Chapter 3

It need not be explained at length that the performances of "Tannhauser" and "Lohengrin" which have so far been given by theatres of the second and third rank, satisfactory and creditable for them though many of them have been, cannot be accepted as a standard for the performances contemplated at Berlin. For the very reason that Wagner attributes special importance to the Berlin stage, he has asked and commissioned me to assist him in this matter as a friend and an artist, and has given me unlimited power to act for him. The conditions are really none other than a dignified and adequate representation, which would guarantee a more than ordinary success for these works. The latter result is not doubtful to me provided that the representation is worthy of the Berlin stage, and I venture to think that you, dear sir, would share this opinion after the final rehearsals. But in order to arrive at rehearsals at all, I consider it necessary that a conclusive and brief conversation should without delay take place between you and me to settle the following points:--

A. The cast.

B. The arrangement of the rehearsals, at some of which I must be present.

If you desire it, I am prepared to come to Berlin at the end of the theatrical season here (June 24th), in order to arrive at an understanding with you about the whole matter, which cannot be difficult.

As to the honorarium claimed by Wagner, I can assure you in advance that he will make no unreasonable demands, and I shall let you know his decision after communicating once more with him. As a minor point, concerning my humble self, I may add that although my personal participation in the performance of a work by Wagner would involve a stay in Berlin of about a month, and the sacrifice of time would therefore be considerable, I should be so delighted at the anticipated success of this matter, that I should not like to mix it up with an estimate of my own expenses.

One other point I must mention: I have heard lately that Wagner makes my direction of his operas an absolute condition for Berlin. Highly flattered as I must be by Wagner's confidence, I take the liberty, in accordance with my unlimited power, of considering the question of my direction as a QUESTION RESERVEE, which I shall decide later on, ACCORDING TO CIRCUMSTANCES. I hope some means will be found of preserving my responsibility towards Wagner and his works without leading to an intrusion of myself on the Berlin artists. Accept, etc., etc.

Your obedient servant,

F. L.

WEYMAR, MAY 20TH, 1854.

N.B.--Be good enough to send me your final instructions as to this point, whether you want a lump sum down, or royalties, or both. Write to me at once as to this, and leave it to me to get a PLUS or a MINUS, according to circumstances.

As soon as Hulsen takes another step in the matter, you will hear of it at once, dearest friend. Write to me about the money point, and let me know your other wishes as to the Berlin performance.

In the meantime keep the above two letters TO YOURSELF, as too much has already been said about the Berlin affair.

The arrangement with Dingelstedt has not as yet been settled, but he is coming to Weymar at the end of June. Probably he intends to wait till the Munich Exhibition is over and to produce "Tannhauser" in the autumn. He writes that he is sorry not to be able to comply with all your wishes as to the honorarium. If you have made any special demands, let me know.

I am rather unwell and weary. This letter-writing, bargaining, and transacting are intolerable to me; by way of relaxation, I am writing a longish article about the "Flying Dutchman"; I hope it will amuse you. Brendel will publish it completely before the middle of June; in the meantime it is appearing as a FEUILLETON in the "Weymar Official Gazette."

Eugene Wittgenstein has sent me your medallion, which has given me great pleasure. It is the most faithful likeness of all your portraits.

In five or six days I shall visit Joachim at Hanover; he was here all last week, and showed me a very remarkable overture. Joachim is making a considerable step in advance as a composer; and if he goes on like this for a few years, he will do something out of the way.

God bless you, dearest friend, in joy and sorrow!

Write soon to

Your

F. L.

MAY 20TH, 1854.

155.

DEAR FRIEND,

In a very few days I shall write to you at length, and at the same time explain to you why this letter is so short. For the present only this, because it must not be delayed: ROYALTIES, nothing else. If these royalties are to be lucrative--I.E., if my operas are to be given FREQUENTLY--the manager must be well and sincerely inclined to the cause. Therefore we will treat him nobly. You have written MOST EXCELLENTLY.

