Chapter VIII: Act III: , Scene 2 (page 291) (4)

Your letter, my glorious friend, has given me great joy. You have reached an extraordinary goal in your extraordinary way. The task of developing to a dramatic trilogy and of setting to music the Nibelung epic is worthy of you, and I have not the slightest doubt as to the monumental success of your work. My sincerest interest, my warmest sympathy, are so fully secured to you that no further words are needed. The term of three years which you give to yourself may bring many favourable changes in your external circumstances. Perhaps, as some papers state, you will soon return to Germany; perhaps by the time you finish your "Siegfried" I shall have other resources at my disposal. Go on then and do your work without care. Your programme should be the same which the Chapter of Seville gave to its architect in connection with the building of the cathedral: "Build us such a temple that future generations will be obliged to say, 'The Chapter was mad to undertake so extraordinary a thing.'" And yet the cathedral is standing there at the present day.

I enclose a letter from Herr von Zigesar, the contents of which I know, but have by no means inspired. Zigesar is a sure, excellent, sterling character, and you may always count upon his friendship in that capacity. I hope that as soon as his painful disease of the eyes will allow him he will resume the management, probably by next spring.

Your well-accounted-for and justified fears as to my Weymar activity I pass by without reply; they will be proved or disproved by facts during the few years that you dwell amongst your Nibelungs. In any case I am prepared for better or worse, and hope to continue quietly in my modest way. Raff has finished a thick volume of preparatory studies for the composition of his new Biblical opera "Simson" (pronounce Schimmeschon), The opera itself will be finished next year. Cordial thanks, dear friend, for sending me "Young Siegfried". Unfortunately I was last week in such a turmoil of business that I could not find a quiet hour to read the book. Can you let me keep it till Christmas? When will your three dramas "Flying Dutchman", "Tannhauser", and "Lohengrin" appear? Have you rewritten the preface? H. promised it to me, but up till now I have received nothing. Have you perhaps changed your publisher? Let me know about it on occasion through B., who is writing to you at the same time with this. Farewell, and live, if possible, in peace with the upper world and with your lower stomach, to which in your letter you attribute many things not quite pertaining to it. People may think as they like, I cannot get rid of the definition "L'homme est une intelligence servie par des organes," and that your organs serve you excellently well is proved by your writing the Nibelung trilogy with prologue.

May the living God bless you and have you in His keeping!

Your cordially devoted friend,

F. LISZT.

WEYMAR, December 1st, 1851.

69.

MY DEAREST FRIEND,

Today only a few lines of thanks for your last letter, which has rejoiced me unspeakably. I showed it to every one who is in the least near to me, and told them, "Behold, I have such a friend!"

The full and unconditional approbation with which you receive my new plan is the best proof to my mind that I have hit upon the right thing. To be understood by you, and in the peculiar circumstances, in an undertaking which, besides thwarting your personal wish, can, on account of its unmeasured boldness, be understood by almost no one but him who is impelled to it by inward necessity--this, my dearest Liszt, makes me as happy as if my plan had been successfully accomplished. To Herr von Zigesar also I ask you to express my most cordial thanks for the very kind manner in which he has received and replied to my last communication. He has by that means laid me under a new obligation, and I can only wish that I may be able to show my gratitude.

As far as I am concerned, I am still occupied in resting from the finally somewhat powerful effect of my cure. I shall not undertake much this winter, but shall get everything out of the way, so that the whole poem may be ready by the beginning of summer.

How could you think that I had sent you "Young Siegfried" only to look at? The copy which you have has been made specially by me for you, and I ask you to accept it, although it is not written as beautifully as might be. One thing I must ask you to do for me: send me your medallion, so that I may give it to myself as a Christmas present. I had wanted a long time to ask you for this; and now that, after a prolonged fugitive state, I begin to be a little settled in my small but cheerful dwelling, I want you amongst my Penates in one form or another. If you have a really good portrait, I should like to have that too. You need not be ashamed of hanging on my wall; at present I have there only Beethoven, besides the Nibelung design by Cornelius.

"Oper und Drama" has long been published, as you probably know. The three operatic poems, with a communication to my friends, will appear at the end of this month, together with the pianoforte score of "Lohengrin." Please order a copy at once; you are nearer to it than I. I bet that the preface will interest you very much. The conclusion I have recently altered a little, but in such a manner that everything referring to Weimar remains unchanged.

Farewell, dear friend, and let me very soon again hear from you.

Your

RICHARD WAGNER.

ZURICH (ZELTWEG), December 14th, 1851.

70.

DEAREST FRIEND,

I am very late in telling you how we have all been delighted and enlivened by your splendid work. How can we thank you for it? How can I more especially express my gratitude? B. and Br. have written to you that the sixth performance of your "Lohengrin" has been, comparatively speaking, a satisfactory one. What I wrote to you at once after the very feeble and faulty first performance has actually happened. The comprehension and interest of the actors, together with those of the public, have increased with every performance; and I feel convinced that the seventh performance on Saturday, January 24th, will be even more successful. Next season we shall without delay attack your "Flying Dutchman," which, for local reasons explained to B., I did not propose this winter. We shall then probably be able to add and improve several things in regard to the scenery, etc., of your "Lohengrin." You may firmly rely upon me for bringing your works at Weymar more and more up to the mark, in the same measure as our theatre in the course of time gets over divers economic considerations, and effects the necessary improvements and additions in chorus, orchestra, scenery, etc. Excuse my bad German style; I am better at doing a thing than at writing about it.

