Correspondence of Wagner and Liszt Volume I Part 23

After my last letter you will think that I am quite mad. Lord knows how I wrote myself into such a fury. Today follows something very sober, a troublesome thing for you.

Frau Rockel sent me the letter of her poor husband, without giving me his address. I ask you therefore to forward her the enclosed letter, also two parcels, which I have posted to you today--(l) two little pamphlets; (2) a score of "Lohengrin"--both meant for Rockel, and to be sent through his wife. H. was really to have the score, but must resign it to the poor prisoner. He must do this for the love of both of us, and Heaven will find him another copy sooner or later. As I have once begun asking favours, I go on. Be kind enough to send me two things:--

1. My "Faust" overture. I hope that, if you want it still, you have had a copy made. I have a mind to rewrite it a little and to publish it through H. Perhaps I shall get a little money for it.

B. must do the pianoforte arrangement, according to his promise to me.

2. My instructions as to the performance of "Lohengrin" which I sent to you from Thun by letter in the summer of 1850. I want particularly to have my beautiful designs of the scenery. I intend to have new designs for the scenery, according to my indications made by a Dresden friend or through his intercession, so as to have them in readiness for such theatres as want to undertake "Lohengrin" in future. If the Weimar management or any other persons desire to keep my originals, they shall be faithfully restored to its or their possession.

Have I troubled you enough? When are you going to send me some of your compositions? I see nothing of them here, and, in fact, learn scarcely anything about music. Think of me occasionally.

H. also is once again reticent. Uhlig complains of him and of a hostile feeling on his part. What is the meaning of this? Let each go his own way without snarling at the other who goes a different way.

Shall I soon hear from you again? How delighted I should be!

Farewell, and think of me lovingly.

Wholly thine,

RICHARD WAGNER

ZURICH, September 12th, 1852

The parcel will probably arrive a day after this.

At Berlin things now tend towards the non-performance of "Tannhauser." The performance has been postponed. As, according to my calculation, it could not have been produced before the end of January, and as my niece Johanna leaves Berlin at the end of February, I was compelled to stipulate that ten performances of the opera should be guaranteed for this winter. Otherwise there was the danger that this opera too would have disappeared after three or four performances, as was the case with the "Flying Dutchman" and "Rienzi," which for that reason were cried down as failures. If this guarantee is refused, I have given instructions that the score shall be withdrawn.

85.

DEAREST AND BEST OF FRIENDS,

Set my mind at rest by a few lines telling me that I did not offend you some time ago. I live at such a distance from my friends, that I always have a thousand anxieties, especially when I do not receive news from them for long. Tell me, for heaven's sake, have I written to you anything about Berlioz or Raff which you might have misunderstood in the sense that I had something against them? I have spoken as best I could from a distance; and, especially with regard to Berlioz, my intentions are the best.

Therefore--a few lines, please! About Berlin everything is now settled, but "Tannhauser" will not be fully rehea.r.s.ed till about December. Considering this delay of the matter, I do not want to trouble Herr von Hullsen with new conditions just yet; but when the time comes, I shall ask you to let me know once more whether you can afford the sacrifice of going to Berlin.

Belloni, as you know, is here; he has again talked much to me about Paris, and, to my astonishment, I hear that you still have plans of world-conquest for me in your head. You are indefatigable indeed! To the translation of Tannhauser I have no particular objection, especially as in Roger I might expect the best Tannhauser that I could think of. In addition to this, Johanna-I confess it would not be amiss. Herwegh also is doing something for the Paris performance. He proposes to make a richly coloured prose translation of the poem; however, I cannot yet think seriously of it.

My instructions as to the performance of Tannhauser have already induced the Leipzig people to abandon the opera-a very modest sign of acknowledgment of ill-will on their part. I am pleased to hear, on the other hand, that Schindelmeisser in Wiesbaden, after reading my pamphlet, has again begun the rehearsals from the beginning. Did you like the pamphlet? As you think of studying Tannhauser again, I a.s.sume that it will be useful to you for that purpose with the stage-manager; the singers also may derive excellent and much-needed service from it. But why has B. become silent once more?

Gradually my solitude here is becoming unbearable; and if I can afford it, I shall go to Paris for the winter. How delighted I should be to hear something from my Lohengrin played to me by a good orchestra! Confess that I know how to bear much.

My nerves are not in the best condition, but I have begun again to work at my poem for an hour or so every day. I can find no rest till it is ready, and I hope it will be soon.

Farewell, best of all men. Let me hear from you soon, and before all that you still love me. Farewell.

Wholly thine,

RICHARD WAGNER

ZURICH, October 3rd, 1852

About the "Dutchman" I must write to you at length some day. Have you forgotten the "Faust" overture and the designs for "Lohengrin" for which I asked you?

86.

You are quite right, dearest friend, if you attribute the weakness of Berlioz's mode of working to the poem, and my opinion perfectly coincides with yours on this point; but you have been erroneously led to believe that Berlioz is rewriting his "Cellini." This is not the case; the question at issue is simply as to a very considerable cut--nearly a whole tableau--which I have proposed to Berlioz, and which he has approved of, so that at the next performance "Cellini" will be given in three tableaux instead of four. If it interests you, I will send you the new libretto together with the old, and I think you will approve of the change and of the combination of the two last tableaux in one. I thank you cordially for your offer to let Berlioz have "Wiland," and shall talk to him about it on the occasion of his presence in Weymar. Unfortunately it must be feared that the Parisians will not relish it, and Henri Blaze is in any case not the man who could treat such a subject in a poetic manner and do justice to it. Above all, dearest, best friend, do not imagine that I could place a bad construction on any utterance of yours about one man or the other. My sympathy for you and my admiration of your divine genius are surely too earnest and genuine to let me overlook their necessary consequences. You can and must not be different from what you are; and such as you are, I esteem, understand, and love you with my whole heart.