In a few days more from your

R. W.

MAY 26TH, 1854. 156.

HIGHLY ESTEEMED HERR INTENDANT,

By your courteous letter of May 29th, I must perceive that you are not inclined to agree with Wagner's artistic views which cause and account for my interference in the performance of his works at Berlin. I sincerely regret that the deplorable circumstances which prevent Wagner from living in Germany are still in existence, and that many things occur thereby which impede the natural progress of the performances of "Tannhauser" and "Lohengrin." You, sir, are too well versed and experienced in matters of art to ignore how much the success of important dramatic works depends upon the manner of their performance. The masterpieces of Gluck, cited in your letter, surely owe, in spite of their great beauties, their permanent effect largely to the particular interest taken in them by Spontini and to his personal influence at Berlin. In the same manner, the exceptional successes of Spontini's and Meyerbeer's own operas were enhanced by the special activity of their composers. It would lead me too far to discuss further facts which have been proved so often, and I confine myself to telling you candidly that if the management intends to do no more than give TANNHAUSER or LOHENGRIN just like any other work, it would be almost more advisable to give any other work and to leave those of Wagner alone.

With Capellmeister Dorn I had several conversations about the whole matter some months ago, and I am convinced that he will not consider Wagner's condition of my undisguised participation in the performance of his works at Berlin to be an unfair demand. It is of course natural that you, sir, are "not inclined to accept any obligation which would reflect on the dignity and the capability of the institution as well as on the authority of the intendant." Such an intention is, indeed, very far from my mind. You add, sir, "I expect the confidence of the composer in myself and the Royal Theatre." This point also has been settled, and is wholly beyond question or discussion; but as Wagner has commissioned me to be his substitute at Berlin and has advised you of his resolution, I must, in the interest of the cause and of my position, decline to be reduced gradually to the part of the fifth whist-player, who, according to the proverb, occupies a very inconvenient position "under the table." In consequence I am obliged to ask you, sir, either to agree to the arrangement contained in my last letter, and, in your capacity of intendant of the Royal Theatre, to approve of my participation in the rehearsals and performance of Wagner's works at Berlin, according to his clearly expressed wish, or else to leave the whole matter in its actual STATUS QUO.

With the highest esteem, I am, sir,

Your obedient servant,

F. LISZT.

WEYMAR, JUNE 3RD, 1854.

P.S.--In his last letter Wagner writes that he leaves the pecuniary conditions with regard to Berlin wholly to my decision, and that "Tannhauser" will satisfy him.

DEAREST FRIEND,--Return Hulsen's letter to me, as I have not taken a copy, and should not like it to fall into other hands. I hope you will approve of my answer. The enclosed rough draft you may keep.

I was four days at Hanover. What will become of me this summer I cannot determine. As soon as I know, you shall hear.

Have you a copy of the pianoforte score of "Tannhauser" to spare? Roger, who is here, would like to study the part, and has written and asked for a copy, but hitherto in vain. I told him that I would let you know, and that I was convinced you would send me a copy for him if possible. It is said that the edition of Meser in Dresden is sold out, or else I might order one from there. You might in your next letter write a few lines which, or a copy of which, I could show to Roger. He is fairly musical, and might make a good effect in the part of Tannhauser.

When will the Musical Festival in Canton Valais take place, and how long shall you stay there?

157.

Again only a few lines in reply, dear Franz. You of course will not doubt for a moment that I feel sincerely grateful to you for the energy with which you take care of my interest with Hulsen. Let us "save the soul;" then the body also will fare best. I return Hulsen's letter to you. But I am grieved to give you all this trouble. Let us expect nothing. My opinion is that you should not answer him any more.

About the pianoforte score of "Tannhauser" I am writing to Dresden; they must get one somehow and send it to you for Roger. As you know, I have had Roger in my eye for a long time. If,--as I hope he will through you,--he really learns his task carefully and goes to it with love, I have no doubt that he will be the FIRST Tannhauser to satisfy my intentions entirely. Greet him very kindly.

