Vendredi Soir, 1865.
MR. POTTER MADE HAPPY.
Reverting to the concert, the universal criticism was that Wagner had achieved great things with Cipriani Potter’s symphony. The music Wagner thought the exact reflection of the man, antiquated but respectable. Potter was a charming man in daily intercourse, of short stature, thin, ample features, huge shaggy eyebrows, stand-up collars behind whose points the old man could hide half his face, and a coat copied from a Viennese pattern of last century. Wagner was genuinely drawn to the man; and as the inimical “Musical World” said, “took great pains with the symphony” (p. 347). Wagner used to declaim greatly against Mendelssohnian tradition, in the orchestra,—that no movement should be taken too slow, for fear of wearying the audience. However, being a man of strong independent character, he would have his way, and movements were taken as slow as the spirit appeared to require. The critics abused him heartily; indeed, to such an extent that when the Mozart symphony in E flat was to be done, the directors implored Wagner to allow the orchestra to take the slow movement in the quick tempo taught by Mendelssohn. Similarly, when Potter’s symphony was to be done, Mr. Potter particularly requested Wagner to take the andante somewhat fast, otherwise he feared a failure. But Wagner, who, with his accustomed earnestness had almost the whole by heart, told the composer that the andante was an extremely pretty, naïve movement, and that no matter the speed, if the expression were omitted or slurred, the whole would fall flat; but, added Wagner, it should go thus: Then he sang part to Mr. Potter, who was so touched that he grasped Wagner’s hand, saying, “I never dreamed a conductor could take a new work so much to heart as you have; and as you sing it, just so I meant it.” After the concert Mr. Potter was very delighted.
But the work of the evening was the “Leonora” overture. Here again Wagner had his reading, one which the orchestra fell in with immediately, for they perceived the truth, the earnestness of what Wagner taught.
At the seventh concert, 11th June, the “Tannhäuser” overture was repeated, by royal command. The programme, again “full,” included three overtures and two symphonies.
| Overture (“Chevy Chase”) | Macfarren. |
| Air (“Jessonda”) | Spohr. |
| Symphony (“Jupiter”) | Mozart. |
| Scena (“Oberon”) | Weber. |
| Overture (“Tannhäuser”) | Wagner. |
| Symphony (No. 8) | Beethoven. |
| Song (“Ave Maria”) | Cherubini. |
| Duet | Paer. |
| Overture (“Anacreon”) | Cherubini. |
The press did Wagner the justice to state that he showed himself earnest in the matter of Macfarren’s “Chevy Chase.” His own overture, “Tannhäuser,” was again a brilliant success. The queen sent for him into the royal salon, and, congratulating him, said that the Prince Consort was “a most ardent admirer of his.” Richard Wagner was pleased at the unaffected and “winning” manner of Her Majesty, who spoke German to him, but as his own account of the interview, written to a friend at Dresden two days after the concert, is now before me, I will reproduce it.
...It was therefore the more pleasing to me that the queen (which very seldom happens, and not every year) had signified her intention of being present at the seventh concert, and ordered a repetition of the overture. It was in itself a very pleasant thing that the queen overlooked my exceedingly compromised political position (which with great malignity was openly alluded to in the “Times”), and without fear attended a public performance which I directed. Her further conduct towards me, moreover, infinitely compensated for all the disagreeable circumstances and coarse enmities which hitherto I had encountered. She and Prince Albert, who sat in front before the orchestra, applauded after “Tannhäuser” overture, which closed the first part, with such hearty warmth that the public broke forth into lively and sustained applause. During the interval the queen sent for me into the drawing-room, receiving me in the presence of her suite with these words: “I am most happy to make your acquaintance. Your composition has charmed me.” She thereupon made inquiries, during a long conversation, in which Prince Albert took part, as to my other compositions; and asked if it were not possible to translate my operas into Italian. I had, of course, to give the negative to this, and state that my stay here could only be temporary, as the only position open was that of director of a concert-institute which was not properly my sphere. At the end of the concert the queen and the prince again applauded me....