My Life, Richard Wagner [best books to read now .txt] 📗

'musician' and a 'composer,' and wished to write a decent opera libretto simply because I was sure that nobody else could write one for me; the reason being that such a book is something quite unique and cannot be written either by a poet or by a mere man of letters. With the intention of setting this libretto to music, I left Leipzig in January, 1833, to stay in Wurzburg with my eldest brother Albert, who at the time held an appointment at the theatre. It now seemed necessary for me to begin to apply my musical knowledge to a practical purpose, and to this end my brother had promised to help me in getting some kind of post at the small Wurzburg theatre. I travelled by post to Bamberg via Hof, and in Bamberg I stayed a few days in the company of a young man called Schunke, who from a player on the horn had become an actor. With the greatest interest I learned the story of Caspar Hauser, who at that time was very well known, and who (if I am not mistaken) was pointed out to me. In addition to this, I admired the peculiar costumes of the market-women, thought with much interest of Hoffmann's stay at this place, and of how it had led to the writing of his Tales, and resumed my journey (to Wurzburg) with a man called Hauderer, and suffered miserably from the cold all the way.

My brother Albert, who was almost a new acquaintance to me, did his best to make me feel at home in his not over luxurious establishment. He was pleased to find me less mad than he had expected me to be from a certain letter with which I had succeeded in frightening him some time previously, and he really managed to procure me an exceptional occupation as choir-master at the theatre, for which I received the monthly fee of ten guilders. The remainder of the winter was devoted to the serious study of the duties required of a musical director: in a very short time I had to tackle two new grand operas, namely, Marschner's Vampir and Meyerbeer's Robert der Teufel, in both of which the chorus played a considerable part. At first I felt absolutely like a beginner, and had to start on Camilla von Paer, the score of which was utterly unknown to me. I still remember that I felt I was doing a thing which I had no right to undertake: I felt quite an amateur at the work. Soon, however, Marschner's score interested me sufficiently to make the labour seem worth my while. The score of Robert was a great disappointment to me: from the newspapers I had expected plenty of originality and novelty; I could find no trace of either in this transparent work, and an opera with a finale like that of the second act could not be named in the same breath with any of my favourite works. The only thing that impressed me was the unearthly keyed trumpet which, in the last act, represented the voice of the mother's ghost.

It was remarkable to observe the aesthetic demoralisation into which I now fell through having daily to deal with such a work. I gradually lost my dislike for this shallow and exceedingly uninteresting composition (a dislike I shared with many German musicians) in the growing interest which I was compelled to take in its interpretation; and thus it happened that the insipidness and affectation of the commonplace melodies ceased to concern me save from the standpoint of their capability of eliciting applause or the reverse. As, moreover, my future career as musical conductor was at stake, my brother, who was very anxious on my behalf, looked favourably on this lack of classical obstinacy on my part, and thus the ground was gradually prepared for that decline in my classical taste which was destined to last some considerable time.

All the same, this did not occur before I had given some proof of my great inexperience in the lighter style of writing. My brother wanted to introduce a 'Cavatine' from the Piraten, by Bellini, into the same composer's opera, Straniera; the score was not to be had, and he entrusted me with the instrumentation of this work. From the piano score alone I could not possibly detect the heavy and noisy instrumentation of the ritornelles and intermezzi which, musically, were so very thin; the composer of a great C major Symphony with an end fugue could only help himself out of the difficulty by the use of a few flutes and clarinets playing in thirds. At the rehearsal the 'Cavatine' sounded so frightfully thin and shallow that my brother made me serious reproaches about the waste of copying expenses. But I had my revenge: to the tenor aria of 'Aubry' in Marschner's Vampir I added an Allegro, for which I also wrote the words.

