Correspondence of Wagner and Liszt, Volume 2

F >> Francis Hueffer (translator) >> Correspondence of Wagner and Liszt, Volume 2

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With Capellmeister Dorn I had several conversations about the
whole matter some months ago, and I am convinced that he will not
consider Wagner's condition of my undisguised participation in
the performance of his works at Berlin to be an unfair demand. It
is of course natural that you, sir, are "not inclined to accept
any obligation which would reflect on the dignity and the
capability of the institution as well as on the authority of the
intendant." Such an intention is, indeed, very far from my mind.
You add, sir, "I expect the confidence of the composer in myself
and the Royal Theatre." This point also has been settled, and is
wholly beyond question or discussion; but as Wagner has
commissioned me to be his substitute at Berlin and has advised
you of his resolution, I must, in the interest of the cause and
of my position, decline to be reduced gradually to the part of
the fifth whist-player, who, according to the proverb, occupies
a very inconvenient position "under the table." In consequence I
am obliged to ask you, sir, either to agree to the arrangement
contained in my last letter, and, in your capacity of intendant
of the Royal Theatre, to approve of my participation in the
rehearsals and performance of Wagner's works at Berlin, according
to his clearly expressed wish, or else to leave the whole matter
in its actual STATUS QUO.

With the highest esteem, I am, sir,

Your obedient servant,

F. LISZT.

WEYMAR, JUNE 3RD, 1854.

P.S.--In his last letter Wagner writes that he leaves the
pecuniary conditions with regard to Berlin wholly to my decision,
and that "Tannhauser" will satisfy him.

DEAREST FRIEND,--Return Hulsen's letter to me, as I have not
taken a copy, and should not like it to fall into other hands. I
hope you will approve of my answer. The enclosed rough draft you
may keep.

I was four days at Hanover. What will become of me this summer I
cannot determine. As soon as I know, you shall hear.

Have you a copy of the pianoforte score of "Tannhauser" to spare?
Roger, who is here, would like to study the part, and has written
and asked for a copy, but hitherto in vain. I told him that I
would let you know, and that I was convinced you would send me a
copy for him if possible. It is said that the edition of Meser in
Dresden is sold out, or else I might order one from there. You
might in your next letter write a few lines which, or a copy of
which, I could show to Roger. He is fairly musical, and might
make a good effect in the part of Tannhauser.

When will the Musical Festival in Canton Valais take place, and
how long shall you stay there?

157.

Again only a few lines in reply, dear Franz. You of course will
not doubt for a moment that I feel sincerely grateful to you for
the energy with which you take care of my interest with Hulsen.
Let us "save the soul;" then the body also will fare best. I
return Hulsen's letter to you. But I am grieved to give you all
this trouble. Let us expect nothing. My opinion is that you
should not answer him any more.

About the pianoforte score of "Tannhauser" I am writing to
Dresden; they must get one somehow and send it to you for Roger.
As you know, I have had Roger in my eye for a long time. If,--as
I hope he will through you,--he really learns his task carefully
and goes to it with love, I have no doubt that he will be the
FIRST Tannhauser to satisfy my intentions entirely. Greet him
very kindly.

Your question about the Musical Festival has given me hopes that
you might accompany me there. Really, dear Franz, that would be a
joy in this sad year. If you could induce the Princess and the
Child to make an expedition to Valais by way of the Oberland and
the Gemmi, oh, then, then all would be well. Only from the stupid
festival itself you must expect nothing. All my compositions I
have withdrawn, and shall only produce the A major symphony;
there will be many people, but not much music. If you were there,
and perhaps J. and B. as well, we might extemporise something
purely for our own diversion. May Heaven grant that you may be
sufficiently recovered to do a foolish thing and tempt others to
it as well.

The festival will be on July 10th, 11th, and 12th. In the first
days of the same month we should have to begin our exodus VIA the
Oberland. I have been trying for some time to vegetate; the
copying of the score of "Rhinegold" will have to wait. I must
first of all have a go at the "Valkyrie."

Farewell, dearest, unique Franz. Give me some hope of seeing you
and yours.

Your

R. W.

ZURICH, JUNE 7TH, 1854.

158.

Herewith, dearest Richard, I send you X.'s babble, together with
the sketch of my very simple answer. Probably the cart will stick
in the mud for some time, and then the transactions will begin
again. Well, I have learned to understand people, although the
real kernel of their phrases has not been, and cannot be, clearly
expressed. I have seen too much of this to be deceived. The
difficulty lies neither with Hulsen nor with other people whose
names have been mentioned, but with THOSE whom we will not name,
although we know them a little.

