Correspondence of Wagner and Liszt Volume I Part 7

Yet another thing, another string to your bow. Should you think it inconvenient to publish a book of vocal compositions,--lieder or ballads, melodies or lyrical effusions, anything? For a work of this cla.s.s signed with your name I can easily find a publisher and insist upon a decent honorarium, and there is surely nothing derogatory in continuing in a path which Mozart, Beethoven, Schubert, and Rossini have not disdained. I quite understand what you say of my compositions in the "Goethe Alb.u.m," and only regret you did not hear my "Ta.s.so" overture, which, I flatter myself, would not have displeased you. In consequence of the good opinion which you kindly express of my talent as a composer, I am going to ask you a favour if the idea meets with your approval. While recently glancing through the volume of Lord Byron which has scarcely ever quitted me on my travels, I came again upon the mystery "Heaven and Earth," and on reading it once more felt persuaded that one might turn it to good account by preserving the difference of character between the two women Anah and Aholibamah and by keeping of course the Deluge as a purely instrumental piece for the denouement. If in your free moments you could think of cutting out of this an oratorio of moderate length, as in Byron, I should be truly obliged to you.

Read over the Mystery, and tell me whether you like my plan. In the course of the summer my "Sardanapalus" (in Italian) will be completely finished, and I shall be delighted to undertake another work at once.

If you reply before the end of November, address Buckeburg, for I shall not return to Weymar, for the rest of the winter, till the beginning of December.

Remember me very kindly to Madame Wagner, and in all circ.u.mstances rely upon my devoted friendship and admiration.

F. LISZT

BOCKEBURG, October 28th, 1849

29.

MY DEAR FRIEND LISZT,

G.o.d knows, the more I look into my future, the more I feel what I possess in you. Such as I am and such as you are, I come to understand better and better what a rare degree of friendship and kindness you must have towards me to show me the most active sympathy of all my friends, in spite of many sides of my nature which cannot possibly be agreeable to you. You resemble in this the true poet who, with perfect impartiality, takes every phenomenon of life as it is according to its essence. As regards your anxiety about me, I can a.s.sure you that if you had sent me some a.s.sistance in answer to my last request, I should not have been more touched than I was in feeling with you your sorrow at having to confess that for the time being you could not send me anything. I helped myself as well as I could by applying to my friends here. If I had not a wife, and a wife who has already gone with me through such hard times, I should be much less anxious about the future; but for her sake I frequently sink into deep dejection. But that dejection does not help me on; and, thanks to my healthy nature, I always nerve myself to renewed courage. Having lately expressed my whole view of art in a work ent.i.tled "The Art-work of the Future," I am now free from all theoretic hankerings, and have got so far as to care about nothing but doing art-work. I should have liked best to complete my "Siegfried," but this wish I could realize only in exceptionally favourable circ.u.mstances, namely if I could look forward to a year free from material care. This is not the case, and the care for my future makes it my duty altogether to think more seriously of my appointed tasks than has. .h.i.therto been possible amidst the most conflicting impressions. Listen, dear friend: the reason why for a long time I could not warm to the idea of writing an opera for Paris was a certain artistic dislike of the French language which is peculiar to me. You will not understand this, being at home in all Europe, while I came into the world in a specifically Teutonic manner. But this dislike I have conquered in favour of an important artistic undertaking.

The next question was the poem and a subject, and here I must confess that it would be absolutely impossible for me simply to write music to another man's poems, not because I consider this beneath me, but because I know, and know by experience, that my music would be bad and meaningless. What operatic subjects I had in my head would not have done for Paris, and this was the cause of my hesitation in the whole affair which you had initiated so well. Since then I have clearly discovered what task I have in reality to perform in Paris, so as to remain true to myself and yet keep Paris always in my mind's eye. As to this, dear friend, we shall perhaps understand each other perfectly, and you will agree with me when I determine not to become a Frenchman (in which I should never succeed, and which the French do not want from a German), but to remain as I am and in my own character to speak to the French comprehensibly. Well, in this sense the subject for a poem has quite recently occurred to me, which I shall immediately work out and communicate to Gustave Vaez; it is highly original and suitable to all conditions. More I will tell you as soon as I have finished the scenario. Belloni has asked me for the scores of my overtures to "Tannhauser" and "Rienzi," the first for a concert at the Conservatoire; I believe it is to be performed next January, and at that time I shall go to Paris myself to conduct the overture, to settle everything with Gustave Vaez, and to co-operate with him in obtaining a commission for an opera. One thing more: I cannot allow my "Lohengrin" to lie by and decay. Latterly I have accustomed myself to the notion of giving it to the world at first in a foreign language, and I now take up your own former idea of having it translated into English, so as to make its production in London possible. I am not afraid that this opera would not be understood by the English, and for a slight alteration I should be quite prepared.

