me very much. Do you really think it necessary to explain to me by an exact description of your situation why you cannot comply with my request for new pecuniary assistance? If you only knew how ashamed and humiliated I feel!

It is true that I applied elsewhere first, and then came back to you, because the feeling of having to accept benefits from less intimate friends frequently becomes absolutely unbearable to me.

This induced me to apply for assistance to you, who never allow me to feel the deepest obligations in a painful sense. I thought, of course, more of your protection and intercession than of a sacrifice of your personal income, because I know sufficiently well how limited your resources are. That I spoke in so determined a manner was owing to the eccentric nature of my whole situation, which makes everything concerning my most intimate feeling take a violent form.

About this also I feel the absolute necessity of personal communication with you. Everything here is so delicate, so finely threaded, that it cannot be explained by letter. I want so much patience to preserve courage and love of work in my precarious position, that in my daily efforts to keep up that courage in spite of my miserable circumstances, I can only gain a few moments in which I am happy in my work, and forget all around me. The reason is that delusive possibilities of escape continually haunt my troubled imagination. But about this we must have some definite conversation.

Your offer of help in the circumstances in which you make it to me has placed me in a painful position, and so much is certain, that I cannot accept the sum which you promise to me for May in order to make my life more pleasant. I must put my income on a different basis, that is understood, and you will understand me if I say so. If, on the other hand, you contrive to dispose of that sum in my favour under conditions less troublesome to yourself, I accept it for the purpose of meeting the expenses of the copying of my scores and pianoforte arrangements, which is very expensive here. I have already spent some money on it, and the hole this has made in my income I must fill up somehow. I certainly cannot go on paying for the copying with my own money. I therefore undertake, for the sum already named, to have all the scores and pianoforte arrangements of my "Nibelung" dramas copied, and to place the copies at your disposal as your property, assuming at the same time that you will kindly lend them to me, as soon and as often as I want them. Are you satisfied with this?

The copy of the "Rhinegold" is quite ready, and I expect it back from London, together with Klindworth's arrangement. This therefore, would be at your disposal at once. Of the pianoforte arrangement of the "Valkyrie," the first two acts will be finished very soon; the third act I recently sent to Klindworth. Hoping that you will accept my proposal, I shall now have the copy of the full score of the "Valkyrie" taken in hand, and this also you can have as soon as it is finished, because Klindworth works from my sketches of the parts. If at this moment you have leisure, and wish to look at it, I will with pleasure let you have the original score of the finished work for some time, and shall occupy the copyist with the pianoforte arrangement of the "Rhinegold" which I expect very soon. I am very anxious to know how the last act will please you, for, besides you, there is really no one to whom I could show it with any satisfaction. I have succeeded, and it is probably the best thing I have written. It contains a terrible storm of the elements and the hearts, which is gradually calmed down to the miraculous sleep of Brynhild. What a pity you will be far from me for so long! Could you not pay me a short flying visit soon?

And am I at last to see some of your new compositions? Their arrival and entry into my home shall be blessed. I have desired to see them ever so long.

Had you nothing more to tell me about Berlioz? I was expecting to hear a great deal of him. And cannot you send me any of his scores? I am, as you may imagine, making a pause in my work now. I am waiting to see what my health will do; my doctor wants to send me to some watering place, but to this I will not, and cannot agree. If I knew how to manage it I should go with Semper to Rome in the autumn. We frequently talk about it, always in the silent hope that you might be one of the party. Here you have my latest whim. A thousand greetings to the Princess and her daughter. She has written me a very cheerful and friendly letter, for which I am deeply obliged to her. I ask you fervently, dearest friend, not again to keep me waiting for a letter so long. Write to me soon and at some length, as we are not going to meet just yet.

Farewell, and continue to love me.

Your

R. W.



214.

MY DEAR FRANZ,

Before taking any steps with regard to my amnesty, I must, once more, take counsel with you, and as this is impossible by word of mouth, as I should have wished, it must be done by letter as briefly as possible.

From Prague the Director of Police there, Baron von Peimann, sent me the advice that I should become a Swiss citizen. In that case the Austrian minister would give his vise to my passport for all the Imperial states, and I might then reside there without being disturbed, for if Saxony should claim me, the reply would be that no Saxon subject of the name of R. W. was known. This would give me some air at least in one direction, and although not much would be gained by it, I might make use of it if there were an intention of performing "Tannhauser" at Vienna, which opera I should let them have there only on condition of my conducting it personally. It is of course more important to me to be allowed to return to Germany proper, not in order to reside there permanently, for I can thrive only in the retirement which I can best secure in a little quiet place in Switzerland, but in order to be present now and then at an important performance, especially of "Lohengrin," and to gain the necessary excitement, without which I must perish at last. I am FIRMLY RESOLVED not to allow "Lohengrin" to be given at either Berlin or Munich WITHOUT ME. A performance of my "Nibelungen" can of course not be thought of, unless I have the permission to travel through Germany so as to gain a knowledge of the acting and singing materials at the theatres. Finally I feel the absolute necessity of living, at least part of every year, near YOU, and you may be assured that I should make a more frequent and more constant use of the possibility of visiting you than you do. To gain all this has now become a matter of the greatest importance to me, and I cannot go on living without at last and quickly taking a decisive step in that direction. I am therefore determined to apply to the King of Saxony for my amnesty in a letter in which I shall candidly own my rashness, and at the same time explicitly state that my promise, never and in no manner to meddle with politics, comes from my very heart. The drawback to this is that, if the other side were ill-inclined, my letter might easily be published in such a manner that I should be compelled to protest publicly against a false and humiliating explanation of my step, and this would lead to a permanent breach, which would make reconciliation impossible. Taking all this into account, I must think it the best thing if my request were laid before the King by word of mouth, through a third person. To satisfy me completely, and give me a chance of success, this could only be done by you, dear Franz. Therefore I ask you plainly, Will you undertake to demand an audience of the King of Saxony on the strength of a letter from the Grand Duke of Weimar? What you should say to the King at such an audience I need not indicate, but we surely agree that in asking for my amnesty stress should be laid upon my ARTISTIC NATURE. On account of that nature and of my individual character as an artist, my startling political excess can alone be explained and excused, and the reasons for my amnesty should be considered in the same light. With regard to that excess and to its consequences, which have continued for several years, I am ready to admit that I appear to myself as one who was in error and led away by passion, although I am not conscious that I have committed a real crime, which would come under a judicial sentence, and I should therefore find it difficult to plead guilty to such a crime. Concerning my conduct in the future, I should be prepared to make any binding promise that could be desired of me. I should only have to announce the modified and clearer view which makes me look upon the affairs of this world in a light in which I did not see them previously, and which induces me to confine myself to my art, without any reference to political speculation. You might also point out that my reappearance in Germany could in no circumstances give rise to a demonstration which, although it might be meant for the artist only, could be explained and applied in a political sense by evil-disposed persons. Fortunately I have, as AN ARTIST, reached such a stage that I need consider only my works of art and their success, but no longer the applause of the multitude. I would therefore promise, with the greatest determination and quite in accordance with my own wishes, to avoid every public demonstration of sympathy which might be offered to me, even as an artist, such as complimentary dinners and the like. These I should most positively decline, and indeed make them, as far as would be in my power, impossible by the mode of my sojourn in various places. I should not even insist upon conducting the performance of any of my operas in person. All I should care for would be to secure a correct rendering on the part of the artists and the conductor by my presence at the rehearsals. If, for the purpose of avoiding any possible demonstration, it should be thought necessary, I should be prepared to leave the town after the completion of the rehearsals and before the performance, which would show clearly enough what is alone of importance to me. In addition to this, I will undertake to avoid in my writings, even of a purely artistic nature, such combative expressions open to misapprehension as may have escaped me formerly in my irritability. Considering all these declarations, the future need be dealt with no longer, only the past. And over that it would be well, in the case of an artist, to throw the veil of forgetfulness, not to make it a cause for revenge. All this you might in conversation explain in a much more comprehensive and conciliatory manner than I could do by letter, especially in a petition for amnesty.

