Chapter 2

[score excerpt]

Elsa: Fuhl' ich zu Dir so susz mein Herz entbrennen.

Grand and perfect repose is here the chief thing. In singing the passage, I found that I paused a little on the second and fourth part of the bar, but of course in such a manner as to be scarcely perceptible in a rhythmical sense, only as a matter of expression.

[score excerpt]

Lohengrin: Ath-mest Du nicht mit mir die suss-en. Page 39.

[score excerpt]

Dein Lie-ben muss mir hoch ent - gel - - ten.

(Here the tempo becomes a little slower.)

But enough, perhaps too much already. With all these indications, I appear mean before you. You will do it all right, perhaps better than I should. Only see that we soon meet again; I long to be with you. Or do you find me too effusive? No! Farewell, my dear, good Liszt. Write to me soon.

Yours,

RICHARD WAGNER.

ZURICH, August 16th, 1850. (Abendstern-Enge, Zurich.)

38.

At this moment, dearest friend, after having closed the letter already, I begin to feel a doubt whether you have received my last letter, which I sent you about eighteen days ago. I am uncertain because you make no mention of its contents, which were--

1. A letter from me to Zigesar.

2. One bar of music (full score), which was to be added at the end of Lohengrin's tale in Act III. (the cut which I want in this scene--omission of the second part of Lohengrin's tale--you also do not mention; I assume that you agree).

3. My asking you to send me a proof of the libretto (now too late).

If you have not received this letter, kindly let me know at once, because in that case I should like to send you the aforementioned additional bar, which might still arrive in time for the general rehearsal.

R. W.

39.

DEAR LISZT,

The bearer of this greeting is my young friend Karl Ritter, whose visit I announced to you in my last letter. His family has migrated from Russia, where they formerly lived, to Dresden; and their intention is later on to settle in Switzerland near me. Karl has preceded them in any case, and will stay for the summer with me. He is thoroughly cultured and full of talent, and his musical gift especially is considerable. He was unable to resist the desire to hear my Lohengrin, the score of which he knows thoroughly, under your direction; and therefore he has journeyed to Weimar, to return to me after the second representation. I need scarcely ask you to be kind to him, for I know that it is your nature to be amiable. Please take him with you to the general rehearsal and see that he gets a good place at the performances, which his family from Dresden also will attend. I thank you in advance for this kindness.

I shall spend the day and evening of the 28th with my wife alone on the Righi. This little trip to the Alps, which has been made possible by your kindly care, will, I hope, benefit my bodily and mental condition, especially in these days, when I am naturally moved by many feelings. Farewell, dear friend. Write soon, and be always sure of my most devoted love.

Your

RICHARD WAGNER.

ZURICH, August 22nd, 1850.

40.

DEAREST FRIEND,

Your "Lohengrin" is a sublime work from one end to the other. The tears rose from my heart in more than one place. The whole opera being one indivisible wonder, I cannot stop to point out any particular passage, combination, or effect. A pious ecclesiastic once underlined word for word the whole "Imitatio Christi;" in the same way I might underline your "Lohengrin" note for note. In that case, however, I should like to begin at the end; that is, at the duet between Elsa and Lohengrin in the third act, which to my thinking is the acme of the beautiful and true in art.

Our first representation was, comparatively speaking, satisfactory. Herr von B., who will see you soon, will bring you very accurate news. The second performance cannot take place before ten or twelve days. The court and the few intelligent persons in Weymar are full of sympathy and admiration for your work; and as to the public at large, they will think themselves in honour bound to admire and applaud what they cannot understand. As soon as I have a little rest I shall begin the article which will probably appear in the "Debats"; in the meantime Raff, about whom B. will speak to you, will write two notices in the journal of Brockhaus and in the "Leipzig Illustrirte Zeitung". Uhlig will look after Brendel's paper, etc.

If you have a moment, do not forget to write to Genast, who has very warmly interested himself in the success of "Lohengrin". You may be quite assured of the fate of the masterpiece in Weymar, which is, no doubt, a little surprised at being able to produce such things. Before the end of the winter "Lohengrin" will certainly become a "draw."

When shall we have "Siegfried"? Write to me soon, and always count on your devoted friend and servant,

F. LISZT.

WEYMAR, September 2nd.

41.

DEAR FRIEND,

I can no longer delay writing to you, although I should have preferred to wait for another letter from you, so as to answer any possible questions of yours. As far as I can at present form an opinion of the character of the "Lohengrin" performance at Weimar from the accounts that have reached me, there is one thing that stands forth in the surest and most indubitable manner, viz., your unprecedented efforts and sacrifices in favour of my work, your touching love for me, and your marvelous faculty of making the impossible possible. I can see after the event quite clearly what a gigantic task you have undertaken and performed. How can I ever reward you? I should scarcely have anything to communicate to you beyond these exclamations of gratitude if I had not discovered in Herr von Zigesar's letter (received the day before yesterday, together with the honorarium) a certain disappointment--the disappointment involuntarily expressed by one who does not see his warmest zeal for a beloved cause crowned by the desired success, and who therefore assumes a certain pensive and doubtful attitude. Zigesar is doubtful whether the success of my opera is certain; he professes the warmest desire to work for that certainty with all his might, but appears to hesitate as to the best means for the purpose. Knowing that your zeal in the same cause is more active and energetic than that of any one else, I must turn to you alone in considering the means which may bring about our common desire.

So much is certain: that the performance has caused fatigue by the length of its duration. I confess I was horrorstruck when I heard that the opera had lasted until close upon eleven at night. When I had finished the opera, I timed it exactly, and according to my calculation the first act would last not much over an hour, the second an hour and a quarter, the third again a little more than an hour, so that, counting the entr'actes, I calculated the duration of the opera from six o'clock to a quarter to ten at the latest. I should have been doubtful whether you had taken the tempi according to my calculation if musical friends, well acquainted with the opera, had not assured me particularly that you had taken the tempi throughout as they knew them from me, and now and then rather a little quicker than slower. I must therefore assume that the dragging took place where you, as conductor, lost your immediate power, viz., in the recitatives. I have been assured that the recitatives were not attacked by the singers as I had performed them to my friends at the piano. Allow me to explain myself a little more particularly, and forgive my mistake of not having done so before.

Owing to the deplorable fact that at our German theatres scarcely anything but operas translated from a foreign language is given, our dramatic singers have been most thoroughly demoralized. The translations of French and Italian operas are generally made by blunderers, or at least scarcely ever by people who would be able to effect between the music and the translation a similar concordance to that which existed in the original version, as, for example, I tried to do in the most important parts of Gluck's "Iphigenia". The result has been in the course of time that the singers got into the way of neglecting altogether the connection between word and tone, of pronouncing an unimportant syllable to an accentuated note of the melody, and of putting the important word to a weak part of the bar. In this way they gradually became accustomed to the most absolute nonsense, to such an extent that it was frequently quite indifferent whether they pronounced at all or not. It is most amusing to hear German critics boast that only Germans understand dramatic music, while experience teaches that every bad Italian singer in the worst Italian opera declaims more naturally and expressively than the best Germans can do. The recitative has fared worst; in it singers have become accustomed to see only a certain conventional sequence of tonal phrases, which they can pull about and draw out according to their sweet will. When in opera the recitative commences, it means to them, "The Lord be praised, here is an end to that cursed tempo, which off and on compels us to a kind of rational rendering; we can now float about in all directions, dwell on any note we like until the prompter has supplied us with the next phrase; the conductor has now no power over us, and we can take revenge for his pretensions by commanding him to give us the beat when it suits us," etc. Although perhaps not all singers are conscious of this privilege of their genius, they, as a rule, involuntarily adopt this free-and-easy method, which confirms them in a certain natural laziness and flabbiness. A composer writing for German singers has therefore to take every care in opposing an artistic necessity to this lazy thoughtlessness. Nowhere in the score of my "Lohengrin" have I written above a vocal phrase the word "recitative;" the singers ought not to know that there are any recitatives in it; on the other hand, I have been intent upon weighing and indicating the verbal emphasis of speech so surely and so distinctly that the singers need only sing the notes, exactly according to their value in the given tempo, in order to get purely by that means the declamatory expression. I therefore request the singers particularly to sing all declamatory passages in my operas at first in strict tempo, as they are written. By pronouncing them throughout vividly and distinctly much is gained. If, proceeding from this basis with reasonable liberty and accelerating rather than holding back, they manage to obliterate the painful effect of the tempo altogether, and produce an emotional and poetic mode of speech, then all is gained.

Dingelstedt's sympathetic and clever notice of the performance of my "Lohengrin" has impressed me very much. He owns that previously he had known nothing by me, and chiefly attributes to this circumstance a certain puzzled feeling which the first performance of "Lohengrin" has produced in him. That puzzled feeling he transfers to the character of the work itself, speaking of numberless intentions crossing each other, with which he supplies me, but never guessing, as far as I can see, the only intention which guided me--I mean the simple and bare intention of the drama. He speaks of the impression which flutes, violins, kettledrums, and trumpets made on him, but nowhere of the dramatic representatives in whose stead, as he puts it, those instruments spoke. From this I conclude that at the performance the purely musical execution preponderated, that the orchestra-- as connoisseurs have also told me--was excellent, and that friend Liszt, together with all that immediately depended on him, was the real hero of the performance. If we consider honestly and unselfishly the essence of music, we must own that it is in large measure a means to an end, that end being in rational opera the drama, which is most emphatically placed in the hands of the representatives on the stage. That these representatives disappeared for Dingelstedt, that in their stead he only heard the utterance of orchestral instruments, grieves me, for I see that, as regards fire and expression, the singers remained behind the support of the orchestra. I own that a singer supported by the orchestra in such a manner as is here the case must be of the very highest and best quality, and I fully believe that such singers could not easily be found in Weimar, and in Germany generally. But what is really the essential and principal thing here? Is it voice only? Surely not. It is life and fire, and in addition to that earnest endeavour and a strong and powerful will. In Dresden I made the experience with our best singers that, although they had the most laudable intentions and the greatest love for their tasks, they were unable to master a certain flabby laziness, which in our actual artistic muddle appears to be the characteristic trait of all our operatic heroes. I there caused all the remarks in the score of "Tannhauser" to be inserted in the parts of the singers with the utmost accuracy--I mean the remarks which had reference to the meaning of the situation and the dramatic action. At the performance I perceived with dismay that all these had remained unnoticed, and I had to see--imagine my horror!--for example, that my Tannhauser in the contest of the singers shouted the hymn of Venus--

"Wer dich mit Gluth in seine Arme geschlossen, Was Liebe ist, weiss der, nur der allein!"

at Elizabeth, the chastest of virgins, before a whole assembly of people. The only possible result could be that the public was, to say the least, confounded, and did not know what to make of it. Indeed, I heard at Dresden that the public became acquainted with the dramatic meaning of the opera only by reading the book in extenso; in other words, they understood the performance by disregarding the visible performance and making additions from their own imagination. Are your singers at Weimar more advanced than our famous people of Dresden? I think not. Probably they also will, in the first instance, be satisfied with getting over the difficulty of hitting the notes and committing their parts to memory, and on the stage they will at best take notice only of what the stage-manager tells them in the most general way. Genast, however, was always one of those artists who do not rely upon the stage-manager for the comprehension of their parts; he who has heard him and seen him knows so much. Being now a stage- manager himself, he probably thinks it unnecessary to play for the singers the schoolmaster, whom he, as a singer, never wanted. In this, however, he is mistaken; the present generation has run wild from its birth. I also can understand too well that, in his friendly zeal for my work, he remained entirely on the proper standpoint of the stage-manager, who arranges things in a general way, and justly leaves it to the individual actors to find out for themselves what concerns them only. In spite of this, I ask him now to interfere even there, where the power and the natural activity of the stage-manager ceases; let him be the trustee of infant actors. At the rehearsal of my "Tannhauser" in Weimar I had occasion to point out the neglect of some scenic indications on the part of individual singers. Elizabeth, for example, during the postlude of the duet with Tannhauser in the second act, has to justify the re-entry of the tender theme in the clarinet in slower tempo by looking--as is indicated in the score--after Tannhauser in the court of the castle and by beckoning to him. By neglecting this and merely standing in front, waiting for the conclusion of the music, she naturally produces an unbearable feeling of tedium. Every bar of dramatic music is justified only by the fact that it explains something in the action or in the character of the actor. That reminiscence of the clarinet theme is not there for its own sake as a purely musical effect, which Elizabeth might have to accompany by her action, but the beckoned greeting of Elizabeth is the chief thing I had in my eye, and that reminiscence I selected in order to accompany suitably this action of Elizabeth. The relations of music and action must therefore be deplorably perverted where, as in this instance, the principal thing--i.e., the dramatic motive--is left out, while the lesser thing--i.e., the accompaniment of that motive--alone remains. Of the performance of "Lohengrin" one fact has been related to me which, although it may appear of little consequence, must serve me to show how important, nay decisive, for a proper understanding such individual cases may be.

