Chapter 17

Your warnings and admonitions not to rely on the performance of my operas in Italy I pass over. Whatever can have given you the curious and mistaken notion that my journey to Italy had this ambitious, artistic purpose, I fail to see. I have selected an Italian town because I hate Paris, and because here in Venice I am certain to be removed from any possible contact with artistic publicity. This was not the case even at Zurich, which for that reason had long since become disagreeable to me. That newspaper writers explain my sojourn in Venice as a political manoeuvre in order gradually to open Germany to me, is quite in accordance with the spirit and intellect of such people. I hope you will soon divest yourself of the idea that anything similar was in my mind. As an Austrian city, Venice exists for me only in so far as it does not belong to the German Confederacy, and as I may consequently live there in security. This has proved to be true. Unfortunately I could not prevent my landlord from trumpeting about my stay here, which in consequence was made public sooner than I desired. The police which, once more, asked for my passport, has, however, returned it to me with the remark that there is nothing against my undisturbed stay at Venice. Whether this was the result of the intercession of the Grand Duke, for which I had asked, I cannot tell.

You will be pleased to hear that Venice has not disappointed my expectations. The melancholy silence of the Grand Canal, on the banks of which I live in a stately palace with large rooms, is sympathetic to me. Amusement and an agreeable diversion of the mind is afforded by a daily walk in the square of St. Mark, a trip in a gondola to the islands, walks there, etc. It will be the turn of the art treasures later on. The entirely new and interesting character of the surroundings is very pleasant to me. I am waiting for my grand piano, and hope to resume my work without interruption next month. My only thought is of completing "Tristan", nothing else.

Farewell; accept my corrections in the benevolent spirit of a true friend. Pardon the seriousness which pervades me, and all my opinions and judgments. Let me hear something kind from you, and, before all, answer this letter soon.

Always and ever thine

R. W.

270.

SALZBURG, October 9th, 1858.

The news about you, contained in the papers during last month, was so different and so contradictory that I did not know where to write to you. At last your arrival at Vienna was announced, and when this premature statement was contradicted, some one wrote to me that you had gone to Florence or Paris. By your last letter, which reached me on the day of my departure from Munich, I see that for the present you intend to remain in Venice, and that the Government does not object to your stay there. I wish with my whole heart that you may find rest at Venice, and be able to settle comfortably, and to resume and complete your works. Fiat pax in virtute tua is a prayer in the service of the Mass, which I repeat to you from the bottom of my heart. The information which I received as to the security of your stay at Venice was not of a kind to make me think your domicile there, even for a short time, an advisable thing. Even now I entertain some doubts, which, however, I hope will prove futile. It is a great pity that we cannot live together, and I long unspeakably for the day when this will be possible. Lately, again, I spoke to the Grand Duke about your situation, and conjured him to set everything in motion in order to open your return to Germany. He promised that he would do so. The remarks in my last letter in reference to the performances of your works in the French or Italian language you seem to have misunderstood. By several things which you had previously written to me, and by your last journey to Paris, this possibility was suggested to me for discussion, and my only intention was, of course, to explain my view of the matter to you, without in the least wishing to prejudice you. The Queen of England had told you that an Italian performance of your works would be desirable; of Roger's "Tannhauser" we had spoken several times, and you had also come to an understanding with Ollivier as to the droits d'auteur. My expectations of all this are small, and I cannot agree with others of your friends as to the opportuneness and desirability of performances in a foreign language; indeed I should think it more advisable not to attach any importance to them for the present, and to make no attempt in that direction. But you must not charge me with having evolved the whole matter from my imagination. In the worst case, my view would simply be an erroneous one, but you should not misunderstand or disapprove of my intention of saving you unnecessary trouble. You have struck your roots entirely in German soil; you are, and remain, the glory and splendour of German art. While theatrical affairs abroad are in their present condition, while Meyerbeer and Verdi reign supreme, while theatrical managers, singers, conductors, newspapers, and the public are under their immediate influence, there is no need for you to mix yourself up with this muddle.

Another point in your letter, dearest Richard, has almost hurt me, although I can well understand that you think the official impediments which prevented my journey to Zurich trivial, and that you fail to give due importance to the University Jubilee of Jena, and to the many considerations which I have to observe, were it only in order to be occasionally useful to you in small matters. In a calmer mood you will easily understand that I cannot and dare not leave Weymar at every moment, and you will surely feel that the delay of my journey to Zurich was caused by no kind of TRIVIALITY. When I wrote to you that I should be with you on August 20th, I made no doubt that even in case of your earlier departure from Zurich you would appoint another place, Lucerne or Geneva, for a meeting. As you failed to do so, I came to a conclusion which I am only too happy to abandon on your word.

