CHAPTER XVIII.

1855.

How Wagner came to be invited to London--I appear before the directors of the Old Philharmonic--I find that they either know very little of him or nothing at all--Richard Wagner visited at Zurich by a director--The New York “Musical Gazette”--The London press upon Wagner--Condemned before he is heard--The cause, “Judaism in Music”--Wagner’s agreement with the Philharmonic directors--Imposes two conditions: (1) a second conductor; (2) several rehearsals--Gives way as to the first, but insists on the second--Will not lend himself to anything unworthy--Letter of 18th January--In accepting the Philharmonic engagement Wagner “makes a sacrifice,” but feels he must do this or renounce forever all relations with the public--Projects a whole concert of his works--The directors refuse--Irritation of Wagner--Letter of the 1st February--No special plan for his London expedition except what can be done with a celebrated orchestra--States he does not know English and is entirely without gift for modern languages--Enmity of the editor of the “Musical World” (London), who confesses that Wagner is a “God in his books, but he shall have no chance here”--Richard Wagner’s arrival, midnight, Sunday, 5th March, 1855--His head-gear--Objects to change his felt hat--His democratic principles of 1849 now modified--Visit to Mr. Anderson--The Lachner symphony proposed--Volcanic explosion of Wagner--Would cancel his engagement rather than conduct Kapellmeister music--Wagner’s objection acceded to--Visit to Sainton and Costa--Wagner refuses to call on any critics or pay any other visits of etiquette--At dinner--Wagner dainty--Quick though moderate eater--His workroom--Self-denial not his characteristic--His intrepidity borders close upon the reckless--Introduction to the Philharmonic orchestra--Briefly addresses them--Diplomatic, but his will law--The concert--Programme--His conducting--The “Times” abuses him--After the concert, at Wagner’s rooms--His playing the piano--His singing like the barking or howling of a Newfoundland dog--Well pleased with his first introduction to an English audience--His volubility--Abuse of fashion and white kid gloves for a conductor--The second concert--“Lohengrin” prelude, overture to “Der Freischütz,” “Ninth Symphony”--Overture encored--Wagner objects to encores, but enthusiasm of audience demands the repetition--“Lohengrin” prelude a surprise, as Wagner’s music had been described “noise and fury”.....218