Cordial thanks for your splendid gift of "Siegfried." I took the liberty of arranging a recital of it for the Hereditary Grand Duke and his wife at Zigesar's. Zigesar, who had previously read your poem, is in a state of enthusiasm about it, and the small circle of about fifteen persons whom he assembled on that evening was selected exclusively from the most zealous Wagnerites--the real creme de la creme. I am very curious as to how you are going to execute the work musically, what proportions the movements will have, etc.

Go at it as soon as possible. Perhaps you will be able to complete the whole work in less than three years. As regards the performance, we shall manage to arrange it somewhere by strictly observing your orders and indications. With all the genius of your fancy, you are so eminently experienced and practical that you will of a certainty write nothing unpractical. Difficulties are necessary--in order to be overcome. If, as I do not suppose, you should not be back in Germany by that time, I charge myself with the whole thing, and shall only trouble you to give me an exhaustive programme of all that you desire and expect in the performance of this gigantic work. To that I shall strictly adhere. Persons and things shall be provided somehow. But I look forward to the pleasure of enjoying your Nibelung trilogy more quietly from a stall or a seat in the balcony, and I invite you for four consecutive days to supper after the performance at the Hotel de Saxe, Dresden, or the Hotel de Russie, Berlin, in case you are able to eat and drink after all your exertions.

Of the conclusion of the preface to the three operatic poems I say nothing. It has hit me in my heart of hearts, and I have shed a manly tear over it.

My portrait I shall send you through H.; the medallion I must order from Paris, as there are only galvanoplastic copies in Germany.

The Princess has written a few words to you after the performance of "Lohengrin," which I enclose.

Farewell, and live as tranquilly as possible, my glorious friend. Let me soon hear something of you.

Your

F. LISZT.

WEYMAR, January 15th, 1852.

71.

Just returned home, with my eyes still moistened by the tears brought to them by the moving scenes of "Lohengrin," to whom should my thought turn at this moment but to you, sir, with the desire that you could have witnessed the effect produced by your beautiful work, better understood as it is every day by executants and spectators? I cannot tell you with how much zeal the former endeavour to respond to the efforts of Liszt for the worthy interpretation of your drama. Having been ill and absent from Weymar for a year, I was this evening able to judge how indefatigable Liszt has been in his instruction, recommenced again and again, and becoming ever more fruitful. You would certainly be satisfied with the progress they all make at each new representation.

Fraulein Fastlinger having left our theatre, Frau Knopp Fehringer takes the part of Ortrud. The former having been generally successful, both as a singer and an actress, opinions are divided as to the latter; and you, as the creator of the part, can alone decide which of them is really preferable. The former had the undoubted advantage of eighteen years, a pretty face, a slim, tall figure, which qualities, as they placed her in age and in beauty near to Elsa, suggested the idea of secret rivalry between woman and woman. One thought that she not only desired to win the throne of Brabant, but was also jealous of Frederick and of the charms of her from whom she had torn him away. The timidity natural to so young an artist gave to her movements the restraint which is characteristic of youth and of the instinct of a rival. Frau Knopp has over Fraulein Fastlinger the advantage of consummate and very impressive dramatic talent, but she is not very beautiful, in spite of regular features, and not in her first youth, besides which her figure is rather thickset. Her action indicated every nuance with admirable eloquence; she rendered the disdain, the hatred, the rage, which alternately inspire her with gestures and pantomimic actions of such striking reality that she might be compared to the greatest artists in the most famous parts. But she could not be more than an ambitious woman. Between her and Elsa the spectator's mind could not see any comparison or rivalry, and this has no doubt put out many of the audience without their being able to account for the reason, for nothing could have been more admirable than the acting of Frau Knopp, infinitely more energetic, more richly coloured, more living, more certain, more bold, than that of Fraulein Fastlinger.

It is then for you, sir, to say whether in general it is better to give the part to a young and beautiful artist, whose acting is naturally less experienced and more subdued, or to a woman of mature talent, who gives us an Ortrud less young, but more inflamed and devoured by the secret flames of the hatred of one who is vanquished and the revenge of one who is oppressed. As to myself, I cannot say which of these two conceptions produces the greater impression; the second has certainly something more sombre, more inexorable, about it. One trembles in advance for Elsa on seeing that such hands will fashion her destiny; one is inclined to say that the premeditation of a whole life gives more grandeur to the struggle between ambition and innocence.

