CHAPTER XIII.

1845.

“Tannhäuser”: story of its composition, poem and music--Its performance, 1845--First mention of Richard Wagner’s name in the London press--The criticisms (?) of 1845--An instance of the thoroughness of Richard Wagner--Dawn of the 1848 revolution and Wagner’s relation thereto--The follower of August Roeckel expresses regret at his heated language--Performance of the Choral Symphony under Wagner--Unusual activity displayed in the preparations--The way he set to work--Part explanation why I came to induce the London Philharmonic to invite him to this country--His grasp of detail--Forethought displayed in writing an analytical programme to acquaint audience with the meaning of the work--Successful performance--Characteristics of Richard Wagner--His opinion of Italian opera and dictum that an art work to endure must be founded in reason and reflection--“Lohengrin”: its popularity--“Music is love”--The network of connection between Wagner’s operas--Thoughts about “Lohengrin” remaining on earth--Wagner never able to control his finances--His position becomes embarrassed--At enmity with the world--Composition of “Lohengrin”--Letter to his mother--Passionate nature of Wagner--Complete identification of himself with his art--The manner of his accepting services--His courage inspires our admiration--The publication by himself of “Rienzi,” “Dutchman,” and “Tannhäuser”--A failure--“Tannhäuser” offered to the firm of Cramer, Beale, & Co. by me for nothing--Refused.....136