C. Overture. III. "Lohengrin".
A. Instrumental prelude.
B. The whole scene for male chorus commencing with the song of the watchman on the tower, which enters in D major immediately after the great prelude in A major, and thus leads from the heights to the earth. This is followed (after a transition specially written) by Elsa's bridal progress (with a close, specially written in E flat).
C. Wedding music (introduction to Act III.); bridal song; then wedding music in G major repeated. This makes the conclusion.
I undertake the whole thing only to hear something out of "Lohengrin", and would willingly abandon this substitute if I could once hear the real "Lohengrin".
Well, you have at least hopes. I sigh on your and my own account when I hear you say so.
But all this leads me beyond the purpose of these hasty lines.
To Zigesar I hope to write tomorrow; I have to thank him for his unusually rich gift for the "Dutchman". To my disgrace, I must confess that it came very conveniently, although it curiously reminded me of the fact that last year I visited the islands of the Lago Maggiore at the expense of friend Liszt. Lord knows, I shall always remain a disreputable fellow. Why do you have anything to do with me? (In the spectre scene of the third act of the "Flying Dutchman" you might have made cuts without hesitation.)
I am much obliged to the Princess for her zeal in making acquaintance with my new poem; if I could only read it to you both, I should have no fear.
The three copies I shall send you before long.