Your question about the Musical Festival has given me hopes that you might accompany me there. Really, dear Franz, that would be a joy in this sad year. If you could induce the Princess and the Child to make an expedition to Valais by way of the Oberland and the Gemmi, oh, then, then all would be well. Only from the stupid festival itself you must expect nothing. All my compositions I have withdrawn, and shall only produce the A major symphony; there will be many people, but not much music. If you were there, and perhaps J. and B. as well, we might extemporise something purely for our own diversion. May Heaven grant that you may be sufficiently recovered to do a foolish thing and tempt others to it as well.

The festival will be on July 10th, 11th, and 12th. In the first days of the same month we should have to begin our exodus VIA the Oberland. I have been trying for some time to vegetate; the copying of the score of "Rhinegold" will have to wait. I must first of all have a go at the "Valkyrie."

Farewell, dearest, unique Franz. Give me some hope of seeing you and yours.

Your

R. W.

ZURICH, JUNE 7TH, 1854.

158.

Herewith, dearest Richard, I send you X.'s babble, together with the sketch of my very simple answer. Probably the cart will stick in the mud for some time, and then the transactions will begin again. Well, I have learned to understand people, although the real kernel of their phrases has not been, and cannot be, clearly expressed. I have seen too much of this to be deceived. The difficulty lies neither with Hulsen nor with other people whose names have been mentioned, but with THOSE whom we will not name, although we know them a little.

My symphonic poems I will bring you as soon as I find it possible to get away from here for a fortnight. I am very glad you take an interest in them.

Let us be PATIENT, and remain in evil days faithful to eternity.

Your

FRANZISCUS.

June 8th, 1854.

159.

DEAR FRANZ,

Here you have the "babble" back again, the possession of which I do not envy you. Let us put this disgusting nonsense on one side; on hearing the jargon, devoid of honesty or character, which these stupid souls call "prudence," one feels as if a hundred thousand fools were gathered together. Our fortune lies at bottom in the fact that we do not yield to such people, and our perseverance in this is sufficient gain. To "get" something by it is of course more than we can expect. Thus in this instance I am quite satisfied to know that we shall not do what X. wants; this is alone sufficient to put me in a good temper; what happens otherwise is a matter of indifference to us. Berlin to us has been the occasion of celebrating a feast of friendship. What else have we to do with or to care about Berlin?

A thousand thanks for all you are doing and the way in which you do it.

As regards "success" in X.'s practical sense, I shall probably never have it. It would indeed be a kind of satire on my situation and my being. On the other hand, I should at any moment be prepared to die gladly and with a smile on my face if only a really fine opportunity would offer itself. What more can one desire? As regards my personal future, I sincerely wish for nothing more than a beautiful death, for life is somehow out of joint. I often feel sorry that things around me do not seem to tend in that direction. Every one seems to care chiefly for a "long life," however narrow, thin, and poor it may be. This is sad.

Of all this we will talk when you come, for that you will come is certain, Lord be thanked. Bring your symphonic poems with you; that will strengthen my thread of life a little.

Do not look out for a copyist. Madame Wesendonck has given me a gold pen of indestructible power, which has once more turned me into a caligraphic pedant. The scores will be my most perfect masterpiece of caligraphy. One cannot fly from his destiny. Meyerbeer years ago admired nothing so much in my scores as the neat writing. This act of admiration has been my curse; I must write neat scores as long as I live in this world.

You will not be allowed to see the "Rhinegold" till it has been completed in this worthy fashion, and that can only be done in certain idle hours of the long winter evenings. At present I have no time for it. I must begin the composition of the "Valkyrie," which I feel joyfully in every limb.

Greet the Princess and the Child with the full power of greeting. For today I must be satisfied with this request; I can write no more, not even with my gold pen. I might say a good deal more if I were not taken with a fit of weeping, as once on the railway. I have just been called out; an eagle was flying over our house. A good omen!

