Chapter 9

It gives us great pain to know that you are suffering. I would accept double and treble the rheumatism which I have caught in this climate, where we have eight months of bad weather, and not four of fine, if I could secure you perfect liberty thereby. Liszt is sad because his travelling plans are disarranged, although he hopes to see you more at his ease another time. He must be at Vienna at the beginning of January in order to conduct a Mozart festival given for the centenary of the Master's birthday; and as Berlioz is coming here at the beginning of February, he will have to leave Vienna immediately afterwards.

The papers have no doubt informed you of his stay at Berlin, where he will soon return to attend the first performance of "Tannhauser," two rehearsals of which he almost entirely conducted. Stupid people will not be silenced thereby. To poets living in the tropical regions, where passion expands her gigantic blossoms and her sidereal marvels, stupid people appear like little gadflies which sometimes annoy them and draw blood by their stings, but cannot disturb the enchantment of this luxuriant nature. Liszt also has been honoured by a swarm of these insects, which buzz with all the more noise and self- sufficiency because they can make so little honey. He is quite composed, and goes quietly on his way, only uttering occasionally such BONMOTS as "They have cast me down, but I remain standing none the less," or "What does it matter if other people do things badly so long as I do them well?" etc., etc.; and so life goes on.

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

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

Your devoted,

CAROLYNE W.

December 23rdd, 1855.

206.

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

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

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

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

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

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

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

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

[Musical notation]

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

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

Try to get better again soon, and remember kindly

Your faithful

F. LISZT.

December 24th, 1855.

Best remembrances to Ritter.

207.

DEAR FRANZ,

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

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

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

I wish you joy for the Vienna mud.

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

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

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

208.

TELEGRAM

TO R. WAGNER, ZELTWEG, ZURICH.

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

F. LISZT.

BERLIN, January 8th, 1856.

2O9.

DEAREST RICHARD,

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

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

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

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

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

[Musical notation]

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

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

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

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

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

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

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

Your faithful

F. LISZT.

WEYMAR, January 14th, 1856.

210.

ZURICH, January 18th, 1856.

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

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

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

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

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

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

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

Your

R. W.

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

R. W.

211.

DEAR FRANZ,

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

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

Your

R. W.

March 21st, 1856.

212.

DEAREST RICHARD,

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

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

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

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

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

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

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

Your

F. L.

March 25th, 1856.

213.

DEAREST FRANZ,

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

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

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

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