Correspondence of Wagner and Liszt, Volume 1

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

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The rumour reported by several papers that I am about to leave
Weymar and settle in Paris is quite unfounded. I stay here, and
can do nothing but stay here. You will easily guess what has
brought me to this maturely considered resolution. In the first
instance I have faithfully to fulfill a serious duty. Together
with this feeling of the most profound and constant love which
occupies the faith of my whole soul, my external life must either
rise or sink. May God protect my loyal intention.

How far have you got with your "Nibelungen"? It will be a great
joy to me to grasp your creation through your immediate aid. For
heaven's sake, let nothing distract you from this, and continue
to weld your wings with steadfast courage!

All is perishable, only God's word remains for ever, and God's
word is revealed in the creations of genius.

Yesterday your "Tannhauser" was given apart from the subscription
nights, before an overcrowded house. A new scene had been painted
for the revised conclusion of the piece, and for the first time
we have given the entire finale of the second act (a splendid,
masterly finale!) and the entire prayer of Elizabeth in the third
act without any cut. The effect was extraordinary, and I think
you, would have been pleased with the whole performance. I
celebrated on this occasion a perfect triumph in your cause, for
now that the success has been so decided, I may tell you candidly
that no one here cared for the troublesome study of the finale or
for the execution of the revised close, and that the talking
backwards and forwards about the change lasted several months.
"Why," it was said, "do we want a different "Tannhauser" from the
one we are accustomed to?" Several people who had seen
"Tannhauser" in Dresden declared decidedly that our performance
was much better, and that it would lose by the new close and by
the restoration of the entire finale, etc., etc. To all these
excellent arguments I had but one answer: "For Weymar it is a
duty to give Wagner's works when and as far as it is possible in
accordance with the wishes and intentions of the composer."

And, behold! in spite of all the previous chatter, the decisive
success of yesterday has been wholly in favour of my assertion.

Herr von Zigesar has today written to Tichatschek to ask him to
sing "Lohengrin" here on February 26th, and has offered him a fee
of fifty louis d'or, an unheard-of sum for Weymar. I sent
Tichatschek the part soon after the first performance of
"Lohengrin" here, and hope that he will give us the pleasure of
complying with our request. I wish you could write to him direct
on this matter, or else induce him to come here through Uhlig or
Fischer. With the performance of "Lohengrin" I am in parts still
very much dissatisfied. The chief evil lies, as you say, in the
as yet unborn representative of the chief part. For the
performance of February 26th a new scene is being prepared for
the second act, for the one hitherto used is miserable. The
question of cuts, as you know, arose only in connection with the
second performance; at the third I again produced the entire work
unmutilated. With Heine and Fischer, who attended the last
performance, I had much talk about this glorious drama, to me the
highest and most perfect work of art. If Herr von Hulsen had
invited me to Berlin, I should probably have persuaded him to
give "Lohengrin" first; and I repeat that in Berlin I will lay
any wager on the colossal success of "Lohengrin", provided it is
given faithfully and enthusiastically, to do which would not be
excessively difficult in Berlin with goodwill and true
understanding.

That Herr von Hulsen hesitates to call me to Berlin does not
surprise me, but as you have honoured me with your confidence, I
am sorry I cannot justify it in a brilliant manner. During his
last visit here the Prince of Prussia spoke to me about my
participation in the study of "Lohengrin" at Berlin. The Prince
has a high opinion of you as a poet and musician, and seems to
take an interest in the success of your works at Berlin. Beyond
this I can unfortunately have no influence in the matter, and
must quietly wait to see how they are going to cook up
"Tannhauser" there. In any case do not trouble yourself about the
future and contemplate the course of events in an objective mood.
When you hear particulars about the "Tannhauser" performances at
Berlin, write to me, for I hear from time to time the most
contradictory rumours of pourparlers.