Pardon, sir, this long digression; it will show to you how much your poetic conceptions occupy us here. I must not close these lines without telling you how I have been touched by the manner in which you speak of him whose glorious name I am soon to bear. Who could fail to speak of his spirit, of his genius, of his intelligence? But one must have a high-toned and delicate soul to understand the infinite tenderness of his soul, which so few can feel or divine. He will, no doubt, write to you soon. This evening, after the close of the performance, he accompanied some people who had come from Leipzig to hear your "Lohengrin". Good- bye, dear sir. Permit me to thank you for all the rare pleasures we owe to you by the contemplation of your beautiful works, and accept the expression of my distinguished esteem.

CAROLYNE.

WEYMAR, January 4th, 1852.

72.

MY DEAR FRIEND,

Accept my cordial thanks for your last kind letter, and for the beautiful performance of "Lohengrin" which you have again accomplished; according to all accounts, it must have realized my wishes in a high degree. In such circumstances my longing increases to enjoy my work, of which hitherto I have only felt the pains of giving birth to it; and my grief at being condemned to the fate of a blind and deaf man towards my own artistic creations begins to have a more and more depressing effect upon me. The existing impossibility of seeing and hearing my works makes the inspiration for new creations so grievously difficult, that I can only think with sorrow and with an unspeakably bitter feeling of the execution of new works. I tell you this for the sake of truth, and without accompanying my complaint by wishes which, as no one knows better than I, must remain unfulfilled.

As regards my "Nibelung" drama, you, my good, sympathetic friend, regard my future in too rosy a light. I do not expect its performance, not at least during my lifetime, and least of all at Berlin or Dresden. These and similar large towns, with their public, do not exist for me at all. As an audience I can only imagine an assembly of friends who have come together for the purpose of knowing my works somewhere or other, best of all in some beautiful solitude, far from the smoke and pestilential business odour of our town civilization. Such a solitude I might find in Weimar, but certainly not in a larger city. If I now turn to my great work, it is done for the purpose of seeking salvation from my misery, forgetfulness of my life. I have no other aim, and shall think myself happy when I am no longer conscious of my existence. In such circumstances my only joy is to know at least that I may benefit my friends by my art; in their sympathy with my works lies the only enjoyment I find in them. For that reason I am very pleased that you are thinking of performing the "Flying Dutchman", and I hope that those who love me will reward you for your trouble. As to the representation, and especially the scenery, I shall come to an agreement with you in due time; in Kassel it is said to have been not unsatisfactory, and some communication with the scenic artist there as to the arrangement of the ships, etc., would therefore seem desirable. Do not begin the copying of the orchestral parts until I have sent to you from here a copy of the score, in which, in accordance with my more recent experiences of orchestral effect, I have revised the instrumental parts.

As regards "Tannhauser", I am glad to learn that you think of complying with my wish to have it given in the form on which I have fixed as the best. On that condition only a permanent success of that opera at Weimar can be of interest to me. I had not the slightest fault to find with you for thinking certain omissions necessary when you first rehearsed "Tannhauser" at Weimar. You did not do this because you objected to the omitted parts, but because the artistic resources which were then at your disposal filled you with natural diffidence. I know in particular that in this manner arose the large cut in the finale of the second act which displeased me so much when I attended the rehearsal at Weimar. This is the scene where Elizabeth throws herself in front of the knights to protect Tannhauser. In scenes of this kind, before all others, my feeling for the perfect truth and nature of things impels me to use all the means of art which are within my grasp, and the grandeur of the situation can only be rendered if not the slightest of its essential parts is wanting. In this scene it is necessary that those who rush at Tannhauser should not be driven away from him like children. Their wrath, their fury, which impels them to the immediate murder of the outlaw, should not be quelled in the turning of a hand, but Elizabeth has to employ the highest force of despair to quiet this roused sea of men, and finally to move their hearts to pity. Only then both fury and love prove themselves to be true and great; and just in the very gradual calming down of the highest excitement, as represented in this scene, I discover my greatest merit in the interest of dramatic truth. After you have in "Lohengrin" solved much more difficult problems of representation, it becomes--I tell you so openly, dear friend-- your duty to give this scene completely, and I know that success will reward you. It is the same with all other things. In Tannhauser's narration (Act III.) the trombones in the reminiscence of Rome cannot produce the right impression unless this theme has before been heard completely and in fullest splendour, as I give it in the instrumental introduction to the last act, etc. I ask you therefore to adhere strictly to the full score which I had sent to you from Dresden with all my marks; and I will only add that the song of Tannhauser in the first act should be sung in its entirety (the three verses): the real climax, especially in its effect upon Venus, is otherwise totally lost.

Concerning the new conclusion of the last act, I was very angry that it was not given at Weimar from the first, as I assumed at the time that it would be. Even then I did not want a new public to know the first version, which was caused by a misapprehension on my part of the essence of the scene, as to which unfortunately only the first performance at Dresden enlightened me. Nothing that lies within the possibilities of representation on the stage should be only thought or indicated, but everything should be actually shown. The magical illumination of the Venusberg was, however, no more than an indication; the magic event becomes reality only if Venus herself appears and is heard. This is so true that the afterthought of this situation brought me great wealth of music; consider the scene with Venus in the last act, and you will agree with me that the previous version stands to it in the relation of an engraving to an oil picture. It is just the same with the appearance of the body of Elizabeth. When Tannhauser sinks down by the side of that body, and sighs, "Holy Elizabeth, pray for me!" that is realized which was formerly only indicated.

