After this the most important point was to get a first-cla.s.s orchestra for my concerts, and my two agents had, for the time being, more than enough to do in this respect. In consequence of their endeavours on my behalf I now began to notice the first signs of a hostile, and hitherto unsuspected, att.i.tude towards me and my undertaking on the part of my old friend Berlioz. Full of the favourable impression he had made upon me when we met in London in 1855, which was strengthened by a friendly correspondence he had kept up for a time, I had called at his house as soon as I arrived in Paris. As he was not in I turned back into the street, where I met him on his way home, and noticed that the sight of me occasioned a convulsive movement of fright, which showed itself in his whole physiognomy and bearing in a way which was almost gruesome. I saw at a glance how matters stood between us, but concealed my own uneasiness under an appearance of natural concern about his state of health, which he immediately a.s.sured me was one of torture, and that he could only bear up against the most violent attacks of neuralgia with the help of electric treatment, from which he was just returning. In order to allay his suffering I offered to leave him immediately, but this made him so far ashamed of his att.i.tude that he pressed me to return with him to his house. Here I succeeded in making him feel somewhat more friendly towards me by disclosing my real intentions in Paris: even the concerts I proposed giving were merely to serve the purpose of so far attracting public attention as to make it possible to establish German opera here, so that when I wished to do so I could superintend the representation of such of my own works I had not yet heard; while, on the other hand, I completely renounced the idea of a French production of Tannhauser, such as the manager Carvalho had seemed to contemplate. In consequence of these explanations I was apparently for a time on quite a friendly footing with Berlioz. I consequently thought that, with regard to the engagement of musicians for the proposed concerts, I could not on this occasion do better than refer my agents to this experienced friend, whose advice would certainly prove invaluable. They afterwards informed me that Berlioz had at first shown himself sympathetically inclined, but his manner had suddenly changed one day when Mme. Berlioz entered the room where they were discussing matters, and exclaimed in a tone of angry surprise, 'Comment, je crois que vous donnez des conseils pour les concerts de M.

Wagner?' Belloni then discovered that this lady had just accepted a valuable bracelet sent her by Meyerbeer. Being a man of the world he said to me, 'Do not count upon Berlioz,' and there the whole matter ended.

From this time forward Belloni's bright face was clouded over with an expression of the deepest anxiety. He thought he had discovered that the whole Parisian press was exceedingly hostile towards me, which he had not the slightest doubt was due to the tremendous agitation Meyerbeer had set on foot from Berlin. He discovered that an urgent correspondence had been carried on from there with the editors of the princ.i.p.al Paris journals, and that amongst others the famous Fiorentino had already taken advantage of Meyerbeer's alarm at my Parisian enterprise, to threaten him with praise of my music, thus naturally exciting Meyerbeer to further bribery. This increased Belloni's anxiety, and he advised me, above all, to try and find financial support for my plans, or if I had no prospect of this, to rely on the imperial power alone. He pointed out that it was absolutely impossible for me to carry out the concerts entirely on my own responsibility without financial support, and his arguments had the effect of making me decide to be careful; for what with my journey to Paris and my installation there, my funds were thoroughly exhausted. So I was again forced to enter into negotiations with the Tuileries about the letting of the Opera House and its orchestra free of charge. Ollivier now came forward with judicious advice and introductions, which brought me into touch with all kinds of people, and, amongst others, with Camille Doucet (a leading member of Fould's ministry and also a dramatic author). By this means I hoped to penetrate into the presence of Meyerbeer's admirer, the unapproachable and terrible Minister of State.

One result of these introductions, however, was that I formed a lasting friendship with Jules Ferry, though our acquaintance proved quite useless to the immediate purpose in hand. The Emperor and his secretary remained obstinately silent, and this even after I had obtained the Grand Duke of Baden's consent to the intercession of his amba.s.sador in Paris on my behalf, and also that of the Swiss amba.s.sador, Dr. Kern, whose combined forces were to try and enlighten me, and possibly also the Emperor, about Fould's manoeuvres. But it was useless--all remained silent as before.

Under these circ.u.mstances I regarded it as a freak of fate that Minna should announce her readiness to join me in Paris, and that I should have to expect her arrival shortly. In the selection as well as in the arrangement of the little house in the Rue Newton I had had particular regard to our future existence together. My living-room was separated from hers by a staircase, and I had taken care that the part of the house to be occupied by her should not be wanting in comfort. But, above all, the affection which had been revived by our last reunion in Zurich had prompted me to furnish and decorate the rooms with special care, so that they might have a friendly appearance and make life in common with this woman, who was becoming quite a stranger to me, more possible to bear. On account of this I was afterwards reproached with a love of luxury. There was also a possibility of arranging a drawing-room in our house, and though I had not intended to be extravagant, I finally discovered that, in addition to the trouble of negotiations with unreliable Parisian workmen, I was drawn into expenses I had not counted upon. But I comforted myself with the reflection that, as it could not be helped now, Minna would at least be pleased when she entered the house she was henceforth to manage. I also thought it necessary to get a maid for her, and a particularly suitable person was recommended me by Mme. Herold. I had also engaged a man-servant as soon as I arrived, and although he was rather a thick-headed Swiss from Valais, who had at one time belonged to the Pope's bodyguard, he soon became quite devoted to me. In addition to these two servants there was my wife's former cook, whom she had taken with her from Zurich, and by whom she was accompanied when at last I was able to go and meet her at the station on the 17th of November.

