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Correspondence of Wagner and Liszt, Volume 1

F >> Francis Hueffer (translator) >> Correspondence of Wagner and Liszt, Volume 1




But now comes the principal thing; i.e., the great adagio of the
second finale. When at Dresden, after the first performance of
"Tannhauser," I made the cut in this adagio, I was in complete
despair, and in my heart cut every hope of "Tannhauser" as well,
because I saw that T. could not understand, and therefore much
less represent, the part. That I had to make this cut was to me
tantamount to abandoning altogether the purpose of making my
"Tannhauser" really understood. Kindly look at the omitted
passage, dearest friend, and realize what it contains. While
previously everything was grouped round Elizabeth, the
peacemaker, she being the centre, and all the others listening to
her and repeating what she said and sang, "Tannhauser" here
recognizes his terrible crime, and breaks down in the most
terrible repentance. When he once more finds words for his
emotion, which he can scarcely utter, because he lies on the
ground in a state of semi-consciousness, he suddenly becomes the
principal person, and the whole scene is grouped round him, just
as before it was round Elizabeth. All else is thrown into the
background, and in a manner only accompanies him as he sings:--

"Zum Heil den Sundigen zu fuhren, Die Gottgesandte nahte mir:
Doch ach! sie frevelnd zu beruhren Hob ich den Lasterblick zu
ihr! O! du, hoch uber diesen Erdengrunden, Die mir den Engel
meines Heil's gesandt: Erbarm' dich mein, der ach! so tief in
Sunden Schmachvoll des Himmels Mittlerin verkannt!" In this
stanza and in this song lies the whole significance of the
catastrophe of Tannhauser, and indeed of the whole essence of
Tannhauser; all that to me makes him a touching phenomenon is
expressed here alone. His grief, his sad pilgrimage of grace--all
this springs forth from the meaning of these lines; without
hearing them, and hearing them in this place, the spectator sees
in Tannhauser an inconceivable, arbitrary, wavering, miserable
creature. (The commencement of his tale in the last act comes too
late to make up for that which here must penetrate our mind like
a thunderstorm.) Not only the close of the second act, but the
entire third act, and in a sense the whole drama, receive their
true significance only when the centre of the whole drama, round
which it develops itself, as round its kernel, becomes perfectly
clear and lucid in that particular passage. And that passage, the
keynote of my whole work, I was compelled to cut at Dresden.

This I declare: no representation of "Tannhauser" answers my
purpose if that passage has to be omitted. For its sake I will,
if need be, consent to the cut in the allegro of the finale,
which contains what is really the continuation of that passage--I
mean the place where Elizabeth takes up the B major theme as
canto fermo, while Tannhauser at the same time gives passionate
vent to his wild despair. If at some future time a performance of
this opera were wholly to satisfy me, Tannhauser would have to
sing this passage also in such a manner that it would not appear
long.

You will ask me, "What are we to do? How can we expect a minor
singer to do what T. failed to accomplish?" I reply that T., in
spite of his voice, failed to accomplish many things that were
not beyond much less gifted singers. At the Tannhauser rehearsal
which I attended at Weimar the invalided Gotze brought out
passages and interpreted intentions in respect of which T.
remained my debtor. This latter has nothing but either brilliancy
or tenderness in his voice; not a single true accent of sorrow.
The singer of the "Flying Dutchman" here did a great deal more
than those at Dresden and Berlin, although they had better
voices. Try what you can do with Herr Beck, and explain to him
what is the important part. Only in case this passage comes out
well the Weimar public will see what the whole is about. (I add a
technical remark: If the singer in this passage is quite sure,
let him take the tempo freely; all the others must go with him:
he rules alone.)

If a performance of Tannhauser were to be quite perfect, the last
finale of the opera would have to be given as it stands in the
new edition of the pianoforte score, including the song of the
younger pilgrims. Your score of the Flying Dutchman you can send
to Uhlig, who possesses a newly revised score, and will arrange
yours in strict accordance with it.

When the time for the rehearsals comes, I will let you have some
further details. For the present I shall be satisfied if the
parts are copied in accordance with Uhlig's score and if the
scenery is painted after the sketches which I hope C. will send
you.


