Chapter II: Part 2

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,

Did you really think for a moment that I had conceived the idea of giving concerts in order to make propaganda for myself, or to make music, or what not? Did you not see at once that this plan was purely the result of despair at my miserable pecuniary situation, and that the only question that required an answer was whether or not I could make money by it, money in return for an unheard-of sacrifice, an act of self-abnegation, which probably I should not have been able to go through with after all? How badly I must have expressed myself! Excuse me for having given rise to such a misunderstanding, and be thanked all the more for the trouble you took nevertheless.

My dear, worthy friend, how proud and happy was I not three years ago, before I had done anything out of keeping with the full consciousness of my antagonistic position towards our artistic publicity. When at that time you, with your friendly anxiety, were intent upon getting "public recognition" for me and a wider field for my works, I used to smile and guard myself against every temptation. But the demon took hold of me; in my terribly bare life, my inclination began to grow again towards some of the amenities of existence; I yielded to temptation, surrendered my scores, was surprised at their success, and--hoped. I now curse this hope. I feel humiliated before myself, because I seek in vain release from this grief of self-reproach.

Hulsen has told X. that the whole thing in connection with me was DONE. Fortunately I was able to comfort X. with the thought that HE had not done it; but Hulsen is right: the thing is "done for." What finally could enlighten me better as to the truth and genuineness of my successes than the fact that in the very places where they had been gained, and with every conceivable trouble, the loan of--I must speak plainly--1,000 thalers could not be raised amongst my "admirers?" This very trivial matter speaks volumes to me.

Pray, dearest Franz, do not talk to me of my fame, my honours, my position, or whatever the name may be. I am positively certain that all my "successes" are based on BAD, very BAD, performances of my works, that they therefore rest on misunderstandings, and that my public reputation is not worth an empty nutshell. Let us give up all diplomatic contrivances, this dealing with means which we despise for ends which, closely considered, can never be achieved, least of all by those means. Let us leave alone this COTERIE, this connection with idiots who in a body have no notion of what we really aim at. I ask you, What satisfaction, what pleasure, can we derive from the assistance of all these silly people, whatever their names may be? I sometimes cannot understand your ironical enjoyment of life, which gets over your disgust at these people by making fun of them. Away with all this stuff, this "glory," this nonsense! We live at a time when glory can bring neither joy nor honour.

Listen to me: "Tannhauser" and "Lohengrin" I have thrown to the winds; I do not want to know any more of them. When I gave them over to theatrical jobbery, I cast them out, I condemned them to the task of begging for me, of getting me money, NOTHING BUT MONEY. Even for that purpose I should not like to employ them if I were not compelled to do so. After the insight which I have gained this summer, I should willingly submit to the penance of selling all my goods and chattels, and go, naked as I am, into the wide world, where--I swear it to you--no illusion should tempt me any more. But my wife could not bear such a violent step again; I know it would kill her. Well then, FOR HER SAKE I am resolved to go on. "Tannhauser" and "Lohengrin" must go to the Jews. But I am unable to wait and see how much more they might bring me in in certain patiently looked-for contingencies than now, when I am compelled to get rid of them at any price, and the sooner the better. Tell me, dearest friend, how do matters stand at Berlin? Did you merely rely upon making our condition plausible to Herr von Hulsen, or had you prepared other means of securing your honourable invitation to Berlin? I am almost inclined to believe the latter, and to hope in consequence that you will soon be able to announce our triumph. The want of Berlin for my operas involves the delay of the rest of the business, and I assure you that the spreading of my operas is entirely a matter of BUSINESS to me. This is the only real point; all the rest is, and remains, fictitious. Let us not attempt to look upon the matter in any serious light except as regards money. I should despise myself if I paid any attention to anything beyond this. For me the song of the "world" was sung to an end long ago.