When I conceived and wrote the second act, it had not escaped me how important it would be for the proper mood of the spectator to show that Elsa's contentment at the last words of Lohengrin is not really complete and genuine; the public should feel that Elsa violently forces herself to conquer her doubt, and we should in reality fear that, having once indulged in brooding over Lohengrin, she will finally succumb and ask the prohibited question. In the production of this general feeling of fear lies the only necessity for a third act in which that fear is realized; without it the opera should end here, for the chief problem would not only have been mooted, but satisfactorily solved. In order to produce this feeling very distinctly and tangibly, I invented the following dramatic point: Elsa is led by Lohengrin up the steps on the minster; on the topmost step she looks downwards with timid apprehension; her eye involuntarily seeks Frederick, of whom she is still thinking; at that moment her glance falls on Ortrud, who stands below, and raises her hand in a threatening manner. At this moment I introduce in the orchestra in F minor ff. the warning of Lohengrin, the significance of which has by this time been distinctly impressed upon us, and which, accompanied by Ortrud's impressive gesture, here indicates with absolute certainty, "Whatever happens, you will disobey the command in spite of all." Elsa then turns away in terror, and only when the king, after this interruption, once more proceeds towards the entrance of the minster with the bridal pair, does the curtain drop. What a pity then that that dramatic point was not made on the stage, and that the curtain dropped before the entry of the reminiscence in F minor! This not unimportant mistake was, no doubt, caused by the probably accidental neglect of a remark in the full score which, according to my previous wish, should, like similar other remarks, have been extracted for the benefit of the actors. I must fear that several other things have also remained unnoticed and unexecuted, and nothing confirms me so much in this fear as the account of Dingelstedt, who, in spite of his unmistakable goodwill, has evidently not taken in my opera because of the music.

Dearest Liszt, was I right when in the preface of my "Kunstwerk der Zukunft" I wrote that not the individual, but the community alone, could create genuine works of art? You have done the impossible, but, believe me, all must nowadays do the impossible in order to achieve what is really possible. What delights me more than all is to hear that you have not lost courage, and are going to try everything in order to support the opera, in spite of a certain disappointment around you, and even to put it on its legs. To assist you in this most laudable zeal I give you the following advice: Let Genast, whom I cordially thank for his friendship, before the resumption of "Lohengrin", call the whole personnel to a reading rehearsal; let the singers read their parts in connection, distinctly and expressively, from the printed libretto, in which there are unfortunately many misprints. Let Genast take the score, and from the remarks therein inserted explain to the singers the meaning of the situations and their connection with the music bar by bar. The devil must be in it if the matter could not then be put right, provided the intentions of the actors are good. Once more, let Genast go beyond his position as stage-manager, which, no doubt, he fills as well as any one, and let him become the guardian of the infants and the neglected.

By these words I by no means wish to express a definite doubt as to your singers in general or their achievements in this particular case. The fact that in a purely musical sense they took such care of their parts that you ventured with them upon the performance of this enormously difficult, because unfamiliar music is an excellent testimony in their favour. In the above I asked them for something which perhaps they have never been asked for before. I hope Genast will find it worth his while to explain this most specially to them, and that he will succeed in making them do justice to my demand. In that case he may boast of having been the chief participant in a revolution which will lift our theatrical routine out of its grooves.

The representative of Lohengrin alone appears, according to all accounts, really incapable. Would it not be possible to make in this instance a change of persons? To my mind everybody ought to be glad when Lohengrin enters, instead of which it appears that people were more pleased when he left the stage. At this moment I receive your letter, assuring me of your joy and friendship. What good spirits you are in!

I will close this long letter, which must have bored you very much, by comprising all the single points I have mentioned to you in a final and weighty bundle of prayers.

1. Arrange by the intervention of Genast that before the second performance the singers have another rehearsal according to the above indications. Let no scenic remark remain unnoticed.

2. Insist firmly and sharply that the singers perform in decisive and lively tempo what they take to be recitatives in my opera. By this means the duration of the opera will, according to my experience, be shortened by nearly an hour.

3. Further, I desire that, with the exception of the second part of Lohengrin's tale, which I determined from the beginning to cut, my opera should be given as it is, without any omissions.

If cuts are made, the chain of comprehension will be torn asunder, and my style, which the public are only just beginning to take in, so far from being made more accessible, will be further removed from the public and the actors. To capitulate to the enemy is not to conquer; the enemy himself must surrender; and that enemy is the laziness and flabbiness of our actors, who must be forcibly driven to feel and think. If I do not gain the victory, and have to capitulate in spite of my powerful ally, I shall go into no further battles. If my "Lohengrin" can be preserved only by tearing its well-calculated and artistic context to pieces, in other words if it has to be cut owing to the laziness of the actors, I shall abandon opera altogether. Weimar in that case will have no more interest for me, and I shall have written my last opera. With you, dear Liszt, who have so bravely accepted my battle, it lies to gain a complete victory for me. I do not know what more I could say; to you I have said enough. To Genast, for whom also this letter is intended, I shall write separately as soon as I know that my demand has not offended him. To Zigesar I write tomorrow.

In the meantime I post this letter in order not to incur the reproach of delay.

Farewell, then, dearest, splendid friend. You are as good as refreshing summer rain. Farewell. Be thanked, and greet my friends.

Always your most obliged

RICHARD WAGNER

ZURICH, September 8th, 1850

One thing more: as you have no organ and no harmonium (physharmonika), I want you to let the short organ-passage at the end of the second act be played by wind instruments behind the scenes.

Lohengrin should sing the words "Heil dir, Elsa! nun lass vor Gott uns gehen!" with tender emotion.

42.

(TO HERR VON ZIGESAR.)

MOST ESTIMABLE HERR INTENDANT,

On my return from a little trip to the Alps, I find the copies of the libretto of "Lohengrin" which you have kindly sent to me, and have every reason to rejoice heartily at the remarkable care with which you have had it done. This is another ocular proof of the sympathy with which you have gone to work in everything concerning my last opera, and I must not omit to express my warmest thanks to you. Your last letter, in which you kindly enclosed the honorarium for my "Lohengrin," tells me of the success of all your extraordinary exertions for the performance of the opera, and I see with regret from your friendly communication that satisfaction, in the measure desired by you, has not been the result, and that a permanent success appears doubtful to you. As with this statement you combine no objection to the work itself, but, on the contrary, assure me that to the best of your intention and power you will try to secure that desired success for my opera, I feel bound to add to the expression of my gratitude for your kind feeling my opinion as to how our mutual wishes might be realized.

Most esteemed Herr Intendant, with full knowledge of the matter at stake, you have undertaken by its performance at your theatre to give life to a dramatic work the essence of which is that it is in all its parts a continuous whole, and not something incongruous, made up of many different parts. The author of this work does not wish to shine by the effect of single musical pieces; music to him is altogether no more than the most exalted and most comprehensive mode of expression of what he desired to express--the drama. Even where music became a mere ornament I remained conscious of having acted in accordance with a certain artistic necessity, and each necessary effect was brought about only by the fact that, like the link of a well-forged chain, it derived its significance from the preceding links. If this chain were torn asunder by the removal of the whole, or a half, or a quarter of a link, the whole context would be torn along with it, and my intention would be destroyed. You admitted to me yourself that in certain cases about which at first you had doubts you had been finally convinced of the necessity of this concatenation, but the impression made upon you by the performance has again renewed this doubt, to the extent, at least, that you think it advisable, in consideration of the public, to consent to certain omissions in my opera. Permit me to think a little better of the public. An audience which assembles in a fair mood is satisfied as soon as it distinctly understands what is going forward, and it is a great mistake to think that a theatrical audience must have a special knowledge of music in order to receive the right impression of a musical drama. To this entirely erroneous opinion we have been brought by the fact that in opera music has wrongly been made the aim, while the drama was merely a means for the display of the music. Music, on the contrary, should do no more than contribute its full share towards making the drama clearly and quickly comprehensible at every moment. While listening to a good--that is, rational--opera, people should, so to speak, not think of the music at all, but only feel it in an unconscious manner, while their fullest sympathy should be wholly occupied by the action represented. Every audience which has an uncorrupted sense and a human heart is therefore welcome to me as long as I may be certain that the dramatic action is made more immediately comprehensible and moving by the music, instead of being hidden by it. In this respect the performance of my "Lohengrin" at Weimar does not as yet seem to have been adequate, in so far as the purely musical part was much more perfect than the dramatic, properly so called, and the fault I attribute solely to the general state of our opera, which from the outset has the most confusing and damaging influence on all our singers. If during the performance of my "Lohengrin" the music only was noticed, yea almost only the orchestra, you may be sure that the actors remained far behind their task. Yesterday I wrote at length to my incomparable friend Liszt about this, and explained to him my views as to how the matter might be managed so as to place the performance in the right light. If in future the so-called recitatives are sung as I have asked Liszt to insist upon their being sung, the halting and freezing impression of whole, long passages will disappear, and the duration of the performance will be considerably shortened. If cuts were resorted to, you would gain comparatively little time, and would sacrifice to our modern theatrical routine every possibility of thorough reform. I can imagine, for instance, that the speeches of the king and the herald may have made a fatiguing impression, but if this was the case because the singers sang them in a lackadaisical, lazy, and slovenly manner, without real utterance, is then the interest of art benefited by curtailing or omitting these speeches? Surely not. Art and artists will be equally benefited only if those singers are earnestly requested to pronounce those speeches with energy, fire, and determined expression. Where no effect is made no impression can be produced, and where no impression is produced people are bored; but is it right, in order to shorten that boredom, to remove what with a proper expression would produce the necessary effect? In that case it would be better to drop the whole work, which, for want of proper expression, would be in danger of failing to produce the necessary effect. For if we yield in small and single things, if we make concessions to laziness and incompetence, we may be sure that we shall soon be obliged to do the same throughout; in other words, that we must give up every attempt at making a work like the present succeed. It appears to me preferable to find out with the utmost care where the real cause of the existing evil lies, and then to attack the enemy in his own camp with perseverance and power. You will see from this, most esteemed Herr Intendant, how important it is for me not to gain toleration for my Lohengrin by accommodating it to existing evils, but to secure for it a decisive success by making it conquer existing evils. Otherwise I confess openly that the future chances of this opera would have no value for me; in that case I should only regret the amount of exertion, trouble, and sympathy which you have kindly wasted on this work. Fame I do not seek, gain I had to renounce long ago, and if now I have at last to experience that even my most energetic friends and patrons think themselves obliged to make concessions for my benefit where a real victory can alone be of value, I shall lose every wish and every power to be further active in my art. If you can keep my "Lohengrin" going only by truncating its healthy organism, and not by operating to the best of your power on the diseased organism of our truncated operatic body, then I shall be cordially glad if you are rewarded for your pains according to circumstances, but I must ask you not to be angry with me if I look upon such a success with indifference. What to you is a matter of benevolence towards me is for me, unfortunately, a vital question of my whole mental existence in art, to which my being clings with bleeding fibres.