My symphonic poems I will bring you as soon as I find it possible
to get away from here for a fortnight. I am very glad you take an
interest in them.

Let us be PATIENT, and remain in evil days faithful to eternity.

Your

FRANZISCUS.

June 8th, 1854.

159.

DEAR FRANZ,

Here you have the "babble" back again, the possession of which I
do not envy you. Let us put this disgusting nonsense on one side;
on hearing the jargon, devoid of honesty or character, which
these stupid souls call "prudence," one feels as if a hundred
thousand fools were gathered together. Our fortune lies at bottom
in the fact that we do not yield to such people, and our
perseverance in this is sufficient gain. To "get" something by it
is of course more than we can expect. Thus in this instance I am
quite satisfied to know that we shall not do what X. wants; this
is alone sufficient to put me in a good temper; what happens
otherwise is a matter of indifference to us. Berlin to us has
been the occasion of celebrating a feast of friendship. What else
have we to do with or to care about Berlin?

A thousand thanks for all you are doing and the way in which you
do it.

As regards "success" in X.'s practical sense, I shall probably
never have it. It would indeed be a kind of satire on my
situation and my being. On the other hand, I should at any moment
be prepared to die gladly and with a smile on my face if only a
really fine opportunity would offer itself. What more can one
desire? As regards my personal future, I sincerely wish for
nothing more than a beautiful death, for life is somehow out of
joint. I often feel sorry that things around me do not seem to
tend in that direction. Every one seems to care chiefly for a
"long life," however narrow, thin, and poor it may be. This is
sad.

Of all this we will talk when you come, for that you will come is
certain, Lord be thanked. Bring your symphonic poems with you;
that will strengthen my thread of life a little.

Do not look out for a copyist. Madame Wesendonck has given me a
gold pen of indestructible power, which has once more turned me
into a caligraphic pedant. The scores will be my most perfect
masterpiece of caligraphy. One cannot fly from his destiny.
Meyerbeer years ago admired nothing so much in my scores as the
neat writing. This act of admiration has been my curse; I must
write neat scores as long as I live in this world.

You will not be allowed to see the "Rhinegold" till it has been
completed in this worthy fashion, and that can only be done in
certain idle hours of the long winter evenings. At present I have
no time for it. I must begin the composition of the "Valkyrie,"
which I feel joyfully in every limb.

Greet the Princess and the Child with the full power of greeting.
For today I must be satisfied with this request; I can write no
more, not even with my gold pen. I might say a good deal more if
I were not taken with a fit of weeping, as once on the railway. I
have just been called out; an eagle was flying over our house. A
good omen!

"Long live the eagle;" he flew splendidly. The swallows were very
anxious.

Farewell in the sign of the eagle.

Your

R. W.

160.

Let me tell you that tears prevent me from reading on.

Oh, you are unique of your kind!

It has struck me like a thunderbolt. Heavens, what have you
written to me there?

You alone know it!

161.

A thousand thanks, dearest Franz. You have helped me out of a
terrible difficulty after I had exhausted all other resources. By
the autumn, I think, my affairs will be in better order.

When are you coming? I am going to Canton Valais in a few days,
but intend to be back soon. I have no money for roaming about,
and while I am enjoying my work nothing else attracts me.

The "Valkyrie" has been begun, and now I shall go at it in good
style.

How curious these contrasts are--I mean, between the first love
scene of the "Valkyrie" and that of the "Rhinegold."

Brendel must have surprised you. (Bosh!) God bless you.

162.

DEAREST FRANZ,

You are just the person whom I wanted to be in Leipzig at this
moment, and I look upon your passage through that town as a hint
of fate that there may be help for me AFTER ALL. In my great
trouble I wrote to Brendel some time ago, asking him whether he
could get me amongst my Leipzig "admirers" 1,000 thalers on a
bill at four or five months' date. Answer: "No, but perhaps A.
might manage it through one person or another." As A. had
recently paid me a visit, I wrote to him also. Answer: "No." In
the course of the next three months I expect this year's receipts
from my operas, and to all appearance they will be good and help
me once for all out of this last difficulty. The very least I may
expect is this sum of 1,000 thalers. I may therefore, with a good
conscience, give a bill payable after three months (end of
October) to any one who will lend it to me. Hartel must do it. If
he should prefer to advance me 1,000 thalers on account of my
receipts, it will suit me equally well. He can control those
receipts, and I will give orders that all payments of honorarium
are to be made to X. till the money has been returned. Whichever
way he likes will suit me, only let me get out of this miserable
condition, which makes me feel like a galley-slave.

