Chapter III: Front Matter (3)

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 class 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 Album," and only regret you did not hear my "Tasso" 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 circumstances rely upon my devoted friendship and admiration.

F. LISZT

BOCKEBURG, October 28th, 1849

29.

MY DEAR FRIEND LISZT,

God 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 assure you that if you had sent me some assistance 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 entitled "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 circumstances, 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 hitherto 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 assistance from your own means towards the end of the year. Do not be angry if I assure 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 assistance 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 assured 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 anticipate 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 circumstances 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 god."

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 Duchess 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 Duchess 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

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 passage, 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 passage 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 assume, 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 Duchess in high regard; would not this lady, to whom I attribute real nobility, 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 assumed 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, Sterngasse, 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, Sterngasse, 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 circumstances 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 bass 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 principal 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 God'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 noblest 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 noble to have a friend, but still nobler to be a friend.

Having found you, I can put up with my banishment from Germany, and I must look upon it almost as fortunate, for I could not have possibly been of such use to myself in Germany as you can be. But then I wanted you of all others. I cannot write your praise, but when we meet I will tell it you. Kindly and considerately as you treat me, you may feel sure that I as fully understand and appreciate the manner of your care of me. I know that you must act as you act, and not otherwise; and for the manner of your taking care of me I am especially thankful. One thing gives me anxiety: you forget yourself over me, and I cannot replace what you lose of yourself in this. Consider this well.

Your letter has in many respects made a great impression on me. I have convictions which perhaps you will never share, but which you will not think it necessary to combat when I tell you that they in no manner interfere with my artistic activity. I have felt the pulse of our modern art, and know that it must die, but this does not make me melancholy, but rather joyful, because I know that not art, but only our art, standing as it does outside of real existence, must perish, while the true, imperishable, ever-new art has still to be born. The monumental character of our art will disappear; the clinging and sticking to the past, the selfish care for continuity and possible immortality, we shall cast off; the Past will be Past, the Future will be Future, to us, and we shall live and create only in the Today, in the full Present. Remember that I used to call you happy in your particular art, because you were an immediate artist, actually present, and appealing to the senses at every moment. That you could do so only by means of an instrument was not your fault, but that of the inevitable conditions of our time, which reduces the individual man wholly to himself, and in which association, enabling the single artist to expend his power in the common and immediately present work of art, is an impossible thing. It was not my purpose to flatter you. I only expressed half consciously my knowledge that the representative alone is the true artist. Our creations as poets and composers are in reality volition, not power; representation only is power--art. [Footnote: In the German original there is here a play upon the word "konnen" and its derivative, "kunst," which cannot be translated.] Believe me, I should be ten times happier if I were a dramatic representative instead of a dramatic poet and composer. With this conviction which I have gained, I am naturally not desirous to create works for which I should have to resign a life in the present in order to give them some flattering, fictitious immortality. What cannot be made true today will remain untrue in the future. The vain desire of creating beyond the present for the future I abandon, but if I am to create for the present, that present must appear to me in a less disgusting form than it actually does. I renounce fame, and more especially the ridiculous spectre of posthumous fame, because I love my fellow-men too much to condemn them, for the sake of my vanity, to the poverty in which alone the posthumous fame of dead people finds its nourishment.

As things are, I am incited to artistic creativeness, not by ambition, but by the desire to hold communion with my friends and the wish to give them joy; where I know this desire and this wish to be satisfied I am happy and perfectly content. If you in little Weimar give my "Lohengrin" with zeal and love, joy and success, and were it only for the two performances of which you write, I shall be happy in the thought that my purpose has been perfectly accomplished, that my anxiety about this work is wholly at an end, and that now I may begin another effort at offering something new in a similar manner. Judge then, can you blame my conviction which rids me of all egoism, of all the small passions of ambition? Surely not. Ah, that I might be able to communicate to all of you some of the blissful strength of my convictions!

Hear now what effect your letter has had upon me.