I therefore ask you most fervently, perform this great service of friendship for me. Sacrifice to me the two days which a visit to Dresden would cost you, and explain the matter with that emphasis which alone can avail. From no other measure can I expect a definite and positive result. You alone can speak for me in the manner which is required. If, for special reasons, you should refuse my demand, it would only remain to me to write to the King myself, and in that case we should have to consider by whom my letter could be forwarded to the King, perhaps through the Weimar ambassador. In case the King should refuse my request I might fall back upon the intercession of one of the Prussian ministers, which has been offered to me for that purpose. But I rely little on that, while I expect everything from you and your personal pleading. Be good enough then to let me know soon what I had better do.

Farewell, and accept the cordial greetings of your

RICHARD W.

ZURICH, April 13th, 1858.

Perhaps you might on the same occasion hand a copy of my "Nibelungen" poem to the King.



215.

DEAREST RICHARD,

I have not neglected the steps for your return to Germany. Unfortunately my late efforts and endeavours have not as yet led to a favourable result, which proves by no means that such may not be the case in the future. Your hint about the roundabout way, viz., Prague, I believe to be an illusion which you ought not to cherish, because it might lead to the most dangerous consequences.

The only thing that I can advise, and which I most urgently request you to do, is to send at once your petition to His Majesty the King of Saxony.

The stage into which this affair has got makes such a step absolutely necessary, and you may be sure that I should not urge you to it if I were not firmly convinced that your return to Germany cannot be brought about in any other way. As you have already told me that you would write to the King, I feel sure that you will do so without delay. Send me a copy of your letter to the King. You should, in the first instance, ask for an amnesty to the extent only THAT YOU MIGHT BE PERMITTED TO HEAR YOUR WORKS AT WEYMAR, because this would be necessary for your intellectual development, and because you felt sure that the Grand Duke of Weymar would receive you in a kindly spirit. It breaks my heart to have to prescribe such tedious methods, but believe me, in that direction lies your only way to Germany. When you have once been here for a few weeks the rest will be easily arranged, and I shall give you the necessary information in due course.

In the meantime we must have patience and again patience.

Take heart of grace in the hope which I have by no means abandoned, that we shall see you here.

Your faithful

F. LISZT.

Johanna has been here this last week, and has sung Orpheus and Romeo with the MOST ENORMOUS applause.

I shall have to tell you many things about her when we meet.

By this post you receive the three first numbers of my Symphonic Poems, which have just been published.



216.

DEAREST FRANZ,

Your last letter found me again on a sick bed. Today I am scarcely recovered, and fear another relapse; that is how I am.

Today I received the second instalment of your Symphonic Poems, and I feel all of a sudden so rich that I can scarcely believe it. Unfortunately it is only with great difficulty that I can gain a clear conception of them. This would be done with lightning rapidity if you could play them to me. I am looking forward with the eagerness of a child to studying them. If I could only be well again!

(Do you want the third act of the "Valkyrie?" My copyist works so slowly that there will be plenty of time for you to let me know your wishes. The copy of the full score of the "Rhinegold" I expect back from Klindworth before long, and shall send it to you.)

I am going to take a purgative in order to avoid the return of my illness. I wish I could, instead, start for Purgatory at once.

Adieu. A thousand thanks for your friendship.

R. W.



217.

MORNEX, near GENEVA, July 12th, 1856.

MY DEAR FRANZ,

I have flown, as you see, to this place in order to seek final recovery. I could not help laughing when the excellent Princess, with much sorrow and sympathy, announced the impending arrival of the M. family at Zurich. From evils of that kind I am safe. No outsider can know approximately what troubles and tortures people of our stamp suffer when we sacrifice ourselves in the intercourse with heterogeneous strangers. These tortures are all the greater because no one else can understand them, and because the most unsympathetic people believe that we are in reality like themselves; for they understand only just that part of us which we really have in common with them, and do not perceive how little, how almost nothing that is. To repeat it, the tortures of this kind of intercourse are positively the most painful of all to me, and I am only intent upon keeping to myself. I force myself to solitude, and to achieve this is my greatest care. When I was on the point of taking flight, at the end of May, Tichatschek suddenly called on me. This good man, with his splendid, childlike heart, and his amiable little head, was very agreeable to me, and his enthusiastic attachment to me did me good. I was specially pleased with his voice, and tried to persuade myself that I still had confidence in it.

I wanted to take him to Brunnen, but bad weather delayed our purpose; still we risked it after all, when the carriage drive brought me another attack of erysipelas in the face—the TWELFTH this winter. I had foreseen all this, and therefore during Tichatschek's stay of twelve days, was in a state of continual, painful anxiety. This abominable illness has brought me very low. In the month of May alone I had three relapses, and even now not an hour passes without my living in fear of a new attack. In consequence, I am unfit for anything, and it is obvious that I must think of my thorough recovery. For that purpose a painfully strict regime with regard to diet and general mode of life is required; the slightest disorder of my stomach immediately affects my complaint. What I want is absolute rest, avoidance of all excitement and annoyance, etc.; also Carlsbad water, certain warm baths later on cold ones, and the like. In order to get away from home as far as possible, and to avoid all temptation to social intercourse, I have retired here, where I have found a very convenient refuge. I live at two hours' distance from Geneva, on the other side of Mont Saleve, halfway from the top, in splendid air. At a Pension I discovered a little summer-house, apart from the chief building, where I live quite alone. From the balcony I have the most divine view of the whole Mont Blanc range, and from the door I step into a pretty little garden. Absolute seclusion was my first condition. I am served separately, and see no one but the waiter. A dear little dog, the successor of Peps, Fips by name, is my only company. ONE thing I had to concede in return for the favour of possessing this garden salon; every Sunday morning from nine till twelve I have to turn out. At that hour a clergyman comes from Geneva and performs divine service for the Protestants of this place, in the same locality which I, a godless being, occupy for the rest of the time. But I willingly make this sacrifice, were it only for the sake of religion. I fancy I shall meet with my reward. But the thing is frightfully dear, and without your subsidy I could not have undertaken this expedition. I have had to make an inroad into the money which I had destined for the copying of the scores; I could not help it. The money from Vienna arrived exactly on my birthday; accept my cordial thanks for this sacrifice. I know it is infamous that you have to give me money; why do you do it? On the same occasion I was gratified by a few very friendly lines from your relative, of whose existence I was not aware; they somewhat sweetened the bitterness of having to take money from you. Remember me to him, and thank him cordially in my name.

