My Life, Richard Wagner [little readers .txt] 📗

intellectual activity for weeks. I had already learned to appreciate the matchless beauty of Venice, and I was full of hope that my joy in it would give me back my power to satisfy my reviving artistic yearnings. On one of my first promenades on the Riva I was accosted by two strangers, one of whom introduced himself as Count Edmund Zichy, the other as Prince Dolgoroukow. They had both left Vienna barely a week before, where they had been present at the first performances of my Lohengrin; they gave me the most satisfactory reports about the result of it, and by their enthusiasm I could see that their impressions were very favourable. Count Zichy left Venice soon afterwards, but Prince Dolgoroukow decided to stay on for the winter. Although I certainly intended to avoid company, this Russian, who was about fifty years of age, soon managed to make me yield to his persuasions. He had an earnest and extremely expressive face (he prided himself on being of direct Caucasian descent), and showed remarkable culture in every respect, a wide knowledge of the world, and above all a taste for music, in the literature of which he was also so well versed that it amounted to a passion. I had at first explained to him that owing to the state of my health I was bound to renounce all society, and that I needed quiet more than anything. Apart from the difficulty of avoiding him altogether on the limited walks in Venice, the restaurant at Albergo San Marco where I joined Ritter every day for meals led to inevitable meetings with this stranger, to whom I eventually became sincerely attached. He had taken up his abode in that hotel, and I could not prevent him from taking his meals there. During my stay in Venice we met almost daily, and continued to be on very friendly terms. On the other hand I had a great surprise, on returning to my apartments one evening, to be informed that Liszt had just arrived. I rushed eagerly to the room pointed out to me as his, and there, to my horror, saw Winterberger the pianist, who had introduced himself to my host as a mutual friend of myself and of Liszt, and in the confusion of the moment the host had concluded that the new arrival was Liszt himself. As a matter of fact I had recently got to know this young man as a follower of Liszt during his comparatively long stay in Zurich; he was considered an excellent organist, and was also called into requisition as second at the piano when there were arrangements for two pianofortes. Except for some foolish behaviour on his part I had not noticed anything particular about him. I was surprised, however, that he should have selected my address as his lodging in Venice. He told me that he was merely the precursor of a certain Princess Galitzin, for whom he had to arrange winter quarters in Venice; that he knew nobody there, but having heard in Vienna that I was staying here, it was very natural he should apply first at my hotel. I argued with him that this was not an hotel, and announced that if his Russian Princess thought of taking up her abode next to me, I should move out at once. He then reassured me, by telling me that he had only wanted to make a good impression on the host by mentioning the Princess, as he thought she had already engaged rooms elsewhere. As I again asked what he thought of doing in this palace, and drew his attention to the fact that it was very expensive, and that I put up with the large outlay simply because it was most essential that I should be undisturbed, and have no neighbours, and hear no piano, he tried to pacify me by the assurance that he would certainly not be a burden to me, and that I could make my mind easy about his presence in the same house until he could arrange to move elsewhere. His next attempt was to work his way into the good graces of Karl Ritter; they both discovered a living-room in the palace at a sufficient distance from mine to be out of earshot. In this way I consented to put up with his proximity, although it was a long time before I allowed Ritter to bring him to me of an evening.

A Venetian piano-teacher, Tessarin by name, was more successful than Winterberger in winning favour with me. He was a typical handsome Venetian, with a curious impediment in his speech; he had a passion for German music, and was well acquainted with Liszt's new compositions, and also with my own operas. He admitted that having regard to his surroundings he was a 'white raven' in matters musical. He also succeeded in approaching me through Ritter, who seemed to be devoting himself in Venice to the study of human nature rather than to work. He had taken a small and extremely modest dwelling on the Riva dei Schiavoni, which, being in a sunny position, required no artificial heating. This was in reality less for himself than for his scanty luggage, as he was hardly ever at home, but was running about in the daytime after pictures and collections; in the evening, however, he studied human nature in the cafes on the Piazza San Marco. He was the only person I saw regularly every day; otherwise I rigorously avoided any other society or acquaintance. I was repeatedly asked by the Princess Galitzin's private physician to call upon that lady, who came to Venice very shortly and appeared to be living in grand style. Once, when I wanted the piano scores of Tannhauser and Lohengrin, and had heard that the Princess was the only person in Venice who possessed them, I was bold enough to ask her for them, but I did not feel it incumbent on me to call on her for that purpose. On only one occasion did any stranger succeed in interrupting my seclusion, and then it was because his appearance had pleased me when I had met him in the Albergo San Marco; this was Rahl the painter, from Vienna. I once went so far as to arrange a sort of soiree for him, Prince Dolgoroukow, and Tessarin the pianoforte teacher, at which a few of my pieces were played. It was then that Winterberger made his debut.