Have you received the book about "Tannhauser" by X.? The
dedication was quite unexpected to me, because for several months
I have not had the old friendly intercourse with the author. I
shall, however, call on him tomorrow, and am quite willing to
forget many disagreeable things which he has caused me for your
sake. The "Flying Dutchman" will go to Uhlig tomorrow. I was
unable to send it sooner, because the copying here is done with
the most troublesome slowness. It is therefore no fault of mine
that this return has been delayed so long, for I have pushed it
on every day. The two first pianoforte rehearsals of the "Flying
Dutchman" I have already held, and can guarantee a successful
performance on February 16th. After the second on the 20th
"Tannhauser" is to be given, and on the 26th "Lohengrin" will
follow. Let me ask you once more to persuade Tichatschek not to
leave us in the lurch at the latter. I have special hopes for
this performance of "Lohengrin", and should not like to let it be
spoiled on account of our small means. I can assure you, however,
that the interest of the public in "Lohengrin" is in the
ascendant; at every performance the strangers in our theatre
increase in number, and you are very popular at the various
hotels in Weymar, for on the days when one of your operas is
performed it is not easy to find a room.

One other favour. I have recently made a pianoforte arrangement
of the "Tannhauser" march and of the wedding procession (I don't
know how to name the piece) in the second act of "Lohengrin" (E
flat major), and should like to publish these two pieces. Tell me
whether Meser has still the copyright of the melodies of
"Tannhauser", and whether I must ask his permission to publish
this piece, together with the other from "Lohengrin", with
Hartel. As Kistner has already printed the "Evening Star", I do
not anticipate any particular difficulty in letting Hartel
publish the "Tannhauser" march; at the same time, I should like
to be safe from any possible discussion afterwards, and therefore
inquire of you how the matter stands.

Joachim goes on the lst of January to Hanover as concert-master.
A very able violinist, Ferdinand Laub, has been engaged for our
orchestra.

I am glad that my marginal notes to your "Faust" overture have
not displeased you. In my opinion, the work would gain by a few
elongations.

Hartel will willingly undertake the printing; and if you will
give me particular pleasure, make me a present of the manuscript
when it is no longer wanted for the engraving. This overture has
lain with me so long, and I have taken a great fancy to it. If,
however, you have disposed of it otherwise, do not mind me in the
least, and give me some day another manuscript.

Au revoir then in a few months! I look forward to the moment with
joy. My pen is getting too horribly blunt to write to you. One
single chord brings us nearer to each other than any number of
phrases:--

[score excerpt] Continue to love me, even as I am cordially
devoted to you.

F. L.

Your pamphlet on the rendering of "Lohengrin" I have read with
much interest, and, let us hope, with some benefit for our
representations. I am glad to see that in several indications of
tempo I had guessed your meaning, and that many of your
intentions had been realized here in advance. H. will soon write
to you about yesterday's performance.

92.

BEST OF FRIENDS,

Have not in your version the overture and the close of the last
finale of the "Flying Dutchman" been rearranged in accordance
with a special score written by me last year? The close of the
overture especially has been entirely changed in the
instrumentation. The score containing this change I sent a year
ago to Uhlig, and he wrote to me that he had sent it to Weimar,
together with a second score containing the changes in the
remainder of the instrumentation. Please ask H. B.; you must have
received two scores. Look also in your score at the theatre. If
in that the close of the overture has been considerably changed,
and if especially at page 43 a new bar has been inserted, then
your score must have been arranged after that second one sent to
you, and the model copy must still be with you, for in the
Dresden score the close of the overture had been only very
slightly changed (a little in the violins). Two things I have to
ask you: if the second score is with you, send it at once to
Dresden, addressed to Choir director W. Fischer; if it does not
exist at Weimar, Uhlig having forgotten to send it to you, and if
therefore in your score at the theatre the close of the overture
has not been changed much (in the instrumentation), and no new
bar inserted at page 43, then let Fischer know at once, so that
he may send you the materials for making this important
alteration. I shall send him the score which is at the theatre
here, and in which I hope the matter has been corrected.

To your most important kind letter recently received I shall soon
send an answer which, I hope, will please you. Today only this
business in great haste.

Farewell.

Ever thine,

RICHARD WAGNER

ZURICH, January 8th, 1853

93.

