Do not forget Joachim; when I am once in London, I can easily arrange the matter.
It is splendid that you have finished "Faust," and you may imagine that I am most anxious to see it; on the other hand, it is a pity that you will not show it me sooner. At the same time, I shall be glad to go through it WITH YOU at the piano, and to make its acquaintance in that way, seeing that my attendance at a good performance under your direction is for the present out of the question. The vivid idea which you know how to convey cannot even approximately be replaced by anything else; and I am more than ever intent upon getting the right impression from the first, for I greatly distrust acquaintances made by means of the abstract notes.
It is an absurd coincidence that just at this time I have been taken with a desire to remodel my old "Faust" overture. I have made an entirely new score, have rewritten the instrumentation throughout, have made many changes, and have given more expansion and importance to the middle portion (second motive). I shall give it in a few days at a concert here, under the t.i.tle of "A "Faust" Overture." The motto will be--
"Der Gott, der mir im Busen wohnt, Kann tief mein Innerstes erregen; Der uber allen meinen Kraften thront, Er kann nach aussen nichts bewegen; Und so ist mir das Dasein eine Last, Der Tod erwunscht, das Leben mir verha.s.st!"
but I shall not publish it in any case.
I was at first startled at your new year"s article, but soon perceived that here again I am indebted to your ever-increasing sympathy. If, however, you represent my work as something colossal, you mistake, in my opinion, the standard of measurement; to me our artistic publicity, the spirit of our means of representation, etc., appear to be very small and miserable, while my work is just in accordance with ordinary human proportions, and appears gigantic only when we try to confine it to those unworthy conditions. When therefore we call our plan chimaeric and eccentric, we in reality flatter the actual worthlessness of our artistic publicity, and in a manner mark it as the just and rational measure. We should not give that wrong impression to people. Every one of your letters is worth to me gold, and more, but ANSWERS in the proper sense I scarcely ever receive from you, and you treat many of my questions as if they had never been asked. Instead of that you always give me something new; that is splendid, but an answer also would sometimes be useful.
Well, let me hear something good of you soon, and in London let me SEE you. I shall take my work with me, and hope to finish the instrumentation of the "Valkyrie" there.
Adieu, dearest Franz.
How are you? Best remembrances from my wife and many greetings from me to you all.
Your
R. W.
ZURICH, January 19th, 1855.
172.
DEAREST RICHARD,
The London Philharmonic comes in very aptly, and I am delighted.
As lately as six months ago people used to shake their heads, and some of them even hissed, at the performance of the "Tannhauser"
overture, conducted by Costa. Klindworth and Remeny were almost the only ones who had the courage to applaud and to beard the Philistines who had made their nests of old in the Philharmonic.
Well, it will now a.s.sume a different tone, and you will revivify old England and the Old Philharmonic. I commend to you Klindworth, a Wagnerian DE LA VEILLE. He is an excellent musician, who formerly acted as conductor at Hanover, and there gave a performance of the "Prophet" at the Tivoli Theatre, of which the newspapers were full some years ago. He is also a splendid pianist, who studied eighteen months with me at Weymar, and you must allow me to send Klindworth a few lines of introduction to you. As far as I know, there is in London no pianist like him; but, on account of his determined and open sympathy with the so-called "music of the future," he has placed himself in a somewhat awkward position towards the Philistines and handicraftsmen there.
I was present at the first performance of "Tannhauser" at Gotha.
Capellmeister Lampert had taken much trouble, as had also Beer (Tannhauser), and the performance was, comparatively speaking, very satisfactory. The musical part is better with us, but it is different with the dresses and scenery, which are much more tasteful at Gotha than at Weymar. I have spoken very strongly on that point here; and as my prayers and admonitions in this respect have so far been of little avail, I am determined not to conduct "Tannhauser" and "Lohengrin" again until the necessary improvements in the scenery have been made. This negative measure, which I had kept in reserve, will probably be effective.
In the meantime our opera remains in a stagnant condition. Since the last performance of "Tannhduser" (December 10th), I have not been at my desk, neither shall I conduct the festival performance of "Belisario" on February 16th. Nothing can be done till after the confinement of Frau Milde.
APROPOS, what do you think of Meffert, the tenor? Would he be any good to us, and how old is he? Write to me about this.
You accuse me in your last letter of rarely giving you an answer.
This alludes, I presume, to two things: Berlin and Dresden. Alas!
alas! I cannot report from either place what I should wish and, in spite of all, still hope to report. With wranglings and trifles I do not care to trouble you.
Stop; one thing I forgot to write to you: your "Tristan" is a splendid idea; it may become a glorious work. Do not abandon it.
You were quite right in arranging a new score of your "Faust"
overture. If you have succeeded in making the middle part a little more pliable, this work, significant as it was before, must have gained considerably. Be kind enough to have a copy made, and send it me AS SOON AS POSSIBLE. There will probably be some orchestral concerts here, and I should like to give this overture at the end of February.
