I really do not know how to thank you; for the only equivalent I could offer you would evidently be to send you a masterpiece in exchange; and this kind of return is difficult to make even with the best intention in the world. Allow me to look upon your manuscript of Wiland as a sacred trust, which I shall hold at your disposal till the time you reclaim it. My very numerous engagements will prevent me from occupying myself with it for a year or eighteen months; and if after that time you still think that I am capable of undertaking the composition, we can easily arrange the matter either verbally or by letter. Today I send you by post a fair copy of my article on "Lohengrin." As this is the only one I possess, I must ask you kindly to return it to me at Eilsen (Buckeburg), where I shall spend the months of November and December. I foresee the difficulties I shall have to encounter in publishing through the Paris press an article so extensive and so sincerely in praise of a German opera by a German composer, in whose success no one has an interest, rather the reverse. Nevertheless I do not absolutely despair of having it inserted some day in some review, and consequently want the manuscript.
If in the meantime you think my article worthy of publication in Germany, I repeat the request already made that you undertake to translate it freely, and improve it by completing it.
In the quotations it would naturally be better to reproduce exactly the verses of your poem, and perhaps one might make the comprehension of your work easier by adding two plates of music type showing the five or six principal themes,
[Figure: musical example]
and two or three details of orchestration.
However, as regards both the translation and the publication, I attach value to them only in so far as you approve; for this article has been written solely with the intention of serving, as far as in me lay, the great and beautiful cause of art with the French public, such as it is in 1850. If you think that I have not succeeded, I ask you not to hesitate for a moment in telling me so frankly. In this, any more than in other things, you will not find in me any stupid amour-propre, but only the very modest and sincere desire to suit my words and actions to my sentiments. I have just received a letter from Seghers, director of the Union Musicale, Paris, who tells me that your Tannhauser overture will be performed at the first concert of the Society (November 24th). You may rely upon his zeal and intelligence in preparing a good performance.
By the way, have you heard of an intended performance of "Lohengrin" at Dresden? I do not know how far this Dresden performance would benefit you in actual circumstances, while you are forcibly prevented from looking after the rehearsals, etc.
Uhlig has probably told you that Tichatschek will study the part of Lohengrin with him. Soon after my return Herr von Zigesar intends to give the fourth performance, and for the fifth we shall have Tichatschek.
I am really much obliged to you for taking interest in my overtures, and must ask you to forgive me for not having thanked you before; but the fact is, the greater part of my time is occupied with other things than me and my works.
Unfortunately I possess only a single copy of "Prometheus" and "Tasso," and of that I cannot dispose, as it belongs to the theatre. If, as I am in hopes, next summer I can at last make a trip to the Rhine, we must meet somewhere, possibly at Basle, and then I shall unpack my sac de nuit, full of obscure scores.