Enough of this, dearest Richard: we shall remain what we are-- inseparable, true friends, and such another pair will not be found soon.

During the first half of September I roamed about the Tyrolese mountains with the Princess and her daughter, and we stayed a few days quite alone in the Otz-valley. Driven away by bad weather, we returned to Munich, quietly witnessed the festivities, and saw our friend Kaulbach every day. Lachner told me that he had had some correspondence with you about an early performance of Rienzi. "Tannhauser" I heard again at Munich, but "Lohengrin" had to be postponed owing to the sudden indisposition of Herr Lindemann. Since I heard some passages of it from you, I know more of it than all the performances can teach me.

In order to carry out our original plan, and assert our rights even against the bad weather, we have come to Salzburg, and shall be back at Weymar in about a week. Probably I shall find there the proofs of my "Dante" symphony, which I shall send to you at once, as the true child of my sufferings.

When shall I have the joy of reading "Tristan?" The Hartels informed me that the pianoforte score was in print. Have you quite settled as to where the first performance is to take place? According to all accounts the Carlsruhe people reckon upon it for certain. May God grant that "Tristan" will put an end to your exile. This is my hope.

"Rienzi" with Tichatschek is to be given at Weymar in the course of the winter. Previous to that I shall go to Dresden, where I have promised Rietschel to pay my OLD debt to Weber, and to make ONE exception by playing several of Weber's pianoforte compositions at a concert for the benefit of the Weber monument, the model of which Rietschel has executed with incomparable mastery. On that occasion I shall ask for a performance of "Rienzi" at the theatre, in accordance with which I shall arrange that of Weymar, so far as our means will allow us. If I had a little more money I should have preferred to pay the balance which is still due on the subscription for the Weber monument in hard cash, instead of playing to the people a few hackneyed pieces. Weber must forgive a poor devil like me that I can do nothing better for him. You wrote to me about this matter many years ago, and now that the model of the monument is ready, it is a point of honour to make an end of the matter and commence casting it in metal. Write to me at Weymar how you like the city of the Lagunes. I presume that C. R. is with you. Remember me to him kindly, and tell him that I sincerely approve of his sonatas published by Hartel.

With invariable friendship, I remain cordially and sincerely

Your

F. LISZT.

271.

VENICE, October 19th, 1858.

Be thanked, dear friendly friend; your beautiful friendship is the only thing that still impresses me; you give it me purely, fully.

As regards my fate, I look forward with patience to calm, clear, quietly active years. My work has become dearer to me than ever. I have resumed it lately; it flows from my spirit like a gentle stream.

In all my relations to the suffering world one thing guides and determines me--pity. When I give myself up to it unconditionally, all my personal suffering ceases.

I have at last got my Erard. It stands in the large echoing hall which serves me as a study. There "Tristan" is to be finished this winter. The first act, dearest friend, is quite complete; ask the Hartels to give you the proof-sheets of the full score, which is already engraved. In the completion of the second act, which I have only slightly sketched, I am continually interrupted by visits. I have just begun working at it again; it will be very beautiful, and is to be finished and printed by the end of this year at the latest. By March the last act will follow, and if all goes well I shall witness the first performance about Easter. You are aware that, through Eduard Devrient's intercession, the Grand Duke of Baden has acquired a right in this work. If he can arrange to get me permission to go to Carlsruhe for the performance, it will take place there. But of this hope also I do not make a vital question; I can wait.

Venice continues to be most sympathetic to me; my choice was guided by instinct, and has turned out well. This kind of retirement is most pleasant to me. I see just enough to occupy my fancy agreeably; nothing disturbs me. That, looking upon this peaceful scene, I also was allowed to look upon you, and that you appeared to me in so beautiful and blissful a light as you did in your last letter, has crowned my happiness.

Be thanked my dear, noble, unique friend! Shall I say more? You know all that these words imply.

Greet the Princess and the good Child; they are to be annoyed by nothing in the world, and they are to love me as much as they can.

I hope that these lines will affect you as sympathetically as yours have made me happy.

Farewell, and be always assured of my responsive love.

Your

RICHARD W.

It would be a good omen if this letter were to reach you on your birthday.

272.

VENICE, October 23rd, 1858.

After I had settled with R. on the 21st that we were to congratulate you jointly on your birthday, he came to me on the 22nd and told me that he had just sent you a telegram. By way of revenge I ordered a dinner with oysters and champagne in the Square of St. Mark, to which a military band played the overture of "Rienzi" most excellently. We drank your health and clinked our glasses, and had a most pleasant evening.

Of this I send you documentary evidence by this letter.

Your

R. W.

273.

VENICE, October 26th, 1858.