The "Flying Dutchman" has made an indescribable impression here.
Philistines who never go to a theatre or concert attended each of
the four performances in one week, and are supposed to have gone
mad. With the women I have made a great hit. The pianoforte
scores sell by the half-dozen. I am now in the country, and feel
tolerably cheerful. My work also pleases me again; my Nibelung
tetralogy is completely designed, and in a few months the verse
also will be finished. After that I shall be wholly and entirely
a "music-maker," for this work will be my last poem, and a
litterateur I hope I shall never be again. Then I shall have
nothing but plans for performances in my head; no more writing,
only performing. I hope you will help me.

Are you going to make a trip this year? How about the rendezvous
which you made me look for as long ago as last summer? Are we
never to meet again?

H. also ought to write to me again. Is he so busy with his
compositions? Of the Imperial Russian "Tannhauser"-"Lohengrin"-
"Cellini" theatre bill he told me nothing.

Are you going to have "Tannhauser" the day after tomorrow? Good
luck to you! Make my compliments to the sovereign lady of all the
Russias. I hope she will send me an order, or at least traveling
money for Italy, where I should like to roam beyond anything.
Tell her so. I hear those people throw plenty of ducats out of
window just now. I am sorry to think that you will not be able to
manage "Lohengrin" for such a long time; the pause is too long.
As a punishment I shall dedicate the score to you when it appears
in print. I do not ask you whether you accept the dedication or
not, for punishment there must be. I must ask you to send me the
score of my "Faust" overture; I do not possess a copy.

Farewell, and be greeted with all my heart.

Your

RICHARD WAGNER. ZURICH, May 29th, 1852.



79.

DEAREST FRIEND,

I have a favour to ask.

I am hard at work and eager to finish the poem of my "Valkyrie"
in a fortnight. Some recreation after that will be a necessity; I
want the change of traveling, and should especially dislike to
finish my last poetic work, the great introductory play, here,
where the monotony of my accustomed surroundings oppresses me,
and where troublesome visitors put me generally in a bad temper.
I want to go to the Alps, and should like at least to have a
taste of the frontier of Italy, and to make a short sojourn
there. Such extravagances I cannot afford from my ordinary
income. For next winter I expect some extraordinary incomings
("Tannhauser" at Leipzig and presumably at Breslau). But, before
all, I reckon upon the money which you will get me for the
"Flying Dutchman" at Weimar. This latter I may calculate at
something like twenty to twenty-five louis d'or. Could you get
any one to advance me that sum?

Unless Zigesar is again at the head of affairs, I should think it
inadvisable to apply to the theatrical exchequer for this advance
of honorarium, but perhaps some benevolent private person might
be found who would not refuse to disburse this sum for me. You
would at the same time furnish the best guarantee that the money
would really be forthcoming, for your zeal secures the
performance of the "Flying Dutchman" at Weimar during the winter.
This advance would give me great satisfaction, but I should want
the money by the end of June at the latest. Kindly see how you
can arrange this.

My "Valkyrie" (first drama) turns out terribly beautiful. I hope
to submit to you the whole poem of the tetralogy before the end
of the summer. The music will be easily and quickly done, for it
is only the execution of something practically ready.

Farewell, and let me soon have news of you. Did the Imperial
Russian "Tannhauser" come off? You are in the midst of great
Musical Festival troubles, are you not? Much luck and joy to it!

Wholly thine,

RICHARD WAGNER

June 16th, 1852

Do you know anything about "Tannhauser" being contemplated for
Munich next autumn? I know nothing. It would be nice of Herr
Dingelstedt to think of such a thing.



80.

Herewith I send you a bill for one hundred thalers, and cordially
wish you good luck and a good mood, fine weather externally and
internally, for your Alpine trip. Let all be well with you, my
glorious friend, and proceed bravely with the completion of your
tetralogy. When do you think it will be ready? Is there a
possibility of thinking of its performance in the months of
August and September, 1854? Do not allow other undertakings or
claims to detract or detain you from this great enterprise, the
task of your life.

For the dedication of "Lohengrin" I thank you most cordially; I
am delighted with it.

The "Flying Dutchman" will most certainly be performed here next
February. Send me the designs soon, so that all may be prepared
in good time. Zigesar will probably resume the management before
long, at which I am very glad.

Beaulieu has taken leave officially, and is gone to Kreuznach.

