Liszt came by himself, and my house at once became a musical centre. He had finished his Faust and Dante Symphonies since I had seen him, and it was nothing short of marvellous to hear him play them to me on the piano from the score. As I felt sure that Liszt must be convinced of the great impression his compositions made on me, I felt no scruples in persuading him to alter the mistaken ending of the Dante Symphony. If anything had convinced me of the man's masterly and poetical powers of conception, it was the original ending of the Faust Symphony, in which the delicate fragrance of a last reminiscence of Gretchen overpowers everything, without arresting the attention by a violent disturbance.

The ending of the Dante Symphony seemed to me to be quite on the same lines, for the delicately introduced Magnificat in the same way only gives a hint of a soft, shimmering Paradise. I was the more startled to hear this beautiful suggestion suddenly interrupted in an alarming way by a pompous, plagal cadence which, as I was told, was supposed to represent Domenico.

'No!' I exclaimed loudly, 'not that! Away with it! No majestic Deity!

Leave us the fine soft shimmer.'

'You are right,' said Liszt. 'I said so too; it was the Princess who persuaded me differently. But it shall be as you wish.'

All well and good--but all the greater was my distress to learn later that not only had this ending of the Dante Symphony been preserved, but even the delicate ending of the Faust Symphony, which had appealed to me so particularly, had been changed, in a manner better calculated to produce an effect, by the introduction of a chorus. And this was exactly typical of my relations to Liszt and to his friend Caroline Wittgenstein!

This woman, with her daughter Marie, was soon to arrive on a visit too, and the necessary preparations were made for her reception. But before these ladies arrived, a most painful incident occurred between Liszt and Karl Ritter at my house. Ritter's looks alone, and still more, a certain abrupt contradictoriness in his way of speaking, seemed to put Liszt into a state in which he was easily irritated. One evening Liszt was speaking in an impressive tone of the merits of the Jesuits, and Ritter's inopportune smiles appeared to offend him. At table the conversation turned on the Emperor of the French, Louis Napoleon, whose merits Liszt rather summarily insisted that we should acknowledge, whereas we were, on the whole, anything but enthusiastic about the general state of affairs in France. When Liszt, in an attempt to make clear the important influence of France on European culture, mentioned as an instance the French Academie, Karl again indulged in his fatal smile. This exasperated Liszt beyond all bounds, and in his reply he included some such phrase as this: 'If we are not prepared to admit this, what do we prove ourselves to be? Baboons!' I laughed, but again Karl only smiled--this time, with deadly embarra.s.sment. I discovered afterwards through Bulow that in some youthful squabble he had had the word 'Baboon-face' hurled at him. It soon became impossible to hide the fact that Ritter felt himself grossly insulted by 'the doctor,' as he called him, and he left my house foaming with rage, not to set foot in it again for years. After a few days I received a letter in which he demanded, first, a complete apology from Liszt, as soon as he came to see me again, and if this were un.o.btainable, Liszt's exclusion from my house. It distressed me greatly to receive, soon after this, a letter from Ritter's mother, whom I respected very much, reproaching me for my unjust treatment of her son in not having obtained satisfaction for an insult offered him in my house. For a long time my relations with this family, intimate as they had been, were painfully strained, as I found it impossible to make them see the incident in the right light. When Liszt, after a time, heard of it, he regretted the disturbance too, and with praise-worthy magnanimity made the first advance towards a reconciliation by paying Ritter a friendly visit. There was nothing said about the incident, and Ritter's return visit was made, not to Liszt, but to the Princess, who had arrived in the meantime. After this Liszt decided that he could do nothing further; Ritter, therefore, withdrew from our society from this time forward, and changed his winter quarters from Zurich to Lausanne, where he settled permanently.

Not only my own modest residence, but the whole of Zurich seemed full of life when Princess Caroline and her daughter took up their abode at the Hotel Baur for a time. The curious spell of excitement which this lady immediately threw over every one she succeeded in drawing into her circle amounted, in the case of my good sister Clara (who was still with us at the time), almost to intoxication. It was as if Zurich had suddenly become a metropolis. Carriages drove hither and thither, footmen ushered one in and out, dinners and suppers poured in upon us, and we found ourselves suddenly surrounded by an increasing number of interesting people, whose existence at Zurich we had never even suspected, though they now undoubtedly cropped up everywhere. A musician named Winterberger, who felt it inc.u.mbent on him on certain occasions to behave eccentrically, had been brought there by Liszt; Kirchner, the Schumann enthusiast from Winterthur, was practically always there, attracted by the new life, and he too did not fail to play the wag. But it was princ.i.p.ally the professors of Zurich University whom Princess Caroline coaxed out of their hole-and-corner Zurich habits. She would have them, one at a time, for herself, and again serve them up en ma.s.se for us. If I looked in for a moment from my regular midday walk, the lady would be dining alone, now with Semper, now with Professor Kochly, then with Moleschott, and so on.

Even my very peculiar friend Sulzer was drawn in, and, as he could not deny, in a manner intoxicated. But a really refreshing sense of freedom and spontaneity pervaded everything, and the unceremonious evenings at my house in particular were really remarkably free and easy. On these occasions the Princess, with Polish patriarchal friendliness, would help the mistress of the house in serving. Once, after we had had some music, I had to give the substance of my two newly conceived poems, Tristan und Isolde and Die Sieger, to a group which, half sitting, half lying before me, was certainly not without charm.