A. wrote to me about certain possibilities of Germany being
opened to me for the special purpose of a short journey. I do not
believe it, and at this moment do not care much about it; I
certainly will not take the least trouble in the matter.
Concerning the Berlin affair, be assured that I am only too glad
to leave it entirely in your hands. I should be a nice fool if I
withdrew it from them as long as you are not tired of it
yourself. X. will take good care not to apply to me. All this is
idle gossip.

From the Musical Festival at Sitten I ran away. It appeared to me
like a great village fair, and I did not care to take part in the
music-making. I simply bolted. No "musical festivals" of any kind
for me! I feel quite jealous because you have gone to Rotterdam.
I hope you will find time for Zurich as well. Come if you can in
the latter half of August, for then I think the Wesendoncks will
be back.

Good Lord, my head is a waste. Yesterday early I left the lake of
Geneva. Last night I spent in the stage-coach from Berne to
Lucerne. At present I am afloat on the lake of Lucerne, from the
shore of which I shall fetch my wife, who is going through a cure
of curds and whey. After that I return to Zurich, which I DARE do
only in the hope that your attack on the Hartels has succeeded.
No one can help me here; I exhausted everything to secure my
existence from last winter till now. If all goes well, I shall
continue the composition of the "Valkyrie" after August 1st.
Work, THIS work, is the ONLY thing that makes life bearable. With
the copying of the "Rhinegold" I go on in the intervals; in the
late autumn you will, I hope, have the score.

Pardon me for this confused stuff in reply to your beautiful,
cheerful letter from the Rhine. Perhaps I shall write in a better
spirit soon. I am on the point of landing at Brunnen, where you
are still remembered as "double Peps." How cheerful you were at
that time.

On board the "Stadt Zurich," on the lake of Lucerne, en vue de
Brunnen.

Remember JULY 31ST.

163.

DEAR, GREAT MAN,

A thousand thanks for the autograph, which will give much joy.
This Fraulein Soest is a good, excellent girl, who was sent by
her parents to England, and was there taken with home-sickness
for the "Weymar school," "the music of the future," and the
"Wagnerian opera." She managed to escape, and is now settled at
Erfurt, where she gives pianoforte lessons, and from where she
comes to Weymar to hear your poems.

Ten and a hundred thousand thanks for many other things besides.
Liszt was delighted to hear that his articles in the Weymar paper
had pleased you. It is a fine thing of you to have understood
them so well. They are to go on for some time, and the "Flying
Dutchman" will conclude this series. It is truly a wreath of
mourning which he binds there; your dark, noble hero lives, and
will live. Sleep and solitude are not death; and his vital
strength is such, that for a long time to come he will make the
round of Europe at certain intervals. Beethoven's "Fidelio" is
only just becoming acclimatised in London.

I am quite happy that the symphonic poems interest you. When he
is ABLE to visit you, he will bring the scores with him. At the
present moment they are, I believe, being partly copied out and
partly revised for engraving, etc., etc. But you, dear, great
genius, will be the first to read them. They have been for the
greater part performed here. The music is most beautiful, very
noble, very elevated.

Your letters give us the same joy which a poor man used only to
kicks and coarse copper coin would feel at receiving an alms of
gold. Give us that alms frequently, because you are none the
poorer for it. Allow Liszt to manage Hulsen, and leave Berlin to
him wholly and entirely. It may go slowly, but it will go WELL
and, before all, DECENTLY. How good, how prudent, how delicate
and patient, HE is--that I know. Another man would during these
six years have sunk and been drowned eighteen times in the storms
which have our poor little barque for a plaything. He alone keeps
us still on the surface.

Liszt has written to Berlin to find some one who will copy your
"Rhinegold," the beautiful "Rhinegold," for which our ears are
sighing. He whom he thought would answer your purpose is not free
for the present. What is needed to make you begin the "Valkyrie?"
And oh! that wonderful scene between Wotan and Brynhild--the
divine Brynhild, who saves Sieglinde! Write at great length; it
will do good to our three hearts, which are united and
inseparable. The whole atmosphere of the Altenburg is gently
illumed when a letter from you has arrived.