The "Liebesmahl der Apostel" was satisfactorily given by the
Pauliner choir of Leipzig, under the direction of its conductor,
Langer. I was truly delighted with it, and mean to repeat the
splendid work as soon as there is a good opportunity. Although
external success and a certain (very uncertain) pleasing quality
are a secondary consideration with me in the case of works which
are decidedly above the public, it was agreeable all the same to
see that success and that pleasing quality as fully confirmed as
one could have desired.

The chorus was not very numerous (about a hundred and twenty),
but well balanced, and the whole sounded beautifully. Milde and
his wife sang the duet from the "Flying Dutchman", which was much
applauded, and the "Tannhauser" overture went splendidly, and was
repeated by desire at the close of the Musical Festival on the
second day. The orchestra and the public were unanimous in their
enthusiasm, as indeed must be the case wherever the performance
is adequate.

Long accounts of the Musical Festival you will find in Brendel's
"Neue Zeitschrift" (Brendel himself was at Ballenstedt), the
"Signale", "Rheinische Musikzeitung", and "Berlin Echo".

Your

F. LISZT

June 26th, 1852

Perhaps you can spare a few minutes before starting on your
journey to write a few friendly lines to Langer about the
performance of the "Liebesmahl" at Ballenstedt. He has behaved as
excellently as might have been expected, and the chorus of
students is splendid. Without it the performance would have been
impossible, because the other singers were only just sufficient
to strengthen the chorus. Send your letter to Brendel, who will
give it to Langer, and let me have without delay the designs for
the "Flying Dutchman".



81.

Cordial thanks, best of friends, for sending me the money, in
connection with which I am troubled by one thing only: you do not
tell me that the hundred thalers have been advanced on account of
the honorarium for the "Flying Dutchman". I asked for the sum on
that understanding, and no other, and only if I may assume that
no one has been inconvenienced in this manner will it give me
pleasure to spend the money on a trip of recreation. That trip,
on which I start tomorrow, has come just in time; uninterrupted
work has again strongly affected me, and the nerves of my brain
are so overwrought that even these few lines put me in a state of
violent excitement, wherefore I must ask you not to be angry if I
make them very short. I feel that I am still capable of doing
good things, but only by keeping very strict diet, and especially
by frequently interrupting my work and entirely diverting my
thoughts before going on again. The "Valkyrie", the poem of which
I finished on July lst, I wrote in four weeks; if I had spent
eight weeks over it, I should now feel better. In future I must
adopt this course, and cannot therefore fix a term for the
completion of the whole, although I have reason to suppose that
the music will not give me much trouble.

I am surprised that you ask me for the designs for the "Flying
Dutchman," because I have left the whole matter to the designer,
Herr C. This man, with whom I do not care to have any further
dealings, because he has a passion for borrowing from a poor
devil like me, wrote to me lately to say that he had applied by
letter to Weimar in this matter, but had as yet had no reply. If
you care to have the designs, all that is necessary will be for
the management to reply to C.'s letter, and I ask you therefore
to see that this is done.

Uhlig will arrange the score for you as soon as he receives your
copy.

A thousand thanks for all you have again done for my works
lately. I was not able to read the account of the Ballenstedt
Musical Festival with anything but deep emotion. I am sure that
by these performances you have again won many new friends for me,
and I have no doubt that if ever I come to the fore it will be
your doing.

Farewell, and be happy!

Your

RICHARD WAGNER



82.

MOST GLORIOUS FRIEND,

You have once more given me real, God-sent joy by your dedication
of "Lohengrin". Accept my most cordial, most fervent thanks in
return, and be convinced that it will be the task of my life to
be worthy of your friendship. The little that so far I have been
able to do for you and through you for the honour of art has
chiefly this merit: that it encourages me to do still better and
more decisive things for your works in the future. But what do
you mean by occupying yourself with the bad jokes which have been
circulating in a few newspapers, and by even accusing me of
having been the cause of them? The latter is quite impossible,
and H, has probably told you already that the manuscript of
"Siegfried" has not been out of his hands for months. Some time
ago I lent it, by your desire, to Fraulein Fromann alone, and the
reading that took place at Zigesar's at the beginning of last
year for the Hereditary Grand Duke cannot very well have
originated the bad joke in the "Kreuzzeitung". However, that joke
is quite harmless and insignificant, and I ask you urgently to
ignore totally this kind of gossip once for all.

