In these circumstances, it was perhaps the best thing that could have happened to him that in that sleepless night at Spezzia he was haunted by the thought that the music of "Rheingold" must be written, and went home to chain himself again to the pathetic task of heaping one silent score upon another. The time came when he did not believe that he would live to finish the mighty tetralogy which is now the glory of the lyric stage. But even in the face of despair he could not repress the impulses within him, and back to Zurich he went, and the wonderful measures of the prologue of the "Nibelung" drama sprang into being. Even as he had out of despair forged the links of his first success, "Rienzi," so again the fires of anguish lit the forges of the "Schwarzalben" and the "Wonniges Kind."
[CHAPTER IX]
A STRANGER IN A STRANGE LAND
“This red republican of music is to preside over the Old Philharmonic of London, the most classical, orthodox, and exclusive society on this globe.”—Letter of Ferdinand Praeger to the New York Musical Gazette.
The musical activities of this period were about to be interrupted by a voyage so strange that we can hardly conceive it as possible. That Richard Wagner, the reformer, should go to England to conduct the then most stagnant musical organisation in the world, the London Philharmonic, before the most conservative musical public on earth, seems little short of humorous. Yet this thing actually happened. And the musicians of the London orchestra, to their credit, recognised the greatness of their new conductor and played as they had never played before. But this is anticipating. In Zurich he was already known as a conductor before he had set foot on Swiss soil. So it is natural that the musical authorities of the place should have sought his services as soon as he was settled. We have already noted that he conducted some concerts and supervised the operatic performances at the theatre where Von Bülow and Carl Ritter conducted. But the good Swiss were not satisfied with this. They desired the excitement of the production of one of Wagner's works under his own direction. Accordingly, in May, 1852, "The Flying Dutchman" was given, but because the singers treated the work as an old-fashioned opera, it did not make a deep impression. Nevertheless, in February, 1855, "Tannhäuser" was produced in Zurich. It was at this period, too, that Wagner took up the old "Faust" overture and revised it, making changes which drew expressions of delight from Liszt.
At this time the warfare of two musical societies in London was to have an unexpected influence on the movements of Wagner. The London Philharmonic Society had suffered a split, caused by dissensions which need not be discussed here, and a New Philharmonic had been formed. The insurgent forces proceeded to formulate a plan of campaign which threatened disaster to the older army. As a master stroke, they secured as conductor no less a personage than Hector Berlioz, the famous French composer. It now became necessary for the older body to deal a counterblow. But where to turn for a conductor whose name would excite public interest in such a manner as that of Berlioz they knew not. In the midst of their confusion arose Ferdinand Praeger, the London friend and admirer of Wagner, of whom he had first heard through August Roeckel. Praeger knew that there would be opposition to Wagner, but he knew, too, that the name of the composer of the music of the future would arouse public curiosity and that audiences could be got for his concerts. And audiences were what the staid and languishing Old Philharmonic most needed. On the other hand, there was something to be done in London in the way of correcting false impressions of Wagner's works. As Liszt wrote to him on learning that he was to make the visit:
"The London Philharmonic comes in very aptly, and I am delighted. As lately as six months ago people used to shake their heads, and some of them even hissed, at the performance of the 'Tannhäuser' overture, conducted by Costa. Klindworth and Remeny were almost the only ones who had the courage to applaud and to beard the Philistines who had made their nests of old in the Philharmonic. Well, it will now assume a different tone, and you will revivify old England with the Old Philharmonic."
Liszt as usual wrote in an encouraging strain, but it is likely that he really believed that Wagner would profit by some personal contact with the public. For the history of this incident we must turn to the pages of Praeger, who acted as Wagner's private agent in making the engagement, and who first suggested it to Prosper Sainton, the eminent violinist and a director of the Philharmonic. It was an ill-advised visit, but it was made by Wagner chiefly because he hoped through this introduction to the English public to bring out his operas in London. On Jan. 21, 1855, he wrote to Fischer in Dresden:
"At the end of February I go for two months to London, to conduct the concerts of the Philharmonic Society, for which they expressly sent one of their directors here to persuade me. As a rule, that kind of thing does not suit me; and as I am not to get much pay for it, I would scarcely have consented, had I not therein seen a chance of next year bringing together in London—under the protection of the Court—a first-rate German opera company, with which I could give my operas, and at last my 'Lohengrin.'"