The crown of our festivities was, however, Liszt's birthday, on the 22nd October, which the Princess celebrated with due pomp at her own house. Every one who was some one at Zurich was there. A poem by Hoffmann von Fallersleben was telegraphed from Weimar, and at the Princess's request was solemnly read aloud by Herwegh in a strangely altered voice. I then gave a performance, with Frau Heim, of the first act, and a scene from the second, of the Walkure, Liszt accompanying. I was able to obtain a favourable idea of the effect of our performance by the wish expressed by Dr. Wille to hear these things badly done, so that he could form a correct judgment, as he feared he might be seduced by the excellence of our execution. Besides these, Liszt's Symphonic Poems were played on two grand pianos. At the feast, a dispute arose about Heinrich Heine, with respect to whom Liszt made all sorts of insidious remarks. Frau Wesendonck responded by asking if he did not think Heine's name as a poet would, nevertheless, be inscribed in the temple of immortality.

'Yes, but in mud,' answered Liszt quickly, creating, as may be conceived, a great sensation.

Unfortunately, our circle was soon to suffer a great loss by Liszt's illness--a skin eruption--which confined him to his bed for a considerable period. As soon as he was a little better, we quickly went to the piano again to try over by ourselves my two finished scores of Rheingold and the Walkure. Princess Marie listened carefully, and was even able to make intelligent suggestions in connection with a few difficult pa.s.sages in the poem.

Princess Caroline, too, seemed to set extraordinary store on being quite clear as to the actual intrigue concerning the fate of the G.o.ds in my Nibelungen. She took me in hand one day, quite like one of the Zurich professors, en particulier, to clear up this point to her satisfaction. I must confess it was irrefutably brought home to me that she was anxious to understand the most delicate and mysterious features of the intrigue, though in rather too precise and matter-of-fact a spirit. In the end I felt as though I had explained a French society play to her. Her high spirits in all such things were as marked as the curious amiability of her nature in other respects; for when I one day explained to her, in ill.u.s.tration of the first of these two qualities, that four weeks of uninterrupted companionship with her would have been the death of me, she laughed heartily. I had reason for sadness in the changes which I realised had taken place in her daughter Marie; in the three years since I had first seen her she had faded to an extraordinary extent. If I then called her a 'child,' I could not now properly describe her as a 'young woman.' Some disastrous experience seemed to have made her prematurely old. It was only when she was excited, especially in the evening when she was with friends, that the attractive and radiant side of her nature a.s.serted itself to a marked extent. I remember one fine evening at Herwegh's, when Liszt was moved to the same state of enthusiasm by a grand-piano abominably out of tune, as by the disgusting cigars to which at that time he was more pa.s.sionately devoted than to the finer brands. We were all compelled to exchange our belief in magic for a belief in actual witchcraft as we listened to his wonderful phantasies on this pianoforte. To my great horror, Liszt still gave evidence on more than one occasion of an irritability which was thoroughly bad-tempered and even quarrelsome, such as had already manifested itself in the unfortunate scene with young Ritter. For instance, it was dangerous, especially in the presence of Princess Caroline, to praise Goethe. Even Liszt and myself had nearly quarrelled (for which he seemed to be very eager) over the character of Egmont, which he thought it his duty to depreciate because the man allows himself to be taken in by Alba. I had been warned, and had the presence of mind to confine myself to observing the peculiar physiology of my friend on this occasion, and turning my attention to his condition, much more than to the subject of our dispute. We never actually came to blows; but from this time forward I retained throughout my life a vague feeling that we might one day come to such an encounter, in which case it would not fail to be terrific. Perhaps it was just this feeling that acted as a check on me whenever any opportunity arose for heated argument. Goodness knows that I myself had a bad enough reputation with my friends for my own irritability and sudden outbursts of temper!

After I had made a stay of more than six weeks, we had a final opportunity for coming together again before my return from this visit that had meant so much for me. We had agreed to spend a week at St.

Gall, where we had an invitation from Schadrowsky, a young musical director, to give our support to a society concert in that district.