Here Minna immediately handed me the parrot and her dog Fips, which involuntarily reminded me of her arrival in the harbour of Rorschach ten years ago. Just as she had done on that occasion also, she now immediately gave me to understand that she did not come to me out of need, and that if I treated her badly she knew quite well where to go.

Moreover, there was no denying that since then a not unimportant change had taken place in her; she owned that she was filled with a similar anxiety and fear like a person feels who is about to enter a new situation, and did not know whether she would be able to stand it. Here I sought to divert her thoughts by acquainting her with my public position, which as my wife she would naturally share. Unfortunately she could not understand this at all, and it failed to make any appeal to her, while her attention was immediately absorbed by the interior arrangement of our house. The fact of my having taken a man-servant merely filled her with scorn; but that, under the t.i.tle of lady's maid, I should have provided her with what I had really considered a very necessary attendant, made her furious. This person, whom Mme. Herold had recommended to me with the a.s.surance that she had shown angelic patience in the care of her sick and aged mother, speedily became so demoralised by Minna's treatment of her that, at the end of a very short time, I of my own accord hurriedly dismissed her, and in doing so was violently reproached by my wife for giving the woman a small tip.

To an even greater extent did she succeed in spoiling my man-servant, who finally refused to obey her orders, and when I found fault with him became so impertinent towards me also that I had to send him away at the shortest notice. He left a very good complete set of livery behind, which I had just bought at great expense, and which remained on my hands, as I felt no inclination ever to have a man-servant again. On the other hand, I cannot but bear the highest testimony in favour of the Swabian Therese, who from this time forward performed the entire service of the household alone during the whole of my sojourn in Paris.

This woman, who was gifted with unusual penetration, at once grasped my painful position towards her mistress, and understanding my wife's faults, succeeded by her indefatigable activity in turning matters to the best advantage for me as well as for the household, and thus neutralising their bad effect.

So in this last reunion with Minna I once more entered upon a state of existence which I had repeatedly lived through before, and which it seemed was now to start afresh. This time it was almost a blessing that there could be no question of quiet retirement, but that, on the contrary, it was necessary to enter upon an endless succession of worldly relations and activities, to which I was again driven by fate entirely against my choice and inclination.

With the opening of the year 1860 a very unexpected turn of affairs made it seem possible that I should succeed in carrying out my plans.

The musical director Esser in Vienna informed me that Schott, the music publisher of Mayence, wished to obtain a new opera by me for publication. I had nothing to offer at present but the Rhieingold; the peculiar composition of this work, meant only as a prelude to the Nilielungen trilogy I meant to write, made it difficult for me to offer it as an opera without adding any further explanation. However, Schott's eagerness, at all costs, to have a work of mine to add to his catalogue of publications was so great that I no longer hesitated, and, without concealing from him the fact that he would have great difficulty in propagating this work, I offered to place it at his disposal for the sum of ten thousand francs, promising him at the same time the option of purchasing the three main operas which were to follow at the same price for each. In the event of Schott accepting my offer, I immediately formed a plan of spending the sum thus unexpectedly acquired for the furthering of my Paris undertaking.

Tired out with the obstinate silence maintained by the imperial cabinet, I now commissioned my agents to close with Signor Calzado for three concerts to be given at the Italian Opera, as well as to obtain the necessary orchestra and singers. When the arrangements for this had been set in motion, I was again made anxious by Schott's tardy offers of lower terms; in order not to alienate him, however, I wrote to the musical director Schmidt in Frankfort commissioning him to continue the negotiations with Schott on considerably reduced terms, to which I gave my consent. I had scarcely sent off this letter when an answer from Schott reached me, in which he at last expressed his willingness to pay me the sum of ten thousand francs for which I had asked. I thereupon sent a telegram to Schmidt promptly cancelling the commission with which I had just charged him.

With renewed courage I and my agents now followed up our plans, and the necessary preparations for the concerts engaged my whole attention. I had to look out for a choir, and for this I thought it necessary to reinforce the expensively paid company of the Italian Opera by a German society of singers who had been recommended to me and who were under the direction of a certain Herr Ehmant. In order to ingratiate myself with its members, I had one evening to visit their meeting-place in the Rue du Temple, and cheerfully accommodate myself to the smell of beer and the fumes of tobacco with which the atmosphere was laden, and in the midst of which st.u.r.dy German artists were to reveal their capabilities to me. I was also brought into contact with a M. Cheve, the teacher and director of a French national choral society, whose rehearsals took place in the Ecole de Medecine. I there met an odd enthusiast, who, by his method of teaching people to sing without notes, hoped to bring about the regeneration of the French people's genius. But the worst trouble was occasioned by the necessity of my having the different orchestral parts of the selections I was going to have played copied out for me. For this task I hired several poor German musicians, who remained at my house from morning till night, in order to make the necessary arrangements, which were often rather difficult, under my direction.