May Heaven grant that you, highly esteemed sir and patron, will take the contents and expression of these lines in good part, and that you will not for a moment doubt that always and in all circumstances I shall look upon you as one of the most sympathetic phenomena that have entered my existence. In all respects I owe you love and unbounded gratitude. If I should never be able to show this to you, as from my whole heart I desire, I ask you fervently to attribute it, not to the wish of my inmost soul, but to the position which I, as an artist with a passionate heart, must, according to my firm conviction, take towards the state of deep depravity of our public art-life.

With the highest esteem and veneration, I remain yours obediently,

RICHARD WAGNER

ZURICH, September 9th, 1850

43.

DEAREST LISZT,

I must today write you a few additional lines with reference to my recent long letter.

Karl Ritter arrived here last night from his journey; and from his account I see that in my surmises as to certain points in the performance of "Lohengrin," founded chiefly on some striking remarks in Dingelstedt's notes, I have not hit the right thing. Ritter tells me that, contrary to what I thought, you have kept up the tempo of the recitatives according to my indications, and that therefore the dreaded caprice of the singers, as far, at least, as the tempo was concerned, had no license. For this also I must thank you, but am a little perplexed as to the advice I recently gave you. By keeping up the tempi of the recitatives I had chiefly intended to shorten the duration of the performance, but I see now that you had already done the right thing, and therefore remain astounded at my own error as to the length of the opera, which is certainly detrimental. My opinion is that if, as I much desire, the higher context is not to be destroyed by cuts, the public must be deceived as to the duration of the performance by your making the singers pronounce the recitatives as vividly and as speakingly as possible; it is quite possible for them to sing them in the proper tempo without giving interest to them by warmth and truth of declamation. Moreover, the performance will, of its own accord, become more compact as time goes on. I have made this experience at the performances of my operas which I conducted myself, the first performances always lasting a little longer than the subsequent ones, although nothing had been cut in these. This will probably be the case with the performance of "Lohengrin" in Weimar, which only now that I have been able to ask about many difficult details I can appreciate in its excellence and perfection as regards the musical portion.

I now come to the principal thing. You cannot believe how delighted I was to hear some particulars of your music to "Prometheus." Our friend Uhlig, to whom I attribute excellent judgment, sends me word that he values this single overture more than the whole of Mendelssohn. My desire to make its acquaintance is raised to the highest pitch. Dearest friend, will you be kind enough to let me have a copy soon, if I ask you particularly? You would please me immensely, and I already contemplate the possibility of having it played to me at a concert here in Zurich. Now and then I shall take an interest in the local musical performances, and I promise you that your work will not be heard otherwise than in the most adequate conditions that can be obtained. Could I also have your overture to Tasso? When I look upon your whole life and contemplate the energetic turn which you have given to it of late years, when I further anticipate your achievements, you may easily imagine how happy I shall be to give my sincerest and most joyous sympathy to your works. You extraordinary and amiable man, send me soon what I ask you.

Enough for today.

I am always and wholly yours,

RICHARD WAGNER

ZURICH, September 11th, 1850

44.

DEAREST FRIEND,

The second performance of your masterpiece has answered my expectations, and the third and fourth will bring home to every one the opinion I expressed as soon as we began rehearsing "Lohengrin," namely, that this work will confer on a public making itself worthy of understanding and enjoying it more honour than that public could confer upon the work by any amount of applause.

"Perish all theatrical mud!" I exclaimed when we tried for the first time the first scenes of "Lohengrin." "Perish all critical mud and the routine of artists and the public!" I have added a hundred times during the last six weeks. At last, and very much at last, I have the satisfaction to be able to assure you very positively that your work will be better executed and better heard and understood from performance to performance. This last point is, in my opinion, the most important of all, for it is not only the singers and the orchestras that must be brought up to the mark to serve as instruments in the dramatic revolution, which you so eloquently describe in your letter to Zigesar, but also, and before all, the public, which must be elevated to a level where it becomes capable of associating itself by sympathy and intelligent comprehension with conceptions of a higher order than that of the lazy amusements with which it feeds its imagination and sensibility at our theatres every day. This must be done, if need be, by violence, for, as the Gospel tells us, the kingdom of heaven suffers violence, and only those who use violence will take it.

I fully understand the motive which has made you speak with diplomatic reserve of the audiences of "Lohengrin" in your letter to Zigesar, and I approve of it. At the same time, it is certain that, in order to realize completely the drama which you conceive, and of which you give us such magnificent examples in "Tannhauser" and "Lohengrin," it is absolutely necessary to make a breach in the old routine of criticism, the long ears and short sight of "Philistia," as well as the stupid arrogance of that self-sufficient fraction of the public which believes itself the destined judge of works of art by dint of birthright.

The enemy to whom, as you, my great art-hero, rightly put it, one should not capitulate--that enemy is not only in the throats of the singers, but also very essentially in the lazy and at the same time tyrannical habits of the hearers. On these as well as on the others one must make an impression if necessary by a good beating. This you understand better than I could tell you.

In accordance with your desire, we have at the second performance of Lohengrin not omitted a single syllable, for after your letter it would, in my opinion, have been a crime to venture upon the slightest cut. As I took occasion to tell those of my friends who were here on August 28th, the performance of your works, as long as you entrust me with their absolute direction, is with me a question of principle and of honour. In these two things one must never make a concession; and, as far as I am personally concerned, you may rest perfectly assured that I shall not fail in anything which you have a right to expect from me. In spite of this, both Herr von Zigesar and Genast feel bound, in the interest of your work, to address you some observations, which I, for my part, have declined to submit to you, although I think them somewhat justified by the limits of our theatre and of our public, which are as yet far behind my wishes and even my hopes. If you think it advisable to agree to some cuts, kindly let me know your resolution as to this subject. Whether you accept those proposed by Genast, or whether you determine upon others, or whether, which is probable, you prefer to keep your work such as we have given it twice, I promise you on my honour that your wish shall be strictly carried out, with all the respect and all the submission which you have a right to demand by reason of your genius and of your achievements.

Whatever determination you come to in this regard, be certain that in all circumstances you will find in me zeal equal to my admiration and my devotion.

Wholly yours,

F. LISZT.

September 16th, 1850.

P.S.--Remember me kindly to Herr Ritter. I am very thankful to him for not having spoken too ill of our first performance of "Lohengrin;" the second has been much more satisfactory, and the third and fourth will no doubt be still more so. Herr Beck, who takes the principal part, endeavours in the most laudable manner not to be below the task allotted to him. What is more, he begins to feel enthusiasm for his part and for the composer. If one considers fairly the enormous difficulty of mounting such a work at Weymar, I can tell you sincerely that there is no reason for dissatisfaction with the result which has so far been attained, and which beyond a doubt will go on improving with every representation.

I do not know whether the sublimity of the work blinds me to the imperfection of the execution, but I fancy that if you could be present at one of our next representations you would not be too hard upon us.

45.

DEAREST FRIEND,

In a week or so I shall send you a very long article of mine about "Lohengrin." If personal reasons of your own do not prevent it, it will appear in Paris in the course of October. You are sufficiently acquainted with the habits of the Paris press to know how reluctantly it admits the entire and absolute eulogium of a work by a foreign composer, especially while he is still living. In spite of this, I shall try to overcome this great obstacle, for I make it a point of honour to publish my opinion of your work; and if you were fairly satisfied with my article, you might perhaps give me a pleasure which would not cost you more than a day or two of tedium. This would be to make a translation, revised, corrected, augmented, and authenticated, which, by the help of your and my friends, could be inserted in two or three numbers of the Augsburg Allgemeine Zeitung or the journal of Brockhaus, signed with my name.

If you should prefer to have it printed separately as a little pamphlet by Weber, of Leipzig, I should not object; and if you would say a word to Weber, I feel convinced that he would willingly undertake it. But before all you must be acquainted with my article, and tell me very frankly whether or not you would like to have it published in Germany. In France I will manage it a little sooner or a little later, but in case of a German publication I should make it an absolute condition that you undertook the trouble of translating it and of having it copied under your eyes, so that I should not be charged with the blunders of the translator, etc., etc. You will see that the style is carefully French, and it would therefore be very important not to destroy the nuances of sentiment and thought in their passage to another language.

Always and wholly yours,

F. LISZT.

WEYMAR, September 25th, 1850.

46.

DEAREST FRIEND,

I have little to tell you unless I write to you about all the things which we two need scarcely discuss any more. After your last letter, which has given me great and genuine joy, such as few things could, we are almost so absolutely near each other on the most important questions that we may truly say, we are one. I only long for the pleasure of your company, for the delight of being united with you for a season, so that we may mutually no longer say, but do to each other what we cannot express in writing. In fact, to do something is always better and leads to the goal much quicker than the cleverest discussion. Cannot you get free for a little time and have a look round Switzerland? or cannot you at least send me your scores, for which I recently asked you? You ignore my request in your letter; why is that?

I have again many things to think about--alas! to think about only. I have once more arrived at a point where retreat is impossible; I must think out my thoughts before becoming once more a naive and confident artist, although I shall be that again, and look forward with pleasure to reaping the richest benefit. You lay stress in your letter upon the fact that the enemy whom we have to fight is not only in the throats of our singers, but in the lazy Philistinism of our public and in the donkeydom of our critics. Dearest friend, I agree with you so fully that I did not even mention it to you. What I object to are the perverse demands which are made on the public. I will not allow that the public is charged with want of artistic intelligence, and that the salvation of art is expected from the process of grafting artistic intelligence on the public from above; ever since the existence of connoisseurs art has gone to the devil. By drilling artistic intelligence into it we only make the public perfectly stupid. What I said was this: that I wanted nothing of the public beyond a healthy sense and a human heart. This does not sound much, but it is so much that the whole world would have to be turned upside down to bring it about. The noble- minded, the refined, those who have the courage of their feelings, believe themselves at the top of the tree; they are mistaken! In our actual order of things the Philistine, the vulgar, common, flabby, and at the same time cruel man of routine, reigns supreme. He, and no one else, is the prop of existing things, and against him we all fight in vain, however noble our courage may be; for unfortunately all things are in this slavery of leathern custom, and only fright and trouble of all kinds can turn the Philistine into a man by thoroughly upsetting him. Pending an entirely new order of things, we must, dearest friend, be satisfied with ourselves and with those who, like ourselves, know but one enemy--the Philistine. Let us show each other what we can do, and let us feel highly rewarded if we can give joy to each other. "A healthy sense and a human heart!"- -we ask nothing more, and yet all, if we realize the bottomless corruption of that sense, the wicked cowardliness of the heart of the so-called public. Confess, a deluge would be necessary to correct this little fault. To remedy these ills I fear our most ardent endeavour will do nothing that is efficacious. All we can do--while we exist, and with the best will in the world cannot exist at any other time but the present--is to think of preserving our dignity and freedom as artists and as men. Let us show to one another in ourselves that there is worth in man.