Hartel is having the scores of Nos. 3 and 4 of my symphonic poems ("Les Preludes" and "Orpheus") engraved. I am as yet uncertain whether I shall publish the nine pieces together or these two numbers (3 and 4) in advance. In any case I shall send you the proofs of "Les Preludes" and "Orpheus" before your departure to London, so that my scribbling may amuse you too. I am sincerely grateful for your friendly proposal of producing something of mine at the Philharmonic, but I think it will be more advisable to leave it till next season (1856). For the present you will have your hands full enough with your own things, and during the first year you ought to play a waiting game. The chief thing for you is to gain firm ground in London, and first of all to impress your conception of Beethoven, Gluck, etc., on the orchestra and the public. At the same time, the people should learn to listen to and understand the "Tannhauser" and "Faust" overtures, and finally to rejoice in and be elevated by the prelude to "Lohengrin." Your plan of conducting next year performances of "Tannhauser," "Lohengrin," and the "Flying Dutchman" with efficient artists is very good. We talked about this at Weymar in the year 1849; and, in my opinion, the enterprise can be made to succeed completely. This year must serve you as a preparation; and when you are once accustomed to London air, it may be expected that you will settle there comfortably. Beware of the theatrical speculators, who will be sure to try and make the best of you, and might be dangerous both to your purse and to your position. Once more, good luck!
Your
F. L.
WEYMAR, January 25th, 1855.
Best remembrances to your wife. For the first year she will, I suppose, remain at Zurich.
Do not keep me waiting too long for a letter, and send me your "Faust." The Princess and the Child greet you cordially.
I shall send you in a few days an English translation of your three opera poems in ma.n.u.script; it may be of use to you in London.
173.
Herewith, dearest Franz, you receive my remodelled "Faust"
overture, which will appear very insignificant to you by the side of your "Faust" symphony. To me the composition is interesting only on account of the time from which it dates; this reconstruction has again endeared it to me: and with regard to the latter, I am childish enough to ask you to compare it very carefully with the first version, because I should like you to take cognisance of the effect of my experience and of the more refined feeling I have gained. In my opinion, new versions of this kind show most distinctly the spirit in which one has learned to work and the coa.r.s.enesses which one has cast off. You will be better pleased with the middle part. I was of course unable to introduce a new motive, because that would have involved a remodelling of almost the whole work; all I was able to do was to develop the sentiment a little more broadly, in the form of a kind of enlarged cadence. Gretchen of course could not be introduced, only Faust himself:--
"ein unbegreiflich holder Drang, trieb mich durch Wald und Wiesen hin," etc
The copying has unfortunately been done very badly, and probably there are many mistakes in it.
If some one were to PAY ME WELL for it, I might still be inclined to publish it. Will you try the Hartels for me? A little money would be very welcome in London, so that I might the better be able to save something there. Please see to this. All this, however, is only the prelude to your "Faust" symphony, to which I look forward with infinite pleasure. I have nothing further to tell you, except that I have been fool enough to take more trouble about a performance of "Tannhauser" at the local theatre than had been my intention. It will take place tomorrow, and, considering the miserable conditions, will turn out fairly well.
But I shall not conduct. Cordial thanks for your pieces of advice, which have my full approval. I intend to appear in London only as a conductor, and to be very tough about my compositions.
The score of the first act of the "Valkyrie" will soon be ready; it is wonderfully beautiful. I have done nothing like it or approaching it before. My complaint that you seldom ANSWER me in the proper sense of the word you have misunderstood. It did not refer to EXTERNAL matters, like Dresden and Berlin, but exclusively to INTERNAL ones, for which I thought I had given you plenty of material.
After having been in Paris together, should we not try to meet in London also? How can we manage it? And how about the translation?
I am looking forward to it with immense pleasure, and shall use it for learning English after all. Shall I receive it here?
I start on the 25th. If you find it necessary to write to me at once at London, address to Ferdinand Prager, 31, Milton Street, Dorset Square. I shall stay with him till I have found a convenient lodging. Could you give me an introduction to the London Erard and ask him to put a nice grand piano in my room? I shall be glad to see Klindworth. Farewell for today. Give me another pleasure soon, and remember me at home.
Your
R. W.
174.
Pardon me, dearest Franz, for writing a few lines to ask you a favour. I did not communicate with you before because I waited for the copy of my "Faust" overture to be ready. I expect it in a few days, and shall send it you at once, together with a proper letter. For today only the following:--
The French amba.s.sador is going to give me his vise [i.e. the French term for "visa"] of my pa.s.sport through France after repeated applications in Paris, but this is subject to all manner of chicanery, which is disgusting to me, and must be got out of the way, so that in future I may be able to pa.s.s without difficulty and at any time through and into France. I shall therefore pay a visit to the Minister of the Interior in Paris, and see whether I can succeed in putting a stop to these vexations. It would, no doubt, be very useful if some one of the court of Weimar (no one better than the Grand Duke himself, perhaps through his minister in Paris) could give me an introduction which would make me favourably known to the people there and teach them a little reason. I am prepared to make every necessary promise in return. Do see what you can achieve.
I start in a fortnight; therefore no delay, please.