Correspondence of Wagner and Liszt, Volume 1

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Apart from adding in this way to the value of the copyright, I
have opened to my publishers an unexpected source of income by
transferring to them the right of printing the librettos for the
theatres. How very lucrative this generally acknowledged right is
may be seen from the fact that in one winter six thousand copies
of the libretto of "Tannhauser" were ordered for Breslau alone.
Messrs. Hartel offered to share the profits of the sale of
librettos with me, but in this case also I prefer to take at once
a lump sum, to be settled upon. After having stated in this
manner what I offer to my publishers for sale, I think it
appropriate to name the lump sum which I think I may ask.

The receipts from the theatres (with the exception of those
specified) I have in the above calculated at six hundred and
thirty-two louis d'or. This is a minimum which, no doubt, could
be considerably increased. I have already announced to the
theatres that they will have to pay more for "Lohengrin" than for
"Tannhauser." Breslau, for example, would certainly have to pay
at the least twenty-five louis d'or, as they did for the "Flying
Dutchman," instead of twenty; I might even insist on thirty.
Apart from this, I have not mentioned all the theatres; I have,
for example, omitted Ratisbon, Innsbruck, and others, although
even the smallest theatres have attempted "Tannhauser;" Zurich
also I have not mentioned. In addition to this, I place at the
disposal of the purchasers the non-German theatres abroad, such
as Petersburg, Stockholm, Copenhagen, Amsterdam, etc., with the
exception, however, of London and Paris. All this and everything
accruing from the copyright I should cede to the Messrs. Hartel
for the sum of 15,000 francs (I have calculated the theatrical
receipts at a minimum of 13,000 francs), payable in full at
Zurich on December 20th.

I wish very much that this or something similar could be brought
about, so that I might be able to dispose of the next few years--
those most important working years--and to keep them clear of all
mean anxieties. If you consider, dearest Franz, that I do not
offer rubbish for sale, that in the future this opera and
"Tannhauser" alone are likely to yield me an income--I do not
wish, even in my thoughts, to soil the "Nibelungen" with Jewish
calculations, so as to keep them, if possible, quite clean in
this respect also--if you, finally, go through my general, but I
think accurate and by no means chimerical, calculations, you will
perhaps find my demand fair enough and--now I am coming to it--

support it with the Hartels.

This I ask you fervently to do.

An opportunity will be offered to you by the impending
performance of "Lohengrin" at Leipzig. No one of course can
compel the Hartels to undertake the purchase, even for a smaller
sum; but if any one can, it is you, and therefore I had to apply
to you.

Perish all this Jewish business! Today has been a bad, musicless
day; out of doors also it is grey and misty; let us hope tomorrow
will be better.

Farewell, my most unique, my dearest friend.

Your

RICHARD W.

ZURICH, November 16th, 1853.

139.

DEAREST RICHARD,

I returned last night from Leipzig with a bad cold; and the
enclosed letter from Hartel, which I found here, has made my cold
and my temper worse. When I went to Leipzig on December 1st, I
spoke to the Hartels about your proposal, and showed them your
letter, because that document explains the matter clearly and
comprehensively. I have known the Hartels for years to be
respectable and comme il faut, and therefore flattered myself
that they would meet your wish in one way or another. Such,
however, is unfortunately not the case; and I am in the
unpleasant position of having to forward you a refusal. It is
just possible that they were a little riled by your dislike of
the pianoforte arrangement for four hands, which I think quite
justified and natural on your part. I was unable to conceal this
detail from them, because I think it of some importance for all
further copyright transactions. The Hartels belong to the
"moderate party of progress," and are influenced by several
friends of the so-called historic school. Jahn especially is a
great friend of Dr. Hartel's; and your and my friends Pohl,
Ritter, Brendel, etc., are a little in their bad books.

Tomorrow week (December 21st) "Lohengrin" is announced at
Leipzig, but probably the first performance will be delayed till
the 26th (Boxing Day). In any case I shall go over for the two
last general rehearsals and for the first performance, and shall
send you an accurate account. Rietz is said to be very careful
with the orchestral rehearsals, taking the woodwind, the brass,
and the strings separately. Altogether the "Lohengrin"
performance at Leipzig has been very well prepared, and a
decisive and permanent success of the work may be anticipated
with certainty.