Last May I sent the poem of my "Siegfried" to a book-seller to be published, such as it is. In a short preface I explained that the completion and the performance of my work were beyond hope, and that I therefore communicated my intention to my friends. In fact, I shall not compose my "Siegfried" on the mere chance for the reasons I have just told you. Now, you offer to me the artistic association which might bring "Siegfried" to light. I demand representatives of heroes such as our stage has not yet seen; where are they to come from? Not from the air, but from the earth, for I believe you are in a good way to make them grow from the earth by dint of your inspiring care. Although our theatrical muddle is hopelessly confused, the best soil for all art is still to be found in our foolish actors and singers; their nature, if they have kept their hearts at all, is incorruptible; by means of enthusiasm you can make anything of them. Well then, as soon as you have produced Lohengrin to your own satisfaction I shall also produce my "Siegfried," but only for you and for Weimar. Two days ago I should not have believed that I should come to this resolution; I owe it to you.

My dear Liszt, from what I have told you you will see that, according to my view of the thing, your amiable anxiety for the further promulgation of my "Lohengrin" has my sympathy almost alone on account of its material advantages--for I must live--but not with a view to my fame. I might have the desire to communicate myself to a larger circle, but is he likely to be listened to who intrudes? I cannot and will not intrude. You surely have done enough to attract the attention of people towards me; shall I too buttonhole them and ask them for a hearing? Dear friend, these people are flabby and cowardly; they have no heart. Leave them alone! If I am to succeed, it must be through people who care about the matter. Where I must offer myself I lose all my power. How can I care about a "Leipsic representation"? It would have to be a good representation, and how is that to be achieved unless some one like you undertook the thing? Do not forget that Weimar also would not exist for me if you did not happen to exist in Weimar. Good Lord! All depends upon one man in our days; the rest must be dragged along anyhow; nothing will go of itself. Even money considerations could not determine me to arrange performances which would of necessity be bad. Lord knows, although I have no money, I do not trouble about it excessively, for I have a notion that somehow I shall not starve. Just when I have nothing at all something always turns up, as, for instance, your last news, and then I feel suddenly calm and free of care. You see, dear friend, as long as you remain true to me I do not despair. As to your excellent proposal with regard to the treatment of Gluck's operas, which has given me great pleasure, I shall soon write more definitely.

Although I have many more things to tell you, I think it better to conclude on this page. You say so many things to me that I become quite confused when I have to think of a detailed answer. I know that I am safe with you as a child in its mother's bosom. What more is required beyond gratitude and love? Farewell, and let me press you to my heart.

Your friend, happy through you,

RICHARD WAGNER

Herr von Zigesar will have a letter very soon; for the present I send him my best thanks for his valuable letter and his touching sympathy with my work. One more thing: a certain conductor, Abt, from this place will be at Weimar on August 28th to hear "Lohengrin." Kindly reserve a seat for him.

My best remembrances to Genast and my brave singers. I rejoice when I think of these good people. A whole family, Ritter by name, will come from Dresden to Switzerland next year, to settle near me; they also will be at Weimar. I am writing to Uhlig.

36.

DEAR FRIEND,

I have been asked to forward to you the enclosed bill for one hundred thalers. Do not thank me, and do not thank Herr von Zigesar either, who has signed the bill. You will perhaps remember that about a year ago I sent you the same amount; this time it comes again from the same source, which, for official reasons, desires to remain hidden.

We float in the full ether of your "Lohengrin." I flatter myself that we shall succeed in giving it according to your intentions. We rehearse every day for two or three hours, and the solo parts as well as the strings are in tolerable order. Tomorrow and afterwards I shall separately rehearse the wind, which will be complete, in accordance with the demands of your score. We have ordered a bass clarinet, which will be excellently played by Herr Wahlbrul. Our violoncellos will be strengthened by the arrival from Paris of Cossmann, who will join our orchestra on August 15th. This is an excellent acquisition, which will, I hope, be followed by some others of the same sort, etc., etc. In short, all that it is humanly possible to do in Weimar in the year of grace 1850, you may be sure, will be done for your "Lohengrin," which, in spite of much stupid talk, some false anxiety, and some too real impediments, will, you may take my promise, be very decently performed on the 28th inst., after which I have invited myself to supper at Zigesar's, who is fire and flame for Lohengrin. When he sends you your honorarium of from twenty-five to thirty louis d'or, towards the end of the month, kindly write to him a fairly long and friendly letter, for he fully shares my sympathy and admiration for your genius, and is the only person who can assist me in giving external significance to those sentiments. At his last stay in Berlin he spoke of Tannhauser to the King and the Prince of Prussia, so as to let them know in Berlin how the matter stands. Two or three days later please write also a few lines to Genast, who has behaved extremely well in all the transactions preceding "Lohengrin," and who will zealously execute your indications as to the mise-en-scene.