We stayed together at the Hecht inn, and the Princess entertained us as if she had been in her own house. She gave me and my wife a room next her own private apartment. Unfortunately a most trying night was in store for us. Princess Caroline had one of her severe nervous attacks, and in order to preclude the approach of the painful hallucination by which she was tormented at such times, her daughter Marie was obliged to read to her all through the night in a voice deliberately raised a good deal above its natural pitch. I got fearfully excited, especially at what appeared to be an inexplicable disregard for the peace of one's neighbour implied by such conduct. At two o'clock in the morning I leaped out of bed, rang the bell continuously until the waiter awoke, and asked him to take me to a bedroom in one of the remotest parts of the inn. We moved there and then, not without attracting the attention of our neighbours, upon whom, however, the circ.u.mstance made no impression. The next morning I was much astonished to see Marie appear as usual, quite unembarra.s.sed, and without showing the least traces of anything exceptional having occurred. I now learned that everybody connected with the Princess was thoroughly accustomed to such disturbances. Here, too, the house soon filled with all sorts of guests: Herwegh and his wife came, Dr. Wille and his wife, Kirchner, and several others, and before long our life in the Hecht yielded nothing, in point of activity, to our life in the Hotel Baur. The excuse for all this, as I have said, was the society concert of the musical club of St. Gall. At the rehearsal, to my genuine delight, Liszt impressed two of his compositions, Orpheus and the Prelude, upon the orchestra with complete success, in spite of the limited resources at his command. The performance turned out to be a really fine one, and full of spirit. I was especially delighted with the Orpheus and with the finely proportioned orchestral work, to which I had always a.s.signed a high place of honour among Liszt's compositions. On the other hand, the special favour of the public was awarded to the Prelude, of which the greater part was encored. I conducted the Eroica Symphony of Beethoven under very painful conditions, as I always caught cold on such occasions, and generally became feverish afterwards. My conception and rendering of Beethoven's work made a powerful impression upon Liszt, whose opinion was the only one which had any real weight with me. We watched each other over our work with a closeness and sympathy that was genuinely instructive. At night we had to take part in a little supper in our honour, which was the occasion for expressing the n.o.ble and deep sentiments of the worthy citizens of St. Gall concerning the significance of our visit. As I was regaled with a most complimentary panegyric by a poet, it was necessary for me to respond with equal seriousness and eloquence. In his dithyrambic enthusiasm, Liszt went so far as to suggest a general clinking of gla.s.ses, signifying approval of his suggestion that the new theatre of St. Gall should be opened with a model performance of Lohengrin. No one offered any objection. The next day, the 24th of November, we all met, for various festivities, in the house of an ardent lover of music, Herr Bourit, a rich merchant of St. Gall. Here we had some pianoforte music, and Liszt played to us, among other things, the great Sonata of Beethoven in B flat major, at the close of which Kirchner dryly and candidly remarked, 'Now we can truly say that we have witnessed the impossible, for I shall always regard what I have just heard as an impossibility.' On this occasion, attention was called to the twentieth anniversary of my marriage with Minna, which fell on this day, and after the wedding music of Lohengrin had been played, we formed a charming procession a la Polonaise through the various rooms.

In spite of all these pleasant experiences, I should have been well content to see the end of the business and return to the peace of my home in Zurich. The indisposition of the Princess, however, r.e.t.a.r.ded the departure of my friends for Germany for several days, and we found ourselves compelled to remain together in a state of nervous tension and aimlessness for some time, until at last, on the 27th November, I escorted my visitors to Rorschach, and took my leave of them there on the steamer. Since then I have never seen the Princess or her daughter, nor I think it likely I shall ever meet them again.

It was not without some misgiving that I took leave of my friends, for the Princess was really ill, and Liszt seemed to be much exhausted. I recommended their immediate return to Weimar, and told them to take care of themselves. Great was my surprise, therefore, when before long I received the news that they were making a sojourn of some duration in Munich. This followed immediately upon their departure, and was also attended with much noisy festivity and occasional artistic gatherings.

I was thus led to the conclusion that it was foolish of me to recommend people with such const.i.tutions either to do a thing or to abstain from doing it. I, for my part, returned home to Zurich very much exhausted, unable to sleep, and tormented by the frosty weather at this cold season of the year. I was afraid that I had by my recent method of life subjected myself to a fresh attack of erysipelas. I was very pleased when I awoke the next morning to discover no trace of what I feared, and from that day I continued to sing the praises of my excellent Dr.

Vaillant wherever I went. By the beginning of December I had so far recovered as to be able to resume the composition of Siegfried. Thus I again entered upon my orderly method of life, with all its insignificance as far as outward things were concerned: work, long walks, the perusal of books, evenings spent with some friend or other of the domestic circle. The only thing that worried me was the regret I still felt for my quarrel with Ritter, in consequence of the unhappy contre-temps with Liszt. I now lost touch entirely with this young friend, who in so many ways had endeared himself to me. Before the close of the winter he left Zurich without seeing me again.

During the months of January and February (1857) I completed the first act of Siegfried, writing down the composition in full to take the place of the earlier rough pencil draft, and immediately set to work on the orchestration; but I probably carried out Vaillant's instructions with too much zeal. Pursued by the fear of a possible return of erysipelas, I sought to ward it off by a repeated and regular process of sweating once a week, wrapped up in towels, on the hydropathic system. By this means I certainly escaped the dreaded evil, but the effort exhausted me very much, and I longed for the return of the warm weather, when I should be relieved from the severities of this treatment.

It was now that the tortures inflicted upon me by noisy and musical neighbours began to increase in intensity. Apart from the tinker, whom I hated with a deadly hatred, and with whom I had a terrible scene about once a week, the number of pianos in the house where I lived was augmented. The climax came with the arrival of a certain Herr Stockar, who played the flute in the room under mine every Sunday, whereupon I gave up all hope of composing any more. One day my friends the Wesendoncks, who had returned from wintering in Paris, unfolded to me a most welcome prospect of the fulfilment of my ardent wishes in regard to my future place of abode. Wesendonck had already had an idea of having a small house built for me on a site I was to select for myself.