What can it matter to you whether people indulge their silliness
in connection with you and your works? You have other cats to
flog--"d'autres chats a fouetter," as the French proverb has it.
Do not therefore hesitate on your account or on my account to
publish the "Nibelung" tetralogy as soon as it is finished.
Hartel spoke to me about your letter in connection with this
affair about two months ago; and, in my opinion, you cannot do
better than give the poem to the public while you finish the
score. As to the definite performance of the three operas we must
have a good talk when the time comes. If in the worst case you
are not then back in Germany (and I need not tell you how I wish
that this worst case should not happen), I shall stir in every
possible way for the production of your work. You may rely on my
practical talents for that purpose and have implicit confidence
in me. If Weymar should prove too mean and poor, we shall try
somewhere else; and even if all our strings snap (which is not to
be expected), we may still go on playing if you give me full
power to organize an unheard of music or drama festival, or
whatever the thing may be called in any given place, and to
launch your "Nibelungen" there.

You finish your score! and in the meantime let Hartel or some one
else publish the poem as a forerunner.

How about the performance of "Tannhauser" at Berlin? I quite
approve of your exceptional demand of 1,000 thalers for the same
reasons which induced you to make that demand, and I thank you
cordially for the artistic confidence with regard to the
preparations which you have placed in me. Although a journey of
Berlin would in existing circumstances be somewhat inconvenient,
I am quite at your disposal, with the sole condition--which alone
would make my journey useful and serviceable to "Tannhauser"--
that the Royal management asks me to come to Berlin by your
desire and to settle with that management and with the other
persons concerned the necessary preparations for the best
possible success of your work. In any other circumstances I
should be in an awkward and useless position at Berlin, without
achieving the slightest thing. If you consider the matter, you
will certainly agree with me, and see that this is the only way
in which I perhaps might be of use to you.

As you know already, the "Flying Dutchman" is announced for the
next birthday of H.I.H. the Grand Duchess: February 16th, 1853.
Care will be taken that the opera is properly mounted. Zigesar is
full of enthusiasm for your genius, and will work with a will.
The corrected score has been sent at once to the copyists, and in
six weeks the work will be rehearsed comme il faut.

The theatrical season begins with Verdi's "Hernani," after which
Spohr's "Faust," with new recitatives, will follow soon. By the
middle of November I expect Berlioz, whose "Cellini" (with a
considerable cut) must not be shelved, for, in spite of all the
stupid things that have been set going about it, "Cellini" is and
remains a remarkable and highly estimable work. I am sure you
would like many things in it.

Raff has made great changes in the instrumentation and
arrangement of his "Alfred," and probably the opera in its new
form will have better effect even than before, although the three
or four first performances were much applauded. Altogether I look
upon this opera as the ablest work that has been written by a
German composer these ten years. You of course are not included;
you stand alone, and can be compared with no one but yourself.

I am very glad you have taken this trip. The glaciers are
splendid fellows, and in the years of my youth I, too, had struck
up a friendship with them. The tour round Mont Blanc I recommend
you for next year; I made it partly in the year 1835, but my
traveling companion was soon fatigued, and fatigued me still
more.

Farewell. Be at peace with yourself, and soon publish your
"Nibelung" poem, in order to prepare the public and put it in the
proper mood. Leave all manner of "Grenzboten", "Wohlbekannte",
"Kreuzseitungen", and "Gazettes Musicales" on one side, and do
not bother yourself with these miserable scribblings. Rather
drink a good bottle of wine, and work onwards, up to eternal,
immortal life.

Your cordially grateful and truly devoted

F. LISZT

WEYMAR, August 23rd, 1852



83.