As yet, however, I do not know a single person in London. With the publisher Beal I made acquaintance par distance when he printed the overture to "Rienzi," but apart from this I have no connection with London. Could you manage, dear friend, to write to London and to introduce my undertaking, and could you also let me know to whom to apply further? From Paris I should then go to London, in order to settle the matter if possible.

You perceive that I am only intent on carrying out the scheme originally suggested by you. Do not be angry with me for taking it in hand so late. At first it was your plan exclusively, and I had to make it mine; my awkwardness in this you must kindly attribute to my extraordinary position and mental trouble.

But now it is important, dear Liszt, to provide me with means for this definite object. That you alone cannot support me I realized long ago; and knowing as I do your position, it is altogether with a heavy heart that I ask you for further sacrifices. I have therefore applied to a friend at Dresden (himself poor), and have asked him to see if he could get me some money from my other friends, so as to help me, in conjunction with you, over my immediate and greatest difficulties. His news so far does not lead me to expect any great success from his efforts, and in any case it will not amount to much. You were kind enough to promise me some a.s.sistance from your own means towards the end of the year. Do not be angry if I a.s.sure you that I shall be compelled to count upon your kind fulfillment of this promise.

I trust in no one else, and do not indulge in any further illusions. Of a concert in Zurich I have thought myself. The local concert society have asked me to study with their orchestra, which is feeble, a symphony by Beethoven and one of my compositions, in return for which they would arrange a benefit concert lor me. The necessary increase of the strings, which I had to demand as a point of honour, has delayed the matter up till now, and it will be probably the beginning of January before the subscription concert takes place which is to be, so to speak, the captatio benevolentioe for my benefit concert. It is therefore not unlikely that I shall not be able to wait for the favourable moment, as I expect to be summoned to Paris by Belloni towards the beginning of next year. Any a.s.sistance from that quarter is therefore very problematic. Your thought of me in wishing to set aside part of the receipts of an intended concert at Hamburg has touched me deeply. You are a good man; and every day, alas! I feel more sure that I have no friend like you. In any case my niece shall interest herself in the concert; that small errand I willingly undertake.

All I want is to provide my poor wife during my absence with the money necessary for her subsistence, which will not amount to much, also to enable me to pay for my journeys and my stay in Paris and London. Belloni must get me a small, cheap room, and I promise to be as careful as possible in every way. I trust you and the above-mentioned friends will be able to provide me with the necessary means. Let us hope that success will reward your beautiful and rare sympathy.

Farewell, dear and valued friend! Remember me and my wife cordially to Princess Wittgenstein, and be a.s.sured at all times of my enthusiastic recognition of your rare and beautiful nature.

Always your deeply obliged friend,

RICHARD WAGNER

ZURICH, December 5th, 1849 The subject from Byron I shall certainly consider. As yet I do not know it, nor have had time to make myself acquainted with it, for which you must pardon me. I should be too glad to be of any service to you, and am thankful to you for showing me the way to do it. Let me only finish my opera sketch for Paris first.

My address is "Am Zeltweg, in den hinteren Escherhausern," No.

182.

30.

DEAR FRIEND,

I have just returned to Weymar, and hasten to send you a bill on Rothschild for five hundred francs. According to what you tell me, I hope it will be of service to you in Paris, where, I am convinced, you will find the best field for your activity and your genius.

I quite agree with your decision "to remain thoroughly faithful to yourself and yet always to have Paris before your eyes in the conception and execution of your designs." I antic.i.p.ate soon the most excellent and satisfactory results. You are quite right in not wishing to become a Frenchman; apart from the fact that you would scarcely succeed, your task is a different and even a contrary one, viz., to Germanize the French in your sense of the word, or rather to inspire them and fill them with enthusiasm for more general, more comprehensive, more elevated, dramatic art- work.