My own plans, elaborated with a deceptive skill, had been already submitted to an architect. But the acquisition of a suitable plot of land was and still remained a great difficulty. In my walks I had long had my eye on a little winter residence in the district of Enge, on the ridge of the hill that separates the Lake of Zurich from Sihlthal. It was called Lavater Cottage, as it had belonged to that famous phrenologist, and he had been in the habit of staying there regularly.

I had enlisted the services of my friend Hagenbuch, the Cantonal Secretary, to use all his influence to secure me a few acres of land at this spot as cheaply as possible. But herein lay the great difficulty.

The piece of land I required consisted of various lots attached to larger estates, and it turned out that in order to acquire my one plot it would have been necessary to buy out a large number of different owners. I put the difficulties of my case before Wesendonck, and gradually created in him a desire to purchase this wide tract of land, and lay out a fine site containing a large villa for his own family.

The idea was that I should also have a plot there. However, the demands made upon my friend in regard to the preliminaries and to the building of his house, which was to be on a scale both generous and dignified, were too many, and he also thought the enclosure of two families within the same confines might lead in time to inconveniences on both sides.

There happened to be an unpretentious little country house with a garden which I had admired, and which was only separated from his estate by a narrow carriage drive; and this Wesendonck decided to buy for me. I rejoiced beyond measure when I heard of his intention. The shock experienced by the over-cautious buyer was consequently all the greater when one day be discovered that the present owner, with whom he had negotiated in too timid a fashion, had just sold his piece of land to somebody else. Luckily it turned out that the buyer was a mental specialist, whose sole intention in making the purchase was to instal himself with his lunatic asylum by the side of my friend. This information awakened the most terrible antic.i.p.ations in Wesendonck, and put the utmost strain upon his energy. He now gave instructions that this piece of land must be acquired at any price from the unfortunate specialist. Thus, after many vexatious vicissitudes, it came into the possession of my friend, who had to pay pretty heavily for it. He allowed me to come into possession at Easter of this year, charging me the same rent as I had paid for my lodging in the Zeltweg, that is to say, eight hundred francs a year.

Our installation in this house, which occupied me heart and soul at the beginning of the spring, was not achieved without many a disappointment. The cottage, which had only been designed for use in summer, had to be made habitable for the winter by putting in heating apparatus and various other necessaries. It is true, that most of the essentials in this respect were carried out by the proprietor; but no end of difficulties remained to be solved. There was not a single thing upon which my wife and I did not constantly differ, and my position as an ordinary middle-cla.s.s man without a bra.s.s farthing of my own made matters no easier. With regard to my finances, however, events took place from time to time which were well calculated to inspire a sanguine temperament with trustful confidence in the future. In spite of the bad performances of my operas, Tannhauser brought me unexpectedly good royalties from Berlin. From Vienna, too, I obtained the wherewithal to give me breathing-s.p.a.ce in a most curious way. I was still excluded from the Royal Opera, and I had been a.s.sured that so long as there was an imperial court, I was not to dream of a performance of my seditious works in Vienna. This strange state of affairs inspired my old director, Hoffmann of Riga, now director of the Josephstadt Theatre, to venture on the production of Tannhauser with a special opera company, in a summer theatre built by himself on the Lerchenfeld outside the boundary of Vienna. He offered me for every performance which I would license a royalty of a hundred francs. When Liszt, whom I informed of the matter, thought this offer was suspicious, I wrote and told him that I proposed to follow Mirabeau's example with regard to it. Mirabeau, when he failed to be elected by his peers to the a.s.sembly of Notables, addressed himself to the electors of Ma.r.s.eilles in the capacity of a linen-draper. This pleased Liszt; and, indeed, I now made my way, by means of the summer theatre on the Lerchenfeld, into the capital of the Austrian empire. Of the performance itself the most wonderful accounts reached me. Sulzer, who on one of his journeys had pa.s.sed through Vienna and had witnessed a performance, had complained princ.i.p.ally of the darkness of the house, which did not allow him to read a single word of the libretto, also of its having rained hard right into the middle of the audience. Another story was told me some years later by the son-in-law of Mme. Herold, the widow of the composer of that name. He had been in Vienna at that period on his wedding tour, and had heard this Lerchenfeld performance.

The young man a.s.sured me that, in spite of all superficial deficiencies, the production there had given him genuine pleasure, and had been more deeply impressive than the performance in the Berlin Court Theatre, which he had seen afterwards, and found immeasurably inferior. The energy of my old Riga Theatre director in Vienna brought me in two thousand francs for twenty performances of Tannhauser. After such a curious experience, offering clear proof of my popularity, I may perhaps be excused for having felt confident about the future, and having relied on incalculable results from my works, even with regard to actual gain.

While I was thus occupied in arranging the little country house for which I had longed so much, and working on the orchestration of the first act of Siegfried, I plunged anew into the philosophy of Schopenhauer and into Scott's novels, to which I was drawn with a particular affection. I also busied myself with elucidating my impressions of Liszt's compositions. For this purpose I adopted the form of a letter to Marie Wittgenstein, which was published in Brendel's musical journal.