In the same sense I was intent, in connection with my "Lohengrin," upon considering only the thing in itself; that is, its adequate embodiment on the part of the actors. Of the public I thought only in so far as I contemplated the one possibility of leading the half-unconscious, healthy sense of that public towards the real kernel of the thing--the drama--by means of the dramatic perfection of the performance. That otherwise this kernel is overlooked by the most aesthetic and most intelligent hearers I have unfortunately again been shown by the clearest evidence, and I confess that in this respect Dingelstedt's account of my opera is present to my mind, causing me deep grief. You, best of friends, have taken such infinite care of me in every respect that I can only sincerely regret that your efforts are sometimes responded to in so perverse a manner. In Dingelstedt's account I recognize two things: his friendly disposition towards me, with which he has been inspired by you, and his most absolute incapability, with all his aestheticism, of conceiving the slightest notion of what had to be conceived. The total confusion engendered in him by listening to my opera he transfers with bold self-reliance to my intentions and to the work itself. He, who apparently can see in opera nothing but kettledrums, trombones, and double-basses, naturally in my opera did not see the wood for the trees; but, being a clever and glib- penned litterateur, he produces a witty and many-coloured set of variorum notes which he could not have done better if it had been his intention to make fun of me, and this stuff he sends to the newspaper with the largest circulation in the German language. If I cared in the least to be in a certain sense recognized, I should have to perceive that Dingelstedt has thoroughly injured me. I read in some papers notices of my opera, evidently founded upon that of Dingelstedt, somewhat to this effect: "Wagner has written another opera, in which he seems to have surpassed the coarse noise of his 'Rienzi'," etc. I am grieved that this happened in the same Allgemeine Zeitung where five years ago Dr. Hermann Franck discoursed on my "Tannhauser" in an intelligent, calm, and lucid manner. If it should interest you, please read this article. It is printed in the A.A.Z., No. 311, November 7th, 1845. You can imagine how I must feel when I compare the two articles.

If you have not given up the hope of being useful to me in wider circles, I should make bold to ask you whether you could manage to have another and more appropriate notice of my "Lohengrin" inserted in the A.A.Z. It has, as I said before, the largest circulation.

How glad, on the other hand, was I to see your indications and hints worked up into an intelligent sketch by a Frenchman who is so much further removed from me. This has been done by Nerval, in the feuilleton of the Presse. Many mistakes occur, but that does not matter. The man has formed for himself from your utterances a picture of me which at least indicates clearly and distinctly my intention. The most terrible of all things is a German aesthetic litterateur.

But to return once more to you. I should like almost for your sake to gain a widespread reputation. You blow up a hundred mines, and wherever I look I come upon you and your more than friendly care for me; it is touching, and almost without example. Remember me very kindly to Herr Raff, and thank him most cordially in my name. Some of my friends thought it would have been better if he had spoken of my "faults as a man" rather than of my "faults as a subject;" but that, surely, does not matter, and every one must have understood it in that sense. A better intention to serve me I can look for in none except you.

To Genast I wrote a few days ago. This nasty bargaining about twopence-halfpenny in the matter of cuts is repulsive to me; but Genast remains a fine, brave fellow.

Behold, my paper is at an end, and I have done nothing but gabble. I have many and more important things to write to you about. Lord, forgive me! I am not in a mood for it today. I shall soon write again. My best greetings to Zigesar. Truly this warm, true heart does me much good. Farewell for today, noblest and best of men.

Your

RICHARD WAGNER

ZURICH, ABENDSTERN, ENGE

October 2nd, 1850

47.

DEAR LISZT,

You make me blush! without a blush I can scarcely read what you are going to tell the world of me; and now you want me to interpret it. Only if you earnestly desire it will I grant your prayer, a prayer which flatters me too much to call it a "prayer." Would that I could be of use to you! My last letter must have appeared dissonant to you. I do not know what moved me to speak bitterly of newspaper notices. One reason, however, I may tell you: many things have determined me at last to speak in a literary way once more. I am occupied with a work the title of which is to be "The Essence of Opera." In it I mean to speak clearly and definitely about opera as a type of art, and to indicate as plainly as possible what should be done to it in order to develop the hidden germs to full bloom. I should have liked to dedicate this book to you, because in it I announce the salvation and justification of the musician qua musician. I should do this if I did not think it better not to drag you into this address to the musical world. In that manner I shall preserve greater liberty to you. The book therefore shall be a surprise to you. As in this book I intend to explain my view of the essence of the musical drama, I can find nothing more annoying than to see the most contradictory opinions of me spread amongst the public by witty litterateurs. The world must take me for a muddle-headed and false priest if I preach the drama in words while it is said of my works that musical confusion and noise reign in them. But enough of this.

Your letter to B.'s mother was another noble thing of yours. Best thanks.

I once more go to battle with my deadly enemy the winter. I must think a great deal of the preservation of my health, and before the spring I cannot work at "Siegfried" with a will, but in the summer it shall be ready. Let me soon hear something of your works.

One word more in confidence: at the end of this month I shall have spent all my money; Zigesar has sent me less than you made me hope. Towards the new year I again hope for some assistance from Frau R. in D., but that also is uncertain. Can you--but how shall I express it? If you have to do something beneath your or my dignity, you cannot; that I know. The rest will be all right. God bless you. I think the devil will not get hold of me just yet.

Farewell, best of men. Send me your scores. Farewell, and remain kind to me.

Your

RICHARD WAGNER

ZURICH, October 8th, 1850

48.

(TO THE PRINCESS WITTGENSTEIN.)

HIGHLY ESTEEMED MADAM,

Your kind letter has, as you may imagine, made a great impression. I see, to my genuine joy, that I may count you amongst the small number of the friends who by the weight of their sympathy richly compensate me for the absence of popular acclamation. That you have remained faithful to me is more important to me than perhaps you know yourself. Accept my cordial thanks for the friendship you have preserved for me.

You ask me about my "Wiland." I have more designs than I have the power to execute. Therefore I want a helper, yea more than a helper, an artistic bosom friend, who works in the same spirit, and, I hope, better than I could work myself. I request you to persuade Liszt to undertake the musical execution of "Wiland" in my stead. The poem in its present condition, such as herewith I send it to you, is the result of sorrowful and deeply emotional enthusiasm, which has stirred me up to imaginings on which as an artist I may, I think, congratulate myself. But it takes me back to a time to which I do not want to be taken back. I cannot finish the poem now, either in words or music. If later on I could gain sufficient repose for the purpose, I should be afraid of having cooled towards it. In consequence I have lately become accustomed to the thought of giving up the poem altogether.

But if this "Wiland," when Liszt makes its first acquaintance, should inspire him as I was once inspired by it, I ask him to consider it as his property. The design is quite complete; all that remains to be done is simple versification, which every fairly skilful writer of verse might execute: Liszt will easily find one. In the more important places, I have written the verses myself. To do more is at present impossible to me; even the copying out gave me much trouble.

I hope, dear madam, you will not think my poem unworthy of your warm recommendation to the friend whom, as you tell me to my great joy, you will soon make happy by calling your own.

With sincere thanks for your kindness, and with cordial esteem, I remain, dear madam, Your obedient servant,

RICHARD WAGNER

ZURICH, October 8th, 1850

49.

DEAREST FRIEND,

I really do not know how to thank you; for the only equivalent I could offer you would evidently be to send you a masterpiece in exchange; and this kind of return is difficult to make even with the best intention in the world. Allow me to look upon your manuscript of Wiland as a sacred trust, which I shall hold at your disposal till the time you reclaim it. My very numerous engagements will prevent me from occupying myself with it for a year or eighteen months; and if after that time you still think that I am capable of undertaking the composition, we can easily arrange the matter either verbally or by letter. Today I send you by post a fair copy of my article on "Lohengrin." As this is the only one I possess, I must ask you kindly to return it to me at Eilsen (Buckeburg), where I shall spend the months of November and December. I foresee the difficulties I shall have to encounter in publishing through the Paris press an article so extensive and so sincerely in praise of a German opera by a German composer, in whose success no one has an interest, rather the reverse. Nevertheless I do not absolutely despair of having it inserted some day in some review, and consequently want the manuscript.

If in the meantime you think my article worthy of publication in Germany, I repeat the request already made that you undertake to translate it freely, and improve it by completing it.

In the quotations it would naturally be better to reproduce exactly the verses of your poem, and perhaps one might make the comprehension of your work easier by adding two plates of music type showing the five or six principal themes,

[Figure: musical example]

and two or three details of orchestration.

However, as regards both the translation and the publication, I attach value to them only in so far as you approve; for this article has been written solely with the intention of serving, as far as in me lay, the great and beautiful cause of art with the French public, such as it is in 1850. If you think that I have not succeeded, I ask you not to hesitate for a moment in telling me so frankly. In this, any more than in other things, you will not find in me any stupid amour-propre, but only the very modest and sincere desire to suit my words and actions to my sentiments. I have just received a letter from Seghers, director of the Union Musicale, Paris, who tells me that your Tannhauser overture will be performed at the first concert of the Society (November 24th). You may rely upon his zeal and intelligence in preparing a good performance.

By the way, have you heard of an intended performance of "Lohengrin" at Dresden? I do not know how far this Dresden performance would benefit you in actual circumstances, while you are forcibly prevented from looking after the rehearsals, etc.

Uhlig has probably told you that Tichatschek will study the part of Lohengrin with him. Soon after my return Herr von Zigesar intends to give the fourth performance, and for the fifth we shall have Tichatschek.

I am really much obliged to you for taking interest in my overtures, and must ask you to forgive me for not having thanked you before; but the fact is, the greater part of my time is occupied with other things than me and my works.

Unfortunately I possess only a single copy of "Prometheus" and "Tasso," and of that I cannot dispose, as it belongs to the theatre. If, as I am in hopes, next summer I can at last make a trip to the Rhine, we must meet somewhere, possibly at Basle, and then I shall unpack my sac de nuit, full of obscure scores.

In the meantime I am very happy to learn that you have not lost hold of your "Siegfried," which is sure to be una gran bella cosa, as the Italians say. I thank you for it in advance.

The day after tomorrow I start for Eilsen, where please address me until further notice. Do not fail to return the manuscript of my "Lohengrin" article, of which, if necessary, you might have a copy made at Zurich. I shall want it between the 5th and l0th of November.

Once more be thanked cordially for your "Wiland," and rest assured that, with or without the welded wings of genius, I always remain

Your truly devoted friend,

F. LISZT

WEYMAR, October 18th, 1850

50.

MY DEAREST FRIEND,

Do not be angry with me because I am so late in answering your last letter. I had to see to the return of the manuscript, entrusted to me, and this I was unable to do sooner. Your letter of October 22nd, together with the manuscript, did not reach me here till November 8th, via Berlin. As you wanted your manuscript back by November l0th, I must assume that some delay had taken place which you had not foreseen. I return herewith the French original, and in a few days I shall send the translation, which by then will have received its proper form.

Dear friend, your article has impressed me in a grand, elevating, stirring manner. That I have succeeded in thus acting upon you by my artistic work, that you are inclined to devote no small part of your extraordinary gift to opening, not only an external, but an internal, path to my movement--this fills me with the deepest and most joyous emotion. I feel as if in us two men had met who had proceeded from the two most distant points in order to penetrate to the core of art, and who now, in the joy of their discovery, fraternally clasped hands. This joy alone enables me to accept your admiring exclamations without bashfulness; for I feel that when you praise my gifts and my achievements you express thereby only your joy at having met me at the core of art. Be thanked for the pleasure you have thus given me.

I shall say something more about the translation when I send it to you, which, as I mentioned before, will be in a few days.

I have also read your feuilleton in the Journal des Debats. Your restless energy in serving me I can only compare with the spirit in which you do it. Indeed, dear, good Liszt, I owe it to you that soon I shall be able once more to be entirely an artist. I look upon this final resumption of my artistic plans to which I now shall turn as one of the most decisive moments in my life. Between the musical execution of my "Lohengrin" and that of my "Siegfried" there lies for me a stormy, but, I feel convinced, a fruitful, world. I had to abandon the entire life lying behind me, to bring into full consciousness everything dawning in it, to conquer any rising reflection by its own means--that is, by the most thorough entering into its subject--in order to throw myself once more with clear and cheerful consciousness into the beautiful unconsciousness of artistic creation. The winter I shall spend in completing this abandonment. I want to enter a new world unburdened, free, and happy, bringing nothing with me but a glad artistic conscience. My work on "The Essence of Opera," the last fruit of my contemplation, takes larger dimensions than I at first expected. If I show that music, the woman, becomes co- parent with the poet, the man, I must take care that this splendid woman is not given over to the first comer who desires her, but only to the man who longs for woman with true, irresistible love. The necessity of this union with the full power of music desired by the poet himself I was unable to prove by abstract aesthetic definitions alone, which generally are not understood and remain without effect. I had to derive that necessity with tangible distinctness from the state of modern dramatic poetry, and I hope I shall fully succeed. When I have finished this book, I intend, provided I can find a publisher, to bring out my three romantic opera-poems, with a preface introducing them and explaining their genesis. After that, to clear off all remains, I should collect the best of my Paris writings of ten years ago (including my Beethoven novelette) in a perhaps not unamusing volume; in it those who take an interest in me might study the beginning of my movement. In this manner I should get to the spring pleasantly and in an easy frame of mind, and should then work at my "Siegfried" without interruption and complete it. Give your blessing to this.