All my social experiences during the seven months I spent in Venice were limited to these few attempts at friendly intercourse, and apart from these my days were planned out with the utmost regularity during the whole time. I worked till two o'clock, then I got into the gondola that was always in waiting, and was taken along the solemn Grand Canal to the bright Piazzetta, the peculiar charm of which always had a cheerful effect on me. After this I made for my restaurant in the Piazza San Marco, and when I had finished my meal I walked alone or with Karl along the Riva to the Giardino Pubblico, the only pleasure- ground in Venice where there are any trees, and at nightfall I came back in the gondola down the canal, then more sombre and silent, till I reached the spot where I could see my solitary lamp shining from the night-shrouded facade of the old Palazzo Giustiniani. After I had worked a little longer Karl, heralded by the swish of the gondola, would come in regularly at eight o'clock for a few hours' chat over our tea. Very rarely did I vary this routine by a visit to one of the theatres. When I did, I preferred the performances at the Camploi Theatre, where Goldoni's pieces were very well played; but I seldom went to the opera, and when I did go it was merely out of curiosity. More frequently, when bad weather deprived us of our walk, we patronised the popular drama at the Malibran Theatre, where the performances were given in the daytime. The admission cost us six kreuzers. The audiences were excellent, the majority being in their shirt-sleeves, and the pieces given were generally of the ultra-melodramatic type. However, one day to my great astonishment and intense delight I saw there Le Baruffe Chioggiote, the grotesque comedy that had appealed so strongly to Goethe in his day, at this very theatre. So true to nature was this performance that it surpassed anything of the kind I have ever witnessed.

There was little else that attracted my attention in the oppressed and degenerate life of the Venetian people, and the only impression I derived from the exquisite ruin of this wonderful city as far as human interest is concerned was that of a watering-place kept up for the benefit of visitors. Strangely enough, it was the thoroughly German element of good military music, to which so much attention is paid in the Austrian army, that brought me into touch with public life in Venice. The conductors in the two Austrian regiments quartered there began playing overtures of mine, Rienzi and Tannhauser for instance, and invited me to attend their practices in their barracks. There I also met the whole staff of officers, and was treated by them with great respect. These bands played on alternate evenings amid brilliant illuminations in the middle of the Piazza San Marco, whose acoustic properties for this class of production were really excellent. I was often suddenly startled towards the end of my meal by the sound of my own overtures; then, as I sat at the restaurant window giving myself up to impressions of the music, I did not know which dazzled me most, the incomparable piazza magnificently illuminated and filled with countless numbers of moving people, or the music that seemed to be borne away in rustling glory to the winds. Only one thing was wanting that might certainly have been expected from an Italian audience: the people were gathered round the band in thousands listening most intently, but no two hands ever forgot themselves so far as to applaud, as the least sign of approbation of Austrian military music would have been looked upon as treason to the Italian Fatherland. All public life in Venice also suffered by this extraordinary rift between the general public and the authorities; this was peculiarly apparent in the relations of the population to the Austrian officers, who floated about publicly in Venice like oil on water. The populace, too, behaved with no less reserve, or one might even say hostility, to the clergy, who were for the most part of Italian origin. I saw a procession of clerics in their vestments passing along the Piazza San Marco accompanied by the people with unconcealed derision.

It was very difficult for Ritter to induce me to interrupt my daily arrangements even to visit a gallery or a church, though, whenever we had to pass through the town, the exceedingly varied architectonic peculiarities and beauties always delighted me afresh. But the frequent gondola trips towards the Lido constituted my chief enjoyment during practically the whole of my stay in Venice. It was more especially on our homeward journeys at sunset that I was always over-powered by unique impressions. During the first part of our stay in the September of that year we saw on one of these occasions the marvellous apparition of the great comet, which at that time was at its highest brilliancy, and was generally said to portend an imminent catastrophe. The singing of a popular choral society, trained by an official of the Venetian arsenal, seemed like a real lagoon idyll. They generally sang only three-part naturally harmonised folk-songs. It was new to me not to hear the higher voice rise above the compass of the alto, that is to say, without touching the soprano, thereby imparting to the sound of