"These 'Meistersinger' are, to Wagner's other conceptions, much the same as the 'Winter's Tale' is to Shakespeare's other works. Its phantasy is found in gaiety and drollery, and it has called up the Nuremberg of the Middle Ages, with its guilds, its poet- artisans, its pedants, its cavaliers, to draw forth the most fresh laughter in the midst of the highest, the most ideal, poetry. Exclusive of its sense and the destination of the work, one might compare the artistic work of it with that of the Sacraments-Hauschen of St. Lawrence (at Nuremberg). Equally with the sculptor, has the composer lighted upon the most graceful, most fantastic, most pure form,—boldness in perfection; and as at the bottom of the Sacraments-Hauschen there is Adam Kraft, holding it up with a grave and collected air, so in the 'Meistersinger' there is Hans Sachs, calm, profound, serene, who sustains and directs the action," etc.
This description pleased me so much that, when once I was started on the subject, I could not help sending you the long quotation. The Bulows, as you know, are with Wagner at Biebrich—at the end of this month there is to be a performance of "Lohengrin" at Frankfort under Wagner's direction. There must not fail to be a full account of this in the Neue Zeitschrift, and for this I could recommend my daughter as the best person. The letters in which she has written to me here and there of musical events in Berlin and elsewhere are really charming, and full of the finest understanding and striking wit.—
Berlioz was so good as to send me the printed pianoforte edition of his Opera "Les Troyens." Although for Berlioz's works pianoforte editions are plainly a deception, yet a cursory reading through of "Les Troyens" has nevertheless made an uncommonly powerful impression on me. One cannot deny that there is enormous power in it, and it certainly is not wanting in delicacy—I might almost say subtilty—of feeling.
Pohl will let you know about the performance of Berlioz's comic Opera "Beatrice and Benedict" in Baden, and I venture to say that this Opera, which demands but little outside aids, and borrows its subject from a well-known Shakespeare play, will meet with a favorable reception. Berlin, or any other of the larger theaters of Germany, would certainly risk nothing of its reputation by including an Opera of Berlioz in its repertoire. [This took place a quarter of a century later.] It is no good to try to excuse oneself, or to make it a reason, by saying that Paris has committed a similar sin of omission—for things in which other people fail we should not imitate. Moreover Paris has been for years past developing a dramatic activity and initiative which Germany is far from attaining—and if special, regrettable personal circumstances prevent Berlioz from performing his works in Paris, the Germans have nothing to do with that.
Hoping soon for news of you (even if not about the "astonishing things"), I remain, dear friend, with faithful devotion,
F. Liszt
Rome, August 10th, 1862 Via Felice, 113
Who has corrected the proofs of the "Faust Symphony"? Please impress upon Schuberth not to send out into the world any unworthy editions of my works. Bulow is so good as to undertake the final revision, if only Schuberth will take the trouble to ask him to do so.
8. To Dr. Franz Brendel
Via Felice, 113 [Rome], August 29th [1862]