I recently had a letter from a friend in Paris who witnessed several rehearsals of the "Tannhauser" overture under Seghers's direction. He has completely satisfied me that the performance is carefully prepared, and that the understanding of the public will be aided as much as possible by a programme taken from your article upon my opera. In spite of this, I am very doubtful whether in the most favourable case I shall derive any benefit from it.

My request to you to accept my poem of "Wiland," you apparently have not quite understood. It is a sincere wish and request. Your present and imminent occupations might delay the fulfillment of my wish, which, however, would become impossible only if my sketch did not inspire you with the desire to complete it. In that case please be frank with me. If you intend, however late, to finish "Wiland," I will undertake its proper versification.

For the present, dearest friend, I must take leave of you; I do so with cordial wishes for your well-being. Commend me to the Princess in the best way you can, so that she also may keep me in friendly remembrance.

Farewell, and be greeted from the full heart of Your grateful friend,

RICHARD WAGNER

ZURICH, November 25th, 1850

51.

DEAREST FRIEND,

Quite against my custom, I have just spent about ten days in bed fighting with a violent fever. As it is a very long time since I heard from you, I begin to be somewhat anxious as to the fate of my "Lohengrin" article, which, before leaving Weymar, I gave to Raff, asking him to send it to you as soon as he had read it. In case you have received it, write me a few lines to reassure me with regard to it, and at the same time tell me frankly, and without compliments of any kind, whether the analysis has pleased or displeased you, whether you think it worth publishing, and what I had better do with it.

My whole correspondence has fallen into the most lamentable arrears through the sad condition I have lived in for more than a fortnight. I owe an answer especially to Herr Ritter, who has made me a most courteous offer, the value of which I quite appreciate. Be good enough, dear friend, to thank him in my name (before I can do so myself) for his friendly conduct, for which I shall prove myself grateful, as far as lies in my power, on all occasions.

How far have you got with "Siegfried"? Have you continued your volume about the opera, and when will it appear?

Send me soon one of those long letters which you write so beautifully. It will serve excellently well to relieve of his grief and sorrow.

Your affectionate and devoted friend,

F. LISZT

EILSEN, November 26th, 1850

Address Eilsen (Buckeburg) till December 30th. In the first week of the new year I shall be back in Weymar.

52.

MY DEAR LISZT,

At last I am able to send you the translation of your article. As you probably cannot understand why it has been delayed so long, and may perhaps even suspect that I was indifferent to your more than kind intention, I must tell you first of all how it has happened.

I was so moved by your work that I at once felt one thing distinctly, viz., that in something so encouraging and deeply touching I could not myself collaborate. I felt as shy and bashful as possible when I thought of writing with my own hand the praise which you dictated to me in your extremely brilliant article. I hesitated and wavered, and did not know how to begin. Then my young friend Ritter came to my aid, and asked me to let him do the translation. I consented, and reserved to myself the right of revising it afterwards, so as to set forth less my praise than the animation of your original style. R. and B. translated it between them, and I looked through it together with them. R. then went to work again, and the result of these careful endeavours I now lay before you, asking you to explain to yourself from these indications why the whole thing has been delayed so long. Of the actual version I can assure you with a good conscience that, according to my firm conviction, it is not unworthy of your original, which it renders adequately in the sense that one does not suspect a laborious translation, but might let it pass without hesitation for the German original of a not unaccomplished German author. I can advise you, therefore, without scruple to give your signature to this version, and leave it to you whether you will announce it to be a translation. In all you have said about the work and its author, the version contains nothing but an absolutely faithful translation of the original, every conceivable care having been taken to render its very brilliant, novel, and thoroughly artistic language as adequately as its individual flavour and fullness would allow. In places, however, where you indicate the subject matter and the material aspect of situations and scenes, the translator has made bold to use a little more liberty. He considered that in these respects the German original of the poem was nearer to him than to the author of the French description. The situations are therefore treated a little more exhaustively, and the German text has been immediately drawn upon, as was indeed your own wish. Perhaps the scenes have now and then been given a little too fully; but as in print the verses will appear in smaller type, I hope that this also will upon the whole add to the comprehension of the dramatic situations. Therefore I live in good hope that you will not be dissatisfied with the work; and if you still intend to give me an almost excessive proof of your love of my artistic being and to supply my friends with an important means of realizing what they love in my art, I shall feel highly honoured and pleased by the publication of this version, which I think had best take the form of an independent pamphlet, especially because in that way the important musical supplement suggested by you would be possible.

If I were to tell you what I felt while reading this article repeatedly and most carefully, I should scarcely be able to find words. Let this suffice: I feel more than fully rewarded for my efforts, my sacrifices, and my artistic struggles by recognizing the impression I have made upon you of all others. To be so fully understood was my only longing, and to have been understood is the most blissful satisfaction of that longing.

Truly, dear friend, you have turned the little Weimar into a very focus of my fame. When I read the numerous, comprehensive, and often very brilliant articles about "Lohengrin" which now come from Weimar, and compare them with the jealous enmity with which, for example, the Dresden critics used constantly to attack me, working with sad consistency for the systematic confusion of the public, I look upon Weimar as a blessed asylum where at last I can breathe freely and ease my troubled heart. Thank Lobe very cordially in my name; his judgment has surprised and delighted me. Also tell Biedenfeld and the author of the article in the "Frankfort Conversationsblatt" that I still hope to thank them by endeavouring with all my power to justify by new works their great opinion of me. Greet them kindly, also Raff, and Genast, and Zigesar, without forgetting the brave artists to whom I owe so much gratitude.

I am deep in my work on "Opera and Drama;" it is, as I told you, of the greatest importance to me, and I hope it will not be without importance to others. But it will be a great, stout volume. Ah, would it were spring, and that I might be once more a full-blooded, poetizing musician! I am not very well off; care, care, nothing but care, is the funereal chant which I have to sing to every young day.

You also have been in a very pitiable plight. Your serious indisposition and the depressed mood it left behind were strange things to you, and have affected me very much. For my comfort I assume that your illness is quite gone; but was I not right, dear friend, when I warned you and expressed to you my anxiety for your health, because I knew what unheard-of exertions you had made for my sake? Please set my fear at rest soon and comfort me thereby.

Finally, I ask you to transmit my sincerest and most cordial respects to your faithful, highly esteemed friend. May you two extraordinary people be happy! Farewell, and accept my heartfelt thanks for your friendship, which is now the richest source of my joy.

Your

R. W.

ZURICH, December 24th, 1850

53.

DEAR FRIEND,

I have just received a letter from Brussels, sent by desire of the management of the Royal Theatre there. In consequence of the brilliant success--so they write--which my opera "Lohengrin" has recently obtained, and seeing that the subject of the opera belongs to Belgian history, they contemplate translating the work into good French, if that should be possible, and producing it forthwith at the Royal Theatre. They therefore want at once a copy of the score and of the libretto.

Dear friend, I place the whole matter at your feet. If you wish that it should come to something, and if you think that it may come to something, then acquire the further merit of taking this thing in hand, which, in your position as protector and generally speaking, you are infinitely more capable of doing than I. You are sure to know Brussels. If you will undertake this, I should ask you before all to see about a score. Luttichau claims his copy as his property, and Zigesar was obliged to have another copy made. Seeing that Luttichau, as I hear positively from Dresden, does not intend to give the opera at least just yet, one might hope that he would give back the score for a time, if you were to ask him. Of course _I_ cannot apply to him.

To send my own original score so far away, I should not like at all; it is all the little property I have. To have a copy made here would exceed my limited means, and would also take too long, as they are pressing at Brussels. A libretto I shall send them direct from here.

See what you can and will do, dear friend. If it should succeed, and some good come of it, I should like to owe it entirely to you, as you have altogether assumed the paternal responsibility for this opera with the care attaching to it. I shall ask them at Brussels to apply to you, as you have full power to act in the matter. Farewell for today; a thousand blessings in return for your love

from your sincerely grateful

RICHARD WAGNER

ZURICH, December 27th, 1850

I have to reply to "M. Charles Hanssens jeune, chef d'orchestre et directeur du Theatre Royal a Bruxelles."

54.

DEAR FRIEND,

I have just received your letter addressed Weymar, and hasten to place my humble services gladly at your disposal as regards the score of "Lohengrin" and the correspondence with Herr von Luttichau. Probably his Excellency will not be very willing to lend the work a second time; but I hope for a favourable result all the same.

In your place (forgive my friendly impertinence) I should certainly accept the Brussels offer, but with the one condition-- conditio sine qua non--that they let you revise the translation and attend the general rehearsals. The performance and the success will have quite a different chance if you go to Brussels, and I am afraid that in your absence your "Lohengrin" might be a little compromised. The actual state of the Brussels theatre I do not know; some years ago it was somewhat in a muddle and very little adapted to serious work. Some time will in any case be required for the translation and rehearsals, but I advise you to make the condition of your presence at once and firmly. The traveling expenses are so small that the management can easily bear them; and if you agree, I shall answer the gentlemen in that sense as soon as they write to me.

Herr von Zigesar wrote to me urgently some days ago not to delay my return to Weymar any longer. Unfortunately I shall be detained here for about another fortnight by the serious illness of Princess M. About January 20th "Tannhauser" and "Lohengrin" will again be given, and towards the end of the season Tichatschek will probably be there and take the part.

By repeated desire, I have determined to publish my article on the Herder festival, together with the analysis of "Lohengrin," in a separate form. If you want to add some further remarks on it, let it be soon, so that I may be able to make use of them.

I enclose a few lines to Ritter. Kindly excuse me to him, and allow me to restore to you the possession and absolute disposal of your property after my return to Weymar. Great as is the temptation to weld at your "Wiland," I must abide by my resolution never to write a German opera.

I feel no vocation for it, and I lack the necessary patience to bother myself with German theatrical affairs. Altogether I think it more appropriate and easier to risk my first dramatic work on the Italian stage (which probably may happen in the spring of next year--1852--in Paris or London), and to stick there if I should succeed.

Germany is your property, and you her glory. Complete your "Siegfried" soon. Of power and genius you have plenty; only do not lose patience. Perhaps we shall soon see you again in Germany; then you will reap what you have so nobly sown.

Your sincerely devoted

F. LISZT

EILSEN, January 3rd, 1851

Have you made much progress with your book on the opera? I am very curious to see this work.

55.

DEAREST FRIEND,

Have you all forgotten me? I have felt so lonely of late that I am often afraid. Should you be angry with me about anything? perhaps about the absurd misunderstanding with B.? He wrote to me that he had heard that I was annoyed at his great article on "Lohengrin." I was quite confounded, and thought that some misapprehension of an expression in one of my letters might have led you and B. after you to a completely erroneous opinion about me. Therefore I requested him to ask you in my name to let him explain to you the passage in my letter, because I was anxious, not only for his sake, but for yours, to dispel so ugly an error. Has any unpleasantness resulted from it?

From Brussels I have heard nothing. Could you give me some news, or are you angry that I have troubled you with this affair? Anyhow I have no illusions as to Brussels.