As I said before, if the performance of "Tannhauser" in Weimar cannot be a complete one, it loses all value for me, for in that case I shall not have drawn the public up to me, but shall have accommodated myself to the public, and that I do not care to do any longer.

Through B. I hear that the "Liebesmahl der Apostel" is on occasion to be given at Weimar. I call your attention to the fact that the orchestration of this work was designed for a vast space (the Frauenkirche of Dresden) and for a chorus of a thousand men. For a smaller room and a less numerous chorus the brass orchestra should be reduced to the usual limits, and especially the four trumpets should be reduced to two. That reduction will have no great difficulties, and B., if I ask him, will be quite able to perform the task well.

To Princees Wittgenstein, who has delighted me with a very friendly letter, I ask you to express my best thanks for her kindness. The deep interest which she has again shown in my "Lohengrin", particularly at the last representation, is of priceless value to me. Her intelligent remarks on the character of Ortrud attracted me especially, as well as the comparison she makes between the efforts of the previous and the actual representative of that part. To which side of the question I incline your valued friend will recognize at once when I explain to her my view of the character by simply saying that Ortrud is a woman who does not know love. By this everything that is most terrible is expressed. Politics are her essence. A political man is repulsive, but a political woman is horrible. This horror I had to represent. There is a kind of love in this woman, the love of the past, of dead generations, the terribly insane love of ancestral pride which finds its expression in the hatred of everything living and actually existing. In man this love is ludicrous, but in woman it is terrible, because a woman, with her strong natural desire for love, must love something; and ancestral pride, the longing after the past, turns in consequence to murderous fanaticism. In history there are no more cruel phenomena than political women. It is not therefore jealousy of Elsa perhaps for the sake of Frederick which inspires Ortrud, but her whole passion is revealed only in the scene of the second act where, after Elsa's disappearance from the balcony, she rises from the steps of the minster, and invokes her old, long- forgotten gods. She is a reactionary person who thinks only of the old and hates everything new in the most ferocious meaning of the word; she would exterminate the world and nature to give new life to her decayed gods. But this is not merely an obstinate, morbid mood in Ortrud; her passion holds her with the full weight of a misguided, undeveloped, objectless feminine desire for love: for that reason she is terribly grand. No littleness of any kind must occur in this representation; she must never appear simply malicious or annoyed; every utterance of her irony, her treachery, must transparently show the full force of the terrible madness which can be satisfied alone by the destruction of others or by her own destruction.

She of the two actresses who approaches this intention most nearly must therefore be thought the better of the two.

Once more, dear friend, my best compliments to the Princess, and my warmest thanks for her communication. Permit me to recall to your memory the medallion I asked you for; it will give great pleasure to me.

Farewell, best of friends, and make me soon happy again by a few lines from you.

Wholly thine,

RICHARD WAGNER.

ZURICH, January 30th, 1852.

73.

DEAREST FRIEND,

I send you enclosed an explanation of my "Tannhauser" overture, written for our public here, which, I have reason to hope, will soon hear a very good performance of that composition. When I had finished this programme, I read over once more what you have written about this overture, and had again to give way to the utmost astonishment. Herwegh has had the same experience with regard to your work. Only he can fail to understand your style who does not understand the music either; to see how you express precisely and keenly in words the feelings which music alone can evoke in us fills every one with delight who himself experiences those feelings without finding words for them. This perusal, which really filled me with astonishment, has once more roused in me the wish, expressed to you some years ago, that you might become your own poet. You have the necessary qualities as much as any one. Write French or Italian verse; in that direction you might produce something quite new and cause a great revolution. Let me hear about this from you, dearest friend.

Of my health B. probably gives you news occasionally; he writes to me more frequently now, and I always reply to him. That B.'s article about the S. has caused such a disastrous sensation amongst you confirms my opinion of the deep decay of our artistic and public conditions.

One thing grieves me: that the Goethe foundation had applied to the S.; and one thing pleases me: that her assistance came to nothing, and that a complete breach with the spurious element was thus effected.

My letter to you about the Goethe foundation will, with your permission, be published; many things are said in it which had to be said at this moment, and which, if I had wished to say them in a new and different form, would have withdrawn me again from my artistic projects. I will have nothing more to do with literature. As soon as the air grows a little warm and clear the poem will be begun.

Let me hear from you again.

Wholly thine,

RICHARD WAGNER.

ZURICH, March 4th, 1852.

74.