Heaven grant that we may say, "Au revoir! soon," and that we soon
may see your "Rhinegold," were it but a sketch. If you only knew
how Liszt sings your poems! We adored "Lohengrin" long before
Beck had studied it, and still listen and weep when he sings it.
Do finish your "Valkyrie" as soon as possible. What a work!

Write to us soon. You say that H. does not know what the matter
is. Who does when the matter is something beautiful and grand?
When a sculptor wants to make a beautiful statue, he takes
granite or marble and wearies his strength in cutting it, but
granite and marble are less hard than the heart of man. The
sculptor, unless he dies, finishes his statue; when a noble thing
has to be done, men are less pliable than granite and marble.

Liszt is indefatigable. He is wholly devoted to your courage and
hope. I cannot tell you sufficiently how your dear letter has
rejoiced me.

C.

164.

X.'s strong box resists a siege even more obstinately than does
Silistria; storming it will do no good, and I have consequently
nothing satisfactory to tell you. Returning here, I find a letter
from Hulsen, definitely declining the performance of "Tannhauser"
at Berlin, and winding up with the following flourish: "It is
obvious that, after two vain attempts to produce this work at the
Royal Theatre, the management will not undertake a third as long
as I have the honour of being at the head of it. I am sorry for
this."

From another source I hear, however, that the matter is not to
remain in this negative stage, and that in the very highest
quarters there is a wish to call me to Berlin. The event must
show; for the present I have only written a few lines in reply to
Hulsen.

What is all this story about the Musical Festival? Why did you
bolt? Let me know when you happen to be in the mood.

After the Rotterdam festival I stayed a few days at Brussels to
meet my two daughters.

As soon as my large arrears of correspondence are disposed of, I
shall settle down to my "Faust," which is to be ready by the new
year. The other things (symphonic poems) will also be in print by
that time.

I still feel very much fatigued after my hurried journey, and my
personal regret at not being able to serve you makes me curtail
these lines still further. Ah! good heavens! what can I say to
you while

La vergogna dura

and while there is no means of removing that vergogna?

Your

F. L.

July 28th, 1854.

165.

DEAREST FRANZ,

Did you really think for a moment that I had conceived the idea
of giving concerts in order to make propaganda for myself, or to
make music, or what not? Did you not see at once that this plan
was purely the result of despair at my miserable pecuniary
situation, and that the only question that required an answer was
whether or not I could make money by it, money in return for an
unheard-of sacrifice, an act of self-abnegation, which probably I
should not have been able to go through with after all? How badly
I must have expressed myself! Excuse me for having given rise to
such a misunderstanding, and be thanked all the more for the
trouble you took nevertheless.

My dear, worthy friend, how proud and happy was I not three years
ago, before I had done anything out of keeping with the full
consciousness of my antagonistic position towards our artistic
publicity. When at that time you, with your friendly anxiety,
were intent upon getting "public recognition" for me and a wider
field for my works, I used to smile and guard myself against
every temptation. But the demon took hold of me; in my terribly
bare life, my inclination began to grow again towards some of the
amenities of existence; I yielded to temptation, surrendered my
scores, was surprised at their success, and--hoped. I now curse
this hope. I feel humiliated before myself, because I seek in
vain release from this grief of self-reproach.

Hulsen has told X. that the whole thing in connection with me was
DONE. Fortunately I was able to comfort X. with the thought that
HE had not done it; but Hulsen is right: the thing is "done for."
What finally could enlighten me better as to the truth and
genuineness of my successes than the fact that in the very places
where they had been gained, and with every conceivable trouble,
the loan of--I must speak plainly--1,000 thalers could not be
raised amongst my "admirers?" This very trivial matter speaks
volumes to me.

Pray, dearest Franz, do not talk to me of my fame, my honours, my
position, or whatever the name may be. I am positively certain
that all my "successes" are based on BAD, very BAD, performances
of my works, that they therefore rest on misunderstandings, and
that my public reputation is not worth an empty nutshell. Let us
give up all diplomatic contrivances, this dealing with means
which we despise for ends which, closely considered, can never be
achieved, least of all by those means. Let us leave alone this
COTERIE, this connection with idiots who in a body have no notion
of what we really aim at. I ask you, What satisfaction, what
pleasure, can we derive from the assistance of all these silly
people, whatever their names may be? I sometimes cannot
understand your ironical enjoyment of life, which gets over your
disgust at these people by making fun of them. Away with all this
stuff, this "glory," this nonsense! We live at a time when glory
can bring neither joy nor honour.