My very stout book is ready. Its title is "Oper und Drama." I have not yet a publisher; and as I must take care to get a little money for it, I am a little anxious about the matter.

Next month I shall devote to the edition of my three romantic opera-poems. A longish introduction will explain the origin of these poems and their position towards music.

At the beginning of spring I hope to commence the composition of "Siegfried," and to continue the work without interruption.

As to the rest, my pleasure in life is not great. All is quiet and lonely around me, and I frequently feel as if I were dead and forgotten.

But how are you? Have you quite recovered? I frequently dream of Weimar and of you--wild, confused things.

Let us say nothing more about "Wiland"; I am heartily sorry that--you are right.

Have you still courage? Are you in good spirits? Do you really still care to live amongst the majestic people of the Philistines who rule the world nowadays? Ah! as long as we possess fancy we can pull along somehow.

My poor dear little parrot is also dead! He was my spiritus familiaris, the good brownie of my house.

Farewell, and forgive me.

Always and wholly thine,

RICHARD WAGNER.

ENGE, ZURICH, February 18th, 1851.

56.

DEAR WAGNER,

By the date of these lines you will sufficiently see in what grief and sorrow I have been living for months. I was, it is true, in Weymar for three weeks, but immediately after the birthday of the Grand Duchess (February 16th) I returned here, where unfortunately I found the Princess still very ailing and in bed. On the 7th I have to be back in Weymar to conduct Raff's opera; the work is too important for Raff's career for me to neglect it. But the thought of that journey, while my whole soul, my whole faith, and all my love must remain here at the sick-bed, is terrible to me. Let us talk of you.

I could never think of forgetting you, and, if possible, still less of being angry with you. Forgive me that I did not sooner thank you cordially for B. and R.'s German version of my "Lohengrin" article. Your letter especially has pleased and flattered me highly. That you are satisfied with my conception of that splendid masterpiece of heart and soul "Lohengrin" is my exceeding rich reward. Immediately after my return to Weymar I shall have it printed (perhaps the "Illustrirte Zeitung" will publish it in one number), and shall send you the proof, which I must ask you to correct and return straight to Weber as quickly as possible.

R. can carefully read the article in one day, and send it to Leipzig by return of post.

As to the French original, I shall probably publish it as a separate pamphlet, together with my article on the Herder festival, and without the alterations and omissions made by Janin in the "Journal des Debats" of October 22nd. The title will be "Fetes de Herder et Goethe a Weymar, 25 et 28 Aout, 1850."

From Brussels not a line! Without repudiating altogether the musical soil of Belgium, barren though hitherto it has been, with the exception of some individual talents, I can only advise you again to protest absolutely against a performance of your works under any direction but your own. The first condition you should impose on the management of the theatre is that they call you to Brussels. In that sense I shall answer in case they apply to me.

About B. I could tell you many things in a half-and-half way, but you had better think them out for yourself. Let me speak French, and don't repeat it.

B. is a nobleman who has spent long years in becoming a literary good-for-nothing. If he had possessed or acquired the necessary talent, he would in that direction have made himself a position as a nobleman. As it is, he is an amphibious creature, living in bogs on one side and getting dry in his water on the other. He has shown me the letter you wrote to him, but with this kind of people little is gained by explanation. They are not wanting in the good where the better would be required, and it is generally more advisable to be cautious with them than to complain, or correct their opinions. I think you might have been satisfied with thanking him simply for his article about "Lohengrin," however awkward and badly argued certain passages may have been. Apropos of this, have you read the articles on "Lohengrin" in the "Frankfort Conversationsblatt"? They are certainly better meant and better written; and as you have thanked B., you might, I think, appropriately write a few lines to the author, who is a very decent man and one of your sincere and enthusiastic proselytes. Enclose the lines to him in the first letter you address to me at Weymar, and I will forward them to him at once.

"Wiland" is still imprisoned at Weymar, together with my manuscripts and scores. As soon as my valet returns I shall send you "Wiland" at once, but I am not going to call in a common, prosaic locksmith to set him at liberty.

I am looking forward to your book. Perhaps I may try on this occasion to comprehend your ideas a little better, which in your book "Kunst und Revolution" I could not manage very well, and in that case I shall cook a French sauce to it.

Brockhaus published a few days ago my pamphlet on the Goethe foundation ("De la Fondation Goethe a Weymar"). I shall send it you on the first opportunity. Of my articles on Chopin in the "France Musicale," which I am likely to spin out through fifteen numbers, you have probably not heard at Zurich. B. read the original at Weymar. Farewell, be happier than I, and write soon to

Your truly devoted friend,

F. LISZT.

EILSEN, March 1st, 1851.

57.

BEST OF FRIENDS,

Cordial thanks for your letter, which was a sure sign of your continued interest in me. Your domestic troubles have alarmed me very much; be assured of my genuine sympathy with any grief that may befall you. I hope this letter will find you in an easier state of mind with regard to the health of your very dear friend. If only my wish could contribute to this! But necessity compels me to gain some certainty as to my own position through your means. Listen, and do not be angry.

The communication of your plans in my favour last summer roused in me a hope as to which I must now know whether I am to look for its fulfillment or to abandon it altogether. You told me that in case of the desired success of my "Lohengrin" you intended to make use of the presumably friendly disposition of the Grand Duchess, with a view to inducing her to allow me the necessary means of subsistence during the composition of my "Siegfried." Just at that time I had given up all thoughts of setting the opera to music, and had sent the poem of "Siegfried" to the printer in order to place it before the public in the form of an intention never carried out. Your communication changed my mind, as I acknowledged to you at the time in the most joyous and grateful manner. I cancelled the order for printing the poem, and prepared myself for the composition instead. For the commencement of the work I fixed upon the coming spring, partly in order, first, to get rid of my always depressed winter humour, and partly to give you time for carrying out your kind intention without hurry. For the winter I chose a literary work, for which I had plenty of material, and which I took in hand at once, hoping that I might make something by it. This work, a book of four hundred to five hundred pages, small octavo, entitled "Oper und Drama," has been ready these six weeks; but as yet none of the publishers to whom I wrote about it has replied, and my expectations at least of gain from this work are therefore very small. During the whole of six months, after spending the honorarium for the production of "Lohengrin" at Weimar, I have lived entirely by the assistance of Frau R. in D., because latterly I have not been able to earn anything beyond a small fee for conducting two of Beethoven's symphonies at the miserable concerts here. I know that my Dresden friend has for the present exhausted herself, because the family is not wealthy, but has only just a sufficient income, which, moreover, owing to some awkward complications with Russia, is at present placed in jeopardy. I am therefore compelled to try and make money at any price, and should have to abandon a task like the composition of "Siegfried," which in a pecuniary sense is useless. If I were to have any inclination for a task undertaken for the sake of money, it would have to be so-called "aesthetic literature," and in order to get money for such literature I should have to spend all my time in writing for magazines at so much "per sheet." The thought is very humiliating.

If I am to undertake an important artistic task, my immediate future--say for the current year, at least--must be secured; otherwise I shall lack the necessary cheerfulness and collectedness. If I am to have peace of mind for devoting myself to artistic labour without interruption, I must, as I said before, be without anxiety for my immediate subsistence. Necessity, as the proverb says, breaks iron, and therefore I put this question to you once more simply, so as to be sure as to my position. I am aware that everything has turned out unfavourably for your plan of helping me. The Grand Duchess was ill, and could attend only the third performance of "Lohengrin;" soon afterwards you left Weimar, and therefore had no opportunity of preparing the Grand Duchess for your plan in a proper and dignified manner. All this I know, and therefore no blame attaches to you in the remotest degree. Only I must know now where I am. For that reason I pray you with all my heart to tell me plainly and definitely whether, as things are, I still may hope for something or not, so that I may make all my arrangements accordingly; uncertainty is the worst of tortures. One request I further make without hesitation. If you are compelled by the state of affairs to tell me that your plan cannot now be realized, and that therefore I must not hope for any further assistance in favour of the composition of my "Siegfried," then kindly see at least whether you cannot get me at once SOME money, were it only as much as my immediate difficulty requires, in order to gain me some time for settling to my altered plan. It is very sad that I have to trouble you with this ugly request.

But enough of this.

May Heaven grant that you will soon be relieved from your domestic troubles. I wish the Princess a quick and perfect recovery with all my heart.

Farewell, dear friend. Good luck and the best success to Herr Raff!

Farewell, and be happy.

Your sincerely devoted

RICHARD WAGNER.

ENGE BEI ZURICH, March 9th, 1851.

58.

DEAR FRIEND,

I passed the whole of March in such trouble and distress, that I could not write to you. Since April 4th I have been back here. "Lohengrin" was to be given on the 8th, but Beck's hoarseness compelled us to postpone the performance till next Saturday. In any case the opera will be given twice more during this season.

By today's post I send you my "Lohengrin" article, which in the first instance will appear in German in the "Illustrirte Zeitung." Be kind enough to read the proof quickly and to return it direct to Weber, Leipzig. It will probably be published in the next number. About the French edition I shall arrange soon afterwards; it will be the same size and type as my pamphlet on the Goethe foundation, of which also I send you a copy today. Brockhaus will be the publisher.

Have you received the hundred thalers? Your last letter has made me very sad, but I do not relinquish all hope of leading the somewhat difficult diplomatic transaction concerning your "Siegfried" to a successful issue. Perhaps I shall succeed in settling the matter by the middle of May. Tell me in round figures what sum you require, and (quite entre nous, for I must ask you specially to let nobody know) write me a full letter which I can show to Z. You must excuse me for troubling you with such things, and I am grieved, deeply grieved, that the matter cannot be brought more simply to a good result; but, in my opinion, it will be necessary for you to explain by letter your position as well as the plan of the work and the artistic hopes which may justly be founded upon it. I need not tell you that I do not want this for myself. You know me, and are aware that you can have implicit confidence in me.

Muller's letter I sent yesterday, after thinking from day to day that I should return. He will doubtless soon write to you, and you will find him a trustworthy, prudent friend, who genuinely esteems you.

Can you tell me, under the seal of the most absolute secrecy, whether the famous article on the Jews in music ("Das Judenthum in der Musik") in Brendel's paper is by you?

The Princess has remained in Eilsen, still confined to her bed; and I do not expect her till the end of this month. You may imagine how deeply her long illness has grieved me.

Write soon, and do not forget to correct the proofs of the "Illustrirte Zeitung" at once.

Your

F. LISZT.

April 9th, 1851. P.S.--The "Lohengrin" article must be signed thus: "From the French of F. Liszt." Request the printer's reader kindly not to omit this and to call the editor's special attention to it.

59.

DEAREST LISZT,

I did not write to you at once in order to write to you more at length and more calmly on a favourable day. Then came the number of the "Illustrirte Zeitung" of April 12th, and once more I read your printed article from beginning to end. It is difficult for me to describe the impression your work of friendship has made on me just at this time. I was once more cold and diffident, and looked with something like bitter irony on the thought of having to begin a new artistic labour. The artistic misery far and wide around me was so great, my mood so hopeless, that I felt inclined to laugh at myself when I thought, for example, of the composition of my "Siegfried;" and this mood I transferred to all my other works. Recently I glanced through my score of "Lohengrin;" it filled me absolutely with disgust, and my intermittent fits of laughter were not of a cheerful kind. Then you approached me once more, and moved, delighted, warmed, inspired me in such a manner that the bright tears welled forth, and that once more I knew no greater delight than that of being an artist and of creating works. I have no name for the effect you have produced upon me. Everywhere around me I see nothing but the most beautiful spring life, full of germs and blossoms, and together with it such voluptuous pain, such painfully intoxicating joy, such delight in being a man, in having a beating heart--although it feel nothing but sorrow--that I regret only to have to write all this to you.