When we moved to what I intended to be my permanent refuge for life, I again set myself to consider the means of obtaining a basis for the supply of the necessities of that life. Once again I took up the threads of my negotiations with Hartel about the Nibelungen, but I was obliged to put them down as unfruitful, and little calculated to end in any success for this work. I complained of this to Liszt, and openly told him how glad I should be if he would bring this to the ears of the Grand Duke of Weimar (who, from what my friend told me, wished himself still to be regarded as the patron of my Nibelungen enterprise), so that he might realise the difficulties I was encountering in the matter. I added that if one could not expect a common bookseller to a.s.sume the responsibility of such an extraordinary undertaking, one might well hope that the Prince, whose idea was to make it a point of honour, should take a share, and a serious share, in the necessary preliminaries, among which the development of the work itself must very properly be included. My meaning was, that the Grand Duke should take the place of Hartel, should purchase the work from me, and pay by instalments as the score neared completion; he would thus become the owner, and, later on, could if he liked cover his expenses through a publisher. Liszt understood me very well, but could not refrain from dissuading me from taking up such an att.i.tude towards his Royal Highness.

My whole attention was now directed to the young Grand d.u.c.h.ess of Baden. Several years had pa.s.sed since Eduard Devrient had been transferred to Karlsruhe by the Grand Duke to be manager of the court theatre there. Since my departure from Dresden I had always kept in touch with Devrient, though our meetings were rare. Moreover, he had written the most enthusiastic letters in appreciation of my pamphlets, Das Kunstwerk der Zukunft and Oper und Drama. He maintained that the Karlsruhe Theatre was so poorly equipped, that he thought he could not well entertain the idea of a performance of my operas in that house.

All these conditions were suddenly changed when the Grand Duke married, and the Crown Princess's young daughter, who had been turned into a champion of mine by my old friend Alwine Frommann, thus secured a position of independence in Karlsruhe, and was eager in her demand for the performance of my works. My operas were now being produced there also, and Devrient in his turn had the pleasure of informing me of the great interest shown in them by the young Princess, who even frequently attended the rehearsals. This made a very agreeable impression upon me.

On my own initiative I expressed my grat.i.tude in an address which I directed to the Grand d.u.c.h.ess herself, enclosing 'Wotan's Abschied'

from the finale of the Walkure as a souvenir for her alb.u.m.

The 20th April was now drawing near, the day on which I was to leave my lodging in the Zeltweg (which had already been let), although I could not occupy the cottage, where the arrangements were not yet complete.

The bad weather had given us colds in the course of our frequent visits to the little house, in which masons and carpenters had made themselves at home. In the worst of tempers we spent a week in the inn, and I began to wonder whether it was worth while occupying this new piece of land at all, for I had a sudden foreboding that it would be my fate to wander further afield. Eventually we moved in at the end of April, in spite of everything. It was cold and damp, the new heating apparatus did not provide any warmth, and we were both ill, and could hardly leave our beds. Then came a good omen: the first letter that reached me was one of reconciliation and love from Frau Julie Ritter, in which she told me that the quarrel, brought about by her son's conduct, was at last ended. Beautiful spring weather now set in; on Good Friday I awoke to find the sun shining brightly for the first time in this house: the little garden was radiant with green, the birds sang, and at last I could sit on the roof and enjoy the long-yearned-for peace with its message of promise. Full of this sentiment, I suddenly remembered that the day was Good Friday, and I called to mind the significance this omen had already once a.s.sumed for me when I was reading Wolfram's Parsifal. Since the sojourn in Marienbad, where I had conceived the Meistersinger and Lohengrin, I had never occupied myself again with that poem; now its n.o.ble possibilities struck me with overwhelming force, and out of my thoughts about Good Friday I rapidly conceived a whole drama, of which I made a rough sketch with a few dashes of the pen, dividing the whole into three acts.

In the midst of arranging the house, a never-ending task, at which I set to work with all my might, I felt an inner compulsion to work: I took up Siegfried again, and began to compose the second act. I had not made up my mind what name to give to my new place of refuge. As the introductory part of this act turned out very well, thanks to my favourable frame of mind, I burst out laughing at the thought that I ought to call my new home 'Fafner's Ruhe,' to correspond with the first piece of work done in it. It was not destined to be so, however. The property continued to be called simply 'Asyl,' and I have designated it under this t.i.tle in the chart of dates to my works.

The miscarriage of my prospects of support for the Nibelungen from the Grand Duke of Weimar fostered in me a continued depression of spirits; for I saw before me a burden of which I knew not how to rid myself. At the same time a romantic message was conveyed to me: a man who rejoiced in the name of Ferreiro introduced himself to me as the Brazilian consul in Leipzig, and told me that the Emperor of Brazil was greatly attracted by my music. The man was an adept in meeting my doubts about this strange phenomenon in the letters which he wrote; the Emperor loved everything German, and wanted me very much to come to him in Rio Janeiro, so that I might conduct my operas in person. As only Italian was sung in that country, it would be necessary to translate my libretto, which the Emperor regarded as a very easy matter, and actually an improvement to the libretto itself. Strange to say, these proposals exercised a very agreeable influence on me. I felt I could easily produce a pa.s.sionate musical poem which would turn out quite excellent in Italian, and I turned my thoughts once more, with an ever-reviving preference, towards Tristan und Isolde. In order in some way to test the intensity of that generous affection for my works protested by the Emperor of Brazil, I promptly sent to Senor Ferreiro the expensively bound volumes containing the pianoforte versions of my three earlier operas, and for a long time I indulged in the hope of some very handsome return from their gracious and splendid reception in Rio Janeiro. But of these pianoforte versions, and the Emperor of Brazil and his consul Ferreiro, I never heard a single syllable again as long as I lived. Semper, it is true, involved himself in an architectonic entanglement with this tropical country: a compet.i.tion was invited for the building of a new opera house in Rio; Semper had announced that he would take part in it, and completed some splendid plans which afforded us great entertainment, and appeared to be of special interest, among others, to Dr. Wille, who thought that it must be a new problem for an architect to sketch an opera house for a black public. I have not learned whether the results of Semper's negotiations with Brazil were much more satisfactory than mine; at all events, I know that he did not build the theatre.