A piano, although not of the first order, stands in my salon. I hope I shall soon have the courage to begin my "Siegfried" at last, but first of all I must take your scores thoroughly in hand. How many things you have sent me! I had been longing to have, at last, some of your new works; but now this wealth almost embarrasses me, and I shall require time to take in everything properly. For that purpose it would, of course, be necessary for me to hear your poems, or for you to play them to me. It is very well to read something of that kind, but the real salt, that which decides and solves all doubts, can only be enjoyed by actual hearing. In that terrible month of May I was able only to look at your scores with a tired eye, and as through dark clouds; but even then I received the electric shock, which none but great things produce on us, and so much I know that you are a wonderful man, by whose side I can place no other phenomenon in the domains of art and of life. So much was I struck by your conception, and by the design of your execution in its larger outlines, that I at once longed for something new—the three remaining pieces, and "Faust" and "Dante." There you see what I am. Without having made myself acquainted with the finer details of the artistic execution proper I wanted to go on, probably because I had to despair of recognizing these without hearing them. For nothing is more misleading and useless than to attempt this by a laborious, halting and blundering performance on the piano, while an excellent and expressive execution in the right tempo at once produces the right picture in its varied colours. That is why you are so fortunate in being able to do this with supreme excellence. If I look upon your artistic career, different as it is from any other, I clearly perceive the instinct which led you into the path now trodden by you. You are by nature the genuine, happy artist who not only produces, but also represents. Whatever formerly, as a pianist, you might play, it was always the personal communication of your beautiful individuality which revealed entirely new and unknown things to us, and he only was able and competent to judge you to whom you had played in a happy mood. This new and indescribably individual element was still dependent on your personality, and without your actual presence it did, properly speaking, not exist. On hearing you one felt sad, because these marvels were to be irretrievably lost with your person, for it is absurd to think that you could perpetuate your art through your pupils, as some one at Berlin boasted lately. But nature, by some infallible means, always takes care of the permanent existence of that which she produces so seldom and only under abnormal conditions; and she showed you the right way. You were led to perpetuate the miracle of your personal communication in a manner which made it independent of your individual existence. That which you played on the piano would not have been sufficient for this purpose, for it became only through means of your personal interpretation what it appeared to us to be; for which reason, let me repeat it, it was frequently indifferent what and whose works you played. You, therefore, without any effort, hit upon the idea of replacing your personal art by the orchestra, that is, by compositions which, through the inexhaustible means of expression existing in the orchestra, were able to reflect your individuality without the aid of your individual presence. Your orchestral works represent to me, so to speak, your personal art in a monumental form; and in that respect they are so new, so incomparable to anything else, that criticism will take a long time to find out what to make of them. Ah me! all this seems very awkward and open to misunderstanding in a letter; but when we meet I think I shall be able to tell you many new things which you have made clear to me. I hope I shall have the necessary leisure and sufficient lucidity of expression. For that purpose I want good health; for, failing this, I always lapse into that fatal irritability which frustrates everything, and always leaves the best things unsaid. For the same reason, and because our meeting is to me, as it were, the goal for which I strive as the one desirable end, my only care now is the perfect recovery of my health. Let us hope that my efforts and many sacrifices will lead me to it. I shall take care to send you accounts at frequent intervals. My amnesty is of importance to me for this reason ONLY, that in the case of success my way to you would always lie open; if it is granted to me you will have to put up with me for some time next winter.

Franz Muller has congratulated me on my birthday in a very touching manner. I cannot write to him today, but I ask you to give him the news I send you, and to assure him that his friendship is a great boon to me. In case he cannot accompany you when you visit me, I hope to become thoroughly acquainted with him at your house in the autumn, if only the Saxon Minister of Justice will listen to reason. Even his intention of visiting me has made me very happy.

A thousand cordial thanks for the letter of the dear Princess, who soon will have to take the title of private secretary. My best greetings to ALL.

The splendid air and the quiet sympathetic surroundings which I have been enjoying for two days have already cheered me up a little, and I begin to have hopes of perfect health.

Farewell, my dearest, my only friend. For heaven's sake, do not be so chary of your communications.

When we compare letters some day, I shall appear a veritable babbler by the side of you; while you, on the other hand, will make a noble show as a man of deeds. But, dearest Franz, a little confidential talk is not to be despised. Take note of this, you aristocratic benefactor!

Farewell, and write to me soon. I shall once more have a good go at your scores, and hope to get well into them. My address is still Poste restante, Geneve.

Your

R. W.

Your "Mazeppa" is terribly beautiful; I was quite out of breath when I read it for the first time. I pity the poor horse; nature and the world are horrible. I would really rather write poetry than music just now; it requires no end of obstinacy to stick to one thing. I have again two splendid subjects which I must execute. "Tristan and Isolde," you know, and after that the "Victory," the most sacred, the most perfect salvation. But that I cannot yet tell you. For the final "Victory" I have another interpretation than that supplied by Victor Hugo, and your music has given it to me, all but the close; for greatness, glory, and the dominion of nations I do not care at all.



218.

My Hungarian journey has, during the last three weeks, become unexpectedly a doubtful matter, and I did not like, dearest Richard, to write to you before I could tell you something more definite; for the time of my visit must be arranged according to that journey taking or not taking place. The consecration of Gran cathedral is fixed for August 31st, and in case I go there to conduct my Mass, I should be with you in Zurich about September 15th or 20th; but if I am relieved of that duty I shall be at Zurich about the end of August. I hope to know by the end of next week what has been settled, and shall then ask the Princess to let you know particulars. In the meantime, albeit used to waiting, I did not care to wait any longer before I told you that I am an hungered and athirst for being together with you, and going through our programme of NONSENSE; the hors d'oeuvre (which, as you know, have the quality of exciting both hunger and thirst) of your feast of "Rhinegold" and "Valkyrie" will be my symphony to Dante's "Divina Commedia," which will belong to you and was finished yesterday. It takes a little less than an hour in performance, and may amuse you.

After that you will speak to me about your VICTORY, the most sacred, the most perfect salvation....What will it be? The few hints in your last letter have made me very curious to know the whole idea.

Your amnesty business will, for the present, remain in statu quo, but I hope you will come to me next winter, and am preparing your rooms at Altenburg. Speak to no one about it. I shall tell you what I have heard when I see you. Before all, take care of your health, and do all you can so that more rosy aspects may open before you than the roses which erysipelas has painted on your face. Unfortunately, with regard to external matters, I cannot present you with many rosy things, although, as far as appearances go, I am counted amongst the happy. It is true I am happy, as happy as a child of this earth can be. I may confess this to you, because you know the infinite self-sacrifice and invincible love which have supported my whole existence for the last eight years. Why need I be disturbed by other troubles? All else is only the peace-offering for my exalted happiness.

Do not reproach me any longer for not telling you anything about myself, for in these words I confide to you the secret of my usual silence.

Forgive me for not having written to you so long; the Hungarian troubles, caused by my Mass, were at fault. Let me know soon whether you are back at Zurich, and whether my coming to you about the end of August or the middle of September will suit you. You will receive more definite news before long. You have probably seen in the newspapers that Herr and Frau Milde sang the duet from the Dutchman at the Magdeburg Musical Festival excellently, and with splendid success. At the rehearsal I made the horns repeat several times, till at last they succeeded in pulsating tenderly and passionately. The critic of the Magdeburg Gazette says:-

"Although we were at first not sorry that Wagner's name did not appear in the programme, it was very interesting to hear this scene sung by the two Mildes, who have studied these compositions under the direction of Herr Liszt, the chief representative of the Wagner movement. Both sang beautifully, and in many passages, especially in the second half, with overpowering beauty. We close our notice with the words of the duet, 'We were conquered by a mighty charm.'"

