Correspondence of Wagner and Liszt Volume I Part 8

32.

DEAREST LISZT,

I herewith send you the promised directions for the performance of "Lohengrin." Pardon me if they come too late. I heard only recently with what amiable and speedy readiness you have complied with my wish for the performance of this opera. When we meet again, I shall have many things to tell you. Of my immediate past I only say that my intended journey to Greece has come to nothing; there were too many impediments, which I found it impossible to overcome. Better than anything else I should have liked to get out of the world altogether. Of this more later on.

As I understand that you are going to perform "Lohengrin" as early as August 28th, I must not delay my instructions any longer, leaving other matters for a later communication.

First of all, I have in the enclosed treated of scenery and decorations. My drawings made for that purpose will give you great delight; I count them amongst the most successful creations of my genius. Where my technique forsook me, you must be satisfied with the good intention, which will be clear to you from the literary explanation attached to it. The trees especially presented me with insuperable difficulties, and if every painter has to perspire over perspective as I have done, his art is by no means an easy calling. As to the rest, I have in my notes always referred to the full score, in which I have indicated--much more fully and clearly than in the libretto--the scenic action in conjunction with the music. The stage-manager will have to go exactly by the score, or at least an arrangement of it.

As to the orchestra, I have also put down some remarks for you.

But now I have first of all a great wish to address to you:

Give the opera as it is; cut nothing!

One single cut I will indicate to you myself, and I even insist upon the omission of the pa.s.sage, viz., the second part of Lohengrin's tale in the final scene of the third act. After the words of Lohengrin--"Sein Ritter ich bin Lohengrin ge"--[nannt fifty-six bars must be omitted] "Wo ihr mit Gott mich landen"

["saht" therefore,--"nannt" instead of "saht"].

I have frequently sung it to myself, and have come to the conclusion that this second part of the tale must produce a depressing effect. The pa.s.sage is therefore to be omitted in the libretto as well.

As to the rest, I must request you urgently, Let me for once do as I like. I have been intent upon establishing so unfailing, so plastic, a connection between the music and the poem and action, that I feel quite certain as to the result. Rely upon me, and do not attribute it to my being in love with my own work. If you should feel compelled to make cuts on account of excessive difficulty, I should ask you to consider whether it would not be better to leave the performance alone on account of insufficiency of means. I a.s.sume, however, that all possible means will be readily placed at your disposal, and also that you will succeed in conquering every difficulty if you are fully determined to do so. If you make up your mind that it must be, then I am sure that it will be, or else that you would rather give up the whole thing. As to this, I think, we agree.

Concerning the chief thing, the cast of vocalists, I rely upon you with perfect confidence. You will not undertake impossible things. Our friend Gotze, to whom I am in any case much indebted for his Tannhauser, will find more difficulties in Lohengrin, because he lacks in external appearance and voice that resplendent quality which, where nature has vouchsafed it, must make the part easy. Let him supply that resplendence as far as possible by means of art. To look at him ought to make one's eyes smart. A newly revised libretto intended for the printer I send at the same time with this. It will arrive by the ordinary mail.

As to this libretto, I have the following wish to express: Sell it, or if you can get nothing for it, give it to a publisher who will undertake to bring it out beautifully, at least as well as the libretto of "Tannhauser"; the Weimar theatre then gets as many copies from the publisher as it wants for sale in the house, allowing a certain commission. This is exactly what we did with "Tannhauser." As I should like you to dispose of the pianoforte score, made by Uhlig in Dresden, to a music-publisher, the best way would be to offer the libretto to the same man whom you have in your eye for the pianoforte arrangement. That libretto, if sold at a moderate price, is, however, by no means a bad business. Of "Tannhauser" we sold over two thousand copies. One thing more: tell me, dear Liszt, how could we make it possible that I could attend the first performance in Weimar incognito?

This is a desperate question, especially as at this moment it is no longer, as it recently was, a matter of indifference to me whether I am to dwell in a royal Saxon prison or not. Listen: I hold the Grand d.u.c.h.ess in high regard; would not this lady, to whom I attribute real n.o.bility, at your suggestion be inclined for the stroke of genius of duping the police of united Germany, and of getting me a safe conduct under an a.s.sumed name from Switzerland to Weimar and back again to Zurich? I promise faithfully to preserve my incognito in the most stoical manner, to lie perdu in Weimar for a little time, and to go straight back, guaranteeing all the time the strictest secrecy from abroad also. Or would this be more easily achievable through the Duke of Coburg? Of him I hear many things that delight me. Anyhow look into this; you would give a poor devil like me real joy, and perhaps a new stimulus and much-needed encouragement.