In the midst of these absorbing occupations Hans von Bulow looked me up. He had come to Paris for some length of time, as it turned out, more to a.s.sist me in my undertaking than to follow his own pursuit as a concert virtuoso. He was staying with Liszt's mother, but spent the greater part of the day with me, in order to give help wherever it was needed, as, for instance, with the immediate preparation of the copies.

His activity in all directions was extraordinary, but he seemed, above all, to have set himself the task of making certain social connections, that he and his wife had formed during their visit to Paris the year before, useful to my undertaking. The result of this was felt in due course, but for the present he helped me to arrange the concerts, the rehearsals for which had begun.

The first of these took place in the Herz Hall, and led to such an agitation on the part of the musicians against me that it was almost as bad as a riot. I had continually to remonstrate with them about habits on their part, which I on my side felt unable to overlook, and tried to prove, on common-sense grounds, how impossible it was to give way to them. My 6/8 time, which I took as 4/4 time, particularly incensed them, and with tumultuous protestations they declared it should be taken alla-breva. In consequence of a sharp call to order and an allusion on my part to the discipline of a well-drilled orchestra, they declared they were not 'Prussian soldiers,' but free men.

At last I saw that one of the chief mistakes had lain in the faulty setting up of the orchestra, and I now formed my plan for the next rehearsal. After a consultation with my friends I went to the concert-room on the next occasion the first thing in the morning and superintended the arranging of the desks myself, and ordered a plentiful lunch for the musicians to which, at the beginning of the rehearsal, I invited them in the following manner. I told them that on the result of our meeting of that day depended the possibility of my giving my concerts; that we must not leave the concert-room till we were quite clear about it. I therefore requested the members to rehea.r.s.e for two hours, then to partake of a frugal lunch prepared for them in the adjoining salon, whereupon we would immediately hold a second rehearsal for which I would pay them. The effect of this proposal was miraculous: the advantageous arrangement of the orchestra contributed to the maintenance of the general good-humour, and the favourable impression made upon every one by the prelude to Lohengrin, which was then played, rose to enthusiasm, so that at the conclusion of the first rehearsal both players and audience, amongst whom was Gasperini, were delighted with me. This friendly disposition was most agreeably displayed at the princ.i.p.al rehearsal, which took place on the stage of the Italian Opera House. I had now gained sufficient control to allow me to dismiss a careless cornet-player from the orchestra with a severe reproof, without incurring any difficulties owing to their esprit de corps.

At last the first concert took place on the 25th of January (1860); all the pieces which I had chosen from my various operas, including Tristan und Isolde, met with an entirely favourable, nay enthusiastic, reception from the public, and I even had the experience of one of my pieces, the march from Tannhauser, being interrupted by storms of applause. The pleasure thus expressed was aroused, it seems, because the audience was surprised to find that my music, of which there had been so many contradictory reports, contained such long phrases of connected melody. Well satisfied as I was, both with the way in which the concert had been carried out and its enthusiastic reception, I had on the following days to overcome contrary impressions caused by the papers giving vent to their feelings against me. It was now clear that Belloni had been quite right in supposing that they were hostile to me, and his foresight, which had led us to omit inviting the press, had merely roused our opponents to greater fury. As the whole undertaking had been arranged more for the stimulation of friends than to excite praise, I was not so much disturbed by the bl.u.s.tering of these gentlemen as by the absence of any sign from the former. What caused me most anxiety was that the apparently well-filled house should not have brought us better returns than was found to be the case. We had made from five to six thousand francs, but the expenses amounted to eleven thousand francs. This might be partially covered if, in the case of the two less expensive concerts still to come, we could rely on considerably higher returns. Belloni and Giacomelli shook their heads, however; they thought it better not to close their eyes to the fact that concerts were not suited to the taste of the French people, who demanded the dramatic element as well, that is to say, costumes, scenery, the ballet, etc., in order to feel satisfied. The small number of tickets sold for the second concert, which was given on the 1st of February, actually put my agents to the necessity of filling the room artificially, so as at least to save appearances. I had to allow them to do as they thought best in this matter, and was afterwards astonished to learn how they had managed to fill the first places in this aristocratic theatre in such a way as to deceive even our enemies.

The real receipts amounted to little over two thousand francs, and it now required all my determination and my contempt for the miseries that might result not to cancel the third concert to be given on the 8th of February. My fees from Schott, a part of which, it is true, I had to devote to the household expenses of my troubled domestic existence, were all spent, and I had to look round for further subsidies. These I obtained with great difficulty, through Gasperini's mediation, from the very man to win whose a.s.sistance in a much wider sense had been the whole object of the concerts. In short, we had to have recourse to M.