DEAREST FRIEND,

After many inquiries, thoughts, and searches the affair of the
"Flying Dutchman" scores has turned out to be as follows:--

The score containing the corrected close of the overture and of
the finale of the opera is the same which you left me here as a
present. I never thought of using it for our performance, and
therefore wrote to Uhlig (whose death has affected H. and me
painfully) shortly before his death that he had made a mistake in
demanding back two theatre scores, as one of them we necessarily
required here, while the other had already been returned to him.
Uhlig does not seem to have known that one of the three scores
which were here for some time was my personal property; and I, on
my part, could not admit his justification in describing my copy
as a score belonging to the theatre. The confusion which had
previously happened in connection with the "Dutchman" score, sent
from and returned to Dresden, made me assume that Uhlig had made
a second mistake. Your letter today explains the matter; and I
promise you that by tomorrow evening the theatre score shall be
carefully corrected after my copy, and that my copy, containing
the newly corrected close of the overture, etc., will be sent to
Fischer the day after tomorrow. You need not trouble yourself
about it, and may dispose of this score as you like.

Kindly excuse these delays. Musikdirektor Gotze, who had to make
these alterations in the score, has been much detained from his
work, and only your letter explained the matter to me in the
sense that you wish to dispose of my copy, which is cordially at
your service. Nunc et semper.

Your truly devoted

F. LISZT

January 12th, 1853

Your remarks about the rendering of the "Flying Dutchman" have
safely reached me, and I have already communicated them to the
singers. Farewell, and be God's blessing upon you.

94.

MY DEAR LISZT,

The real answer to your last great letter you do not receive
today; I hold it over for a good reason. But I must tell you
something at once. Yesterday I heard from my niece at Berlin that
"Tannhauser" there could not be thought of for the present,
because the "Feensee" and Flotow's "Indra" had first to be given.
(The last thing that Hulsen had said was that "Tannhauser" should
be put in rehearsal after the Queen's birthday, November 13th,
1852.) I have let them know that I look upon this cavalier
treatment as an insult, and consider all previous transactions
finished, demanding at the same time the immediate return of my
score. This has eased my heart, and by Hulsen's fault I have been
released from all previous concessions.

Now, dearest friend, comes the principal thing. I accept your
generous offer, and place all my further relations with Berlin in
your hands. Hulsen may reply to me what he likes; he may offer to
produce "Tannhauser" at once. I am determined to answer that in
my present condition I am unable to take a leading part in so
important a matter as the performance of my operas at Berlin, and
that therefore I refer him once for all, and concerning
everything in connection with the performance of my works at
Berlin, to you, who have unlimited power to do or leave undone in
my name what seems good to you. Let it be settled in this way,
and I ask you to act in the matter quite according to your own
opinion. I should think it most advisable if you had nothing
further to do with Hulsen, who is merely an instrument without a
will of his own. You will, I think, prefer to keep up
communication solely with the Prince and Princess of Prussia. I
was very glad to learn that even the Prince of Prussia understood
at once that your personal direction was inseparable from an
important performance of my operas.

This then is the only basis on which a performance, be it of
"Tannhauser" or of "Lohengrin", will henceforth be possible in
Berlin. Without your direction I should not consent to such a
performance, even if you were to ask me. Our motto therefore must
be "Patience!"

It is true that the hope of good receipts for next Easter had
made me a little soft towards the Berlin project. Lord knows, I
poor devil, should have liked to have a few thousand francs in my
pocket, so as to divert my thoughts and cure myself of my
terrible melancholy by a journey to Paris or Italy. However, I
must bear this and remain in my old state of resignation and
want. For all that I thus remain in want of, the unspeakable joy
of seeing you at last in the summer will compensate me; believe
me, that will make up for all.

But let us stick to the point. Time will be needed, but perhaps
you will succeed in obtaining through the Prince and Princess for
next winter the invitation and commission to perform my two last
operas in Berlin. You will then probably begin with "Tannhauser".
This would appear to me a more natural order of things: perhaps
in the first half of the season "Tannhauser" and soon afterwards
"Lohengrin". It is true that you cannot count upon my niece, who
will be in Paris next winter. But there is little harm in this,
for Elizabeth is not of the first importance, and as regards
"Lohengrin" I am in a dilemma which it would perhaps be difficult
to solve. Six years ago I intended Elsa for my niece; now she
would have served me better as Ortrud.

Therefore--just as you decide; I am content with everything. From
this day I shall have no further transactions with Berlin.

The Leipzig people also have eaten humble-pie; they have
capitulated to me through Hartel. The performance there will
probably take place soon. Could you occasionally look after it a
little?