A violent cold threw me for a few days into a state of high fever; when I recovered from it, my birthday had come. As I was sitting once more in the evening on my roof, I was surprised at hearing one of the songs of the Three Rhine Maidens, from the finale of Rheingold, which floated to my ears from the near distance across the gardens. Frau Pollert, whose troubles with her husband had once stood in the way of a second performance in Magdeburg of my Liebesverbot (in itself a very difficult production), had again appeared last winter as a singer, and also as the mother of two daughters, in the theatrical firmament of Zurich. As she still had a fine voice, and was full of goodwill towards me, I allowed her to practise the last act of Walkure for herself, and the Rhine Maidens scenes from the Rheingold with her two daughters, and frequently in the course of the winter we had managed to give short performances of this music for our friends. On the evening of my birthday the song of my devoted lady friends surprised me in a very touching way, and I suddenly experienced a strange revulsion of feeling, which made me disinclined to continue the composition of the Nibelungen, and all the more anxious to take up Tristan again. I determined to yield to this desire, which I had long nourished in secret, and to set to work at once on this new task, which I had wished to regard only as a short interruption to the great one. However, in order to prove to myself that I was not being scared away from the older work by any feeling of aversion, I determined, at all events, to complete the composition of the second act of Siegfried, which had only just been begun. This I did with a right good will, and gradually the music of Tristan dawned more and more clearly on my mind.

To some extent external motives, which seemed to me both attractive and advantageous to the execution of my task, acted as incentives to make me set to work on Tristan. These motives became fully defined when Eduard Devrient came on a visit to me at the beginning of July and stayed with me for three days. He told me of the good reception accorded to my despatch by the Grand d.u.c.h.ess of Baden, and I gathered that he had been commissioned to come to an understanding with me about some enterprise or other; I informed him that I had decided to interrupt my work on the Nibelungen by composing an opera, which was bound by its contents and requirements to put me once more into relation with the theatres, however inferior they might be. I should do myself an injustice if I said that this external motive alone inspired the conception of Tristan, and made me determine to have it produced.

Nevertheless, I must confess that a perceptible change had come over the frame of mind in which, several years ago, I had contemplated the completion of the greater work. At the same time I had come fresh from my writings upon art, in which I had attempted to explain the reasons for the decay of our public art, and especially of the theatre, by seeking to establish some connection between these reasons and the prevailing condition of culture. It would have been impossible for me at that time to have devoted myself to a work which compelled me to study its immediate production at one of our existing theatres. It was only an utter disregard of these theatres, as I have taken occasion to observe before, that could determine me to take up my artistic work again. With regard to the Nibelungen dramas, I was compelled to adhere without flinching to the one essential stipulation that it could only be produced under quite exceptional conditions, such as those I afterwards described in the preface to the printed edition of the poem.

Nevertheless, the successful popularisation of my earlier operas had so far influenced my frame of mind that, as I approached the completion of more than half of my great work, I felt I could look forward with growing confidence to the possibility that this too might be produced.

Up to this point Liszt had been the only person to nourish the secret hope of my heart, as he was confident that the Grand Duke of Weimar would do something for me, but to judge from my latest experience these prospects amounted to nothing, while I had grounds for hoping that a new work of similar design to Tannhauser or Lohengrin would be taken up everywhere with considerable alacrity. The manner in which I finally executed the plan of Tristan shows clearly how little I was thinking of our operatic theatres and the scope of their capabilities.

Nevertheless, I had still to fight a continuous battle for the necessaries of life, and I succeeded in deceiving myself so far as to persuade myself that in interrupting the composition of the Nibelungen and taking up Tristan, I was acting in the practical spirit of a man who carefully weighs the issues at stake. Devrient was much pleased to hear that I was undertaking a work that could be regarded as practical.

He asked me at which theatre I contemplated producing my new work. I answered that naturally I could only have in view a theatre in which it would be possible for me to superintend the task of production in person. My idea was that this would either be in Brazil or, as I was excluded from the territory of the German Confederation, in one of the towns lying near the German frontiers, which I presumed would be able to place an operatic company at my disposal. The place I had in my mind was Strasburg, but Devrient had many practical reasons for being wholly opposed to such an undertaking; he was of opinion that a performance in Karlsruhe could be arranged more easily and would meet with greater success. My only objection to this was, that in that town I should be debarred from taking a personal share in the study and production of my work. Devrient, however, thought that, as far as this was concerned, I might feel justified in entertaining some hope, as the Grand Duke of Baden was so well disposed towards me, and took an active interest in my work. I was highly delighted to learn this. Devrient also spoke with great sympathy of the young tenor Schnorr, who, besides possessing admirable gifts, was keenly attracted by my operas. I was now in the best of tempers, and acted the host to Devrient for all I was worth.