Lucy, the Receiver-General of Ma.r.s.eilles, who was to come to Paris at the time my concerts were being given, and upon whom my friend Gasperini had a.s.sumed that an important Parisian success would have the effect of making him declare his readiness to finance my project of establishing German opera in Paris. M. Lucy, on the contrary, did not appear at the first concert at all, and was only present at a part of the second, during which he fell asleep. The fact that he was now called upon to advance several thousands of francs for the third concert naturally seemed to him to protect him against any further demands on our part, and he felt a certain satisfaction at being exempt from all further partic.i.p.ation in my plans, at the price of this loan.

Although, as a matter of fact, this concert now seemed useless, it nevertheless gave me great pleasure, as much through the spirited performance itself as on account of its favourable reception by the audience, which, it is true, my agents had again to supplement in order to give the appearance of a full hall, but which, nevertheless, showed a marked increase in the number of tickets paid for.

The realisation of the deep impression I had made on certain people had more effect upon me at this time than the dejection I felt at having to all outward appearances failed in this enterprise. It was undeniable that the sensation I had produced had directly, as the comments of the press had indirectly, aroused extraordinary interest in me. My omission to invite any journalists seemed to be regarded on all sides as a wonderful piece of audacity on my part. I had foreseen the att.i.tude likely to be adopted by the majority of reporters, but I was sorry that even such men as M. Franc-Marie, the critic of the Patrie, who at the end of the concert had come forward to thank me with deep emotion, should have found themselves forced to follow the lead of the others, without compromising, and even to go so far as to deny their true opinion of me. Berlioz aroused a universal feeling of anger amongst my adherents, by an article which began in a roundabout way, but ended with an open attack on me which he published in the Journal des Debats.

As he had once been an old friend, I was determined not to overlook this treatment, and answered his onslaught in a letter which, with the greatest difficulty, I managed to get translated into good French, and succeeded, not without trouble, in having it inserted in the Journal des Debats. It so happened that this very letter had the effect of drawing those on whom my concerts had already made an impression more enthusiastically towards me. Amongst others a M. Perrin introduced himself to me; he had formerly been director of the Opera Comique, and was now a well-to-do bel esprit and painter, and later became director of the Grand Opera. He had heard Lohengrin and Tannhauser performed in Germany, and expressed himself in such a way as led me to suppose that he would make it a point of honour to bring these operas to France should he at any time be in a position to do so. A certain Count Foucher de Careil had also become acquainted with my operas in the same way, through seeing them performed in Germany, and he too became one of my distinguished and lasting friends. He had made a name by various publications on German philosophy, and more especially through a book on Leibnitz, and it could not but prove interesting to me to be brought through him into touch with a form of the French genius as yet unknown to me.

It is impossible to record all the pa.s.sing acquaintances with whom I was brought in contact at this time, amongst whom a Russian Count Tolstoi was conspicuously kind; but I must here mention the excellent impression made upon me by the novelist Champfleury's amiable pamphlet, of which I and my concerts formed the subject. In a series of light and airy aphorisms he displayed such a comprehension of my music, and even of my personality, that I had never again met with such a suggestive and masterly appreciation, and had only come across its equal once before in Liszt's lucubrations on Lohengrin and Tannhauser. My personal acquaintance with Champfleury, which followed, brought me face to face with a very simple and in a certain sense easy-tempered individual, such as one seldom meets, and belonging to a type of Frenchman fast becoming extinct.

The advances made me by the poet Baudelaire were in their way still more significant. My acquaintance with him began with a letter in which he told me his impressions of my music and the effect it had produced upon him, in spite of his having thought till then that he possessed an artistic sense for colouring, but none for sound. His opinions on the matter, which he expressed in the most fantastic terms and with audacious self-a.s.surance, proved him, to say the least, a man of extraordinary understanding, who with impetuous energy followed the impressions he received from my music to their ultimate consequences.

He explained that he did not put his address to his letter in order that I might not be led to think that he wanted something from me.

Needless to say, I knew how to find him, and had soon included him among the acquaintances to whom I announced my intention of being at home every Wednesday evening.