Criticisms in the newspapers remind me of A., whom, during my stay at Berlin, I found in the most touching state of anxiety about the notices of the performance of "Tannhauser" that might be published by the Berlin press. Highly estimating, as I do, her friendship for you, which also keeps up a kind of amiable feeling between us two, I could not avoid offending her a little by my indifference. Again, during her last stay here, about three weeks ago, she excited me to a few bad jokes by the enthusiastic interest with which she attended a performance of Auber's "Le Macon" at the theatre here. She was indeed near being seriously offended by my bad jokes at the many-sidedness of taste, or rather, the want of taste, shown by her veneration for this musique de grisettes. When an occasion offers I will try to make it up with her.

I have only too many opportunities of experiencing what you so justly say of the troubles and inconveniences which arise to us from intercourse with heterogeneous persons, although I may boast of possessing a thicker and more impenetrable skin, and a much larger portion of patience, than you.

For today I must not tax your patience any more by gossip of this kind. In a few weeks we shall communicate without the aid of ink and paper, which is the real and wholesome thing for us.

Perhaps the Princess will accompany me to Zurich this time.

Your

F. L.



219.

MORNEX, NEAR GENEVA, July 2Oth, 1856.

You may easily imagine, dearest Franz, how delighted I was by your letter. Sometimes I grow anxious about you when I do not see you or have proper news from you for such a long time; I always think then that you care for me no longer. I shall not write to you anything rational now, for your letter can be answered only by word of mouth. God knows, I castigate my flesh by this cure chiefly in order to be quite well when we meet at last. As regards my health, I could not have done better than place myself under the immediate guidance and supervision of an excellent French physician, Dr. Vaillant, who conducts a hydropathic establishment here. I conquered my first aversion to the course when I recognized the valour of this Parisian Vaillant. I go thoroughly to work in using this new and careful treatment, and feel sure of being completely cured of my ailment, which, after all, was caused by nervousness. But it is more than possible that I shall be detained by it till the end of August, and I should therefore prefer, after all, if you could come about the middle of September. This also seems to me more likely, because I cannot believe that you will give up Gran altogether. I expect then to see you crowned with glory on your return from the land of your fathers.

Your Symphonic Poems are now quite familiar to me; they are the only music which occupies me at present, for during my cure I must not think of doing any work. I read one or other of the scores every day, just as I might read a poem, fluently and without stopping. I feel every time as if I had dived into a deep crystal flood, to be there quite by myself, leaving all the world behind me, and living for an hour my real life. Refreshed and strengthened, I rise again to long for your presence. Yes, friend, you can do it, YOU CAN DO IT!

Well, not much can be said about it; the noblest expressions might easily seem a little trivial in such a connection. Enough, you will soon be here, and bring me my Dante. This is a beautiful, glorious lookout; I thank you.

I sent you yesterday a parcel containing the original scores of "Rhinegold" and the "Valkyrie." Their fate will probably be a peculiar one. Let me explain briefly:—

I shall perish, and shall be quite incapable of further work, unless I find a habitation such as I require, viz., a small house to myself and a garden, both removed from all noise, and especially from the damnable pianoforte noise, which I am doomed not to escape wherever I turn, not even here, and which has made me so nervous that even the very thought of it prevents me from thinking of work. Four years I tried in vain to realise this wish, which I can accomplish only by buying a piece of ground and building a house on it. Over this possibility I brooded like a madman, when it occurred to me not long ago to offer my "Nibelungen" to the Hartels, and to get the necessary money from them. They have expressed to me their willingness of doing something out of the way in order to gain possession of my work, and I have in consequence made the following demand: They are to purchase the two pieces which have already been finished, and are to expect "Siegfried" in the course of next year, and "Siegfried's Death" at the end of 1858, paying in each instance the honorarium on the delivery of the manuscript. They also bind themselves to publish the whole in 1859, the year of the performance. I have been led to this by sheer despair; the Hartels are to supply me with means for the purchase of a piece of ground according to my fancy. If we agree, which must be decided soon, I shall have to send them, in the first instance, my two scores, so as to place them in possession of the material for their future publication. But they will only keep them long enough to take a copy, and then return the originals to you. In any case, if I want the money, I must enable them to take actual possession. They must of course lend me the scores, in case they have not yet been copied, during your visit to me; that is understood. As you do not yet know the last act of the "Valkyrie," I send you the score before taking further steps, so that you, and no one else, may be the first to whom I communicate it. If you have time, read the act quickly, and then keep the whole in readiness for sending it to the Hartels as soon as I ask you. About this whole matter, however, we must come to a better understanding when we meet.

During my cure here I have become terribly indifferent towards my work. Lord knows, if I am not much encouraged to finish it, I shall leave it alone. Why should a poor devil like me worry and plague himself with these terrible burdens if my contemporaries will not even grant me a place for doing my work? I have told the Hartels as much; if they will not help me to a house, detached and situated on an eminence, such as I want it, I shall leave the whole rubbish alone.

Well, if you only will come, I shall not trouble Saxony and the rest of Germany for some time. Bring the Princess with you, do you hear? And the Child, too, must come. If you put me in a good temper I shall perhaps lay my "Victors" before you, although this will be very difficult. For although I have carried the idea about with me for a long time, the material for its embodiment has only just been shown to me as in a flash of lightning. To me it is most clear and definite, but not as yet fit for communication. Moreover, you must first have digested my "Tristan," especially the third act, with the black flag and the white. After that you will understand the "Victors" better.

But I am saying vague things.

Come and bring me the divine comedy, and we shall see then how we can come to an understanding about the divine tragedy.

Thine for ever and aye,

R. W.

I pray you most ardently to let me know AT ONCE by a line the receipt, or possibly the non-receipt, of my scores.

I always feel nervous when I know they are on the road. They left Geneva yesterday.

My address is:-

a Mornex, Poste restante, No. III, a Geneve.



220.

I say, Franz, a divine idea strikes me.

YOU MUST GET ME AN ERARD GRAND!

Write to the widow and tell her that you visit me THREE TIMES every year, and that you must absolutely have a better grand piano than the old and lame one in my possession. Tell her a hundred thousand fibs, and make her believe that it is for her a point of honour that an Erard should stand in my house.

In brief, do not think, but act with the impudence of genius. I MUST HAVE AN ERARD. If they will not give me one let them lend me one on a yard-long lease.

Adieu.



221.

I am leaving Mornex.

I shall be better than ever on September 20th.

Write to Madame Erard that she must send me a grand piano at once. I will pay her in instalments of five hundred francs a year without a doubt.

It must be here when you come.

Happiness and joy to you.



222.

I thank you, dearest, most unique of men, for having sent me your scores of "Rhinegold" and the "Valkyrie." The work has for me the fabulous attractive power of the magnet mountain, which fetters irresistibly the ship and the sailor. H. has been with me for a few days, and I was unable to withhold from him the joy of viewing Valhall. So he tinkles and hammers the orchestra on the piano, while I howl, and groan, and roar the vocal parts; this by way of prelude to OUR great performance at your Zurich palace, to which I am looking forward with longing.