At Frankfort they will begin next Saturday. The conductor writes
to me that he hopes for a good success. We shall see.

I have written to Luttichau and asked him not to perform
"Lohengrin" at present, because I have not sufficient confidence
in any of his conductors.

I am sorry to say I cannot write to T. He is very angry with me
on account of my instructions for the rendering of "Tannhauser."
Of course he cannot understand me.

Do arrange that about the close of the overture to the "Flying
Dutchman." In case the one score should have been lost (a rather
serious loss to me), let Fischer know, and he will send the new
close to you; but do not give the overture without this change.

Herewith I send you another alteration; you will see where it
belongs. The effect of the brass and the kettledrums was too
coarse, too material; the spectator should be terror-struck by
the cry of Senta on seeing the Dutchman, not by kettledrum and
brass. God bless you. You will soon have news from me again.

Farewell, and remember kindly your

RICHARD WAGNER

ZURICH. January 13th, 1853

95.

DEAREST FRIEND,

I cannot thank you for your more than royal present otherwise
than by accepting it with the deepest, most heartfelt joy. You
are best able to feel yourself how I was affected by the receipt
of your splendid presents, how I greeted the three scores with
plentiful tears. The Florentines carried the Madonna of Cimabue
round the city in triumphal procession, amidst the ringing of
bells. I wish it were given to me to arrange a similar festival
for your works. In the meantime the three scores will repose in a
particular niche near me; and when I come to see you, I will tell
you more.

First of all, the three works must be performed here in a proper
manner. All the changes in the score of the "Flying Dutchman"
have been carefully copied into the parts, and I shall not forget
the pizzicato you sent last.

[A musical score illustration appears here.]

Tichatschek has accepted Zigesar's offer, but Luttichau cannot
give him leave for the end of February. In consequence we must
wait for another opportunity, and Beck will sing "Lohengrin" and
"Tannhauser." Brendel and some other papers will probably notice
these performances. The "Flying" Dutchman presents no great
difficulties to our well-drilled artists, and I look forward to a
better performance, comparatively speaking, than of either
"Tannhauser" or "Lohengrin." The latter, however, goes much
better than at the four first performances, and upon the whole
one need not be dissatisfied. By the middle of May the newly
engaged tenor, Dr. Lieber, will arrive here, and I shall not fail
to study the three parts properly with him and to sing them to
him. I hear that he has a splendid voice and the best intention
to join in our movement.

Till the end of May I must in any case remain in Weymar, much as
I long to see you again. The wedding festivities for the marriage
of Princess Amalie (daughter of Duke Bernhard, brother of our
Grand Duke) with Prince Henry of the Netherlands (brother of the
reigning King of Holland and of our Hereditary Grand Duchess) are
to take place in May, when probably "Lohengrin" or "Tannhauser"
will be given again, besides a grand orchestral concert in the
hall of the castle.

The honorarium for the "Flying Dutchman" you will receive
immediately after the first performance (about February 20th).
How about Berlin? Has Hulsen replied to your last letter, and to
what effect? In case the whole matter is settled, as you indicate
to me, you may wholly rely and count upon me. Your annoyance at
the delay of the performance of "Tannhauser" is quite
comprehensible; and, in my opinion, you were right in demanding
back the score. Whether they will comply with your demand is a
different question. We must now see how we can achieve our
purpose in the quietest and safest manner. I need not repeat to
you that I desire with all my heart to justify the honour of your
confidence, but I earnestly hope that I shall be able to prove
this practically as soon as possible. Once more I thank you with
all my soul, and remain immutably

Your sincerely devoted

F. LISZT.

WEYMAR, January 23rd, 1853.

96.