I had been told by my older Parisian friends, amongst whom I continued to count the faithful Gasperini, that this was the right thing to do in Paris; and so it came about that, in accordance with the fashion, I used to hold a salon in my small house in the Rue Newton, which made Minna feel that she occupied a very dignified position, though she only knew a few sc.r.a.ps of French, with which she could barely help herself out. This salon, which the Olliviers also attended in a friendly way, was crowded for a time by an ever-growing circle. Here an old acquaintance of mine, Malwida von Meysenburg, again came across me, and from that time forth became a close friend for life. I had only met her once before; this was during my visit to London in 1855, when she had made herself known to me by a letter in which she enthusiastically expressed her agreement with the opinions contained in my book Das Kunstwerk der Zukunft. The occasion on which we had met in London had been at an evening party at the house of a family called Althaus, when I found her full of the desires and projects for the future perfection of the human race to which I had given expression in my book, but from which, under the influence of Schopenhauer and a profound realisation of the intense tragedy of life and the emptiness of its phenomena, I had turned away with almost a feeling of irritation. I found it very painful in discussing the question, not to be understood by this enthusiastic friend and to have to appear to her in the light of a renegade from a n.o.ble cause. We parted in London on very bad terms with one another. It was almost a shock to me to meet Malwida again in Paris. Very soon, however, all unpleasant recollections of our discussion in London were wiped out, as she at once explained to me, that our dispute had had the effect of making her decide to read Schopenhauer at once. When, by earnest study, she had made herself acquainted with his philosophy, she came to the conclusion that the opinions she had at that time expressed and eagerly maintained concerning the happiness of the world must have vexed me on account of their shallowness. She then declared herself to be one of my most zealous followers in the sense that she, from now, became a true friend who was ever anxious for my welfare. When the laws of propriety compelled me to introduce her as a friend of mine to my wife, she could not help noticing at the first glance the misery of our merely nominal life in common, and realising the discomfort resulting from it; made it her business to interpose with affectionate solicitude. She also quickly saw the difficult position in which I was placed in Paris with my almost purposeless enterprises and the absence of all material security. The tremendous expenses I had incurred in giving the three concerts had not remained a secret from any of those concerned about me. Malwida also soon guessed the difficulties in which I found myself, since no prospect was opened on any side which could be looked upon as a practical result of my enterprise and a compensation for the sacrifices I had made. Entirely of her own accord she felt it her duty to try and obtain help for me, which she endeavoured to get from a certain Mme. Schwabe, the widow of a rich English tradesman, in whose house she had found shelter as governess to the eldest daughter, and whom she now proposed to introduce to me. She did not conceal from herself or from me what a disagreeable task the cultivation of this acquaintance might be to me; nevertheless she relied on the kindness she thought this somewhat grotesque woman possessed, as well as on her vanity, which would prompt her to repay me for the distinction she obtained by frequenting my salon. As a matter of fact I was entirely at the end of my resources, and I only found courage to deny my poverty-stricken condition in public on account of the horror I felt when I learned that a collection was being made for me amongst the Germans in Paris to indemnify me for the expense I had incurred in giving the three concerts. When the news of this reached me I immediately interfered with the declaration that the idea that I was in distress in consequence of the losses I had sustained was founded on a false report, and that I should be obliged to refuse all efforts made on my behalf. On this supposition Mme. Schwabe, who regularly attended my soirees and as regularly fell asleep while any music was going on, was however induced, through the solicitations of Malwida, to offer me her personal a.s.sistance. She gave me about three thousand francs, of which at this moment I was certainly in the greatest need; as I did not wish to accept this money as a gift, I gave the lady, who in no way exacted it, a written agreement of my own accord, by which I undertook to return this sum at the end of a year. She good-naturedly accepted this, not as a security but merely in order to satisfy my feelings.

When, at the end of this time, I found it impossible to meet my obligation, I turned to Malwida, who was still in Paris, and asked her to tell Mme. Schwabe, who had left, how matters stood, and to obtain her consent to the renewal of the agreement for another year. Malwida earnestly a.s.sured me I need not take the trouble to ask for a renewal, as Mme. Schwabe had never looked upon the sum given me as anything but a contribution towards my undertaking, in which she flattered herself that she took great interest. We shall see later on how the case really stood.

During this stirring time I was deeply moved and surprised to receive a present from an admirer in Dresden called Richard Weiland; it was an artistic silver ornament representing a sheet of music surrounded by a crown of laurels; upon the sheet were engraved the first bars from the princ.i.p.al themes of my various operas up to Rheingold and Tristan. The modest fellow once paid me a visit afterwards and told me that he had gone regularly to different places in order to see the productions of my operas, which had given him the opportunity of comparing the representation of Tannhauser in Prague, in which the overture had lasted twenty minutes, with the one in Dresden, which, under my direction, had only taken twelve minutes.

My acquaintance with Rossini also proved agreeably stimulating to me in another way; a comic writer had attributed an anecdote to him according to which, when his friend Caraffa declared himself an admirer of my music, he had served him his fish without sauce at dinner, and explained in so doing that his friend liked music without melody.

Rossini openly protested against this in an article in which he designated the story as a mauvaise blague and at the same time declared that he would never allow himself such a jest at the expense of a man who was trying to extend his influence in the artistic world. When I heard of this, I did not for a moment hesitate to pay Rossini a visit, and was received by him in the friendliest manner, which I afterwards described in a memorandum devoted to reminiscences of him. I was also glad to hear that my old acquaintance Halevy, during the controversy occasioned by my music, had taken my part in a kindly way, and I have already described my visit to him and our conversation on that occasion.