DEAREST FRIEND,

A thousand thanks for your last letter. Unfortunately I cannot
reply to it as I should like to do; the nerves of my brain are
once more in a state of great suffering, and for some time I
ought to give up all writing and reading, I might say all mental
existence. Even the shortest letter wearies me terribly, and only
the most perfect quiet (where and how shall I find that?) may or
might restore me. But I do not wish to complain, only to explain
to you why it is that today I must limit my communication to
stating briefly what is absolutely necessary. Do not be angry
with me for not writing with that joyful expansion which is
intended to make up for the impossibility of personal
intercourse. As to Berlin nothing is settled yet. Hulsen
considered my demand as a vote of want of confidence in his
personal intentions, and this error I had to dispel by laying my
most perfect confidence as a weight on his conscience. All I want
him to do now is to acknowledge in a few words that he perfectly
understands my difficult position with regard to "Tannhauser" at
Berlin, and that he undertakes the performance with the desire of
conquering that difficult position. The whole subject of
honoraria I leave to him. One thing has recently calmed my
anxiety: I have written tolerably comprehensive instructions for
the performance of "Tannhauser", and have had them printed as a
pamphlet and sent a sufficient number of copies to the theatres
which had bought the score. I hope this will be of use. I send
you herewith half-a-dozen copies. There will not be much that is
new to you in the pamphlet, because I have discussed most things
with you by letter; still it might be useful to you, because it
will materially assist you in your purpose of restudying
"Tannhauser" if you will give it to the stage-manager and the
singers. This therefore I would ask you to do. The work has been
a perfect torture to me. This eternal communication by letter and
in print is terrible to me, especially when it is about things
the significance of which has for a long time lain far behind me.
In fact, if I still trouble myself about these earlier operas, it
is only from the necessity of circumstances, not from any desire
to hark back. This leads me to Berlioz and Raff. Candidly
speaking, I am sorry to hear that Berlioz thinks of recasting his
"Cellini". If I am not mistaken, this work is more than twelve
years old. Has not Berlioz developed in the meantime so that he
might do something quite different? It shows poor confidence in
himself to have to return to this earlier work. B. has shown
quite correctly where the failure of "Cellini" lies, viz., in the
poem and in the unnatural position in which the musician was
forcibly placed by being expected to disguise by purely musical
intentions a want which the poet alone could have made good.

This "Cellini" Berlioz will never put on its legs. But which of
the two after all is of more importance, "Cellini" or Berlioz?
Leave the former alone, and help the second. To me there is
something horrible in witnessing this attempt at galvanizing and
resuscitating. For heaven's sake let Berlioz write a new opera;
it will be his greatest misfortune if he fails to do this, for
only one thing can save him, the drama, and one thing must lead
him to ever deeper ruin, his obstinate avoidance of this sole
refuge: and in this latter he will be confirmed by occupying
himself again with an old attempt, in which he has been deserted
by the poet, for whose faults he will try once more to make up by
his music.

Believe me, I love Berlioz, although he keeps apart from me in
his distrust and obstinacy; he does not know me, but I know him.
If I have expectations of any one, it is of Berlioz, but not in
the direction in which he has arrived at the absurdities of his
"Faust". If he proceeds further in that direction, he must become
perfectly ridiculous. If ever a musician wanted the poet, it is
Berlioz, and his misfortune is that he always prepares this poet
for himself, according to his musical whim, arbitrarily handling
now Shakespeare, now Goethe. He wants a poet who would completely
penetrate him, who would conquer him by delight, who would be to
him what man is to woman. I see with dismay that this exceedingly
gifted artist is perishing in his egotistic solitude. Can I save
him?

You do not want to have "Wiland." I believe it to be a beautiful
poem, but am no longer able to execute it for myself. Will you
offer it to Berlioz? Perhaps Henri Blaze would be the man to
treat it in French.

How about Raff? I thought he was writing a new work, but no; he
is remodeling an old one. Is there no LIFE in these people? Out
of what can the artist create if he does not create out of life,
and how can this life contain an artistically productive essence
unless it impels the artist continually to creations which
correspond to life? Is this artificial remodeling of old motives
of life real artistic creativeness? How about the source of all
art unless new things flow forth from it irresistibly, unless it
is wholly absorbed in new creations? Oh, ye creatures of God, do
not think that this making is artistic creating. It betrays no
end of self-complacency, combined with poverty, if we try to prop
up these earlier attempts. If Raff's opera, as you tell me, has
pleased, he ought to be satisfied; in any case he had a better
reward than I had for my "Feen," which was never performed at
all, or for my "Liebesverbot," which had one abominable
performance, or for my "Rienzi," of the revival of which I think
so little that I should not permit it if it were contemplated
anywhere. About the "Dutchman," "Tannhauser," and "Lohengrin" I
trouble myself with disgust, and only for the reason that I know
that, on account of imperfect representations, they have never
been perfectly understood. If they had had their due anywhere, I
should care devilishly little about things that I have outlived.

Good people, do something new, new, and once more new. If you
stick to the old, the devil of barrenness holds you in thrall,
and you are the most miserable of artists.

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