"Long live the eagle;" he flew splendidly. The swallows were very anxious.

Farewell in the sign of the eagle.

Your

R. W.

160.

Let me tell you that tears prevent me from reading on.

Oh, you are unique of your kind!

It has struck me like a thunderbolt. Heavens, what have you written to me there?

You alone know it!

161.

A thousand thanks, dearest Franz. You have helped me out of a terrible difficulty after I had exhausted all other resources. By the autumn, I think, my affairs will be in better order.

When are you coming? I am going to Canton Valais in a few days, but intend to be back soon. I have no money for roaming about, and while I am enjoying my work nothing else attracts me.

The "Valkyrie" has been begun, and now I shall go at it in good style.

How curious these contrasts are--I mean, between the first love scene of the "Valkyrie" and that of the "Rhinegold."

Brendel must have surprised you. (Bosh!) God bless you.

162.

DEAREST FRANZ,

You are just the person whom I wanted to be in Leipzig at this moment, and I look upon your passage through that town as a hint of fate that there may be help for me AFTER ALL. In my great trouble I wrote to Brendel some time ago, asking him whether he could get me amongst my Leipzig "admirers" 1,000 thalers on a bill at four or five months' date. Answer: "No, but perhaps A. might manage it through one person or another." As A. had recently paid me a visit, I wrote to him also. Answer: "No." In the course of the next three months I expect this year's receipts from my operas, and to all appearance they will be good and help me once for all out of this last difficulty. The very least I may expect is this sum of 1,000 thalers. I may therefore, with a good conscience, give a bill payable after three months (end of October) to any one who will lend it to me. Hartel must do it. If he should prefer to advance me 1,000 thalers on account of my receipts, it will suit me equally well. He can control those receipts, and I will give orders that all payments of honorarium are to be made to X. till the money has been returned. Whichever way he likes will suit me, only let me get out of this miserable condition, which makes me feel like a galley-slave.

A. wrote to me about certain possibilities of Germany being opened to me for the special purpose of a short journey. I do not believe it, and at this moment do not care much about it; I certainly will not take the least trouble in the matter. Concerning the Berlin affair, be assured that I am only too glad to leave it entirely in your hands. I should be a nice fool if I withdrew it from them as long as you are not tired of it yourself. X. will take good care not to apply to me. All this is idle gossip.

From the Musical Festival at Sitten I ran away. It appeared to me like a great village fair, and I did not care to take part in the music-making. I simply bolted. No "musical festivals" of any kind for me! I feel quite jealous because you have gone to Rotterdam. I hope you will find time for Zurich as well. Come if you can in the latter half of August, for then I think the Wesendoncks will be back.

Good Lord, my head is a waste. Yesterday early I left the lake of Geneva. Last night I spent in the stage-coach from Berne to Lucerne. At present I am afloat on the lake of Lucerne, from the shore of which I shall fetch my wife, who is going through a cure of curds and whey. After that I return to Zurich, which I DARE do only in the hope that your attack on the Hartels has succeeded. No one can help me here; I exhausted everything to secure my existence from last winter till now. If all goes well, I shall continue the composition of the "Valkyrie" after August 1st. Work, THIS work, is the ONLY thing that makes life bearable. With the copying of the "Rhinegold" I go on in the intervals; in the late autumn you will, I hope, have the score.

Pardon me for this confused stuff in reply to your beautiful, cheerful letter from the Rhine. Perhaps I shall write in a better spirit soon. I am on the point of landing at Brunnen, where you are still remembered as "double Peps." How cheerful you were at that time.

On board the "Stadt Zurich," on the lake of Lucerne, en vue de Brunnen.

Remember JULY 31ST.

163.

DEAR, GREAT MAN,

A thousand thanks for the autograph, which will give much joy. This Fraulein Soest is a good, excellent girl, who was sent by her parents to England, and was there taken with home-sickness for the "Weymar school," "the music of the future," and the "Wagnerian opera." She managed to escape, and is now settled at Erfurt, where she gives pianoforte lessons, and from where she comes to Weymar to hear your poems.