In a week's time I start for Hungary, and my Mass will be performed on August 31st, on the occasion of the Gran ceremony, for which it has been written. For several minor reasons I must, after that, stay at Pesth and Vienna for a few weeks, and shall therefore not be at Zurich till about September 20th. Probably the Princess will come, too, together with her daughter.

Franz Muller will pay you a visit at Mornex about the middle of this month, and will show you his work on the "Nibelungen."

The two scores I shall leave here in the keeping of the Princess until you write to HER that they are to be sent to the Hartels.

Your idea of becoming a houseowner at Zurich is quite peculiar, and I congratulate you cordially on the building delights which await you.

Dawison told me recently that his starring engagement had enabled him to buy a villa near Dresden. At the same rate, you ought to be able to purchase with your scores at least the whole of Zurich, together with the Sieben Churfursten and the lake.

Whether Madame Erard will be inclined to dispose of a grand piano on the advantageous terms you mention is a questionable question, which I shall put to her when I have the chance. Try, first of all, to get quite well; the other ARRANGEMENTS will come in due course.

May God protect you.

F. L.

August 1st, 1856.

We are just going together with H. (who wishes to be remembered to you), to have another try at the last act of the "Valkyrie."



223.

DEAREST FRIEND,

In order to give you a little more diversion I herewith introduce to you Herr Zeugherr, an architect, and an acquaintance of Ernst's; he is in search of a little villa for me to compose in, but has as yet found nothing. Perhaps you will inspire him.

Farewell, and receive best greetings from your

R. WAGNER.

ZURICH.



224.

Friday Evening.

DEAREST FRIEND,

That I ran away from you was a perfect inspiration, which should bring noble fruit both to you and to me.

I shall go to bed at nine; do you likewise, and sleep by the book, so that we may present to each other to-morrow morning a couple of fresh faces, ready to face the world.

I shall study "Mephistopheles" a little today.

If you like we will do some Valkyring tomorrow.

May a thousand gods protect you.

R. W. 225.

DEAR FRANZ,

Believe me, by all that is sacred to you and me, that I am ill, and require the most perfect rest and care today, in order, let us hope, to enjoy you again tomorrow. A very considerable, though welcome and wholesome, catarrh weighs down my limbs like lead. It developed during last night, together with an inflamed throat and other addenda. The slightest excitement would impede my recovery.

Au revoir in a rational matter tomorrow.

Yours,

W. R.



226.

MY DEAREST FRANZ,

I must think it really fortunate that you this time cultivate a few other acquaintances, and that I may therefore disappear for a short time without attracting too much attention.

My catarrh has developed so thoroughly and nobly, that I may hope it will rid me of my usual winter illness, if I take proper care of it; even now I perceive the beneficial effect of nature's self-relief, although I feel as if leaden fetters were on me. I am sure that I shall be better in a few days, and am looking forward to offering you the fruits of my recovery in the shape of an excellent temper.

For today I am a strict patient, and must not think of a visit to Herwegh. If you will give me the pleasure of seeing you today, I inform you that I shall have to perspire from noon to 4 p.m.; before or afterwards my aspect would be less horrible. The hardest thing was that I had to miss the organ concert yesterday. But resignation helps me over everything.

I will try to finish the letter to the Grand Duke today.

A hundred thousand most cordial remembrances to the whole Rectory. How are you, indefatigable man?



227.

Sunday, early.

Here I sit again gazing after you. My best thanks to your dear Princess for the first news. My mind was set at rest not a little on hearing that you had been able to continue your journey to Munich without mishap. There you will be able to rest a little more comfortably than at the Hecht of St. Gallen. Rest? Ye indefatigable ones!

A thousand ardent blessings follow you everywhere. What you have become to me your hearts will tell you. You are so rich a possession to me that I scarcely know how to realise it. But on the other hand, you are to me a continual sermon of repentance; I cannot think of you without being heartily ashamed of myself.

How can you bear with me, who appear so unbearable to myself?

But I am not without good resolutions of amendment. Although I shall palm off great part of the care on my doctor, who is to put me completely on my legs again next spring, I am too well aware that an enormous labour—less watercure than purgatory—lies before me. Yes, I will shut myself up in that Purgatorio, and hope, dearest Franz, that I shall do so well that I may greet you with a MAGNIFICAT soon. It is true that I shall never be able to equal you, but then you are the only genuine virtuoso.

My aesthetic efforts will, I hope, cure my moral prostration to some extent. I must try tomorrow to break the news of the death of his mother to "Siegfried." On Thursday evening I arrived at the Zeltweg, freezing and empty, with a violent cold and in terrible weather; since then I have not set foot out of doors. All I did was to find a good place for the Madonna and Francesca, which was a difficult job. I hammered like Mime. Now all is safe and sound. The Madonna hangs over my writing table and Francesca over the sofa, under the looking-glass, where she looks beautiful. When I begin "Tristan" Francesca will have to go over the writing table, and the turn of the Madonna will not come again until I take the "Victors" in hand. For the present I will try to inspire myself a little with the victrix, and to imagine that I could do the same thing.

My studs are much finer than yours, dear Child; that any one can see. Yours have the sole advantage of moving one to resignation, while mine excite my vanity terribly—a kind of surreptitious vanity, not before the eyes of people, but all to myself; merely for the sake of the studs, not for effect. It is just the same with my "Nibelungen." You always think of the effect of the performance, I of the shirt studs that may be hidden in it.

Well, my blessings on you. If only the dear "lady friend" would soon recover her health, so that the great professors of Munich might delight in the "Rectory family"! Dear, good Princess, and dear, dear Franz,

MON BON GRAND! Good and great you are. My blessings on you! Farewell, and forget all bad and unpleasant things about me. Remember only the kindness of which you thought me worthy.

Adieu. I am always yours.

My wife has not scolded me once, although yesterday I had the spleen badly enough. She greets you with all her power, and is thankful for your friendship.



228.

ZURICH, December 6th, 1856.

I have not forgotten to convey your greetings and inquiries. Wesendonck has written to me in reply, and enclosed a letter of his wife's to the Princess, which I herewith ask you to hand to her.

I long for news from you. How are you, dear Franz, and does the Princess keep her health? From her daughter I soon expect a letter, as we have promised to correspond with each other.

I feel so-so. I shall finish the first scene one of these days. Curiously enough, it is only during composition that the real essence of my poem is revealed to me. Everywhere I discover secrets which had been previously hidden from me, and everything in consequence grows more passionate, more impulsive. Altogether it will require a good deal of obstinacy to get all this done, and you have not really put me in the right mind for it.

However, I must think that I am doing all this for myself, in order to pass the days. Be it so.

You may believe me or not, I have no other desire than that of coming to you soon. Do not fail to let me know always what chances there are. I want music, too, and, Heaven knows, you are the only one who can supply me with it. As a musician, I feel perfectly mean, while I think I have discovered that you are the greatest musician of all times. This will be something new to you.

Adieu. Tell M. that I have overhauled the old red letter case, and have got my biography up to December 1st, 1856, into shape.

A hundred thousand remembrances to mother and child.

Farewell, and take care to let me have some of your new scores soon.

Your R. W.



229.

MUNICH, December 12th, 1856.