One morning I played and sang to him the whole of the Rheingold, which seemed to give him great pleasure. Half seriously, and half in joke, I told him that I had written the character of Mime especially for him, and that if, when the work was ready, it was not too late, he might have the pleasure of taking the part. As Devrient was with me, he had, of course, to do his share of reciting. I invited all the friends in our circle, including Semper and Herwegh, and Devrient read us the Mark Antony scenes from Shakespeare's Julius Caesar. So happy was his interpretation of the part, that even Herwegh, who had approached the recitation from its outset in a spirit of ridicule, freely acknowledged the success of the practised actor's skilful manipulation. Devrient wrote a letter from my house to the Grand Duke of Baden, telling him his impressions about me and what he had found me like. Soon after his departure I received an autograph letter from the Grand Duke, couched in very amiable terms, in which he first thanked me most profusely for the souvenir I had presented to his wife for her alb.u.m, and at the same time declared his intention of championing my cause, and, above all, of securing my return to Germany.

From this time forward my resolve to produce Tristan had to be seriously entertained, as it was written in plain letters in my book of fate. To all these circ.u.mstances I was indebted for the continuation of the favourable mood in which I now brought the second act of Siegfried to a close. My daily walks were directed on bright summer afternoons to the peaceful Sihlthal, in whose wooded surroundings I listened long and attentively to the song of the forest birds, and I was astonished to make the acquaintance of entirely new melodies, sung by singers whose forms I could not see and whose names I did not know. In the forest scene of Siegfried I put down, in artistic imitation of nature, as much as I could remember of these airs. At the beginning of August I had carefully sketched the composition of the second act. I was glad I had reserved the third act with the awakening of Brunhilda for the time when I should again be able to go on with the opera, for it seemed to me that all the problems in my work were now happily solved, and that all that remained was to get pure joy out of it.

As I firmly believed in the wisdom of husbanding my artistic power, I now prepared to write out Tristan. A certain strain was put upon my patience at this point by the arrival of the excellent Ferdinand Prager from London. His visit, in other respects, was a source of genuine pleasure to me, for I was bound to recognise in him a faithful and life-long friend. The only difficulty was, that he laboured under the delusion that he was exceptionally nervous, and that he was persecuted by fate. This was a source of considerable annoyance to me, as with the best will in the world, I could not muster up any sympathy for him. We helped ourselves out of the dilemma by an excursion to Schaffhausen, where I paid my first visit to the famous Rhine Falls, which did not fail to impress me duly.

About this time the Wesendoncks moved into their villa, which had now been embellished by stucco-workers and upholsterers from Paris. At this point a new phase began in my relations with this family, which was not really important, but nevertheless exercised considerable influence on the outward conduct of my life. We had become so intimate, through being such near neighbours in a country place, that it was impossible to avoid a marked increase in our intimacy if only through meeting one another daily. I had often noticed that Wesendonck, in his straightforward open manner, had shown uneasiness at the way in which I made myself at home in his house. In many things, in the matter of heating and lighting the rooms, and also in the hours appointed for meals, consideration was shown me which seemed to encroach upon his rights as master of the house. It needed a few confidential discussions on the subject to establish an agreement which was half implied and half expressed. This understanding had a tendency, as time wore on, to a.s.sume a doubtful significance in the eyes of other people, and necessitated a certain measure of precaution in an intimacy which had now become exceedingly close. These precautions were occasionally the source of great amus.e.m.e.nt to the two parties who were in the secret.

Curiously enough, this closer a.s.sociation with my neighbour coincided with the time when I began to work out my libretto, Tristan und Isolde.

Robert Franz now arrived in Zurich on a visit. I was delighted by his agreeable personality, and his visit rea.s.sured me that no deep significance need be attached to the somewhat strained relations which had sprung up between us since the time when he took up the cudgels for me on the occasion of the production of Lohengrin. The misunderstanding had been chiefly due to the intermeddling of his brother-in-law Heinrich (who had written a pamphlet about me). We played and sang together; he accompanied me in some of his songs, and my compositions for the Nibelungen seemed to please him. But one day, when the Wesendoncks asked him to dinner to meet me, he begged that he might be alone with the family without any other guests, because if I were there he would not attain the importance by which he set so much store. We laughed over this, and I did so the more heartily because I was sometimes quite grateful to be saved the trouble of talking to people so curiously uncommunicative as I found Franz to be. After he left us, he never sent us a word of himself or his doings again.

When I had almost finished the first act of Tristan, a newly married couple arrived in Zurich, who certainly had a prominent claim on my interest. It was about the beginning of September that Hans von Bulow arrived with his young wife Cosima (a daughter of Liszt's) at the Raben Hotel. I invited them to my little house, so that they might spend the whole time of their stay in Zurich with me, as their visit was mainly on my account.