In spite of all these pleasant and stimulating events, nothing occurred to make my position less uncertain. I was still kept in doubt as to whether I should receive an answer from the Emperor Napoleon to my request for the use of the Opera House for the repet.i.tion of my concerts. Only by obtaining this, and having no preliminary expenses in consequence, could I gain the benefit which was becoming more and more necessary to me. It remained an understood thing that the Minister Fould was a.s.siduously using his influence to turn the Emperor against me. As, on the other hand, I had made the surprising discovery that Marshal Magnan had been present at all three of my concerts, I hoped to enlist this gentleman's sympathy, which might be turned to good account, as the Emperor was particularly indebted to him since the events of the 2nd of December. I was anxious to circ.u.mvent Fould's intrigues, as the man had become most obnoxious to me, and I consequently introduced myself to the Marshal, and was one day surprised to see a hussar ride up to my door, who got down from his horse, rang the bell, and handed my astonished man-servant a letter from Magnan, in which he summoned me to his presence.

I was therefore duly received at the Commandant's residence by this military man, whose bearing struck me as stately, almost to the point of rudeness. He chatted very intelligently with me, frankly confessing his delight in my music, and listening very attentively to the report of my flagrantly futile addresses to the Emperor, as well as to my expressions of suspicion regarding Fould. I was told later that he spoke very plainly to Fould that very evening at the Tuileries on my behalf.

This much at least is certain, that from that moment I noticed that my affairs took a more favourable turn in that quarter. Yet the deciding factor was found at last in a movement on my behalf from a source I had hitherto entirely disregarded. Bulow, arrested by his interest in the outcome of these matters, continued to prolong his stay in Paris. He had come with letters of introduction from the Princess-Regent of Prussia to the Amba.s.sador, Count Pourtales. His hope that the latter might eventually express a desire to have me presented to him had so far remained unfulfilled. In order, therefore, to compel him to make my acquaintance, he finally adopted the plan of inviting the Prussian Amba.s.sador and his attache, Count Paul Hatzfeld, to lunch at Vachette's, a first-cla.s.s restaurant, where I was to accompany him. The result of this meeting was certainly everything that could be desired.

Not only did Count Pourtales charm me with the simplicity and undisguised warmth of his conversation and att.i.tude towards me, but from this time forward Count Hatzfeld used to visit me and also frequented my Wednesday evening At Homes, and at last brought me the news that there was a distinct movement in my favour at the Tuileries.

Finally, one day he requested me to go with him to call on the Emperor's military chamberlain, Count Bacciochi, and from this official I received the first hints of a reply to my earlier application to his Imperial Majesty, who now expressed a wish to know why I wanted to give a concert in the Grand Opera House. No one, he said, took any serious interest in such enterprises, and it could do me no good. He thought it might perhaps be better if he were to persuade M. Alphonse Royer, the director of this imperial inst.i.tution, to come to some understanding with me respecting the composition of an opera written on purpose for Paris. As I would not agree to his suggestion, this and other subsequent interviews remained for the time being without result. On one of these occasions Bulow accompanied me, and we were both struck by a ridiculous habit peculiar to this singular old man, whom Belloni said he had known in his youth as a box-office clerk at the Scala Theatre in Milan. He suffered from involuntary spasmodic movements of the hands, the result of certain not very creditable physical infirmities, and probably to conceal these he continually toyed with a small stick, which he tossed to and fro with seeming affectation. But even after I had at last succeeded in gaining access to the imperial officials, it seemed as though next to nothing would be done on my behalf, when suddenly one morning Count Hatzfeld overwhelmed me with news that on the preceding evening the Emperor had given orders for a performance of my Tannhauser. The decisive word had been spoken by Princess Metternich. As I happened to be the subject of conversation near the Emperor, she had joined the circle, and on being asked for her opinion, she said she had heard Tannhauser in Dresden, and spoke in such enthusiastic terms in favour of it that the Emperor at once promised to give orders for its production. It is true that Fould, on receiving the imperial command the same evening, broke out into a furious rage, but the Emperor told him he could not go back upon his promise, as he had pledged his word to Princess Metternich. I was now once more taken to Bacciochi, who this time received me very seriously, but first of all made the singular inquiry as to what was the subject of my opera. This I had to outline for him, and when I had finished, he exclaimed with satisfaction, 'Ah! le Pape ne vient pas en scene? C'est bon! On nous avait dit que vous aviez fait paraitre le Saint Pere, et ceci, vous comprenez, n'aurait pas pu pa.s.ser. Du reste, monsieur, on sait a present que vous avez enormement de genie; l'Empereur a donne l'ordre de representer votre opera.' He moreover a.s.sured me that every facility should be placed at my disposal for the fulfilment of my wishes, and that henceforth I must make my arrangements direct with the manager Royer. This new turn of affairs put me into a state of vague agitation, for at first my inner conviction could only make me feel that singular misunderstandings would be sure to arise. For one thing, all hope of being able to carry out my original plan of producing my work in Paris with a picked German company was now at an end, and I could not conceal from myself that I had been launched upon an adventure which might turn out well or badly. A few interviews with the manager Royer sufficed to enlighten me as to the character of the enterprise entrusted to me. His chief anxiety was to convince me of the necessity of rearranging my second act, because according to him it was absolutely necessary for a grand ballet to be introduced at this point. To this and similar suggestions I hardly deigned to reply, and as I went home asked myself what I should do next, in case I decided to refuse to produce my Tannhauser at the Grand Opera.