How are you, most excellent of men? It is too long since I heard from you. The rehearsals of Cellini, many visits from abroad, several pieces and transcriptions for the pianoforte, have much occupied my time during the last month. Of the performance of Berlioz's opera H. gives a most detailed account in Brendel's paper. This much I may add: that the motives which made me select this opera proved to be right and favourable to the further progress of my work here. "Why Cellini at Weymar?" is a question which I need not answer to the first comer, but the practical solution of which will be such that we may be satisfied with it. Perhaps you yourself did not at first look upon the thing in the practical light in which it will appear to you later on. In any case I believe that you will agree with me, unless you are inclined to aim at thin air. I have just been positively informed that you have handed in your petition for a free pardon at Dresden. How is this? Write to me as to this point, in perfect reliance on my discretion. I might possibly be of service to you in the matter.

A few days ago I saw here Madame B. D. She looks very well; and her husband is a handsome, decent gentleman. Amongst other things, she told me that she had been unable to understand the part of your preface which referred to her, and that her husband, after reading the passage several times, had remained in the same state of ignorance. As to the rest, she speaks well of you, and wishes very much to see "Lohengrin" here. Unfortunately Fraulein Fastlinger has left for Dresden, and Frau Knopp is continually ill, so that there is little hope of an immediate performance of that opera, for which even those are longing who formerly were of the opposition. Moreover, the deep court mourning in consequence of the death of Duchess Bernhard leaves me little hope that a performance of "Lohengrin" will be given by command. For next season, in February at the latest, the "Flying Dutchman" is set down.

It would be a beautiful and gladsome thing if by that time you were back in Germany. We should then sing your finale of "Tannhauser", "Er kehrt zuruck," with seven times seventy-seven throats and hearts. Have you any particular instructions for your "Liebesmahl der Apostel"? I think of producing it here in the course of the summer. At the next concert of the Gesangverein we shall have your "Faust" overture.

Farewell. Be as much as possible at peace with yourself and others, and write soon to your cordial and devoted friend,

F. LISZT.

WEYMAR, April 7th, 1852.

75.

My best thanks, dearest friend, for your last letter, which came to me quite unexpectedly, for you have weaned me from expecting letters from you, so seldom do you write to me. H. also has again been owing me an answer some time.

I feel so-so; the beautiful spring weather cheers me after a somewhat dreary winter, and I shall begin my poem again. If I lived in Naples, or Andalusia, or one of the Antilles, I should write a great deal more poetry and music than in our grey, misty climate, which disposes one only to abstraction. I am in the midst of rehearsing my "Flying Dutchman". Some of my friends here would not leave me in peace; having heard my "Tannhauser" overture, they wanted absolutely to have a taste of one of my operas. I allowed myself at last to be talked over, and am now about to introduce to the imagination of my friends a travesty of my opera, as closely resembling it as possible. Everything as regards scenery and orchestra is done to help that resemblance; the singers are not a bit better or worse than everywhere else; so I shall find out what can be done by the best intentions and a fabulous faith in me. So much I am confident in saying, that the performance would not be uninteresting to you, and therefore I invite you quite seriously, after receipt of this letter, to get leave for a week, trust yourself to the railway, and visit me at Zurich. The first performance takes place Wednesday, April 21st, and between that and May 1st there will be two repetitions. Are you no longer capable of this piece of folly? I am sure that you can if you will, and you would rejoice in the joy which your visit would give to me. Nothing else you could do in these days would compensate you for it. Do come! To Germany I shall not return; I have no hope and no wish for it. There are too few people whom I should care to see again, and those few I should like to see anywhere but in Germany. You, my dearest friend, for example, I should like to see in Switzerland. Please contradict most positively the rumour that I have pleaded for grace; if it were to spread and to be seriously believed, I should feel compelled to make a public declaration, which, for every reason, I should like to avoid.

Leave this matter alone; if the return to Germany were open to me, I should certainly use it only to make perhaps an incognito visit to you at Weimar.

Apropos! Ernst was here, and gave concerts, and he told me that the hope of seeing the "Flying Dutchman" had induced him to remain in Switzerland till the end of this month. You would therefore see him too.

Bring the Hereditary Grand Duchess along with you. As you are going to give the "Flying Dutchman" at Weimar, you would be interested to see the scenic arrangements which I have made for a small stage.

What is this you have heard about me in connection with your performance of "Cellini"? You seem to suppose that I am hostile to it. Of this error I want you to get rid. I look upon your undertaking as a purely personal matter, inspired by your liking for Berlioz; what a beast I should be if I were to criticize that liking and that undertaking! If every one would follow the inner voice of his heart as you do, or, better still, if every one had a heart for such a voice as you have, things would soon be changed. Here again I must rejoice in you. But where a pure matter of the heart is submitted to speculative reason, I must find that mistakes creep in which a third person can perceive. In the consequences which, as I am told, you expect from the performance of "Cellini", I cannot believe; that is all. But can this my unbelief in any way modify my judgment of your action? Not in the least. With my whole heart I say, you have acted rightly, and I wish that I could say as much to many people.

I am sorry that you have not produced "Lohengrin" again; you were in the right swing with it this season. What a pity that only a single performance should have been possible! This shows of what use half a year may be.

