Correspondence of Wagner and Liszt, Volume 1

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

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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.

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