DEAREST RICHARD,

I have come to a close of my stay at Munich, and want to send you a few short notes of it before returning to Weymar, which will happen tomorrow evening. First of all about the performance of "Tannhauser", which took place last Sunday (apart from the subscription nights) for the benefit of the Munich poor. The Princess had taken two boxes, which we occupied together with Kaulbach, E. Forster, Liebig, Carriere, and others. The scenery and dresses are brilliant, but probably you would not like them particularly, and I, for my part, think them mannered and pretentious. In the orchestra the wind (especially flutes, clarinets, and bassoon) is excellent. The violins and double basses (six in number) are a little hazy, and lack the necessary energy, both in bowing, which is short and easy-going, and in rhythm. The PIANOS and CRESCENDOS are insufficient, and for the same reason there is no fulness in the FORTES. "Lachner" has, no doubt, studied the score with the greatest accuracy and care, for which thanks and praise are due to him. But in the drama, as you know and say best, "we must become WISE by means of FEELING." "Reason tells us SO IT IS, only after feeling has told us SO IT MUST BE;" and as far as I can tell, Lachner's feeling says little about "TANNHAUSER", although he was called several times before the curtain at the first performances. The part of "Tannhauser" was sung by "Herr Jung", the husband of "Lucile Gran." He succeeded, in my opinion, better than the public here seemed to think, which is, as a rule, somewhat lukewarm and stolid. "Frau Dietz", whose figure and personality do not particularly fit her for "Elizabeth", sang the beginning of the second act with intelligence and feeling, but in the last act she was no longer up to the mark, and the prayer in the third act was applauded as if it had been "The Last Rose of Summer." "Kindermann's" voice is splendid, but there is no trace of "Wolfram" about him. Still less was "Fraulein X." able to identify herself with Venus, whom she seemed to conceive as an ideal Munich barmaid. "Lindemann", the Landgrave, you know, from Hamburg; his voice is as powerful as ever, and he might, later on, serve you as "Fafner" or "Fasolt."

"APROPOS", your "X." is a perfect madman, and I should certainly not advise you to have anything to do with a man like him. He asked me to attend a vocal practice of his pupils, when the poor people had to shout nothing but four or five notes do, de, da! "X." has entirely surrendered himself to his monomania of method, which to him has become a kind of dram-drinking. His circumstances are in a very bad way, and I am told that he keeps himself alive chiefly by acting as clerk in a tailor's business here. This, of course, is by no means to his discredit, and I think, on the contrary, that he would do much better to give up his method, and take to tailoring EX PROFESSO.

Our concert at St. Gallen has not been without an echo at Munich, and Lachner, with whom I lived on friendly terms, proposed to me soon after my arrival to write for the parts of the two Symphonic Poems to St. Gallen, so as to have them played during my stay at the subscription concerts. I thanked him politely for the distinction intended for me, and reserved to myself the permission of making use of it another time. At the theatre I heard CLEMENZA DI TITO (the festival opera on the King's birthday), JESSONDA, THE PROPHET, and TANNHAUSER; at the subscription concert the D minor symphony by "Lachner", his fourth, if I am not mistaken. LOHENGRIN is promised—that is, they are talking about it; but amongst the present artists one would have to search for "Ortrud" with a lantern. The Munich public is more or less neutral, more observing and listening than sympathetic. The Court does not take the slightest interest in music, but "H.M." the King spoke to me about TANNHAUSER as something that had PLEASED him. "Dingelstedt" complains of the impossibility of giving importance to the drama, and gives two or three operas every week for the sake of the receipts.

"Kaulbach" and I have become sincere friends. He is the right sort of fellow who will please you too, for the very reason that many people call him intolerable. As lately as yesterday I roared to him:

[Here, Liszt illustrates with a 2 1/2 bar musical score example with the words, "He - da! He - da! He - do!"]

His designs for Shakespeare's "Tempest" (Ariel as Capellmeister in the air) are splendid. He must paint your portrait for me later on.

Farewell, dearest Richard. I must take care that we meet soon.

Your

F. L.



230.

ZURICH, December 16th, 1856.

Several times, dearest friend, I made an attempt to write to you on serious, and to me important, matters, but I had many things to settle in my own mind first. At last I feel sufficiently mature, and will tell you in plain words what is in my heart. Your last visit, much disturbed as was our intercourse, has left a decisive impression on me, which is this: your friendship is the most important and most significant event of my life. If I can enjoy your conversation frequently and quietly, and in my own way, I shall have all that I desire, and the rest will be of subordinate value. You cannot have a similar feeling, because your life is just the opposite of mine. You love diversion, and live in it, and your desire of self-concentration is therefore temporary. I, on the contrary, live in the most absolute solitude, and therefore want occasional diversion, which, however, in my meaning, is nothing but artistic stimulus. That stimulus the musical world cannot give me; you alone can. All that I lack, especially as a musician, owing to nature and insufficient education, my intercourse with you and no one else can alone give me. Without this stimulus my limited musical capacity loses its fertility; I become discontented, laborious, heavy, and producing becomes torture to me. I never had this feeling more vividly than since our last meeting.

I have therefore but one desire, that of being able to visit you when I wish, and of living with you periodically.

Well, seriously speaking, how does this matter stand? This letter will find you at Weimar. What news have you to give me from the Grand Duke? I ask you urgently, let me have conclusive and definite information soon. Much depends upon it. Let me explain about Weimar. I want to come to the Altenburg, not to Weimar; and if it were possible I should be quite willing to live there incognito. As this will be impossible, my existence might be noticed by the Court. If the Court wants anything of me, I am prepared to appear there in person, either reading my poems, or performing fragments of my music, such as the first act of the "Valkyrie," in conjunction with you, and after our fashion. I do not want to go before the public at all. Can this be arranged, and can the possibility of my visit to Weimar be accelerated?

Concerning my income and my recent hopes of a pension from the Weimar Court separately, or in conjunction with others, you have given me some important hints, which I have not left unnoticed or unconsidered. I should prefer to remain without subvention from that quarter which would make any subsequent relation to the Weimar Court much easier to me, because it is my nature to give rather than receive.

I do not deny it would be very desirable if you could soon make an arrangement with the Hartels about the "Nibelungen," for which object, in accordance with your kind offer, I gave you discretionary power. If you should succeed in this, it would certainly be advisable to interest the Weimar Court in my work, to the extent that it might for some time grant me certain advantages on account of the honorarium which I should receive for the publication.

If you could not ask this without loss of dignity, my only way would be to give up the "Nibelungen," and begin a simple work such as "Tristan" instead, which would have the advantage that I could presumably dispose of it to the theatres at once, and receive royalties in return, although, as you know, the music trade would give me nothing for it.

Let me express my sincere regret at giving you again care and anxiety. If you decline to meddle with what I ask you, I shall think it quite natural on your part; but more depends upon your decision, and especially upon your success, than you may perhaps imagine. I cannot drag on like this.

Since my return from St. Gallen I have not seen a soul except Herwegh. Solitary walks, a little work and reading, constitute my whole existence, in addition to which there were some unpleasant attacks on the little rest I have, which did not allow me to breathe freely, and impaired my health to an unbearable extent. The correspondence between Goethe and Schiller alone pleased me much; it reminded me of our relation, and showed me the precious fruits which, in favourable circumstances, might spring from our working together.