If you will do me a service, dear friend, send me, if possible by return of post, some metronomical indications for the introduction and several other important pieces, the duet between Lohengrin and Elsa in the third act amongst others. I believe I am not mistaken as to your wishes and intentions, but should still prefer to have conviction in figures as to this matter.

There will be no cut, no curtailment, in your score, and I shall do my best to have no lack of < fp. ffp. >, and especially of . . .--, which is the most difficult thing for the string instruments.

Farewell, dear friend! I think your work is sublime, and am your sincerely devoted

F. LISZT

37.

MY DEAREST FRIEND,

Many thanks for your letter received yesterday; also convey my cordial thanks to the donor. Dear friend, we all know who it is. Why this official secrecy? I must confess that formerly I thought it more desirable to have an honorarium for my version of "Iphigenia in Aulis" than a present, but on second consideration I find that such an honorarium would have been little more than a present. Who knows better than myself that in our dear world of the Mine and Thine, of work and payment, I am a pure luxury? He who gives anything to me receives something quite superfluous and unnecessary in return. What do you think, who have taken such infinite pains to dispose of my works? Much as I think of my "Lohengrin," which you are bringing to light, I think as much and almost more of you and your terrible exertions. I know what these exertions are. When I saw you conduct a rehearsal of "Tannhauser," I knew at once what you were to me. What curious creatures we are! We can be happy only by the complete annihilation of our whole being; to be happy means with us to lose consciousness of ourselves. Stupid as it may sound, I call to you, Reserve yourself--as much as you can.

The arrival of a letter from you is always a feast to me, and all my friends are invited to it. If possible, let me have a few lines now and then as to the success of the rehearsals. I control myself violently, and let no one see it, but to you I must confess my sorrow is great not to hear my work under your direction. But I have to bear so many things, and shall bear this also. I think of myself as if I were dead. Whenever I have news of you, I am filled with new desire to commence some large artistic work; for literary work I have no longer any great inclination. Upon the whole, I preach to deaf ears; only he whom artistic experience has taught to find the right thing can understand what I mean; so it is better that every one should arrive by the aid of experience and do for himself what he can do. But I still feel enthusiasm for the work of art itself; the music of my Siegfried vibrates through all my nerves; it all depends upon a favourable mood, and that you, dear friend, will procure for me.

To Zigesar I shall write according to your wish. I have every reason to feel friendly towards him, and do so in very deed. To Genast I shall write tomorrow.

Another young friend of mine goes specially from Zurich to Weimar for the two performances of my opera; I shall give him a few lines of introduction to you. For the present I only ask you to get him a good seat for the two performances; please do not forget it. For a Herr Abt, from here, I asked the same favour last time.

You forgot in your last letter to reply as to the book of words. I wrote to you that I should like to see a proof; it would be too late now, and therefore useless, to repeat that wish; therefore I ask you to see that the proof is read as carefully as possible. Perhaps Professor Wolff, whom I greet cordially a thousand times, would be kind enough to correct a proof. This reminds me that I have corrected a mistake in the manuscript of the libretto, but not in the score. In the last words of Lohengrin's leave-taking of Elsa it should be, instead of--

"mein zurnt der Gral wenn ich noch bleib," "mir zurnt," etc., etc.

You ask me also for a few metronomical indications of the tempo. I consider this quite unnecessary, because I rely in all things on your artistic sympathy so thoroughly as to know that you need only be in a good humour with my work to find out the right thing everywhere; for the right thing consists in this only: that the effect corresponds with the intention. But, as you wish it, I send you the following, in confirmation, no doubt, of your own views:-

Instrumental Introduction.

[score excerpt]

(The triplets molto moderato.)