If it is possible, or even if it is impossible, I ask further, Would you like to pay me a short visit in Zurich soon? You are devilish quick at such things. If I could see you again now, I should go half mad through joy, therefore wholly mad, as people have surely taken me for half mad a long time since. I would sing "Lohengrin" to you from A to Z; that would be a real pleasure!

Enough for today. I shall soon write again. Whether I have got any money from Weimar for "Iphigenia" I cannot tell yet; there has latterly been much confusion around me. I am about to crush some most absurd rumours which have been spread abroad concerning me by returning to Zurich. Address to me there "Enge, Sternga.s.se, Hirzel's Haus, Zurich."

Farewell, old, dear, only friend! I know you love me. Believe that I respond from my fullest heart.

Ever thine,

RICHARD WAGNER

THUN, July 2nd, 1850

33.

DEAR LISZT,

Would you be kind enough to answer the following simple question briefly by "Yes" or "No"? Did the management of the Weimar theatre intend to pay me five hundred francs for my version of "Iphigenia," as Belloni told me after his return to Weimar?

Further, have these five hundred francs been sent anywhere for me, and to whom and where should I in that case have to apply? or if they have not been sent, may I still count on them? Lastly, if the latter should be the case, will you ask Herr von Zigesar to send three hundred francs of the sum to Belloni in Paris, in settlement of a tailor's bill falling due July 15th, and remit the balance of two hundred francs to me at Zurich as soon as possible?

My question has become more complicated than I thought, as complicated, indeed, as is the demand on Herr von Zigesar to pay me five hundred francs for a mere arrangement. That you have managed to insist upon this demand I must in any case look upon as one of your miracles.

Dearest friend, you have, I hope, received my long letter from Thun. Shall I soon hear from you, or could you really manage to pay me a flying visit?

Best greetings from your most faithful

RICHARD WAGNER

ZURICH, July l0th, 1850

(Bei Frau Hirzel, Sternga.s.se, Enge.)

34.

DEAREST FRIEND,

Believe me, you have not for a moment ceased to be very near to my heart. The serious, enthusiastic admiration I have for your genius would not be satisfied with sleepy habits and barren sentiments. All that I can possibly do, either in the interest of your reputation and glory or in that of your person, you may feel perfectly certain will in no circ.u.mstances remain undone. Only a friend like you is not always quite easy and convenient to serve, for those who understand you must wish, before all, to serve you in an intelligent and dignified manner. I hope that so far I have not been wanting in these two essential conditions, and I do not mean to depart from them for the future. You may therefore have full confidence in me, and listen to me, and believe me as one who is frankly and without restriction devoted to you. But let us speak definitely of your affairs, which, for some time at least, I have made seriously my own.

1. I found it impossible to get the five hundred francs for "Iphigenia" from the management. Nevertheless, you shall not be disappointed, for at the same time with this letter I forward to Belloni in Paris three hundred francs from my private purse, which he will hold at your disposal, and pay at your order either to your tailor or to any other person you may indicate. Apart from this, I have good hope that Herr von Zigesar, from whom I enclose a few lines, will be able to send you in a few days one hundred thalers, independently of the honorarium for "Lohengrin,"

which will be about thirty louis d'or.

