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

was imbued.

I found out the state of affairs one day when a company of our singers was invited with me to the country house of a certain Herr Dumba, who was introduced to me as a most enthusiastic well- wisher. Herr Ander had taken the score of Tristan with him, as if to show that he could not part with it for a single day. Frau Dustmann grew very angry about it, and accused Ander of trying to impose upon me by playing the hypocrite; for he knew as well as any one else that he would never sing that part, and that the management was only awaiting a chance of preventing the performance of Tristan in some way or other, and then laying the blame on her shoulders. Salvi tried most zealously to interfere in these extremely awkward revelations. He recommended me to choose the tenor Walter, and as I objected on the ground of my antipathy to the man, he next referred me to certain foreign singers whom he was quite ready to approach.

As a matter of fact, we tried a few outside players of whom the most promising was a certain Signor Morini, and I really felt so depressed and so desirous of furthering my work at any price that I attended a performance of Luzia by Donizetti with my friend Cornelius to see if I could extract from him a favourable judgment of the singer. Cornelius, who was apparently absorbed in listening, whilst I attentively watched him, suddenly started up in a passion and exclaimed, 'Horrible! horrible!' which made us both laugh so heartily that we soon left the theatre in quite a cheerful frame of mind.

At last I carried on my negotiations with the conductor Heinrich Esser alone, as he was apparently the only honest man in the management. Although he found Tristan very difficult, yet he worked at it with great earnestness, and never really gave up the hope of making a performance possible, if only I would accept Walter as the tenor; but, in spite of my persistent refusal to make use of such help, we always remained good friends. As he, like myself, was a keen walker, we often explored the neighbourhood of Vienna, and our conversations during these expeditions were enthusiastic on my part and thoroughly honest and serious on his.

Whilst these Tristan matters were running their weary course like a chronic disease, whose outcome it is impossible to foresee, Standhartner returned at the end of September with his family. Consequently the next thing I had to do was to look out for a residence, which I chose in the Hotel Kaiserin Elizabeth. Through my cordial intercourse with the family of this friend I became quite intimate not only with his wife, but also with her three sons and a daughter by her first marriage, and a younger daughter by the second marriage with Standhartner. On looking back upon my former residence in my friend's house, I greatly missed the presence and kindly care bestowed upon me by his niece Seraphine, whom I have already mentioned, as well as her untiring thoughtfulness and pleasant, amusing companionship. On account of her natty figure and hair carefully curled a I'enfant, I had given her the name of 'The Doll.' Now I had to look after myself in the dull room of the hotel, and the expense of my living increased considerably. I remember at that time that I had only received twenty-five or thirty louis d'or for Tannhauser from Brunswick. On the other hand, Minna sent me from Dresden a few leaves of the silver-spangled wreath presented by some of her friends as a souvenir of her silver wedding-day, which she had celebrated on the 24th of November. I could hardly wonder that there was no lack of bitter reproach on her part when sending me this gift; however, I tried to inspire her with the hope of having a golden wedding. For the present, seeing that I was staying without any object in an expensive Viennese hotel, I did my utmost to secure a chance of performing Tristan. First I turned to Tichatschek in Dresden, but obtained no promise from him. I then had recourse to Schnorr, with a similar result, and I was at last obliged to acknowledge that my affairs were in a bad way. Of this I made no secret in my occasional communications to the Wesendoncks, who, apparently to cheer me up, invited me to meet them in Venice, where they were just going for a pleasure trip. Heaven knows what my intention was as I started off in a casual sort of way by train, first to Trieste and then by steamer (which did not agree with me at all) to Venice, where I again put up in my little room at the Hotel Danieli.

My friends, whom I found in very flourishing circumstances, seemed to be revelling in the pictures, and fully expected that a participation in their enjoyment would drive away my 'blues.' They seemed to have no desire to realise my position in Vienna. Indeed, after the ill-success of my Paris under-taking, entered upon with such glorious anticipations, I had learned to recognise among most of my friends a tacitly submissive abandonment of all hope for my future success.

Wesendonck, who always went about armed with huge field-glasses, and was ever ready for sight-seeing, only once took me with him to see the Academy of Arts, a building which on my former visit to Venice I had only known from the outside. In spite of all my indifference, I must confess that the 'Assumption of the Virgin' by Titian exercised a most sublime influence over me, so that, as soon as I realised its conception, my old powers revived within me, as though by a sudden flash of inspiration.

I determined at once on the composition of the Meistersinger.