And do you know what has confirmed me in this sentiment, inspiring me with new pride? It is YOUR WORK ABOUT THE "FLYING DUTCHMAN." In this series of articles I have once more clearly recognized myself, and have come to the conclusion that we have nothing in common with this world. WHO DID EVER UNDERSTAND ME? You, and no one else. Who understands YOU? I, and no one else. Be sure of it. You, for the first and only time, have disclosed to me the joy of being wholly understood. My being has passed into yours; not a fibre, not the gentlest tremor of my heart, remains that you have not felt with me. But I also see that THIS ALONE means being really understood, while all else is misunderstanding and barren error. What do I want more after having experienced this? What do you want of me after having experienced this with me? Let the tear of a beloved woman mingle with this joy, and what else can we desire? Do not let us desecrate our own selves. Let us look upon the world through the medium of contempt alone. It is worth nothing else; to found any hope on it would be deceiving our own hearts; it is BAD, BAD, THOROUGHLY BAD: only the heart of a FRIEND, the tears of a woman, can dispel its curse. We do not respect the world. Its honour, its glory, or by whatever name its shams may be called, are nothing to us. It belongs to Alberich, to no one else. Let it perish! I have said enough; you now know my sentiment, which is not a momentary emotion, but as firm and solid as adamant. That sentiment alone gives me strength to drag on the burden of life. But I must henceforth cling to it inexorably. I have a deadly hatred of all APPEARANCE, of all hope, for it is self-deception. But I will work; you shall have my scores; they will belong to us, to no one else. That is enough. You have the "Rhinegold," have you not? I have got to the second act of the "Valkyrie": Wotan and Fricka. I shall succeed, you will see.

Farewell.

Are you going to write to my wife?

My cordial remembrances!

(What the other people write I cannot bear to read any longer. I only read your "Dutchman" article; that is the reward, the pride, of my life.)

Farewell.

Your

R. W.

166.

Zurich, September 16th, 1854

Do you know how I can manage to arrange some concerts at Brussels and perhaps two Dutch towns, such as I gave last year at Zurich, and do you think that by such an undertaking I might make 10,000 francs in cash? Can you make arrangements so that my offer may be readily met, and that my programme may be translated into French and Dutch? If you can answer these questions satisfactorily, kindly take the matter in hand as soon as possible. I must earn money at once. No theatre has asked for my operas; nothing is stirring; I seem to be quite forgotten. If I could bring back money from Belgium and Holland, I might probably resume my work. For the present all music has been laid aside.

Your medallion is very beautiful. Many thanks. I care for nothing else, and for good reasons.

Always your faithful

Richard 167.

DEAREST FRANZ,

My wife is going to Germany, in the first instance on a visit to her parents. At present she is with Alwine Frommann, Berlin (10, Linden). In a week's time at the latest she will be in Leipzig (at A.'s, Windmuhlengasse). From there she will return via Frankfort. If she could hear one of my operas--"Lohengrin" of course in preference--at Weimar, she would like to stop a day there. If you can manage this, kindly write to her at Berlin or Leipzig, or, in case you can let me know BY RETURN, write to ME at Zurich, so that I can advise her in time.

From H. you will have in a few days the score of "Rhinegold", which I sent to him in separate pieces for the purpose of having a copy made at Dresden. But as I have recently finished a clean copy myself, I cannot bear the thought that the work should not yet be in YOUR HANDS. I did not want to let you have the fragments, for I consider it an important and significant event to place the WHOLE in your hands. Keep it for a month, to have a look at it occasionally; after that I shall ask you to return it for a time, so as to get the complete copy done.

My best love to Daniel, the foolish boy.

I write nothing else, either about myself or about your article. If I once began about these two things, I should not know where to stop. It is a great pity that I did not see you this year. Altogether I feel so boundlessly miserable that I begin to despise myself for bearing this misery. Enough. Farewell.

The worker in plaster-of-Paris has not yet returned your medallion; the margin was a little damaged. Why do you keep the "Indian fairy tale" to yourself? I have plenty of prosaic things around me, and could find a place for it.

My best remembrances to the Princess.

Your

RICHARD.

ZURICH, September 29th, 1854.

168.

DEAR FRANZ,

I begin to find out more and more that you are in reality a great philosopher, while I appear to myself a hare-brained fellow. Apart from slowly progressing with my music, I have of late occupied myself exclusively with a man who has come like a gift from heaven, although only a literary one, into my solitude. This is Arthur Schopenhauer, the greatest philosopher since Kant, whose thoughts, as he himself expresses it, he has thought out to the end. The German professors ignored him very prudently for forty years; but recently, to the disgrace of Germany, he has been discovered by an English critic. All the Hegels, etc., are charlatans by the side of him. His chief idea, the final negation of the desire of life, is terribly serious, but it shows the only salvation possible. To me of course that thought was not new, and it can indeed be conceived by no one in whom it did not pre- exist, but this philosopher was the first to place it clearly before me. If I think of the storm of my heart, the terrible tenacity with which, against my desire, it used to cling to the hope of life, and if even now I feel this hurricane within me, I have at least found a quietus which in wakeful nights helps me to sleep. This is the genuine, ardent longing for death, for absolute unconsciousness, total non-existence; freedom from all dreams is our only final salvation.