That Madame D. and her husband were unable to understand the passage in my preface proves their exceedingly fine tact. This was, no doubt, the best way for them of saving themselves a painful impression, and I am glad that they were able to do this, for it was really and truly far from my mind to annoy them. Ah, I wish I could this summer make at last a beautiful journey, and that I knew how to set about it! To this sigh only my own voice replies as echo from the wall of leather which surrounds me. This longing for a journey is so great in me that it has already inspired me with thoughts of robbery and murder against Rothschild and Co. We sedentary animals scarcely deserve to be called men. How many things we might enjoy if we did not always sacrifice them to that damnable "organ of sitting still."

Alas! this "organ of sitting still" is the real lawgiver of all civilized humanity. We are to sit or at best to stand, never to walk, much less to run for once in a while. My hero is the "bold runner Achilles." I would rather run to death than sit still and get sick. That is your opinion also, is it not? and therefore I may expect you for the Flying, not the lying-down, Dutchman.

We shall see. Live gloriously and well! Wholly thine,

RICHARD WAGNER.

ZURICH, April 13th, 1852.

76.

That I was unable to fly to your "Flying Dutchman" was not my fault; how genuinely glad I should be to see you again, and what beautiful enjoyment your splendid work would give me, I need not tell you, most excellent friend. The news I received from various sides as to the performances of the "Flying Dutchman" could not but greatly please me. Next winter you shall have news of our performance at Weymar, for we must not delay it any longer, and hope that it will be a success on the part of the artists, for as to the work itself there can be no question. Be kind enough to let me have as soon as possible the exact alterations, additions, and omissions you have made in the score, for I want to have the copies made at once. Quite lately I again expressed the principle that our first and greatest task in Weymar is to give the operas of Wagner exactly selon le bon plaisir de l'auteur [according to the good pleasure of the author]. With this you will, no doubt, agree, and in consequence we shall, as before, be bound to give "Lohengrin" without cut and to study the whole finale of the second act of "Tannhauser," with the exception of the little cut in the adagio. This will be done at our next representation. Send me therefore the necessary instructions about the study of the "Flying Dutchman," and be assured that I shall not deviate from them by a hair's breadth.

For your kind offer of the designs I thank you, and accept it eagerly. Send them to me soon; we have here a very clever young scene-painter and engineer, Herr Handel, late of the Hamburg theatre, who will take every care to comply with your demands. I have advised Baron von Beaulieu-Marconnay, the intendant, of the impending arrival of your designs, and the honorarium (five louis d'or) will be sent to you by the end of August. If you would rather have this small sum at once, I will remit it by return.

I have asked B. to tell you of the crime committed by me during the visit of his Majesty the Emperor of Russia. "Tannhauser" had been announced for the evening, when it was hoped that his Majesty would visit the theatre. Knopp and Milde wereunable to sing a note, and Frau von Milde also was hoarse. It was impossible to give a whole opera, so I coolly took the first act of "Tannhauser" as far as the end of the Pilgrims' Chorus, closing in G major, then after a pause commenced again in G major with the prelude to the third act of "Lohengrin," and so continued with the whole act to the end of the duet, winding up the performance with the overture "Carneval Romain" and the second act of "Benvenuto Cellini," omitting the baritone air.

Fraulein Fromann was present, and has probably written to you about it.

By the end of this month the Empress of Russia is expected, and "Tannhauser" is again announced for the 31st. Beck takes the part of "Tannhauser," and the entire finale of the second act will be sung. The new close, however, must unfortunately wait till next season, for a new scene is being painted for it, which cannot be finished; everything else is ready and copied out.

For next season we have Spohr's "Faust," with new recitatives, and shall give Schumann's "Manfred" at the beginning of June. Of the Ballenstedt Musical Festival, with the "Tannhauser" overture, and the "Liebesmahl der Apostel," you have probably heard.

Your "Faust" overture made a sensation, and went well.

Farewell, and have a go at "Siegfried."

Your

F. L.

77.

DEAREST FRIEND,

Today I write only a few hurried lines in order to avoid a misunderstanding. Herr C. has made the sketches for the "Flying Dutchman;" but, as I look at his work, it weighs heavily on my heart that you are to pay five louis d'or for it, which, according to my inmost conviction, it is not worth. (The man is altogether extremely mediocre, and the only thing that attracted my attention towards him was that he became acquainted with the subject under my own extremely painstaking direction, and in accordance with my most special intentions.) I have told him that the management at Weimar had a good scene-painter, and that you would only make occasional use of his sketches; if he would send them to you, you could offer him no more than the small remuneration of fifty francs.

If he sends the sketches, please make Herr von Beaulieu acquainted with this arrangement, so that he may reply to him in the sense above indicated and send him the honorarium to his own address.

Pardon me, but I could not make up my mind to allow you to pay five louis d'or for this trifle. About everything else I shall write to you at greater length within the next few days.

Farewell.

Your

RICHARD WAGNER

ZURICH, May 25th, 1852

78.