Ten and a hundred thousand thanks for many other things besides. Liszt was delighted to hear that his articles in the Weymar paper had pleased you. It is a fine thing of you to have understood them so well. They are to go on for some time, and the "Flying Dutchman" will conclude this series. It is truly a wreath of mourning which he binds there; your dark, noble hero lives, and will live. Sleep and solitude are not death; and his vital strength is such, that for a long time to come he will make the round of Europe at certain intervals. Beethoven's "Fidelio" is only just becoming acclimatised in London.

I am quite happy that the symphonic poems interest you. When he is ABLE to visit you, he will bring the scores with him. At the present moment they are, I believe, being partly copied out and partly revised for engraving, etc., etc. But you, dear, great genius, will be the first to read them. They have been for the greater part performed here. The music is most beautiful, very noble, very elevated.

Your letters give us the same joy which a poor man used only to kicks and coarse copper coin would feel at receiving an alms of gold. Give us that alms frequently, because you are none the poorer for it. Allow Liszt to manage Hulsen, and leave Berlin to him wholly and entirely. It may go slowly, but it will go WELL and, before all, DECENTLY. How good, how prudent, how delicate and patient, HE is--that I know. Another man would during these six years have sunk and been drowned eighteen times in the storms which have our poor little barque for a plaything. He alone keeps us still on the surface.

Liszt has written to Berlin to find some one who will copy your "Rhinegold," the beautiful "Rhinegold," for which our ears are sighing. He whom he thought would answer your purpose is not free for the present. What is needed to make you begin the "Valkyrie?" And oh! that wonderful scene between Wotan and Brynhild--the divine Brynhild, who saves Sieglinde! Write at great length; it will do good to our three hearts, which are united and inseparable. The whole atmosphere of the Altenburg is gently illumed when a letter from you has arrived.

Heaven grant that we may say, "Au revoir! soon," and that we soon may see your "Rhinegold," were it but a sketch. If you only knew how Liszt sings your poems! We adored "Lohengrin" long before Beck had studied it, and still listen and weep when he sings it. Do finish your "Valkyrie" as soon as possible. What a work!

Write to us soon. You say that H. does not know what the matter is. Who does when the matter is something beautiful and grand? When a sculptor wants to make a beautiful statue, he takes granite or marble and wearies his strength in cutting it, but granite and marble are less hard than the heart of man. The sculptor, unless he dies, finishes his statue; when a noble thing has to be done, men are less pliable than granite and marble.

Liszt is indefatigable. He is wholly devoted to your courage and hope. I cannot tell you sufficiently how your dear letter has rejoiced me.

C.

164.

X.'s strong box resists a siege even more obstinately than does Silistria; storming it will do no good, and I have consequently nothing satisfactory to tell you. Returning here, I find a letter from Hulsen, definitely declining the performance of "Tannhauser" at Berlin, and winding up with the following flourish: "It is obvious that, after two vain attempts to produce this work at the Royal Theatre, the management will not undertake a third as long as I have the honour of being at the head of it. I am sorry for this."

From another source I hear, however, that the matter is not to remain in this negative stage, and that in the very highest quarters there is a wish to call me to Berlin. The event must show; for the present I have only written a few lines in reply to Hulsen.

What is all this story about the Musical Festival? Why did you bolt? Let me know when you happen to be in the mood.

After the Rotterdam festival I stayed a few days at Brussels to meet my two daughters.

As soon as my large arrears of correspondence are disposed of, I shall settle down to my "Faust," which is to be ready by the new year. The other things (symphonic poems) will also be in print by that time.

I still feel very much fatigued after my hurried journey, and my personal regret at not being able to serve you makes me curtail these lines still further. Ah! good heavens! what can I say to you while

La vergogna dura

and while there is no means of removing that vergogna?

Your

F. L.

July 28th, 1854.

165.

DEAREST FRANZ,