To Zigesar I shall write according to your wish. I have every reason to feel friendly towards him, and do so in very deed. To Genast I shall write tomorrow.
Another young friend of mine goes specially from Zurich to Weimar for the two performances of my opera; I shall give him a few lines of introduction to you. For the present I only ask you to get him a good seat for the two performances; please do not forget it. For a Herr Abt, from here, I asked the same favour last time.
You forgot in your last letter to reply as to the book of words. I wrote to you that I should like to see a proof; it would be too late now, and therefore useless, to repeat that wish; therefore I ask you to see that the proof is read as carefully as possible. Perhaps Professor Wolff, whom I greet cordially a thousand times, would be kind enough to correct a proof. This reminds me that I have corrected a mistake in the manuscript of the libretto, but not in the score. In the last words of Lohengrin's leave-taking of Elsa it should be, instead of—
"mein zurnt der Gral wenn ich noch bleib," "mir zurnt," etc., etc.
You ask me also for a few metronomical indications of the tempo. I consider this quite unnecessary, because I rely in all things on your artistic sympathy so thoroughly as to know that you need only be in a good humour with my work to find out the right thing everywhere; for the right thing consists in this only: that the effect corresponds with the intention. But, as you wish it, I send you the following, in confirmation, no doubt, of your own views:-
Instrumental Introduction.
[score excerpt]
(The triplets molto moderato.)
Act I., Scene 2, Elsa's Song (page 35).
[score excerpt]