Correspondence of Wagner and Liszt — Volume 2

by Richard Wagner; Franz Liszt

R.'s telegram of October 21st was received with joyful acclamation, and your letter, which arrived on the same evening, was the most welcome birthday present on account of the calm, conciliatory mood which I felt in it. May you soon resume your work joyfully! I hope you are getting on with "Tristan", of which as yet I do not know a single note. In accordance with your last letter, I have asked the Hartels to lend me the score for a few days when the engraver does not want it any longer.

Your hints as to the performances of "Lohengrin", "The Flying Dutchman", and "Rienzi" in Cassel, Gotha, and other cities will not be neglected, and I need not assure you again that I shall do all in my power. First of all you will receive a letter concerning "Rienzi" from my chief and friend Dingelstedt. The opera is to be given here in January. Be kind enough to reply to Dingelstedt's letter with some POLITENESS, and do not be annoyed at my making this remark. I wish very much to incline Dingelstedt a little more favourably towards the performance of your works and to co-operate with him in perfect sympathy. That co-operation is of importance to me not only as regards "Tristan", which will meet with no difficulty, and, as I hope and longingly wish, will open your return to Germany, but chiefly with a view to the performance of the "Nibelungen," which is our ultimate goal. The honorarium of 25 louis d'or which our theatrical exchequer can offer you is very small, but I advise you to accept it, and take it upon myself to get you a small douceur from the Grand Duke's privy purse later on.

I should like to have Tichatschek for the first two performances of "Rienzi", although that would increase the expense considerably. But I have a great liking for him, and wish to get him some distinction from the Grand Duke on that occasion.

Last Sunday we gave "Komala" by Sobolewski. I do not know whether you have seen a small pamphlet "Opera, not Drama," which he published last year as an introduction to his opera. The following beautiful comparison occurs in it: "The words are the hard, transparent pieces of incense, the melody is the beautiful scent which emerges from the thick clouds of smoke, when the incense has been lit." In many other things I cannot agree with him, especially not as regards the marks of punctuation, by means of which he tries to distinguish himself from you, when at the end of the pamphlet he exclaims: "Wagner says, OPERA NOT,—DRAMA; I say OPERA, NOT DRAMA." His "Komala" is better than his comma, and his practice much better than his theory. There is much in it that would please you, and has undoubtedly been originated by "Lohengrin." Sobolewski wrote "Komala" at first in three acts, and had it done in that form at Bremen. Afterwards, in honour of operatic theory, and probably persuaded by the critics who thirst for contrasts and operatic tunes, he added two acts more, in which he introduced vocal pieces de salon, reminding one of the Queen in the "Huguenots", and the inevitable drinking chorus. By his desire I preserved the five acts at the first performance, but at the second I omitted the two additional ones without any consideration, or rather, for very good considerations, and shall even take the liberty of altering his finale, which has been fashioned after your finale of the second act of "Tannhauser" ("nach Rom"), and after the last act of "Iphigenia in Aulis." In that manner the work will appear in its only true form, and may keep its place as a fine musical cloud-and-mist picture in perfect accord with Ossian's poem. For your private benefit I send you a few motives from "Komala", which I copied for you.

About the middle of November we shall perform here a comic opera, "The Barber of Baghdad," founded on a tale from the "Arabian Nights," words and music by Cornelius. The music is full of wit and humour, and moves with remarkable self-possession in the aristrocratic region of art. I expect a very good result. "Rienzi" will be taken in hand immediately afterwards.

Excuse me for having delayed writing to you so long. I am up to the ears in all manner of business and correspondence, and have not had a free hour since my return. Please do not retaliate, and let me have good news of you soon.

Your

F. LISZT.

November 5th, 1858.

Kindly give the enclosed few lines to Ritter. The additions to the "Dante" symphony and to the Gran Mass will be ready before Christmas, and I shall send you both together.