Your Munich news showed you to me in your ever serene artistic element, which I cordially enjoyed with you. Your encounter with X. I regret. All I told you of the man was, that at one time I was pleased with his voice and manner, but could form no judgment whatever of his method. As you were no longer able to hear him sing, and as none of his pupils was sufficiently advanced to let you hear some real thing, I can well understand that the poor man must have bored you terribly with his theory; but I thank you for the trouble you have taken, and shall make use of your hint. I thought you would have been able to let me know something about Dingelstedt, and his conduct towards "Tannhauser," etc. Probably there was nothing pleasant to tell, and you remained silent in consequence. A thousand thanks to the most excellent Princess for the most astonishing cushion, and especially for the famous German letter. I sent her a short answer to Munich, but it probably did not reach you.

To the good Child I shall write shortly; continue to love me all three of you. I need it. Best remembrances from my wife. Farewell, and let me soon hear something comforting.

Yours longingly,

R. W.



231.

DEAREST FRANZ,

I must think of protecting myself against any conceivable unpleasantness in connection with the impending warlike troubles in Switzerland.

Could not the Grand Duke get me from the Prince of Prussia, as chief of the army, a safe conduct against any possible ill- treatment or imprisonment on the part of the Prussian authorities? If this is impossible, I should have to fly to France in case of a Prussian occupation, which would be unpleasant to me. I am sure you will be good enough to do all in your power to set my mind at rest.

Of course the best thing would be if I could soon come to Weimar; but it appears that none of the difficulties of my position will be spared me.

Shall I hear from you soon?

A thousand loving and longing greetings.



232.

January lst, 1857.

DEAREST RICHARD,

I am in bed once more, covered with the whole flora of my Zurich ills. Unfortunately I am no longer near you, and must be content to celebrate the New Year with you by letter. You could not meet with better luck than I wish you from the bottom of my heart. The hope of serving you and, perhaps, of living together with you soon for some time, keeps me active and cheerful, although the external aspects are not of the most favourable kind. At Carlsruhe, where I stayed a day three weeks ago, the Grand Duke and Grand Duchess spoke with the warmest interest of your works. ("Lohengrin" was being studied for production at Christmas.) Our Grand Duke here did the same at my arrival, adding, however, his apprehension, that for the present nothing could be done for you, and that I must have patience. How sick I am of this patience you may easily imagine.

I wrote to the Prince of Prussia the day before yesterday explaining your business at some length to him. I shall probably have a reply, which I will communicate to you in due course. The warlike dangers in Switzerland do not appear to me of a very urgent kind, but I thought this a good opportunity for calling the attention of the Prince to your miserable fate, which is in such glaring contrast to your fame and artistic activity. The Prince is an honourable character, and it may be expected that his intercession will be of service to you later on. In the meantime, you ought, I think, to take no further step, nor waste a single word, because this would lead only to useless humiliation for you.

As soon as the favourable moment arrives which I expect, I shall write to you. On the occasion of the performance of "Lohengrin" for the wedding of the son of the Prince of Prussia, I advise you again to write to the young Prince in the sense previously discussed by us. Probably your affair will have entered a different stage by then.

"Tannhauser" was given here on Boxing-day with great success, and "Lohengrin" will follow soon. For the latter we shall have to get Frau Stager from Prague, because amongst our local artists there is none who could undertake Ortrud. Otherwise everything here is very much in the old groove, and there is little to please me.

I long very much for my work. As soon as I am quite recovered I shall shut myself up in it, and you will be always present to my mind, until we may at last live together in the body.

Your

F. L.



233.

January 6th, 1857.

Is not this a miserable thing, dearest Franz? I had been looking forward to your letter as to a Christmas present, and now it brings me nothing but sad and comfortless news. That you are once more confined to your bed is the crown of my sorrow.

Ah, heavens! Why do we not give in altogether?

It seems to me that you have not received my long letter, which I sent you at Weimar on the supposition that you would go there straight from Munich, and the same has, I fear, been the case with my letter to M., or else she would have surely sent me a few lines in reply. Concerning my letter to YOU, it touches upon a point to which I must urgently return once more, because I want your definite reply as soon as possible. Since you left me an important change has taken place in my situation; I have absolutely given up the annual allowance which the R.'s made me. In such circumstances, my only hope is the speedy success of the Hartel affair in connection with the "Nibelungen," which had been broken off. In accordance with your kind offer, I gave you unlimited power with regard to it. But now you are again tied to your bed, and cannot, in any case for the present, pay the visit to Leipzig which would be necessary for the settlement of such an affair. Consider, therefore, whether you are quite confident that the bargain will be completed after all, provided that I declare myself willing, as I do herewith, to accept any offer, knowing well that, however small the result may be, I could not get more in any other way. If you are quite sure of a final success, the further question would be, how it would be possible to raise some money on account at once. In any case, I ask you, and authorise you, and request you, as soon as possible, to come to a distinct understanding with the Grand Duke as to whether he would be inclined to confirm his favourable opinion of me by granting me a pension, or, at least, a sufficient annual subsidy for the three years which it will take me to complete my "Nibelungen." In the eventuality of a pension for life I should, of course, accept the obligation of staying every year some time at Weimar, and give him my services according to his wish, as soon as the return to Germany is opened to me. You no doubt remember our discussion of this point, and of the possible concurrence of other princes well inclined towards me. But what I particularly care for is SPEEDY AND ABSOLUTE CERTAINTY. At this moment, when I am most in need of help, I want to know DEFINITELY how matters stand. This uncertainty places me in a wavering position of hoping, expecting, wishing, and desiring, which involves my circumstances more and more, apart from demoralising me. In short, I want to know WHERE to look for my friends. Therefore, much-tried friend, look upon this as your last attempt at intercession between me and a world, my position towards which I must know exactly. Patience of any kind is no longer in question. My amnesty will be granted no sooner than at the moment when Saxony herself considers that the time has come; those gentlemen like to appear independent.

Farewell for today. I shall very soon write to you about other matters, which, I hope, will be pleasanter to both of us.

Your

R. W.



234

January 27th, 1857.

DEAREST FRANZ,

Wretched and helpless as I am, I must once more trouble you with something which this time will not be altogether without interest to you. I enclose the letter of the person concerned, so that you may be AU FAIT at once. (The enthusiasm displayed for me will, I hope, not excite you.) B. A., according to the testimony of my wife, is a young, very handsome, slender fellow, as, indeed, you may have guessed by the liking of X. for him.

Arrange, therefore, that he may make his DEBUT as "Tannhauser" and "Lohengrin" at Weimar under your direction. In that manner I shall know that he will be under the surest guidance, and that I shall have the best information as to the value of the young man. Perhaps you will be kind enough to send for him previously.

I have not yet got back to the mood for writing to the kind Princess and the good Child. I am annoyed at being always in a state of lamentation, and must therefore wait for a favourable hour, for I do not like absolutely to deceive you. You yourself are used to my laments, and expect nothing else. My health, too, is once more so bad, that for ten days, after I had finished the sketch for the first act of "Siegfried," I was literally not able to write a single bar without being driven away from my work by a most alarming headache. Every morning I sit down, stare at the paper, and am glad enough when I get as far as reading Walter Scott. The fact is, I have once more over-taxed myself, and how am I to recover my strength? With "Rhinegold" I got on well enough, considering my circumstances, but the "Valkyrie" caused me much pain. At present my nervous system resembles a pianoforte very much out of tune, and on that instrument I am expected to produce "Siegfried." Well, I fancy the strings will break at last, and then there will be an end. WE cannot alter it; this is a life fit for a dog.