2. Your "Lohengrin" will be given under exceptional conditions, which are most favourable to its success. The management for this occasion spends about 2,000 thalers, a thing that has not been done in Weymar within the memory of man. The press will not be forgotten, and suitable and seriously conceived articles will appear successively in several papers. All the personnel will be put on its mettle. The number of violins will be slightly increased (from sixteen to eighteen), and a ba.s.s clarinet has been purchased. Nothing essential will be wanting in the musical material or design. I undertake all the rehearsals with pianoforte, chorus, strings, and orchestra. Genast will follow your indications for the mise-en-scene with zeal and energy. It is understood that we shall not cut a note, not an iota, of your work, and that we shall give it in its absolute beauty, as far as is in our power. The special date of August 28th, on which "Lohengrin" will be performed, cannot be but favourable to it. To speak truth, I should not be allowed to put so extraordinary a.

work on the stage in the ordinary course of the theatrical season. Herr von Zigesar has fully realized that "Lohengrin" must be an event. For that reason they have curtailed the theatrical holidays by one-half, and have asked my friend Dingelstedt to write a prologue ad hoc, which he will bring us himself towards the middle of August, the first performance being fixed for August 28th, the anniversary of Goethe's birth, and three days after the inauguration of the Herder monument, which will take place on the 25th. In connection with that Herder monument we shall have a great concourse of people here; and besides that, for the 28th the delegates of the Goethe foundation are convoked to settle the definite programme of that foundation at Weymar.

After two consecutive performances of "Lohengrin" the theatre will close again for another month, and "Lohengrin" will not be resumed till some time in the course of the winter.

3. With regard to the sale of the score, the matter is not quite so simple, and I need not enumerate and explain to you the commercial difficulties. Nevertheless, if you charge me with this matter, I shall be to bring it to a good end; but a little time will be necessary. If, as I have no doubt, the success of "Lohengrin" is once firmly established at Weymar, you will perhaps find means to influence the B.'s so that they may have it done at Leipsic. In that case Tichatschek would be required for the princ.i.p.al part, and your most devoted capellmeister would, if you should think it necessary, take care of the rest on certain conditions.

If the work succeeds at Leipzig, a publisher will easily be found; but I must not conceal from you that the success of "Lohengrin" seems to me somewhat doubtful, unless the necessary preliminary precautions with regard to study, rehearsals, and the press are taken. In leaving it to its fate--although, no doubt, it deserves a propitious fate--I have serious apprehensions from the ill-will which attaches to you personally and from the envy and stupidity which still combat your genius. Consider therefore carefully what plan you had better adopt in this matter. In the meantime I thank you cordially for the indications and hints which you give me about the score. I shall obey them with respect and friendship. Kindly write two words to Herr Uhlig in Dresden so as to prevent him from making difficulties about sending me the pianoforte score, which will be very useful to me.

I come to a point which pains me much, but which it is my duty not to conceal from you. Your return to Germany and visit to Weymar for the performance of "Lohengrin" is an absolute impossibility. When we meet again, I can give you verbally the details, which it would be too long and useless to write. Once more, it is necessary that you should be served with intelligence and dignity, and you would not be served in that manner by hazarding steps which must infallibly lead to an unfavourable result. What I think of most, and what, with G.o.d's help, may bring about "a turn in your situation," is the success of "Lohengrin"; and if that is once well established, I shall propose to their Highnesses to authorize me to write to you or to let Herr von Zigesar write to you commissioning you to finish your "Siegfried" as soon as possible, and sending you for that purpose a suitable honorarium in advance, so that you may be able to work for some six months at the completion of that opera free from material care.

Speak to no one of this plan, which I hope to carry out in due time.

Till then keep your head and your health in good condition, and count entirely upon your sincerely devoted and affectionate friend,

F. LISZT

Herr von Zigesar will write to you direct about the sale of the libretto of "Lohengrin." The best thing would be if Brockhaus would undertake the edition, and Z. has written to him on the subject. You, on your part, might write to him to the same effect, which would be a good beginning of the plan which I shall submit to your ultimate decision. Yet another and quite different question: Should you be inclined to undertake in connection with "Alceste," "Orphee," "Armide," and "Iphigenia en Tauride," by Gluck, a similar task to that which you have already performed for "Iphigenie en Aulide," and what sum would you expect by way of honorarium? Write to me on this subject when you have time; there is no hurry about it, but perhaps I might be able to suggest the idea of such a commission to the proper person.

35.

MY DEAR LISZT,

I must say, You are a friend. Let me say no more to you, for although I always recognized in friendship between men the n.o.blest and highest human relation, it was you who embodied this idea in its fullest reality by letting me no longer imagine, but feel and grasp, what a friend is.

I do not thank you, for you alone have the power to thank yourself by your joy in being what you are. It is n.o.ble to have a friend, but still n.o.bler to be a friend.