In this I have discovered a curious coincidence with your thoughts; and although you express them differently, being religious, I know that you mean exactly the same thing. How profound you are! In your article about the "Dutchman" you have struck me with the force of lightning. While I read Schopenhauer I was with you, only you did not know it. In this manner I ripen more and more. I only play with art to pass the time. In what manner I try to amuse myself you will see from the enclosed sheet.

For the sake of that most beautiful of my life-dreams "Young Siegfried," I shall have to finish the "Nibelungen" pieces after all; the "Valkyrie" has taken so much out of me that I must indulge in this pleasure; I have got as far as the second half of the last act. The whole will not be finished till 1856; and in 1858, the tenth year of my Hegira, the performance may take place, if at all. As I have never in life felt the real bliss of love, I must erect a monument to the most beautiful of all my dreams, in which, from beginning to end, that love shall be thoroughly satiated. I have in my head "Tristan and Isolde," the simplest but most full-blooded musical conception; with the "black flag" which floats at the end of it I shall cover myself to die.

When you have had enough of "Rhinegold," send it to Chorusmaster Fischer at Dresden, instructing him in my name to give it to the copyist Wolfel, so that he may finish the copy which he has begun. Your cheering words about the "Rhinegold" were splendid, and it has really turned out well. I hope there will be enough counterpoint in it to please Raff. My anxiety as to this troubles me very much.

Is M. ill? How can I do anything to help her? She should come in the summer to Seelisberg, on the lake of Lucerne. It is the dearest discovery I have made in Switzerland; up there all is so joyful, so beautiful, that I long to return--to die there.

There we must meet next summer; I mean to write "Young Siegfried" there, and you must assist me. Perhaps I shall assist you too. How full my heart is when I think of it! Many thanks to the Princess; at her desire, I send the enclosed autograph. Nothing about business! What do we care about such miserable things? When shall I see your symphonic poems, your "Faust?"

Farewell, my Franz.

169.

Brynhild sleeps; I am, alas! still awake.

Today I was asked, on the part of the Philharmonic Society of London, whether I should be inclined to conduct its concerts this year. I asked in return, (1) Have they got a second conductor for the commonplace things? and (2) Will the orchestra have as many rehearsals as I may consider necessary? If they satisfy me as to all this, shall I accept then? If I could make a little money without disgrace, I should be pleased enough. Write to me at once what you think of this.

How are you otherwise? 170

First of all, dearest friend, my best wishes for the new year 1855! May it turn out luckier for us than its predecessors have been.

I have permitted myself a little indiscretion in Brendel's paper, and have written for the specimen number of the journal (which is going to have a new publisher), as well as for the first number of the new year, a few columns about your "Rhinegold." I hope you will not be angry with me. My intention was good, and it will do no harm to draw a little public attention to the matter. The score I shall one of these days send to Fischer at Dresden, according to your instructions.

The offer of the Philharmonic Society is very acceptable, and your friends will be pleased with it. You do not say whether it is the Old Philharmonic Society or the New Philharmonic Society which has invited you. The latter Berlioz conducted for one or two seasons, in conjunction with Dr. Wylde, a protege of one of the chief shareholders of that Society, whose name I forget. In both Societies you will find a numerous orchestra and ample materials. You will know how to bring life into them and to do something extraordinary. If I can possibly get away from here, I shall perhaps visit you in London during the season. In the meantime let me know something more about this Philharmonic business, which will probably turn out to your satisfaction. I recommend you, by your leave, some caution, and the tedious but useful method of waiting.

I have heard nothing from Berlin, and shall write to Alwine Frommann before long. Our theatre will not be able to perform your works for several months to come. Frau von Milde is in interesting circumstances, and cannot appear before the middle of April, and our public would tolerate no other Elizabeth, Elsa, or Senta. Besides this, our first tenor has lost his voice, and will be replaced next month by C., who sang "Tannhauser" here in November on trial.

I expect Berlioz about the middle of February. Do you know the score of his "Damnation de Faust?"

My "Faust" symphony is finished. There are three movements: "Faust," "Gretchen," and "Mephistopheles." I shall bring it to you at Zurich next summer.

Remember me to your wife, and continue to love

Your

F. L.

January 1st, 1855.

The Princess sends her thanks and congratulations.

171.

DEAR FRANZ,

I am able today to send you particulars about London. Mr. Anderson, treasurer of the Philharmonic Society and conductor of the Queen's band, came specially to Zurich to arrange the matter with me. I did not like the idea much, for it is not my vocation to go to London and conduct Philharmonic concerts, not even for the purpose of producing some of my compositions, as is their wish. I have written nothing for concerts. On the other hand, I felt distinctly that it was necessary for me to turn my back once for all upon every hope and every desire of taking an active part in our own artistic life, and for that reason I accepted the hand held out to me.