I hope you are out of bed again. I wish I were a little more like you. Can you not let me have the "Mountain Symphony?" Do not forget to send it to me.

Adieu, my good, dear Franz. You are my only comfort.

A thousand greetings to all at Altenburg.



235.

January 27th, 1857.

Your sympathy with me makes me hope that you are at present employed in giving the necessary helpful turn to my affairs, and I therefore think it advisable to describe to you, in a few words, my situation as it has lately shaped itself, so that you may know accurately upon what I reckon, and may take steps accordingly.

W. has bought the little country house after all, and offers me a perpetual lease of it.

As I have given up the allowance of the R.'s, it is important for me to settle my income on an INDEPENDENT basis. It would be foolish if I tried to arrange my future definitely at this moment, which will probably bring my provisional position to a close. I am certain that my amnesty will be granted in the course of 1858 at the latest, and I hope that this will suddenly change my situation, to the extent, at least, that it will depend upon myself to find a solid basis for my social existence. All I can rationally care for, considering that I have no chance of success in any other direction, must be to secure for myself a free, unencumbered, and not too limited income for the next few years, until my great work is completed and produced. Nothing appears more adapted to the achievement of this purpose than the sale of my "Nibelungen" to Hartel, whom I have asked to settle with me according to his own judgment. It is most important to me that this should come to pass, and I hope, in any case, that if Hartel accepts the offer I shall receive all that is required. I think they ought to pay me 1,000 thalers for each score, in each case on delivery of the manuscript—that is, for the "Rhinegold," and perhaps for the "Valkyrie" also, now at once. "Siegfried" will be in their hands by the end of this year. However, as I remarked before, I must be satisfied even if they give me a little less. In any case, it will be enough to keep me going for several years; and if I once know what I have, I shall make arrangements accordingly, being resolved, in any case, to leave the management of my income in future to my wife.

I need not tell you that if you come to terms with the Hartels other things ought to be LEFT ALONE ALTOGETHER, for I have made up my mind henceforth to preserve my independence as much as possible.

You now have the complete synopsis of my situation; let me commend it to your well-tried sympathy.

I hear with great delight that you are well again. I have finished the composition of my first act, and, as soon as I have recovered a little strength, hope to score it before leaving my present house. Of resuming composition proper I cannot think here; I have suffered too much of late by the musical and unmusical noisiness of my lodging.

Tell the dear Child that she will soon receive one of those letters from me which she likes, but not about "Indian poetry" (droll idea!), but about that of which my heart is full, and which I can call by no other name, than "Orpheus." But I must wait for a favourable mood. You may tell the Child, however, that the "white rose" is now red and in full bloom, and that the "slender stem of the lily" looks right robust, and inspires confidence. The Princess is angry with me—I feel it—but I know that I shall conciliate her. A thousand greetings to her.

Farewell, dearest, dear Orpheus!

Your R. W.



236.

You could not possibly be forgotten, dearest friend, and the next few days will give me an opportunity of looking after your affairs most carefully. On the 22nd I go to Leipzig to stay there for a whole week. On Thursday, the 26th, "Les Preludes" and "Mazeppa" will be given at the Gewandhaus for the benefit of the pension fund of the orchestra, and on the 28th I am to conduct a performance of "Tannhauser" in Leipzig for the benefit of Herr Behr (the Landgrave), the Mildes singing Elizabeth and Wolfram respectively. In the interval I hope I shall succeed in getting a little "Rhine copper" for the "Rhinegold" from the Hartels, and shall write to you at once.

Frau X. is announced to sing Ortrud on the 8th of March. She is to sing the part twice, and then appear as Antonina in "Belisario." If she pleases her engagement is very probable.

I shall write very soon to Herr A., who sent me your letter by way of introduction, and I have in the meantime asked Herr von Beaulieu to let him make his debut as Lohengrin or Tannhauser.

Today, 16th February (the anniversary of the first performance of "Tannhauser," in the year 1849), we shall have a gala performance of Gluck's "Armida," with Frau Koster of Berlin. A new opera, never yet performed, by a Belgian composer, M. Lassen, "Landgraf Ludwig's Brautfahrt," will be put in rehearsal soon. As far as I am concerned, while

[Musical Notation] He - da! He - do!

is hammering in my head I can enjoy nothing else, either old or new, and dream only of the "Ring of the Nibelung," which God's grace may soon vouchsafe to me.

Your F. L.

WEYMAR, February 16th, 1857.

The three last numbers of my Symphonic Poems will appear by the end of this month, and I shall send them to you at once. A similar thing, "Die Hunnenschlacht," I completed last week. The Princess of Prussia has commanded "Tannhauser" for next Sunday.



237.

Please forward the enclosed proof to Brendel, so that the good man may get a notion of his bad editorship.

(TO BRENDEL.) ZURICH, April 15TH, 1857. DEAR FRIEND,

The somewhat tardy publication of my letter about Liszt I recently read in your paper, and saw, to my regret, that it was very incorrect, and even showed several omissions, disfiguring the sense, owing to the inattention of the printer. At first I thought of forwarding you a list of errata, but considered, on reflection, that such corrections are never read in context with the article, and therefore made up my mind to send a revised version to Zellner at Vienna, asking him to print it at once in his paper. My intention is by no means to punish you for the neglect shown to me, but to induce those interested in the matter to read the corrected letter once again. In case you intentionally made such changes as "PURER form of art" into "NEWER," etc., you have certainly misunderstood me very much, and in that case you must look upon my correction as a demonstration against yourself, although only in private. But I presume that most of the mistakes were caused by the fact that instead of my manuscript you received a copy, which you should not have accepted.

Shall I soon see you? I live in the greatest retirement, and do as much work as my health will let me.

Best remembrances from

Your

RICHARD WAGNER.



238.

You have given me a delightful Easter Sunday, dearest, most unique of friends, by your letter. By the loving "Azymen" which you offer me with so much kindness and friendship, you have given me strength, health, and total oblivion of all other leaven. Receive my most cordial thanks, and let it be a joy to you to have given me so much and such heartfelt joy. That joy shall not be disturbed by a few misprints and omissions. The essential thing is that you love me, and consider my honest efforts as a musician worthy of your sympathy. This you have said in a manner in which no one else could say it. I confess candidly that when I brought my things to you at Zurich, I did not know how you would receive and like them. I have had to hear and read so much about them, that I have really no opinion on the subject, and continue to work only from persistent inner conviction, and without any claim to recognition or approval. Several of my intimate friends- -for example, Joachim, and formerly Schumann and others—have shown themselves strange, doubtful, and unfavourable towards my musical creations. I owe them no grudge on that account, and cannot retaliate, because I continue to take a sincere and comprehensive interest in their works.

Imagine then, dearest Richard, the unspeakable joy which the hours at Zurich and St. Gallen gave me when your beaming glance penetrated my soul and lovingly encompassed it, bringing life and peace.

In a few days I shall write to you at greater length about the Hartel affair, which unfortunately remains in a very unsatisfactory stage. At Altenburg things are looking very sad. The Child has been somewhat seriously ill for the last three weeks, and cannot leave her bed. The Princess also had to doctor herself, and is not yet allowed to leave her room; and I, after having been in bed for quite six weeks, am only just able to hobble about the theatre and the castle. In spite of this, I have better and best hopes for my dear ones and for you, who live in a high place of my heart, and to whom I feel and confess that I wholly belong.