Berlioz has had his revanche for his previous appearance at the
Gewandhaus by the two performances of his works which took place
at the Gewandhaus December lst and nth, under his own direction.
I was present on both occasions, and shall tell you more about it
when we meet. Today he returns to Paris, and at the end of April
he is coming to Dresden, where Luttichau has offered him the
chance of conducting two concerts at the theatre. There is also
some talk of a musical festival under Berlioz's direction at
Brunswick next summer, where his Requiem and Te Deum are to be
performed.

"Tannhauser" will be given here next Sunday. I have studied the
part with Liebert, and think that he will do it well. The whole
finale of the second act will be given, also the new close with
the reappearance of Venus, and on an early occasion I mean to
restore the sixteen bars in the adagio of the finale of the
second act which I believe T. had cut; that is, if you agree. It,
however, always requires some prudence and caution to make
similar changes here, especially as the theatre is to be
conducted more than ever on economic principles, etc.

How is Herwegh? I shall write to him this week for certain. Since
my return to Weymar I have been plagued in many ways; my chief
business is almost in a worse state than before, but there is not
as yet any definite result. Pardon me, dearest Richard, if I pass
this over in silence; you know that generally it is my way if I
can say nothing good....

I should have liked much to send you a different answer from the
Hartels; but, alas! it cannot be helped. Be of good courage,
nevertheless, and work at your Rhinegold. Next summer I hope to
visit you and to stay with you for some time. My best
remembrances to your wife. The honey she sent me is splendid, and
I am always rejoiced to look at it when it is put on the table in
the morning with my coffee.

Farewell, dearest Richard, and write soon to

Your

F. L.

WEYMAR. December 13th, 1853.

Hoplit's pamphlet about the Carlsruhe Musical Festival you have
probably received. At Christmas I shall send you the Kunstler
chorus, which is being autographed in full score.

140.

DEAREST FRANZ,

Two words today in great haste. I am angry with myself for having
burdened an overpatient friend like you with this Hartel affair.
Pardon me. It is all over now, and (D.V.) you will hear nothing
more about this Jewish business. I am, it is true, for the moment
in an awkward position, but you must not mind that. Are you out
of temper?

But you are composing. The Princess has written to me about it.
You must surprise me soon!

I spin myself in like a cocoon, but I also spin something out of
myself. For five years I had written no music; now I am in
Nibelheim. Mime made his complaint today. Unfortunately I was
last month taken ill with a feverish cold, which disabled me for
ten days; otherwise the sketch would have been ready this year.
At times also my somewhat cloudy situation disturbs me; there is
at present an ominous calm around me. But by the end of January I
must be ready. Enough for today. I have many things to tell you,
but my head is burning. There is something wrong with me; and
sometimes, with lightning-like rapidity, the thought flashes
through me that it would be better, after all, if I died. But
that has nothing to do with my writing music. Adieu. Greet the
Princess and the Child many times. Soon more from

Your

WAGNER RICHARDTOL

ZURICH, December 17th, 1853.

P.S.--You will have another letter very soon.

141.

Many thanks, you dear bringer of Christmas cheer. You come like a
true saviour to me, and I have placed you on my work-table, as on
an altar. Thanks, a thousand thanks, to you for coming. I was
very lonely.

If I had a sweetheart, I think I should never write to her, and
to you also I must write little--I mean writing apart from
relating external events. The events I experience within me I can
write of all the less, because I could not even tell them, so
necessary is it to me to feel or--to act.

I know that I shall have another letter from you soon, because
you have something to relate to me; so I am proud, and rely upon
it, and keep my peace, telling you thereby that I love you
sincerely with all my heart.

Your

R. W.

ZURICH, December 25th, 1853.

142.

Thursday, December 29th, 1853.

WEYMAR,--just returned from Leipzig.

After waiting in vain yesterday and the day before at Leipzig for
"Lohengrin," I returned here today. Probably the performance will
not take place for a few days; at present nothing can be settled,
because now Elsa, now the King or Telramund, is ill, or because
the bass clarinet ordered from Erfurt has not arrived; and when
it does arrive at Leipzig, it is not certain whether the
clarinet-player there will be able to play it, etc., etc.