London is the only place in the world where I can make it possible to produce "Lohengrin" myself while the kings and princes of Germany have something else to do than grant me my amnesty. It would please me very much if I could induce the English people next year to get up a splendid German opera with my works, patronised by the court. I admit that my best introduction for that purpose will be my appointment as conductor of the Philharmonic (THE OLD), and so I consented at last to the sale of myself, although I fetched a very low price: 200 pounds for four months. I shall be in London at the beginning of March to conduct eight concerts, the first of which takes place March 12th, and the last June 25th. At the beginning of July I shall be at Seelisberg. It would be splendid if you could visit me in London; in any case I must produce something of yours there. Consider this.

Do not forget Joachim; when I am once in London, I can easily arrange the matter.

It is splendid that you have finished "Faust," and you may imagine that I am most anxious to see it; on the other hand, it is a pity that you will not show it me sooner. At the same time, I shall be glad to go through it WITH YOU at the piano, and to make its acquaintance in that way, seeing that my attendance at a good performance under your direction is for the present out of the question. The vivid idea which you know how to convey cannot even approximately be replaced by anything else; and I am more than ever intent upon getting the right impression from the first, for I greatly distrust acquaintances made by means of the abstract notes.

It is an absurd coincidence that just at this time I have been taken with a desire to remodel my old "Faust" overture. I have made an entirely new score, have rewritten the instrumentation throughout, have made many changes, and have given more expansion and importance to the middle portion (second motive). I shall give it in a few days at a concert here, under the title of "A 'Faust' Overture." The motto will be--

"Der Gott, der mir im Busen wohnt, Kann tief mein Innerstes erregen; Der uber allen meinen Kraften thront, Er kann nach aussen nichts bewegen; Und so ist mir das Dasein eine Last, Der Tod erwunscht, das Leben mir verhasst!"

but I shall not publish it in any case.

I was at first startled at your new year's article, but soon perceived that here again I am indebted to your ever-increasing sympathy. If, however, you represent my work as something colossal, you mistake, in my opinion, the standard of measurement; to me our artistic publicity, the spirit of our means of representation, etc., appear to be very small and miserable, while my work is just in accordance with ordinary human proportions, and appears gigantic only when we try to confine it to those unworthy conditions. When therefore we call our plan chimaeric and eccentric, we in reality flatter the actual worthlessness of our artistic publicity, and in a manner mark it as the just and rational measure. We should not give that wrong impression to people. Every one of your letters is worth to me gold, and more, but ANSWERS in the proper sense I scarcely ever receive from you, and you treat many of my questions as if they had never been asked. Instead of that you always give me something new; that is splendid, but an answer also would sometimes be useful.

Well, let me hear something good of you soon, and in London let me SEE you. I shall take my work with me, and hope to finish the instrumentation of the "Valkyrie" there.

Adieu, dearest Franz.

How are you? Best remembrances from my wife and many greetings from me to you all.

Your

R. W.

ZURICH, January 19th, 1855.

172.

DEAREST RICHARD,

The London Philharmonic comes in very aptly, and I am delighted. As lately as six months ago people used to shake their heads, and some of them even hissed, at the performance of the "Tannhauser" overture, conducted by Costa. Klindworth and Remeny were almost the only ones who had the courage to applaud and to beard the Philistines who had made their nests of old in the Philharmonic. Well, it will now assume a different tone, and you will revivify old England and the Old Philharmonic. I commend to you Klindworth, a Wagnerian DE LA VEILLE. He is an excellent musician, who formerly acted as conductor at Hanover, and there gave a performance of the "Prophet" at the Tivoli Theatre, of which the newspapers were full some years ago. He is also a splendid pianist, who studied eighteen months with me at Weymar, and you must allow me to send Klindworth a few lines of introduction to you. As far as I know, there is in London no pianist like him; but, on account of his determined and open sympathy with the so-called "music of the future," he has placed himself in a somewhat awkward position towards the Philistines and handicraftsmen there.

I was present at the first performance of "Tannhauser" at Gotha. Capellmeister Lampert had taken much trouble, as had also Beer (Tannhauser), and the performance was, comparatively speaking, very satisfactory. The musical part is better with us, but it is different with the dresses and scenery, which are much more tasteful at Gotha than at Weymar. I have spoken very strongly on that point here; and as my prayers and admonitions in this respect have so far been of little avail, I am determined not to conduct "Tannhauser" and "Lohengrin" again until the necessary improvements in the scenery have been made. This negative measure, which I had kept in reserve, will probably be effective. In the meantime our opera remains in a stagnant condition. Since the last performance of "Tannhduser" (December 10th), I have not been at my desk, neither shall I conduct the festival performance of "Belisario" on February 16th. Nothing can be done till after the confinement of Frau Milde.