After a frugal dinner with my old acquaintances Tessarin and the Wesendoncks, whom I invited to the Albergo San Alarco, and once more exchanging friendly greetings with Luigia, my former attendant at the Palazzo Giustiniani, to the astonishment of my friends I suddenly left Venice. I had spent four dreary days there, and now started by train on my dull journey to Vienna, following the roundabout overland route. It was during this journey that the music of the Meistersinger first dawned on my mind, in which I still retained the libretto as I had originally conceived it. With the utmost distinctness I at once composed the principal part of the Overture in C major.

Under the influence of these last impressions I arrived in Vienna in a very cheerful frame of mind. I at once announced my return to Cornelius by sending him a small Venetian gondola, which I had bought for him in Venice, and to which I added a canzona written with nonsensical Italian words. The communication of my plan for the immediate composition of the Meistersinger made him almost frantic with delight, and until my departure from Vienna he remained in a state of delirious excitement.

I urged my friend to procure me material for mastering the subject of the Meistersinger. My first idea was to make a thorough study of Grimm's controversy on the Song of the Meistersinger; and the next question was how to get hold of old Wagenseil's Nuremberg Chronicle. Cornelius accompanied me to the Imperial Library, but in order to obtain a loan of this book, which we were fortunate enough to find, my friend was obliged to visit Baron Munch-Bellinghausen (Halm), a visit which he described to me as very disagreeable. I remained at my hotel, eagerly making extracts of portions of the Chronicle, which to the astonishment of the ignorant I appropriated for my libretto.

But my most urgent task was to secure some means of livelihood during the composition of my work. I applied first to the music publisher Schott at Mayence, to whom I offered the Meistersinger if he would make me the necessary advance. Being animated by the desire to provide myself with money for as long a time as possible, I offered him not only the literary rights, but also the rights of performance for my work, for the sum of twenty thousand francs. A telegram from Schott containing an absolute refusal at once destroyed all hope. As I was now obliged to think of other means, I decided to turn to Berlin. Bulow, who was always kindly exerting himself on my behalf, had hinted at the possibility of being able to raise a considerable sum of money there by means of a concert, which I should conduct; and as I was at the same time longing to find a home amongst friends, Berlin seemed to beckon me as a last refuge. At noon, just before the evening of my intended departure, a letter came from Schott, following on his telegram of refusal, which certainly held out some more consoling prospect. He offered to undertake the publication of the pianoforte edition of the Walkure at once and to advance me three thousand marks to be deducted from a future account. The joy of Cornelius at what he called the salvation of the Meistersinger knew no bounds. From Berlin Bulow, in great indignation and evident low spirits, wrote to me of his dreadful experiences in attempting to organise my concert. Herr von Hulsen declared that he would not countenance my visit to Berlin, while as to giving a concert at the great Kroll Restaurant, Bulow found after much deliberation that it would be quite impracticable.

Whilst I was busily engaged on a detailed scenic sketch of the Meistersinger, the arrival of Prince and Princess Metternich in Vienna seemed to create a favourable diversion on my behalf.

The concern expressed by my Paris patrons about me and my position was undoubtedly real; therefore, in order to show myself gratefully disposed towards them, I induced the management of the Opera to allow me to invite their splendid orchestra for a few hours one morning to play some selections from Tristan in the theatre by way of rehearsal. Both the orchestra and Frau Dustmann were quite ready to grant my request in the most friendly manner, and Princess Metternich, with some of her acquaintances, was invited to this rehearsal. With the orchestra we played through two of the principal selections, namely, the prelude to the first act, and the beginning of the second act, as far as the middle, while the singing part was sustained by Frau Dustmann, the whole being so brilliantly executed that I felt fully justified in believing I had created a most excellent impression. Herr Ander, too, had appeared on the scene, but without knowing a single note of the music or attempting to sing it. Both my princely friends, as well as Fraulein Couqui, the premiere danseuse, who singularly enough had attended the rehearsal on the sly, overwhelmed me with enthusiastic marks of admiration. Hearing of my ardent desire for retirement in order to go on with the composition of a new work, the Metternichs one day suggested that they were in a position to offer me just such a quiet retreat in Paris. The Prince, who had now completely arranged his spacious embassy, could place at my disposal a pleasant suite of rooms looking on to a quiet garden, just like the one I had found in the Prussian embassy. My Erard was still in Paris, and if I could arrange to go there at the end of the year, I should find everything ready for me to begin my work. With unconcealed joy I most gratefully accepted this kind invitation, and my only care now was so to arrange my affairs that I could take my departure from Vienna and effect my removal to Paris in a proper manner. The arrangement that