Meanwhile other cares, more immediately connected with my personal affairs, pressed heavily upon me, and compelled me to devote every effort to their removal. With this object in view I decided at once to carry out an undertaking suggested to me by Giacomelli, namely, a repet.i.tion of my concerts in Brussels. A contract had been made with the Theatre de la Monnaie there for three concerts, half the proceeds of which, after the deduction of all expenses, was to be mine.

Accompanied by my agent, I started on 19th March for the Belgian capital, to see whether I could not manage to recoup the money lost on my Paris concerts. Under the guidance of my mentor I found myself compelled to call upon all sorts of newspaper editors and, among other Belgian worthies, a certain M. Fetis pere. All I knew about him was that, years before, he had allowed himself to be bribed by Meyerbeer to write articles against me, and I now found it amusing to enter into conversation with this man, who, although he a.s.sumed great airs of authority, yet in the end declared himself entirely of my opinion.

Here also I made the acquaintance of a very remarkable man, the Councillor of State Klindworth, whose daughter, or, as some said, his wife, had been recommended to me by Liszt when I was in London. But I had not seen her on that occasion, and I now had the pleasant surprise of being invited to call upon her in Brussels. While she, on her part, showed the greatest cordiality towards me, M. Klindworth provided me with inexhaustible entertainment by the narrative of his wonderful career as a diplomatist in numerous transactions of which I had hitherto known nothing. I dined with them several times, and met Count and Countess Condenhoven, the latter being a daughter of my old friend Mme. Kalergis. M. Klindworth showed a keen and lasting interest in me, which even prompted him to give me a letter of recommendation, to Prince Metternich, with whose father he said he had been on very familiar terms. He had a strange habit of interlarding his otherwise frivolous conversation with continual references to an omnipotent Providence, and when, during one of our later interviews, I once hazarded a risky retort, he quite lost his temper, and I fancied he was going to break off our connection. Fortunately this fear was not realised, either at that time or afterwards.

But except for these interesting acquaintances, I gained nothing in Brussels but anxiety and fruitless exertion. The first concert, for which season-tickets were suspended, drew a large audience. But, owing to my misconception of a clause in our agreement, the cost of musical accompaniment, which was put down to me alone, was reckoned at so high a figure by the managers, that next to nothing was left over by way of profit. This deficiency was to be recouped from the second concert, to which, however, season-ticket holders were admitted free. But beyond these persons, who, I was told, almost filled the house, there were few single-ticket holders, so that there was not enough left to pay my travelling and hotel expenses, which had been increased by the inclusion of my agent and servant. I consequently gave up the idea of having a third concert, and set off once more for Paris in a not very cheerful frame of mind, but with the gift of a vase of Bohemian gla.s.s from Mme. Street, Klindworth's daughter whom I have already mentioned.

Nevertheless, my stay in Brussels, including a short trip from there to Antwerp, had served to distract my thoughts a little. As I did not at that moment feel at all inclined to devote my precious time to looking at works of art, I contented myself in Antwerp with a cursory glance at its outward aspect, which I found less rich in antiquities than I had antic.i.p.ated. The situation of its famous citadel proved peculiarly disappointing. In view of the first act of my Lohengrin I had presumed that this citadel, which I imagined as the ancient keep of Antwerp, would from the opposite side of the Scheldt be a prominent object to the eye. Instead of which, nothing whatever was to be seen but a monotonous plain, with fortifications sunk into the earth. After this, whenever I saw Lohengrin again, I could not restrain a smile at the scene-painter's castle, perched aloft in the background on its stately mountain.

On returning to Paris at the end of March my sole anxiety was how to repair my impecunious and therefore hopeless position. The pressure of these monetary cares seemed all the more incongruous from the fact that the notoriety of my position had made my house, where, of course, I allowed no signs of poverty to appear, exceedingly popular. My Wednesday receptions became more brilliant than ever. Interesting strangers sought me out, in the hope that they, too, might attain to equal fortune through knowing me. Fraulein Ingeborg Stark, who afterwards married young Hans von Bronsart, put in an appearance among us, a vision of bewitching elegance, and played the piano, in which she was modestly a.s.sisted by Fraulein Aline Hund of Weimar. A highly gifted young French musician, Camille Saint-Saens, also played a very agreeable part in our musical entertainments; a noteworthy addition to my other French acquaintances was made in the person of M. Frederic Villot. He was Conservateur des Tableaux du Louvre, an exceedingly polished and cultured man, whom I met for the first time in Flaxland's music-shop, where I did a good deal of business. To my surprise I happened to overhear him asking about the score of Tristan, which he had ordered. On being introduced to him I learned, in reply to my inquiry, that he already possessed the scores of my earlier operas; and when I then asked whether he thought it possible for me to make my dramatic compositions pay, as I could not understand how he, without any knowledge of the German language, could rightly appreciate the music, which was so closely allied to the sense of the poetry, he answered wittily that it was precisely my music which afforded him the best guidance to a comprehension of the poem itself. This reply strongly attracted me to the man, and from that time I found great pleasure in keeping up an active correspondence with him. For this reason, when I brought out a translation of my operatic poems, I felt that its very detailed preface could not be dedicated to any worthier man. As he was not able to play the scores of my operas himself, he had them performed for him by Saint-Saens, whom he apparently patronised. I thus learned to appreciate the skill and talent of this young musician, which was simply amazing. With an unparalleled sureness and rapidity of glance with regard to even the most complicated orchestral score, this young man combined a not less marvellous memory. He was not only able to play my scores, including Tristan, by heart, but could also reproduce their several parts, whether they were leading or minor themes. And this he did with such precision that one might easily have thought that he had the actual music before his eyes. I afterwards learned that this stupendous receptivity for all the technical material of a work was not accompanied by any corresponding intensity of productive power; so that when he tried to set up as a composer I quite lost sight of him in the course of time.