Listen to me: "Tannhauser" and "Lohengrin" I have thrown to the
winds; I do not want to know any more of them. When I gave them
over to theatrical jobbery, I cast them out, I condemned them to
the task of begging for me, of getting me money, NOTHING BUT
MONEY. Even for that purpose I should not like to employ them if
I were not compelled to do so. After the insight which I have
gained this summer, I should willingly submit to the penance of
selling all my goods and chattels, and go, naked as I am, into
the wide world, where--I swear it to you--no illusion should
tempt me any more. But my wife could not bear such a violent step
again; I know it would kill her. Well then, FOR HER SAKE I am
resolved to go on. "Tannhauser" and "Lohengrin" must go to the
Jews. But I am unable to wait and see how much more they might
bring me in in certain patiently looked-for contingencies than
now, when I am compelled to get rid of them at any price, and the
sooner the better. Tell me, dearest friend, how do matters stand
at Berlin? Did you merely rely upon making our condition
plausible to Herr von Hulsen, or had you prepared other means of
securing your honourable invitation to Berlin? I am almost
inclined to believe the latter, and to hope in consequence that
you will soon be able to announce our triumph. The want of Berlin
for my operas involves the delay of the rest of the business, and
I assure you that the spreading of my operas is entirely a matter
of BUSINESS to me. This is the only real point; all the rest is,
and remains, fictitious. Let us not attempt to look upon the
matter in any serious light except as regards money. I should
despise myself if I paid any attention to anything beyond this.
For me the song of the "world" was sung to an end long ago.

And do you know what has confirmed me in this sentiment,
inspiring me with new pride? It is YOUR WORK ABOUT THE "FLYING
DUTCHMAN." In this series of articles I have once more clearly
recognized myself, and have come to the conclusion that we have
nothing in common with this world. WHO DID EVER UNDERSTAND ME?
You, and no one else. Who understands YOU? I, and no one else. Be
sure of it. You, for the first and only time, have disclosed to
me the joy of being wholly understood. My being has passed into
yours; not a fibre, not the gentlest tremor of my heart, remains
that you have not felt with me. But I also see that THIS ALONE
means being really understood, while all else is misunderstanding
and barren error. What do I want more after having experienced
this? What do you want of me after having experienced this with
me? Let the tear of a beloved woman mingle with this joy, and
what else can we desire? Do not let us desecrate our own selves.
Let us look upon the world through the medium of contempt alone.
It is worth nothing else; to found any hope on it would be
deceiving our own hearts; it is BAD, BAD, THOROUGHLY BAD: only
the heart of a FRIEND, the tears of a woman, can dispel its
curse. We do not respect the world. Its honour, its glory, or by
whatever name its shams may be called, are nothing to us. It
belongs to Alberich, to no one else. Let it perish! I have said
enough; you now know my sentiment, which is not a momentary
emotion, but as firm and solid as adamant. That sentiment alone
gives me strength to drag on the burden of life. But I must
henceforth cling to it inexorably. I have a deadly hatred of all
APPEARANCE, of all hope, for it is self-deception. But I will
work; you shall have my scores; they will belong to us, to no one
else. That is enough. You have the "Rhinegold," have you not? I
have got to the second act of the "Valkyrie": Wotan and Fricka. I
shall succeed, you will see.

Farewell.

Are you going to write to my wife?

My cordial remembrances!

(What the other people write I cannot bear to read any longer. I
only read your "Dutchman" article; that is the reward, the pride,
of my life.)

Farewell.

Your

R. W.

166.

Zurich, September 16th, 1854

Do you know how I can manage to arrange some concerts at Brussels
and perhaps two Dutch towns, such as I gave last year at Zurich,
and do you think that by such an undertaking I might make 10,000
francs in cash? Can you make arrangements so that my offer may be
readily met, and that my programme may be translated into French
and Dutch? If you can answer these questions satisfactorily,
kindly take the matter in hand as soon as possible. I must earn
money at once. No theatre has asked for my operas; nothing is
stirring; I seem to be quite forgotten. If I could bring back
money from Belgium and Holland, I might probably resume my work.
For the present all music has been laid aside.

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