And how strangely everything happens with you! Would I could describe my love for you! There is no torture, but, on the other hand, no joy, which does not vibrate in this love. One day jealousy, fear of what is strange to me in your particular nature, grieve me; I feel anxiety, trouble, yea doubt; and then again something breaks forth in me like a fire in a wood, and everything is devoured by this conflagration, which nothing but a stream of the most blissful tears can extinguish at last. You are a wonderful man, and wonderful is our love. If we had not loved, we might have terribly hated, one another. All that I wanted to write to you with well-balanced composure must now come out just as it happens to strike me at the moment. My "Siegfried" I shall begin at the commencement of May, happen what will. Perish all guarantee of my existence! I shall not starve. For my book I have at last a publisher, Avenarius, in Leipzig; he pays me one hundred thalers; it is very little, but I don't think I can get any more. Now and then you will put a groat by for me; and when my necessity grows breast-high, you will help me with as much as you may happen to have for a poor friend. Frau R. in D. will also do her part off and on, and in the winter I shall earn again a few louis d'or by conducting symphonies, so that I shall not go to the devil after all if only my wife will keep calm. So let us leave the Grand Duchess alone; I can and will not ask her for anything even in the most indirect manner. If she made me an offer of her own free will, it would touch and delight me, all the more coming from a princess, but this possibility, even if it never should happen, I must not turn into an impossibility by asking her for a proof of her kindness. Away with all business transactions as to this question! Up till now the sympathy of that princely lady has made so beautiful an impression upon me, that I do not wish to spoil it. Are we agreed? I think so.

You ask me about the "Judenthum." You must know that the article is by me. Why do you ask? Not from fear, but only to avoid that the Jews should drag this question into bare personality, I appear in a pseudonymous capacity. I felt a long-repressed hatred for this Jewry, and this hatred is as necessary to my nature as gall is to the blood. An opportunity arose when their damnable scribbling annoyed me most, and so I broke forth at last. It seems to have made a tremendous impression, and that pleases me, for I really wanted only to frighten them in this manner; that they will remain the masters is as certain as that not our princes, but the bankers and the Philistines, are nowadays our masters. Towards Meyerbeer my position is a peculiar one. I do not hate him, but he disgusts me beyond measure. This eternally amiable and pleasant man reminds me of the most turbid, not to say most vicious, period of my life, when he pretended to be my protector; that was a period of connections and back stairs when we are made fools of by our protectors, whom in our inmost heart we do not like. This is a relation of the most perfect dishonesty; neither party is sincere towards the other; one and the other assume the appearance of affection, and both make use of each other as long as their mutual interest requires it. For the intentional impotence of his politeness towards me I do not find fault with Meyerbeer; on the contrary, I am glad not to be his debtor as deeply as, for example, B. But it was quite time that I should free myself perfectly from this dishonest relation towards him. Externally there was not the least occasion for it, for even the experience that he was not sincere towards me would not have surprised me, neither did it give me a right to be angry, because at bottom I had to own that I had intentionally deceived myself about him. But from inner causes arose the necessity to relinquish all considerations of common prudence with regard to him. As an artist I cannot exist before myself and my friends, I cannot think or feel, without realizing and confessing my absolute antagonism to Meyerbeer, and to this I am driven with genuine desperation when I meet with the erroneous opinion even amongst my friends that I have anything in common with Meyerbeer. Before none of my friends I can appear in clear and definite form, with all that I desire and feel, unless I separate myself entirely from the nebulous outline in which many see me. This is an act necessary for the perfect birth of my matured nature; and if God wills, I hope to be of service to many by performing this act so zealously.

What you will think of this--that--just imagine--I do not as yet know exactly. I know who you are and perfectly feel what you are, and yet it must appear to me as if in this point you could not as yet be entirely your own self. But enough of this. There are earthly things on which we may occasionally be of different opinion without ever parting from each other in divine things. If you don't approve of something here, shut your eyes to it.

Let me at last have some good news of you. In your most intimate relations you seem to me so sadly placed that I am quite melancholy about it. Is the illness of the Princess so serious that, apart from its long duration, it inspires you with real anxiety? I must almost fear this unless you reassure me about it. Do this as soon as you can, and tell the highly esteemed lady how cordially I sympathize with her sufferings.

Dear, dear Liszt, arrange that we soon may see each other. Perhaps the Princess would benefit by Swiss air; send her here and come with her.

I cannot go on today. I wanted to write to you about your Goethe foundation, but must wait for a calmer hour to meet your splendid idea with dignity.

Farewell, and be pressed to the heart of your

RICHARD WAGNER.

ENGE, ZURICH, April 18th, 1851.

I doubt whether the correction of the proof will still be necessary, but have sent it to Leipzig nevertheless.

60.

Then we are to have "Young Siegfried"! You are truly a most incredible fellow, to whom one must doff hat and bonnet three times. The satisfactory settlement of this matter rejoices me cordially; and, as you may imagine, I have perfect faith in your work. But let us say nothing about it until you send in "Young Siegfried" (July 1st, 1852), so as to avoid the useless preliminary talk of people. Here nobody knows about it, excepting Zigesar; and we are anxious to keep it from the public. "Lohengrin" at its last performance (the fifth) on Sunday was appreciated more than ever, and actors and orchestra also came nearer to the understanding and the interpretation of the work. The house was filled for the greater part, it is true, by Erfurters, Naumburgers, and other curious people from the neighbourhood, for, to speak candidly, our Weymar public, with the exception of about a dozen persons, are not yet sufficiently advanced to be in real sympathy with so extraordinary a work. That "Lohengrin" has reached its fifth performance in one season is a kind of miracle which must be attributed to the Court. The Hereditary Grand Duchess had especially asked for this performance on the occasion of her first visit to the theatre after her confinement. From Leipzig came David and Moscheles, from Halle Robert Franz, from Eisenach Kuhnstedt. Professor Stahr, who has become a dear friend, and Fanny Lewald have been here about a fortnight.

Stahr is going to write about "Lohengrin" in the National Zeitung or Kolnische Zeitung. If after reading his article you feel inclined to write him a few lines, send them to Weymar (Hotel Zum Erbprinzen). Muller has written another "Lohengrin" article in the Weimar Zeitung, which he has probably sent to you. After the performance of "Lohengrin" I received your letter about the Goethe foundation, and I thank you cordially for it. I may mention, however, that perhaps no less than two years' time and trouble will be required to make the idea of the Goethe foundation a reality. I am prepared to devote that time to it, because I am firmly convinced that without my activity the thing here will simply come to nothing, as has already happened at Berlin.

Should you not be inclined to publish your letter in its actual form of a letter to me in some newspaper which is open to you? I will send it back to you in a few days for that purpose, asking you, however, to return it to me at Weymar as soon as you have done with it.

The day after tomorrow I have to go to Eilsen for the third time, but hope to be back here at Whitsuntide. At the close of the theatrical season we shall have either "Tannhauser" or "Lohengrin" once more. The direction of the former work I think I may now leave to Gotze.

If possible, send me a copy of your autobiography direct to Eilsen (Buckeburg). I can make good use of it in connection with the pamphlet which is to be published (in French) in June by Brockhaus. If your article on the Zurich theatre has appeared, send it also to me at Eilsen, where I shall employ my time in reading and working. I am most curious to know your views and practical proposals with regard to theatrical matters, and I shall be most ready to adopt your ideas as far as possible.

Draw up occasionally for me a repertory of earlier and modern works which appear to you most adapted to further the cause of art. At present I cannot help thinking it advisable to make some eclectic concessions (alas! alas!) to the existing state of our theatrical institutions.

Be well and active, dear, splendid friend, and soon give news to your

F. LISZT.

WEYMAR, May 17th, 1851.

61.

BEST OF ALL FRIENDS,

I must reply to you at once about a few things which you ask me in your letter received yesterday, so as to let you know how matters stand. First of all (as is always the case when I have to deal with you), I must wipe a blush of shame off my face before answering you. Your wishes always concern me, and that in a sense which must flatter me to the very core. You want a copy of my autobiography in order to make use of it for your pamphlet. What can I say to that? I will say nothing, but only reply that in this instance my vanity is not sufficiently great to make me carry my biography about with me. I do not possess it, and do not know where to get it. If you really want to see it, you might perhaps get it more easily from Weimar, if I told you exactly where it is to be found. It appeared in the "Zeitung fur die elegante Welt" in the year 1843, first quarterly issue, month of February, I believe. But I can scarcely think that you will find much in it beyond the confirmation of the fact that I too have erred much in my artistic efforts, not being one of the elect who, like Mendelssohn, received the only true, infallible, "solid" food of art, like heavenly manna in their mouths, and who therefore were able to say, "I have never erred." We poor earthly worms can get only through error to a knowledge of truth, which therefore we love passionately, like a conquered bride, and not with the genteel approval with which we look upon a spouse selected for us beforehand by the dear parents. At that time when I wrote my autobiography by Laube's desire, I had, it is true, finished my "Flying Dutchman" and sketched the poem of "Tannhauser", but only through my completed "Tannhauser" and my completed "Lohengrin" did I gain perfect clearness as to the direction in which I had been impelled by unconscious instinct. Later on, in connection with the edition of my operatic poems, I shall take occasion to explain the process of development observed in me; certain it is that nothing of this can be contained in my autobiography. All the more interesting will it be for me to see that direction judged from his own observation by some one else, i.e., some one like you.

Concerning my last letter to you, I must ask you to be assured that I wrote it without ostensible object. To you alone I wanted to speak on a topic started by yourself, because I did not desire to support an opinion in a general way, but to effect something real, viz., the foundation of an original theatre. I therefore did not want to address the public--which qua public is quite useless for that purpose--but some one who has the intellect and before all the energy to view distinctly the accomplishment of such an object in given circumstances. If in the actual condition of generally accepted opinion something is to be undertaken which combats and denies that opinion as detrimental to art, this can of course only be done by individuals. We cannot expect a better general condition until the individual has become perfectly strong in itself, for the general must proceed from individuals, and for the present therefore we must be intent upon being ready ourselves and communicating with none but those nearest akin to us. In this spirit I look upon the theatre. If we want to work for a rational condition of the theatre in all Germany, we shall never achieve anything in the slightest degree rational unless we begin at some given point, even the smallest. That point I imagine I have found where an embodiment of genius and energy is already acting in the right sense. Where else can you find such things as are done at Weimar? But through whom is this done? Through you alone! The Court may have the best possible intention; it is not an artist to realize its intention or even to conceive a distinct intention, for that in this case none but an artist can do. This is the reason why I have applied to you alone. I had no other intention. If you think it useful and appropriate to make a wider use of my communication, you are quite at liberty to do so. If you think that a totally independent word of mine as to the position of poetry and the fine arts, especially in reference to a given object, may not be wholly without beneficial influence on many of those concerned, before all if you think that the object in question may be furthered by it, I ask you to dispose of my letter as your property. I, however, cannot undertake its publication. I should defeat my original purpose in doing so, besides which no journals are open to me. In the "Deutsche Monatsschrift", to which I am now and then asked to contribute, I do not like on principle to treat the question in this form; our object would not be furthered by it. Act therefore entirely according to your judgment. If you think it useless, leave it alone. If, however, you print the letter, omit what you think unfit for publicity. I should not willingly make additions, because they would of necessity have reference to the "original theatre," and about that I should have to say a great deal to make my idea comprehensible to the general public.

You have probably received my little pamphlet "Ein Theater in Zurich." Much, yea most, in it will not suit you, for the conditions here are too different from those of Weimar; but my idea of the essence of the activity of the "original theatre" the little work will make tolerably clear. In case you ask "whether I wish to exclude altogether everything extraneous" I reply in advance, Yes, for the present, and until the main object is attained, but not for the future. The main object is this: that the theatre imagined by me should, by the originality of its work, gain perfect individual independence, should educate itself to be a conscious individual. This object once attained, this individual independence achieved, then, and then only, should it exchange its achievements with those of other equally independent theatrical individualities, and by means of this exchange be fructified to ever greater capability and variety, extending in this manner to wider and generally human circles. This fructifying exchange can be successfully accomplished only when receiving means at the same time giving; only he who can give can receive with benefit to himself. At present our theatres are so wholly dependent, so entirely without individuality, that they can do nothing but receive, without having the power of really appropriating what they receive. Our theatres are undeveloped beings, pulpy, pappy molluscs, which can never bring forth a man.