APROPOS, what do you think of Meffert, the tenor? Would he be any good to us, and how old is he? Write to me about this.

You accuse me in your last letter of rarely giving you an answer. This alludes, I presume, to two things: Berlin and Dresden. Alas! alas! I cannot report from either place what I should wish and, in spite of all, still hope to report. With wranglings and trifles I do not care to trouble you.

Stop; one thing I forgot to write to you: your "Tristan" is a splendid idea; it may become a glorious work. Do not abandon it.

You were quite right in arranging a new score of your "Faust" overture. If you have succeeded in making the middle part a little more pliable, this work, significant as it was before, must have gained considerably. Be kind enough to have a copy made, and send it me AS SOON AS POSSIBLE. There will probably be some orchestral concerts here, and I should like to give this overture at the end of February.

Hartel is having the scores of Nos. 3 and 4 of my symphonic poems ("Les Preludes" and "Orpheus") engraved. I am as yet uncertain whether I shall publish the nine pieces together or these two numbers (3 and 4) in advance. In any case I shall send you the proofs of "Les Preludes" and "Orpheus" before your departure to London, so that my scribbling may amuse you too. I am sincerely grateful for your friendly proposal of producing something of mine at the Philharmonic, but I think it will be more advisable to leave it till next season (1856). For the present you will have your hands full enough with your own things, and during the first year you ought to play a waiting game. The chief thing for you is to gain firm ground in London, and first of all to impress your conception of Beethoven, Gluck, etc., on the orchestra and the public. At the same time, the people should learn to listen to and understand the "Tannhauser" and "Faust" overtures, and finally to rejoice in and be elevated by the prelude to "Lohengrin." Your plan of conducting next year performances of "Tannhauser," "Lohengrin," and the "Flying Dutchman" with efficient artists is very good. We talked about this at Weymar in the year 1849; and, in my opinion, the enterprise can be made to succeed completely. This year must serve you as a preparation; and when you are once accustomed to London air, it may be expected that you will settle there comfortably. Beware of the theatrical speculators, who will be sure to try and make the best of you, and might be dangerous both to your purse and to your position. Once more, good luck!

Your

F. L.

WEYMAR, January 25th, 1855.

Best remembrances to your wife. For the first year she will, I suppose, remain at Zurich.

Do not keep me waiting too long for a letter, and send me your "Faust." The Princess and the Child greet you cordially.

I shall send you in a few days an English translation of your three opera poems in manuscript; it may be of use to you in London.

173.

Herewith, dearest Franz, you receive my remodelled "Faust" overture, which will appear very insignificant to you by the side of your "Faust" symphony. To me the composition is interesting only on account of the time from which it dates; this reconstruction has again endeared it to me: and with regard to the latter, I am childish enough to ask you to compare it very carefully with the first version, because I should like you to take cognisance of the effect of my experience and of the more refined feeling I have gained. In my opinion, new versions of this kind show most distinctly the spirit in which one has learned to work and the coarsenesses which one has cast off. You will be better pleased with the middle part. I was of course unable to introduce a new motive, because that would have involved a remodelling of almost the whole work; all I was able to do was to develop the sentiment a little more broadly, in the form of a kind of enlarged cadence. Gretchen of course could not be introduced, only Faust himself:--

"ein unbegreiflich holder Drang, trieb mich durch Wald und Wiesen hin," etc

The copying has unfortunately been done very badly, and probably there are many mistakes in it.

If some one were to PAY ME WELL for it, I might still be inclined to publish it. Will you try the Hartels for me? A little money would be very welcome in London, so that I might the better be able to save something there. Please see to this. All this, however, is only the prelude to your "Faust" symphony, to which I look forward with infinite pleasure. I have nothing further to tell you, except that I have been fool enough to take more trouble about a performance of "Tannhauser" at the local theatre than had been my intention. It will take place tomorrow, and, considering the miserable conditions, will turn out fairly well. But I shall not conduct. Cordial thanks for your pieces of advice, which have my full approval. I intend to appear in London only as a conductor, and to be very tough about my compositions.

The score of the first act of the "Valkyrie" will soon be ready; it is wonderfully beautiful. I have done nothing like it or approaching it before. My complaint that you seldom ANSWER me in the proper sense of the word you have misunderstood. It did not refer to EXTERNAL matters, like Dresden and Berlin, but exclusively to INTERNAL ones, for which I thought I had given you plenty of material.