David and Pohl had informed me Monday evening that the general
rehearsal would take place on Tuesday. I had to conduct
"Tannhauser" here on Monday, December 26th. This was the second
performance with Liebert as "Tannhauser;" the first took place on
the preceding Sunday (December 18th), the subscription being on
both occasions suspended--an unprecedented fact at Weymar in
connection with an opera which had reached its fifteenth
performance. House crowded, so that on the first occasion many
people had to be refused admission. Performance upon the whole
satisfactory; Liebert in places excellent. The tempi were slower
than Tichatschek takes them, just as I had studied them with
Liebert; for I had been obliged again to have five or six
rehearsals of "Tannhauser." Your metronomical indications I
naturally accepted as my rule, which formerly I had not been able
to do--69 for the song of "Tannhauser," 70 or thereabouts for the
D major passage of Wolfram, etc. The impression on the whole
public was striking and inspiriting. The Mildes were called
Liebert was called, and even my nose had to show itself at the
end. In brief, the two evenings gave me a degree of pleasure
which only my fear that you, glorious, dearest, best of friends,
might be in trouble, could impair.

But to continue. Tuesday, at 3 a.m., with the thermometer at
twenty degrees below zero, I and Cornelius took the train in
order to be at Leipzig in time for the "Lohengrin" rehearsal at
8.30 a.m. I at once sent word to David, who informed me that the
rehearsal would not take place, on account of the indisposition
of Herr Schott (King Henry). David soon afterwards called on me,
and gave me hopes for another day. Yesterday they sent a telegram
here to summon the Mildes, for Brassin and Frau Meyer also had
been taken ill, but Zigesar would not permit the Mildes to go to
Leipzig, because the "Flying Dutchman" is announced here for New
Year's Day. At last this morning I am credibly informed that some
days must elapse before "Lohengrin" is given at Leipzig. They
promised to let me know by telegram as soon as anything was
settled; and if I can possibly manage, I shall again go to
Leipzig, in order to give you an account of the performance.

In the meanwhile I have handed the nine pieces from "Lohengrin,"
which H. had recently sent me, to the Hartels; and you will have
a letter about them together with these lines, as Dr. Hartel
assured me yesterday that he would write to you direct and
without delay. En fin de compte: The Hartels are very
trustworthy; and if you will permit me, I advise you to make use
of their excellent and well-deserved reputation as publishers,
because I feel convinced that later on your relations with them
will turn out very satisfactory. As you have appointed me your
humble court-counsellor, I add the remark that you will be well
advised in insisting upon H.'s name being inserted in the title-
page of the Lohengrin pieces, for there is no rational cause for
refusing H. this satisfaction, which he has fully deserved by his
faithful and energetic adherence to you as well as by his actual
talent.

The Hartels will finally agree to this, and I have spoken to them
in that sense. Of course in similar affairs I have to take the
mild position of a mediator, which now and then is a little
troublesome. However, so it must be; and side issues must not be
allowed to impede or endanger the principal question. If
therefore you reply to the Hartels, write to them that you
specially desire to have the name of H., as the author of the
pianoforte arrangement of your "Lohengrin" pieces, inserted in
their edition, and that if you write other operas later on you
intend to entrust H. with the pianoforte arrangement. H. is
devoted to you heart and soul, and you may feel sure that he will
do the work to your satisfaction. However, if you like, I will
revise the arrangement and after that send it to you, so that not
a single note may remain which does not please you and is not in
accordance with the design of the composition as well as with the
requirements of the pianoforte. On New Year's Day we shall have
the "Flying Dutchman" here. The two last performances of
"Tannhauser" have made Weymar your official "Moniteur" amongst
theatres; and, without flattering myself, I venture to doubt
whether your works have been performed anywhere else in an
equally satisfactory manner all round. For next year, for
example, a new hall of Castle Wartburg is being painted, also a
bridal chamber for the third act of "Lohengrin," etc. Several a
little more expensive dresses have been ordered, and in May
Tichatschek and probably Johanna will play Lohengrin and Ortrud.
All that is possible has been done. The impossible you will
provide in the "Rhinegold." How far have you got with it? Shall I
have the score in May, according to promise? Go on with it
bravely! As soon as you have finished, the rest will follow.

Forget all about Philistia and Jewry, but remember cordially

Your

FRANZ.

I presume you have received the medallion which the Princess sent
you. In the first week of the new year I shall send you the score
of my "Kunstler" chorus, which I have had autographed here.
Devote a quarter of an hour to it, and tell me plainly your
opinion of the composition, which of course I look upon only as a
stepping-stone to other things. If you find it bad, bombastic,
mistaken, tell me so without hesitation. You may be convinced
that I am not in the least vain of my works; and if I do not
produce anything good and beautiful all my life, I shall none the
less continue to feel genuine and cordial pleasure in the
beautiful and good things which I recognize and admire in others.

Farewell, and God be with you.

END OF VOL I.

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This volume of "Correspondence of Wagner and Liszt" is the first
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