We spent the month of September together most pleasantly. In the meanwhile I completed the libretto of Tristan und Isolde, and at the same time Hans made me a fair copy of each act. I read it over, act by act, to my two friends, until at last I was able to get them all together for a private reading, which made a deep impression on the few intimate friends who composed the audience. As Frau Wesendonck appeared to be particularly moved by the last act, I said consolingly that one ought not to grieve over it, as, under any circ.u.mstances, in a matter so grave things generally turned out in this way, and Cosima heartily agreed. We also had a good deal of music together, as in Billow I had at last found the right man to play Klindworth's atrocious arrangement of my Nibelungen scores. But the two acts of Siegfried, which had only been written down as rough drafts, were mastered by Hans with such consummate skill that he could play them as if they had really been arranged for the piano. As usual, I took all the singing parts; sometimes we had a few listeners, amongst whom Mme. Wille was the most promising. Cosima listened silently with her head bowed; if pressed for an expression of opinion, she began to cry.

Towards the end of September my young friends left me to travel back to their destination in Berlin, and begin their married life like good citizens.

For the time being we had sounded a sort of funeral peal over the Nibelungen by playing so much of it, and it was now completely laid aside. The consequence was, that when later on we took it out of its folio for similar gatherings, it wore a lack-l.u.s.tre look, and grew ever fainter, as if to remind us of the past. At the beginning of October, however, I at once began to compose Tristan, finishing the first act by the new year, when I was already engaged in orchestrating the prelude.

During that time I developed a dreamy, timorous pa.s.sion for retirement.

Work, long walks in all winds and weathers, evenings spent in reading Calderon--such was my mode of life, and if it was disturbed, I was thrown into the deepest state of irritation. My connection with the world confined itself almost entirely to my negotiations with the music-seller Hartel about the publication of Tristan. As I had told this man that, by way of contrast to the immense undertaking of the Nibelungen, I had in my mind a practicable work, which, in its demands upon the producer, confined itself, to all intents and purposes, to the engagement of a few good singers, he showed such keenness to take up my offer that I ventured to ask four hundred louis d'or. Thereupon Hartel answered that I was to read his counter offer, made, in a sealed letter which he enclosed, only on condition that I at once agreed to waive my own demands entirely, as he did not think the work I proposed to write was one which could be produced without difficulties. In the sealed enclosure I found that he offered me only one hundred louis d'or, but he undertook, after a period of five years, to give me a half-share in the proceeds, with the alternative of buying out my rights for another hundred louis d'or. With these terms I had to comply, and soon set to work to orchestrate the first act, so as to let the engraver have one batch of sheets at a time.

Besides this, I was interested at that time in the expected crisis of the American money market in the month of November, the consequences of which, during a few fatal weeks, threatened to endanger the whole of my friend Wesendonck's fortune. I remember that the impending catastrophe was borne with great dignity by those who were likely to be its victims; still the possibility of having to sell their house, their grounds, and their horses cast an unavoidable gloom over our evening meetings; and, after a while, Wesendonck went away to make arrangements with various foreign bankers.

During that time I spent the mornings in my house composing Tristan, and every evening we used to read Calderon, which made a deep and permanent impression upon me, for I had become fairly familiar with Spanish dramatic literature, thanks to Schack. At last the dreaded American crisis happily blew over, and it was soon apparent that Wesendonck's fortune had considerably increased. Again, during the winter evenings, I read Tristan aloud to a wider circle of friends.

Gottfried Keller was pleased with the compact form of the whole, which really contained only three full scenes. Semper, however, was very angry about it: he objected that I took everything too seriously, and said that the charm in the artistic construction of such material consisted in the fact that the tragic element was broken up in such a way that one could extract enjoyment even from its most affecting parts. That was just what pleased him in Mozart's Don Juan, one met the tragic types there, as if at a masquerade, where even the domino was preferable to the plain character. I admitted that I should get on much more comfortably if I took life more seriously and art more lightly, but for the present I intended to let the opposite relations prevail.

As a matter of fact people shook their heads. After I had sketched the first act of the composition, and had developed the character of my musical production more precisely. I thought with a peculiar smile of my first idea of writing this work as a sort of Italian opera, and I became less anxious at the absence of news from Brazil. On the other hand, my attention was particularly drawn at the end of this year to what was going on in Paris in regard to my operas. A young author from that city wrote asking me to entrust him with the translation of my Tannhauser, as the manager of the Theatre Lyrique, M. Carvalho, was taking steps to produce that opera in Paris. I was alarmed at this, as I was afraid that the copyright of my works had not been secured in France, and that they might dispose of them there at their own sweet will. To this I most strongly objected. I was well aware how this undertaking would be carried out, from an account I had read a short time before of the performance of Weber's Euryanthe at that very Theatre Lyrique, and of the objectionable elaborations or rather mutilations which had been effected for the purposes of production. As Liszt's elder daughter Blandine had recently married the famous lawyer E. Ollivier, and I could consequently rely on substantial help from them, I made up my mind to go to Paris for a week, and look after the matter about which I had been approached, and, at any rate, secure my author's rights legally. In addition to this I was in a very melancholy state of mind, to which overwork and constant occupation on the kind of task that Semper had, perhaps with justice, denounced as being too serious, had contributed by reason of the strain on my mental powers.

If I remember rightly, I gave evidence of this state of mind (which curiously enough led me to despise all worldly cares) in a letter I wrote to my old friend Alwine Frommann on New Year's Eve 1857.