Your "Faust" overture you will receive by today's post. A copy of it exists here, and I shall probably give it again in the course of this winter. The work is quite worthy of you; but if you will allow me to make a remark, I must confess that I should like either a second middle part (at letter E or F) or else a quieter and more agreeably coloured treatment of the present middle part:--

[score excerpt]

The bra.s.s is a little too ma.s.sive there, and--forgive my opinion- -the motive in F is not satisfactory; it wants grace in a certain sense, and is a kind of hybrid thing, neither fish nor flesh, which stands in no proper relation or contrast to what has gone before and what follows, and in consequence impedes the interest.

If instead of this you introduced a soft, tender, melodious part, modulated a la Gretchen, I think I can a.s.sure you that your work would gain very much. Think this over, and do not be angry in case I have said something stupid. Lohengrin was given last night in honour of the Prince and Princess of Prussia. The theatre was again crowded, and Fraulein Fromann, who had been specially invited by the Princess, has probably written to you about it.

Our further performances of Lohengrin and of "Tannhauser" will greatly benefit by the influence of our new artistic director, Herr Marr. I have given him your pamphlet about the performance of Tannhauser, and we shall both do our best to satisfy your demands. I am very glad you have published that pamphlet, and advise you strongly to do the same thing for "Lohengrin" and the "Flying Dutchman." I have not yet succeeded in discovering your designs and instructions for "Lohengrin"; I gave them at the time to Genast, and they made the round of the theatre here. If possible, I shall send them to you, but I can make no definite promise, for the rage for autographs may have gone so far that I shall not be able to get them back again.

Concerning Berlin, I repeat to you what I said before, viz.:-

If you are convinced that I can be of service to the public and still more to your works by my presence in Berlin, I am prepared to perform this duty of art and of friendship. My efforts, however, can lead to a good result only if Herr von Hulsen gives me his perfect confidence and asks me to settle the necessary steps for the rehearsals and performance of "Tannhauser." As mouche du cache I cannot go to Berlin, and should in that capacity be of little service to you. Your works, it is true, are above success as at present understood, but I will bet ten to one that "Tannhauser" or "Lohengrin," rehea.r.s.ed and placed before the public in a proper manner, will have the most decided success.

Wherever this does not happen the fault lies exclusively with the inadequate performance. If, therefore, you wish to send me to Berlin as your plenipotentiary, I am at your disposal, and give you my word that the whole world, with the exception of envious and inimical persons, who will be reduced to a small minority, shall be content. But before I consent to this it is absolutely necessary that Herr von Hiilsen should give me an invitation to Berlin black on white, and also invest me with the powers which my responsibility will make possible and desirable. In my opinion, it behoves Berlin to find room for your three works "Tannhauser," "Lohengrin," and the "Flying Dutchman," and I have not the slightest doubt of a complete success if the thing is managed properly. Herr von Hulsen will, no doubt, be of the same opinion soon; but in the ordinary way and with the old theatrical routine an extraordinary thing of this kind cannot be done.

Send me soon your instructions for the "Flying Dutchman." I should like you to write a few lines to Marr, so as to gain his goodwill completely for your cause and to induce him to undertake the stage-management of the "Flying Dutchman." Eduard Devrient paid me a visit last month. We talked a great deal about you, and I hope he will do something useful in Carlsruhe later on.

You are good enough to ask for some of my compositions, but you must allow me to delay this communication till we meet. I hope to visit you, unless you visit Weymar next summer, and shall then play many things to you. Of my orchestral pieces I might sooner or later send you "Prometheus," but would rather not think of it till I have done other things. Unfortunately I have been much detained from working latterly, but I shall not tell you of my pains and sorrows; you have more than enough of your own. Let us stand bolt upright and trust in G.o.d. When shall I have your poems? How long do you think that the four scores will approximately occupy you? Can you expect to be ready by the end of 1854?

Of a Paris performance of "Tannhauser" we must not think for the present; and extraordinary as is my confidence in your extraordinary work (although personally like "Lohengrin" still better), I cannot fail to take into account my experience of operatic performances in Paris and to think that the incompatibility of "Tannhauser" with the operatic tricks now in vogue might interfere with its success. Germany, first of all, must take the lead, for you have the advantage and the misfortune of being an arch-German poet and composer. As far as I know your works, I still think that "Rienzi" would be most adapted for a French version, but do not vainly trouble your mind about it.

Write your "Nibelungen," and care about nothing else. All other things will arrange themselves of their own accord when the time comes.

Farewell, and be as happy as I wish you to be with all my heart.

Your

F. LISZT

WEYMAR, October 7th, 1852

87.

MY DEAREST, BEST-BELOVED FRIEND,

For your last letter, and especially for your remark about the "Faust" overture (which has delighted me!), I owe you a regular long letter, and must wait till I am in a good mood for it; for I know that only in that case my answer can give you real pleasure.

Today I write you two hurried lines to say that I have accepted your generous offer and, relying upon your kindness, have asked Herr von Hulsen in a decided manner that you should be invited to Berlin to take my place at the performance of "Tannhauser". I have, I think, left nothing untried in order to induce Hulsen to get over any possible difficulties in connection with his own conductors there; I have made it a matter of personal feeling between him and me, just as it is between you and me. I hope that if Hulsen consents, his invitation will find you in a good and favourable mood. I know how great this new sacrifice is which I expect of you and how difficult you will find it to make but your friendship makes me venture upon anything Hulsen, who probably will not write to me himself, is to answer me through you; and you also must tell me that you do it willingly for my sake.

Of the great success of "Tannhauser" at Breslau you have probably heard.

But no more today. Weary as I am, I should only produce halting things.