I should be delighted to learn what operatic subject you have selected, and my earnest desire is that you will use all your time in hastening the representation. In actual circ.u.mstances it is almost impossible for you to think of a speedy return to Germany where, moreover, you would find nothing but disagreeable things, envy, and enmity. Paris and perhaps London are absolutely necessary for your present and future career. Whatever the annoyances and sufferings may be which you will have to go through during the period of transition in which you are unhappily placed, take courage and have full confidence in the star of your genius. The day after your first performance in Paris you will be "as one new-born and content like a Greek G.o.d."

Regarding London, it will be somewhat difficult to place your "Lohengrin" there. It depends very much upon the chance of a good opportunity, which I hope will turn up. I shortly expect M. Ernst on his return from London, and he will give me some details as to the actual situation and the personnel of the London theatres.

Italian opera not being suitable to you in any form, you will have to attach yourself to one of the ephemeral enterprises of the English stage, ensuring, of course, every possible precaution and guarantee. I shall one of these days write direct to Mr.

Chorley, an excellent friend of mine, who will give me the necessary information and help you during your stay in London.

Before the spring I shall perhaps be able to give you some favourable news. You on your part must strike every iron while it is hot, and before all "stick to our Paris plans." For the fete of the Grand d.u.c.h.ess I shall conduct "Iphigenia in Aulis," which Herr von Zigesar has got for me from Dresden, and this in spite of the opposition, from want of intelligence or evil intention, which I shall have to encounter. Herr von Luttichau has declined all responsibility for the loan of your score, and I have boldly undertaken to be answerable to you for it.

At the end of the week we shall repeat "Tannhauser," which, by some miracle of taste, the Weymar public and many people from the surrounding towns have demanded ever since the beginning of the theatrical season, and which has been postponed only on account of my absence.

Let me hear from you soon, dear friend, and continue to dispose of me as of your sincerely devoted friend,

F. LISZT

WEYMAR, January 14th, 1850

P.S.--Kindly give my best remembrances and compliments to Madame Wagner.

31.

MY DEAR LISZT,

You will know by this time how I have fared in Paris. The performance of my overture came to nothing, and all your trouble about it has been in vain. Poor man!

In my life some decisive events have happened; the last shackles have fallen that tied me to a world in which I must have perished soon, not only mentally, but physically. Through the eternal compulsion imposed upon me by my immediate surroundings, I have lost my health, and my nerves are shattered. In the immediate future I must live only for my recovery; my existence is provided for; you shall hear from me from time to time.

Dear friend, I have just been looking through the score of my "Lohengrin." I very seldom read my own works. An immense desire has sprung up in me to have this work performed. I address this wish to your heart:--

Perform my "Lohengrin"! You are the only one to whom I could address this prayer; to none but you I should entrust the creation of this opera; to you I give it with perfect and joyous confidence. Perform it where you like, even if only in Weimar; I feel certain you will procure every possible and necessary means, and they will refuse you nothing. Perform "Lohengrin," and let its existence be your work. There is a correct score of the opera at Dresden. Herr von Luttichau has bought it of me for the price of the copying (thirty-six thalers). As he is not going to perform it--against which I should protest, considering the musical, direction in that city--it is possible that he will let you have the copy on repayment of the thirty--six thalers, or else he will in any case have it copied out for you. This letter may be your authority for receiving it,

If you comply with my wish, I shall send you soon a complete libretto, with exact indications of my view as to the mise-en- scene, etc.

Do what you can and what you like. You shall soon hear from me again.

Belloni tells me that you have promised him to get me an additional five hundred francs for the score of "Iphigenia." If you succeed in this, remit the money for me to Belloni; I shall in my thoughts dispose of it.

Farewell, dear friend and brother. Remember me to my few friends.

If the Grand d.u.c.h.ess and the Hereditary Grand Duke will accept a greeting, greet them most cordially from me.

Farewell, and think well of

Your faithful and grateful

RICHARD WAGNER

PARIS, April 21st, 1850