DEAREST FRIEND,

In addition to my last hurried lines, I write to you today a little more comprehensively. First of all, I must thank you for the news of the continued activity which you employ in the propaganda of my works. Expressions of praise on that account I omit once for all, for you are far above praise. Of the performance of the "Faust" overture I had heard nothing beyond your own brief notice. I cannot be angry with this composition, although many detached things in it would not now flow from my pen; especially the somewhat too plentiful brass is no longer to my mind. If I knew that the Hartels would pay me a nice sum for it, I should be almost inclined to publish the full score, together with a pianoforte arrangement, which H. would have to make; but I should like to be warmly persuaded to this, for on my own account I do not care to propose such things. Am I really going to figure at the next Musical Festival? People say that I am a famous "made" man; if that is true, who is the maker? Do not forget to add to the programme the explanation of the "Tannhauser" overture which I wrote last winter for the Zurich performance, and which I consider indispensable, because it gives briefly a condensed picture of the poetic subject, which is conceived in the overture quite differently from what it is in the opera itself. (In that sense you are quite right in saying that this overture is altogether a work by itself.) A copy of my explanation you probably possess; if not, Uhlig has plenty.

I really cannot understand why our numberless male choir festivals, etc., have never yet produced the "Liebesmahl der Apostel." But so many things are now to me inconceivable and yet quite conceivable. In a large room, and with a strong chorus, you may leave the instrumentation as it is; but I call your attention to the fact that at Dresden I was compelled, after certain important divisions of the composition, to have the key indicated by two harps: the larger the chorus, the more inevitable is the dropping of the pitch from time to time; but of this you would probably have thought yourself.

Concerning the (future) complete performance of "Tannhauser" I have still many things on my heart, of which I do not find it easy to unburden myself. First, certain minor matters. I do not know exactly whether Walther von der Vogelweide in the contest of the minstrels sang his song with you in the original B flat major or in C major. There is here some inconsistency. I am aware that B flat does not agree with the rest of the somewhat high-lying part, and a singer who has the voice for the whole part cannot make much effect in B flat, for which reason I was compelled at Dresden to transpose the piece to C. But this C major is altogether out of relation to the other songs of the singers' contest, and more especially it destroys the transition to the bright tone of the ensuing song of "Tannhauser," who, with his C major, is supposed to go beyond Walther. Apart from this, the song of Walther loses by means of this higher C major much of the calm dignity which is its character. The dilemma can be solved only by the part of Walther being sung by a low tenor and that of Heinrich der Schreiber by a high tenor. The two parts therefore must be rewritten, and in all the ensembles Walther should sing the notes which in the score are assigned to Heinrich der Schreiber, and vice versa. Only in the first finale Walther retains all the solo passages. This is what I should like. I further hope that you will give the scene between Venus and Tannhauser in its entirety. The necessity of three verses of the "Tannhauser" song I have, I believe, already pointed out to you.

But now comes the principal thing; i.e., the great adagio of the second finale. When at Dresden, after the first performance of "Tannhauser," I made the cut in this adagio, I was in complete despair, and in my heart cut every hope of "Tannhauser" as well, because I saw that T. could not understand, and therefore much less represent, the part. That I had to make this cut was to me tantamount to abandoning altogether the purpose of making my "Tannhauser" really understood. Kindly look at the omitted passage, dearest friend, and realize what it contains. While previously everything was grouped round Elizabeth, the peacemaker, she being the centre, and all the others listening to her and repeating what she said and sang, "Tannhauser" here recognizes his terrible crime, and breaks down in the most terrible repentance. When he once more finds words for his emotion, which he can scarcely utter, because he lies on the ground in a state of semi-consciousness, he suddenly becomes the principal person, and the whole scene is grouped round him, just as before it was round Elizabeth. All else is thrown into the background, and in a manner only accompanies him as he sings:--

"Zum Heil den Sundigen zu fuhren, Die Gottgesandte nahte mir: Doch ach! sie frevelnd zu beruhren Hob ich den Lasterblick zu ihr! O! du, hoch uber diesen Erdengrunden, Die mir den Engel meines Heil's gesandt: Erbarm' dich mein, der ach! so tief in Sunden Schmachvoll des Himmels Mittlerin verkannt!" In this stanza and in this song lies the whole significance of the catastrophe of Tannhauser, and indeed of the whole essence of Tannhauser; all that to me makes him a touching phenomenon is expressed here alone. His grief, his sad pilgrimage of grace--all this springs forth from the meaning of these lines; without hearing them, and hearing them in this place, the spectator sees in Tannhauser an inconceivable, arbitrary, wavering, miserable creature. (The commencement of his tale in the last act comes too late to make up for that which here must penetrate our mind like a thunderstorm.) Not only the close of the second act, but the entire third act, and in a sense the whole drama, receive their true significance only when the centre of the whole drama, round which it develops itself, as round its kernel, becomes perfectly clear and lucid in that particular passage. And that passage, the keynote of my whole work, I was compelled to cut at Dresden.