DEAREST FRANZ,

I have just had a letter from Munich telling me that they have given up "Rienzi" owing to religious scruples. I want money, much money, in order to get honestly through my difficult position, and am looking out everywhere for a little business. I have just offered my "Lohengrin" to the Cassel management. If you can help me there, do so.

I should not like myself to write to Coburg, where I have been neglected in a surprising manner. Do you know of a channel through means of which you could bring it about that they should buy "Lohengrin" and the "Dutchman" as well? Think of this and help me in the old way.

A thousand greetings from your

R. W.

274.

DEAREST RICHARD,

R.'s telegram of October 21st was received with joyful acclamation, and your letter, which arrived on the same evening, was the most welcome birthday present on account of the calm, conciliatory mood which I felt in it. May you soon resume your work joyfully! I hope you are getting on with "Tristan", of which as yet I do not know a single note. In accordance with your last letter, I have asked the Hartels to lend me the score for a few days when the engraver does not want it any longer.

Your hints as to the performances of "Lohengrin", "The Flying Dutchman", and "Rienzi" in Cassel, Gotha, and other cities will not be neglected, and I need not assure you again that I shall do all in my power. First of all you will receive a letter concerning "Rienzi" from my chief and friend Dingelstedt. The opera is to be given here in January. Be kind enough to reply to Dingelstedt's letter with some POLITENESS, and do not be annoyed at my making this remark. I wish very much to incline Dingelstedt a little more favourably towards the performance of your works and to co-operate with him in perfect sympathy. That co-operation is of importance to me not only as regards "Tristan", which will meet with no difficulty, and, as I hope and longingly wish, will open your return to Germany, but chiefly with a view to the performance of the "Nibelungen," which is our ultimate goal. The honorarium of 25 louis d'or which our theatrical exchequer can offer you is very small, but I advise you to accept it, and take it upon myself to get you a small douceur from the Grand Duke's privy purse later on.

I should like to have Tichatschek for the first two performances of "Rienzi", although that would increase the expense considerably. But I have a great liking for him, and wish to get him some distinction from the Grand Duke on that occasion.

Last Sunday we gave "Komala" by Sobolewski. I do not know whether you have seen a small pamphlet "Opera, not Drama," which he published last year as an introduction to his opera. The following beautiful comparison occurs in it: "The words are the hard, transparent pieces of incense, the melody is the beautiful scent which emerges from the thick clouds of smoke, when the incense has been lit." In many other things I cannot agree with him, especially not as regards the marks of punctuation, by means of which he tries to distinguish himself from you, when at the end of the pamphlet he exclaims: "Wagner says, OPERA NOT,--DRAMA; I say OPERA, NOT DRAMA." His "Komala" is better than his comma, and his practice much better than his theory. There is much in it that would please you, and has undoubtedly been originated by "Lohengrin." Sobolewski wrote "Komala" at first in three acts, and had it done in that form at Bremen. Afterwards, in honour of operatic theory, and probably persuaded by the critics who thirst for contrasts and operatic tunes, he added two acts more, in which he introduced vocal pieces de salon, reminding one of the Queen in the "Huguenots", and the inevitable drinking chorus. By his desire I preserved the five acts at the first performance, but at the second I omitted the two additional ones without any consideration, or rather, for very good considerations, and shall even take the liberty of altering his finale, which has been fashioned after your finale of the second act of "Tannhauser" ("nach Rom"), and after the last act of "Iphigenia in Aulis." In that manner the work will appear in its only true form, and may keep its place as a fine musical cloud-and-mist picture in perfect accord with Ossian's poem. For your private benefit I send you a few motives from "Komala", which I copied for you.

About the middle of November we shall perform here a comic opera, "The Barber of Baghdad," founded on a tale from the "Arabian Nights," words and music by Cornelius. The music is full of wit and humour, and moves with remarkable self-possession in the aristrocratic region of art. I expect a very good result. "Rienzi" will be taken in hand immediately afterwards.

Excuse me for having delayed writing to you so long. I am up to the ears in all manner of business and correspondence, and have not had a free hour since my return. Please do not retaliate, and let me have good news of you soon.

Your

F. LISZT.

November 5th, 1858.

Kindly give the enclosed few lines to Ritter. The additions to the "Dante" symphony and to the Gran Mass will be ready before Christmas, and I shall send you both together.

275.

VENICE, November 21st, 1858.