MY DEAREST FRIEND,

Herewith you receive a whole heap of new stuff. You perceive that
my poem is ready, and although not yet set to music, at least set
in type, and printed at my own expense, and in a few copies only,
which I shall present to my friends, so that they may have my
legacy in advance in case I should die during the work. He who
knows my position will again think me very extravagant in the
face of this luxurious edition; let it be so; the world, properly
so called, is so stingy towards me, that I do not care to imitate
it. Therefore, with a kind of anxious pleasure, I have secretly
(in order not to be prevented by prudent counsel) prepared this
edition the particular tendency of which you will find stated in
an introductory notice. Only a few copies have been struck off,
and I send you herewith a parcel of them, asking you to dispose
of them in the following manner. Of the three copies in a de luxe
binding you must accept the first as a present from me. The
second I have destined for the Grand Duchess on her birthday.
Tell her I have heard that she is indisposed and will probably be
unable to appear on her birthday in public. As therefore she will
not hear the "Flying Dutchman" at the theatre, I ask her to cast
a glance at my latest work. Tell her that, if it did not please
her throughout, I still thought I might assure her that woman had
never yet received such a tribute as every one who understood it
must find in my poem. The third copy de luxe forward to the
Princess of Prussia. Fortunately I have been able to get the
type, printing, and binding done in good time, and I assume
therefore that you will be in a position to present the gift on
the 16th. Of the other copies sent herewith, I ask you to keep
two in your own possession to lend them out according to your
discretion, and you will oblige me particularly by thinking soon
of A. Stahr, to whom I wish to be kindly remembered. He was the
first litterateur who ever paid attention to me as a poet. A
third copy please to forward in my name, with cordial greeting,
to Herr von Zigesar. Apart from this I send the following
parcels:--

1. For B., containing two copies: one for himself, the other for
my poor friend Roeckel.

2. For Herr F. M., whose title I have unfortunately forgotten,
and my answer to whom, in return for his kind present, I have
held over till today.

3. For A. F., who has just written to me that she is going to
Weimar for the festival; kindly give the parcel to her as to the
others.

If you further find that you can dispose of some other copies
where they will be well and thankfully received, kindly let me
know soon; for that and similar emergencies I have kept back a
small number of copies.

About the poem itself I cannot, and do not care to, say anything
more to you; when you find leisure to read it sympathetically,
you will say to yourself all that I could tell you. I shall never
again write poetry. But I am looking forward with much delight to
setting all this to music. As to form, it is quite ready in my
mind, and I was never before so determined as to musical
execution as I am now and with regard to this poem. All I want is
sufficient charm of life to get into the indispensable cheerful
mood from which motives spring forth gladly and spontaneously. As
to this I once before made bitter moan to you; I desired
salvation from the killing circumstances in which I am placed at
Zurich; I inquired as to the possibility of being permitted to
make a trip to Germany now and then, so as to witness a
performance of my works, because otherwise I should perish here
for want of encouragement. To your great grief, your answer had
to be in the negative, and you admonished me to have--patience.

Dear, noble friend, consider that patience is only just
sufficient to preserve bare life, but that the vigour and
fullness which enable one to enrich life and employ it creatively
no man has ever yet drawn from patience, i.e., from absolute
want. Neither can I succeed in this. Listen to me! You are very
reticent as to the point in question. Let me know whether
anything has been done from Weimar in order to obtain for me at
Dresden permission to return to Germany, also what impediments
have been found in the way. If everything has not already been
tried, I should make the following suggestion: The Weimar court
invites me to visit Weimar for a few weeks, and sends me a
passport for four weeks; it then inquires, through its minister
at Dresden, whether they object, and would be likely to demand my
extradition to Saxony. If the answer were satisfactory--somewhat
to this effect: that the prosecution instituted against me four
years ago would be suspended for that short time--I might be with
you very quickly, hear my "Lohengrin", and then return straight
to Switzerland and wait for your visit (I might also read my poem
at court). See what can be done in this. I must hear "Lohengrin";
I will not and cannot write music before.

The German theatres do not cause me much delight; there is a
hitch everywhere, and I confess candidly that I often feel great
repentance at having consented to any performance outside Weimar.
Even two years ago I was conscious of myself, clear, and firm,
while I allowed myself no thought of the further expansion of my
work. Now I am torn to pieces, wavering, uncertain, and exposed
to every breath of wind, because I have to read now one thing,
now another, but never an intelligent judgment about my works in
the newspapers. I am much lowered in my own eyes. How
disgustingly dirty was again this Leipzig affair! The manager
makes sacrifices, enlarges the orchestra, reconstructs the same,
etc.; he hopes soon to recover his outlay, and raises the prices
as for an extraordinary thing; the enthusiastic public--stops
away and leaves the second performance empty. Oh, how different I
am from such canaille! But what a bad, disgusting scandal this
is! I am never to enjoy my life again.

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