This I declare: no representation of "Tannhauser" answers my purpose if that passage has to be omitted. For its sake I will, if need be, consent to the cut in the allegro of the finale, which contains what is really the continuation of that passage--I mean the place where Elizabeth takes up the B major theme as canto fermo, while Tannhauser at the same time gives passionate vent to his wild despair. If at some future time a performance of this opera were wholly to satisfy me, Tannhauser would have to sing this passage also in such a manner that it would not appear long.

You will ask me, "What are we to do? How can we expect a minor singer to do what T. failed to accomplish?" I reply that T., in spite of his voice, failed to accomplish many things that were not beyond much less gifted singers. At the Tannhauser rehearsal which I attended at Weimar the invalided Gotze brought out passages and interpreted intentions in respect of which T. remained my debtor. This latter has nothing but either brilliancy or tenderness in his voice; not a single true accent of sorrow. The singer of the "Flying Dutchman" here did a great deal more than those at Dresden and Berlin, although they had better voices. Try what you can do with Herr Beck, and explain to him what is the important part. Only in case this passage comes out well the Weimar public will see what the whole is about. (I add a technical remark: If the singer in this passage is quite sure, let him take the tempo freely; all the others must go with him: he rules alone.)

If a performance of Tannhauser were to be quite perfect, the last finale of the opera would have to be given as it stands in the new edition of the pianoforte score, including the song of the younger pilgrims. Your score of the Flying Dutchman you can send to Uhlig, who possesses a newly revised score, and will arrange yours in strict accordance with it.

When the time for the rehearsals comes, I will let you have some further details. For the present I shall be satisfied if the parts are copied in accordance with Uhlig's score and if the scenery is painted after the sketches which I hope C. will send you.

The "Flying Dutchman" has made an indescribable impression here. Philistines who never go to a theatre or concert attended each of the four performances in one week, and are supposed to have gone mad. With the women I have made a great hit. The pianoforte scores sell by the half-dozen. I am now in the country, and feel tolerably cheerful. My work also pleases me again; my Nibelung tetralogy is completely designed, and in a few months the verse also will be finished. After that I shall be wholly and entirely a "music-maker," for this work will be my last poem, and a litterateur I hope I shall never be again. Then I shall have nothing but plans for performances in my head; no more writing, only performing. I hope you will help me.

Are you going to make a trip this year? How about the rendezvous which you made me look for as long ago as last summer? Are we never to meet again?

H. also ought to write to me again. Is he so busy with his compositions? Of the Imperial Russian "Tannhauser"-"Lohengrin"- "Cellini" theatre bill he told me nothing.

Are you going to have "Tannhauser" the day after tomorrow? Good luck to you! Make my compliments to the sovereign lady of all the Russias. I hope she will send me an order, or at least traveling money for Italy, where I should like to roam beyond anything. Tell her so. I hear those people throw plenty of ducats out of window just now. I am sorry to think that you will not be able to manage "Lohengrin" for such a long time; the pause is too long. As a punishment I shall dedicate the score to you when it appears in print. I do not ask you whether you accept the dedication or not, for punishment there must be. I must ask you to send me the score of my "Faust" overture; I do not possess a copy.

Farewell, and be greeted with all my heart.

Your

RICHARD WAGNER. ZURICH, May 29th, 1852.

79.

DEAREST FRIEND,

I have a favour to ask.

I am hard at work and eager to finish the poem of my "Valkyrie" in a fortnight. Some recreation after that will be a necessity; I want the change of traveling, and should especially dislike to finish my last poetic work, the great introductory play, here, where the monotony of my accustomed surroundings oppresses me, and where troublesome visitors put me generally in a bad temper. I want to go to the Alps, and should like at least to have a taste of the frontier of Italy, and to make a short sojourn there. Such extravagances I cannot afford from my ordinary income. For next winter I expect some extraordinary incomings ("Tannhauser" at Leipzig and presumably at Breslau). But, before all, I reckon upon the money which you will get me for the "Flying Dutchman" at Weimar. This latter I may calculate at something like twenty to twenty-five louis d'or. Could you get any one to advance me that sum?

Unless Zigesar is again at the head of affairs, I should think it inadvisable to apply to the theatrical exchequer for this advance of honorarium, but perhaps some benevolent private person might be found who would not refuse to disburse this sum for me. You would at the same time furnish the best guarantee that the money would really be forthcoming, for your zeal secures the performance of the "Flying Dutchman" at Weimar during the winter. This advance would give me great satisfaction, but I should want the money by the end of June at the latest. Kindly see how you can arrange this.

My "Valkyrie" (first drama) turns out terribly beautiful. I hope to submit to you the whole poem of the tetralogy before the end of the summer. The music will be easily and quickly done, for it is only the execution of something practically ready.

Farewell, and let me soon have news of you. Did the Imperial Russian "Tannhauser" come off? You are in the midst of great Musical Festival troubles, are you not? Much luck and joy to it!

Wholly thine,

RICHARD WAGNER

June 16th, 1852

Do you know anything about "Tannhauser" being contemplated for Munich next autumn? I know nothing. It would be nice of Herr Dingelstedt to think of such a thing.

80.