MY DEAR FRANZ,

Many thanks for your kind letter; I had nothing particular to tell you, or would have replied to you sooner. In addition to this I was ill during the whole first half of November, which was more than I had bargained for, especially as it interrupted my work in the most unpleasant manner. Now I am well again and all will be right. I am looking forward to the Mass and "Dante" which you promise to send to me. Mind you keep your word. I have asked the Hartels to send you proof sheets of the first act of "Tristan." Perhaps you have received them by this time. The Hartels treat me with much forbearance. At first when I thought that the score would be finished this autumn, I prodded them on terribly. Since then I have left them miserably in the lurch. Before the end of December I cannot think of sending them the second act. I cannot help this, because I must wait for the most favourable mood to go on with the work. The "Nibelungen" question has also been mooted again by us. I shall have these things engraved now, and shall leave the discussion of the honorarium till after the performance. In this matter a very droll intermezzo has been played, or rather it has not been played out yet, because its conclusion will probably take place in a few days. I shall relate this adventure to you when it is finished.

My affairs are in a somewhat miserable condition. "Rienzi" is not getting on in spite of the continued success of the Dresden revival. The first disappointment came from Munich where I had expected to get an honorarium of fifty louis d'or. They wrote to me that the reading committee objected to the subject on RELIGIOUS grounds. I pity that dear religion! It is partly your fault that it is put to such uses now; why do you write beautiful Masses for the parsons? From Hanover also I expected an immediate remittance, and could not understand the delay, when I heard that Niemann, after having heard Tichatschek in "Rienzi", did not feel competent to sustain the part with equal voice-power. Therefore it was given up. Breslau alone is sufficiently bold, and will venture upon it. I wish I could find some one who would do justice to the real character of the part, in which case he need not be afraid of singing it even before Tichatschek. I have hinted so much to Niemann. I am thus, once more, reduced to my old capital, "Tannhauser" and "Lohengrin", and they are no longer sufficient for my present difficult position.

D. wrote to me five and a half lines, inquiring as to my terms. You probably know my reply. I wish the inhuman creature had sent me the money at once. Good Lord, what Jacks-in-office you all are! None of you can put himself in the place of a poor devil like me who looks upon every source of income as a lucky draw in a lottery. Please, tread gently upon his toe.

K. R. left me today, probably for a few weeks, in order to congratulate his mother on her birthday at Dresden. If he finds it possible he will pay you a visit at Weimar.

W. remains with me in his place; he arrived from Vienna with a Russian family a month ago, in order to spend the winter here. Fortunately, he keeps quiet and does not molest me, for being by myself is the boon which I enjoy, and watch over with painful care. In the Square I am literally run after by foreign princes; one of them, D., who boasts of knowing you personally, I was unable to avoid. He lives where I have my dinner and, occasionally, waylays me. He is an odd and apparently good- natured person. Today he dropped down upon me with much enthusiasm between the soup and the cutlets, in order to tell me that he had heard one of your symphonic poems beautifully played on the piano, and by whom? By a Venetian music-teacher, who has been made an enthusiast for German music by you and me. This amused me very much. D. also has been gained for your cause. What more can you desire? And all this happened in the Square of St. Mark at dinner, the weather being infamously cold.

Be of good cheer then, and may God bless you. Continue to love me. Write to me soon, and greet Altenburg a thousand times for

Your

R. W.

276.

VENICE, November 26th, 1858.

I enclose you a beautiful autograph.

I cannot tell you how comic it appears to me that I have to transact Weimar business with F. D. I have a good mind to tell HIM that he had better leave my opera alone. Weimar has lost all its charm for me since I have to meet so formal a person before I can get at you and the Grand Duke. You are a very tedious set of people.

You told me two years ago that you were in possession of a score of "Rienzi" which I had left there on my flight. If that is so, I should be glad if you would not attach much importance to its possession. My original score is always at your disposal in case, as I scarcely believe, you should care much about this opus. I have only a very few copies left. At the time I had no more than twenty-five copies made, more than half of which I have squandered away. If it MUST be, get a copy from Fischer in Dresden, and submit it reverentially in my name to the great Dingelstedt. Have you had your score altered by Fischer? In the third act there is a long cut and a change necessitated by it which I made for Hamburg.

Good Lord! it is miserable that one has to take all this trouble for a little money. I am once more confined to my room, and cannot even get up from my chair; a neglected abscess in my leg causes me terrible pain; sometimes in the middle of my music I call out loudly, which has a very fine effect.

Have the Hartels sent you the first act of "Tristan?" You will have copies of the poem before long.

Farewell for today. I have to indulge in a few shrieks, which in a letter would not sound well.

A thousand greetings--oh!

From your

R. W. (oh!!)

Have I really to wait for the wretched twenty-five louis d'or-- oh!!--till after the PERFORMANCE? Lord only knows when that will take place--oh!!

277.

VENICE, December 5th, 1858.

I made haste, dearest friend, to write to D. in accordance with your summons sent to me through our Princess.