My work succeeded splendidly, and earned the praise of both the public and my brother. In a similar German style I wrote the music to my Feen in the course of the year 1833. My brother and his wife left Wurzburg after Easter in order to avail themselves of several invitations at friends' houses; I stayed behind with the children--three little girls of tender years--which placed me in the extraordinary position of a responsible guardian, a post for which I was not in the least suited at that time of my life. My time was divided between my work and pleasure, and in consequence I neglected my charges. Amongst the friends I made there, Alexander Muller had much influence over me; he was a good musician and pianist, and I used to listen for hours to his improvisations on given themes--an accomplishment in which he so greatly excelled, that I could not fail to be impressed. With him and some other friends, amongst whom was also Valentin Hamm, I often made excursions in the neighbourhood, on which occasions the Bavarian beer and the Frankish wine were wont to fly. Valentin Hamm was a grotesque individual, who entertained us often with his excellent violin playing; he had an enormous stretch on the piano, for he could reach an interval of a twelfth. Der Letzte Hieb, a public beer-garden situated on a pleasant height, was a daily witness of my fits of wild and often enthusiastic boisterousness; never once during those mild summer nights did I return to my charges without having waxed enthusiastic over art and the world in general. I also remember a wicked trick which has always remained a blot in my memory. Amongst my friends was a fair and very enthusiastic Swabian called Frohlich, with whom I had exchanged my score of the C minor Symphony for his, which he had copied out with his own hand. This very gentle, but rather irritable young man had taken such a violent dislike to one Andre, whose malicious face I also detested, that he declared that this person spoilt his evenings for him, merely by being in the same room with him. The unfortunate object of his hatred tried all the same to meet us whenever he could: friction ensued, but Andre would insist upon aggravating us. One evening Frohlich lost patience. After some insulting retort, he tried to chase him from our table by striking him with a stick: the result was a fight in which Frolich's friends felt they must take part, though they all seemed to do so with some reluctance. A mad longing to join the fray also took possession of me. With the others I helped in knocking our poor victim about, and I even heard the sound of one terrible blow which I struck Andre on the head, whilst he fixed his eyes on me in bewilderment.

I relate this incident to atone for a sin which has weighed very heavily on my conscience ever since. I can compare this sad experience only with one out of my earliest boyhood days, namely the drowning of some puppies in a shallow pool behind my uncle's house in Eisleben. Even to this day I cannot think of the slow death of these poor little creatures without horror. I have never quite forgotten some of my thoughtless and reckless actions; for the sorrows of others, and in particular those of animals, have always affected me deeply to the extent of filling me with a disgust of life.

My first love affair stands out in strong contrast against these recollections. It was only natural that one of the young chorus ladies with whom I had to practise daily should know how to attract my attentions. Therese Ringelmann, the daughter of a grave-digger, thanks to her beautiful soprano voice, led me to believe that I could make a great singer of her. After I told her of this ambitious scheme, she paid much attention to her appearance, and dressed elegantly for the rehearsals, and a row of white pearls which she wound through her hair specially fascinated me. During the summer holidays I gave Therese regular lessons in singing, according to a method which has always remained a mystery to me ever since. I also called on her very often at her house, where, fortunately, I never met her unpleasant father, but always her mother and her sisters. We also met in the public gardens, but false vanity always kept me from telling my friends of our relations. I do not know whether the fault lay with her lowly birth, her lack of education, or my own doubt about the sincerity of my affections; but in any case when, in addition to the fact that I had my reasons for being jealous, they also tried to urge me to a formal engagement, this love affair came quietly to an end.

An infinitely more genuine affair was my love for Friederike Galvani, the daughter of a mechanic, who was undoubtedly of Italian origin. She was very musical, and had a lovely voice; my brother had patronised her and helped her to a debut at his theatre, which test she stood brilliantly. She was rather small, but had large dark eyes and a sweet disposition. The first oboist of the orchestra, a good fellow as well as a clever musician, was thoroughly devoted to her. He was looked upon as her fiance, but, owing to some incident in his past, he was not allowed to visit at her parents' house, and the marriage was not to take place for a long time yet. When the autumn of my year in Wurzburg drew near, I received an invitation from friends to be present at a country wedding at a little distance from Wurzburg; the oboist and his fiancee had also been invited. It was a jolly, though primitive affair; we drank and danced, and I even tried my hand at violin playing, but I must have forgotten it badly, for even with the second violin I could not manage to satisfy the other musicians. But my success with Friederike was all the greater; we danced like mad through the many couples of peasants until at one moment we got so excited that, losing all self-control, we embraced each other while her real lover was playing the dance music. For the first time in my life I began to feel a flattering sensation of self-respect when Friederike's fiance, on seeing how we two flirted, accepted the situation with good grace, if not without some sadness. I had never had the chance of thinking that I could make a favourable impression on any young girl. I never imagined myself good-looking, neither had I ever thought it possible that I could attract the attention of pretty girls.

On the other hand, I had gradually acquired a certain self- reliance in mixing with men of my own age. Owing to the exceptional