I must refrain from saying any more on this head; it might easily lead me to writing another book of four hundred pages, and the writing of books I am determined to abandon in preference to producing a work of art. Only this much I must add: through you Weimar is already in a good way; proceed on that way of original achievement with conscious principle, express that principle distinctly, and by that means gain more and more participants in your consciousness; by that means you can easily show how an intention may gradually become a reality. Raff's opera has pleased me immensely; that is right, and now onwards! or, to speak plainly, it is your turn now,

Write an opera for Weimar, I entreat you; write it exactly for the artists who are there, and who through your work will be elevated, made more noble, more universal. Continue, if you like, your plans for the Italians; there also, I feel sure, you can do famous and useful things, but at the same time abide by what is nearest to you, by what is your present home; where you are in bodily presence, and with your whole mental energy, be there also with your productive will; do not trouble yourself about the other German theatres and their conditions. You do not want them in order to achieve something beautiful and at the same time useful. Candidly speaking, what do you seek just now, and with your present activity amongst the Italians, otherwise than an increase of your fame? Very well, but will that make you happy? For that you no longer care! Other conditions are necessary to give you happiness. Do something for your Weimar.

Well, I will not entreat you anymore for the present; you must find out for yourself what you have to do.

One thing more, however: work thoroughly for the culture of your theatrical people. You will get the desired artists from nowhere unless you create them for yourself. Be careful to make your singers first of all good actors; how is he to sing who cannot speak and declaim well? Nothing can here be done in a casual manner; you must proceed on principle and with expressed intention. (For that reason think of the Goethe foundation!) To speak plainly, you want a good stage-manager. Genast is a splendid fellow, but he has grown old in routine; he does not know, and will never understand, what has to be done. A man like Eduard Devrient would be of excellent effect for the training of your actors, for he knows what has to be done. (I admit the difficulty of getting such a man.) You must further have an able singing master. I believe that Gotze has good qualities for the post, but he ought to have power as well; people ought to be compelled to learn from him.

I am aware that a man does not become an artist by mere training, but he can never become an artist unless his organic faculties are healthily developed, and that is what is wanting amongst us almost everywhere. Other things will be easily set right if you are more careful in the choice of works selected for performance than is generally the case amongst us. The coarse mixture of all genres and all styles is the evil which prevents our actors from gaining any kind of artistic consciousness. Gluck today, Donizetti tomorrow, Weber today, Rossini or Auber tomorrow, serious today, frivolous tomorrow--what is the result? That the people can do neither Gluck nor Donizetti, neither the serious nor the frivolous. How terrible also are the translations! People get systematically accustomed to the absolute senselessness of scenic representations; look therefore to a rational treatment of the translated librettos. Before all, accustom your singers to looking upon their work in the first instance as a dramatic task; the accomplishment of their lyrical task will after that be an easy matter. Works of the earlier French school are most adapted to the purpose, because in them a natural dramatic intention is most perceptible. Singers who cannot execute well and effectively the "Water-carrier," by Cherubini, or "Joseph," by Mehul--how are they to be able to master the (in that case) enormous difficulties of, for example, one of my operas? The chief thing, however, will always be new works and such works as are adapted to our set of artists and have been written specially for this theatre. But enough of preaching! If I have been almost impertinent, you must forgive me. Today is my birthday, and you could not have sent me a better present than your letter of yesterday.

As yet Heaven has not given us fine weather, but I wait for the first bright, sunny day to commence the poem of my "Young Siegfried" with the pen. In my head it is ready. In July I hope to send you the poem.

Your last news has once more made me desirous to write to the Hereditary Grand Duchess. The contact with a sympathetic, noble female nature is to me an infinitely joyful feeling, and that feeling I should like to gain as a blessing for my impending work. If you think that I might permit myself a slight deviation from the ordinary official style towards this lady, I should ask you one of these days to forward a letter from me to her. The official style I cannot manage. Our dear, foolish Zigesar always writes to me, "Ew. Wohlgeboren," etc. I wish he would leave that alone. I am sorry when, in his kindness towards me, I stumble over this kind of powder and pigtail business.

May God bless you, not the "god of Buckeburg." You are right in retiring into solitude now and then; without that men like us cannot exist. Greet the Princess most cordially. I hope she will soon be well again.

Farewell, dearest of friends. I press you to my heart!

Your

RICHARD WAGNER.

ENGE, ZURICH, May 22nd, 1851.

62.

DEAREST FRIEND,

Short news from me today.

I have quite finished the poem of my "Young Siegfried". It has given me great joy; it is certainly what I was bound to do, and the best thing that I have done so far. I am really glad about it. With my violent way of working, I am always considerably tired at the end. I must take some time to recover. I cannot just yet make up my mind to copy it out for you, for many reasons, too long to tell. I feel also some bashfulness in submitting my poem to you without further explanation--a bashfulness which has its reason in me, not in you. I therefore ask you whether there is not a chance of my seeing you soon. Some time ago you made me think so. How is it now? Can you visit me, or at least appoint a place, accessible to me, for meeting? Please answer this question at once. My longing to see you, dear, splendid friend, again after two years, during which you have been more to me than I can describe, and to spend a few days with you, is greater than I am able to express. Can you fulfill this longing? If we could meet shortly, I should keep my "Young Siegfried", in order to read it to you. This would add to my peace of mind considerably. The written word is, I fear, insufficient for my intention; but if I could read it to you viva voce, indicating how I want to have it interpreted, I should be quite satisfied as to the desired impression of my poem upon you. Write to me at once what my chances are. If, alas! you cannot come, I shall have a copy made at once and send it you.

One thing more: in my last letters I entirely forgot to mention the Hartel affair to you. By a certain impulse, I applied to Breitkopf and Hartel about "Lohengrin". I owed them from of old two hundred thalers for a grand pianoforte, and proposed to them to wipe out this debt and to take the copyright of "Lohengrin" in return. At first they entertained my offer as to the pianoforte score, but I insisted again on the full score being engraved, telling them that something might be done by subscription, and referring them to your influential help. For a long time I heard nothing, but today I have a letter from the H.'s, saying that they accede to my wish and are prepared to print the full score. How has this happened? Now that my demand has been granted, it almost appears fabulous to me that they should publish the full score of an opera which has only been given at Weimar.

What do you think? Can I expect this of them? This, in my opinion, is a nobility of conduct which makes me feel ashamed. I should almost like not to accept the H.'s offer for "Lohengrin" on condition that they engrave the full score of my "Young Siegfried". This child, which I have engendered and should like to give to the world, is naturally even nearer to my heart than "Lohengrin", for I want it to be stronger and healthier than he. If the H.'s publish the score of "Lohengrin", it may be assumed to a certainty that the sale will be so small as to make them wholly disinclined for the engraving of the full score of "Young Siegfried"; and this latter is of course of much greater importance to me. What do you think? Advise me, dear Liszt! Shall I hold their offer over for "Siegfried" and give up "Lohengrin" instead? To get both appears almost impossible to me. Advise me!

Farewell for today. My pen will not obey me any longer; I am too excited by many things.

Farewell, and write to me how you are and whether I shall see you. Are you well? Greet the Princess! Farewell.

Your

RICHARD WAGNER.

ENGE, ZURICH, June 29th, 1851.

63.

DEAREST FRIEND,

The news of the happy birth of "Siegfried" pleases me much, and I thank you for letting me know at once. How I should like to hear you read it and to visit you at Zurich! But, alas! this year it is quite impossible for me to think of any journey whatever. At the end of this month I hope that the health of the Princess will allow her to start; and in order to make the journey less fatiguing, we shall return slowly by Dusseldorf, Cologne, Frankfort, and Eisenach. You, dear friend, must need rest and a little country life after the completion of your work. Please do not trouble yourself on my account by making at once a copy of "Siegfried"; you will send it me on occasion later on at Weymar, where, locked up, still remains "Wiland", which, to my regret, I have not been able to send you, not having the necessary keys at hand. I have explained this to Uhlig. If he is with you, remember me kindly to him, and excuse me to him once more for my involuntary negligence.

The Hartels are quite comme il faut in their personal and business relations. Dr. Hartel came to Weymar to hear "Lohengrin", and I am delighted to hear that his impression has been confirmed by an imprimatur. As you ask my advice about what you had better do, accept his proposition or hold it over till "Siegfried", so as to make him publish the score of a new work for you, I have no hesitation in saying that, for all manner of reasons, I should think it preferable to publish now only the pianoforte score of "Lohengrin", and to make arrangements with Hartel that the pianoforte score and full score of "Siegfried" should appear soon after the Weymar performance, which probably, and at the latest, will take place in February, 1853, for the fete of H.R.H. the Grand Duchess. "Lohengrin" will lose nothing by waiting chez nous.

As I wrote to you before, it will take some time before this glorious work meets with the swans which are to draw its barque to the banks of the Spree and the Elbe. Ganders and turkeys would like to lead it to shipwreck, but do not lose patience, and have confidence in the moderate amount of practical knowledge which your friend places loyally at your service and disposal. In the early days of August my pamphlet "Lohengrin et Tannhauser" will appear; it was written for a purpose which neither you nor your friends have hitherto been able to guess, and which it will take me some time to attain. I am far, however, from despairing of that attainment, but shall not let you know till the moment of success, in order to avoid unnecessary words--a habit which is growing upon me more and more. If you follow my advice, dear friend, write to H. in the sense indicated by you; that is, ask him to keep his good intentions for the engraving of one of your full scores till after the first performance of "Siegfried", and to publish for the present only the pianoforte score of "Lohengrin". Send to me here, please, if you possess them, the numbers of the "Monatsschrift" of Kollatschek containing your and Uhlig's articles. Heine in the same number has thought it necessary to make some of his rhymed jokes at my expense with his usual spirit. More than a fortnight ago I subscribed to that magazine through my bookseller, but as yet it has not reached me. Farewell, dearest friend. Believe me that I am truly vexed at not being able to attend the rendezvous which you propose, and which would have given me great pleasure--the pleasure of seeing you again and of having plenty of talk with you.

Always rely upon your

F. LISZT.

EILSEN, July 3d, 1851.

64.

MY BEST FRIEND,

I had just come down from the Alps when I found your letter, which again has given me the greatest joy. I thank you with my whole heart for your advice, so speedily given. You agree with me as to Hartel's offer; I expected so much, and it is a confirmation of my right sense in the matter. The full score of "Siegfried" it is to be, then. I feel as safe with you as a child in the mother's bosom; you take such care of me, dearest friend.

Uhlig is here. He has taken every trouble and made every sacrifice to save enough for a visit to me in Switzerland. Considering his cool, quiet, and passionless nature, the faithful attachment and friendship of this young man are of great value to me. As a very young musician he attracted my attention in the Dresden orchestra by his uncommon musical certainty and circumspection. Being struck by traits of unusual force of character and of a firm, manly disposition, I admitted him to intimate intercourse, and found a man who in the poorest circumstances had developed himself entirely out of himself. Thus I gained a friend who subsequently from a distance made it the task of his life, as far as his power extended, to serve me in a manner which,--the inclination being equal in both cases,--has been surpassed only by your brilliant genius.

You wanted to have some numbers of the Deutsche Monatsschrift. I happen to possess them, and send them to you, although I do not quite see of what use they can be to you. My book "Oper und Drama," in which I certainly express myself in a decisive, firm, and detailed manner, is passing through the press very slowly, and will probably not be ready before two months. Out of this