I now had to enter into closer communication with the manager of the Opera House, M. Royer, with regard to the production of Tannhauser, which he had been commissioned to prepare. Two months pa.s.sed before I was able to make up my mind whether to say yes or no to the business.

At no single interview did this man fail to press for the introduction of a ballet into the second act. I might bewilder him, but with all the eloquence at my command I could never convince him on the point. At last, however, I could no longer refuse to consider the advisability of preparing a suitable translation of the poem.

Arrangements for this work had so far progressed very slowly. As I have already said, I had found M. de Charnal altogether incompetent, Roger had permanently disappeared from my sight, and Gasperini showed no real desire for the work. At last a certain Herr Lindau came to see me, who protested that with the aid of young Edmond Roche he could produce a faithful translation of Tannhauser. This man Lindau was a native of Magdeburg, who had fled to escape the Prussian military service. He had first been introduced to me by Giacomelli on an occasion when the French singer engaged by him to sing 'L'Etoile du Soir' at one of my concerts had disappointed us, and he had recommended Lindau as a very efficient subst.i.tute. This man promptly declared his readiness to undertake this song, with which he was quite familiar, without any rehearsal, an offer which led me to regard him as a genius sent down from heaven on purpose for me. Nothing could, therefore, equal my amazement at the unbounded impudence of the man; for on the evening of the concert he executed his task with the most amateurish timidity; he did not enunciate a single note of the song clearly, and nothing but astonishment at so unprecedented a performance appeared to restrain the audience from breaking out into marked disapproval. Yet, in spite of this, Lindau, who had all sorts of explanations and excuses to offer for his short-comings, contrived to insinuate himself into my house, if not as a successful singer, at least as a sympathetic friend. There, thanks to Minna's partiality, he soon became an almost daily guest. In spite of a certain inward repugnance towards him, I treated him with tolerant good-nature, not so much because of the 'enormous connection'

he said he could influence, but because he really showed himself to be a most obliging fellow on all sorts of occasions.

But the fact that finally induced me to grant him a share in the translation of Tannhauser was his suggestion that young Roche should also partic.i.p.ate in the work.

I had become acquainted with Roche immediately after my arrival in Paris (in the September of the previous year), and this in a somewhat remarkable and flattering way. In order to receive my furniture on its arrival from Zurich I had to go to the Custom House, where I was referred to a pale, seedy-looking young man, who appeared full of life, however, with whom I had to settle my business. When I wished to give him my name, he enthusiastically interrupted me with the exclamation, 'O, je connais bien Monsieur Richard Wagner, puisque j'ai son portrait suspendu au-dessus de mon piano.' Much astonished, I asked what he knew about me, and learned that by careful study of my pianoforte arrangements he had become one of my most fervent admirers. After he had helped me with self-sacrificing attentions to complete my tiresome business with the Custom House, I made him promise to pay me a visit.

This he did, and I was able to obtain a clearer insight into the necessitous position of the poor fellow, who, so far as I was able to judge, showed signs of possessing great poetic talent. He further informed me that he had tried to eke out a precarious living as a violinist in the orchestras of the smaller vaudeville theatres, but that being a married man he would, for the sake of his family, much prefer a situation in some office with a fixed salary and prospects of promotion. I soon found that he thoroughly understood my music, which, he a.s.sured me, gave him the only pleasure he had in his hard life. As regards his power of poetical composition, I could only gather from Gasperini and other competent judges that he could, at any rate, turn out very good verse. I had already thought of him as a translator for Tannhauser, and now that the only obstacle to his doing the work, his ignorance of the German language, was removed by Lindau's proffered collaboration, the possibility of such an arrangement at once decided me to accept the latter's offer.

The first thing on which we agreed was that a fair prose translation of the whole subject should be taken in hand, and this task I naturally entrusted to Lindau alone. A serious delay, however, intervened before this was delivered to me, which was subsequently explained by the fact that Lindau was quite unable to provide even this dry version, and had pressed the work on another man, a Frenchman who knew German, and whom he induced to undertake it by holding out hopes of a fee, to be squeezed out of me later on. At the same time Roche turned a few of the leading stanzas of my poem into verse, with which I was well contented.

As I was thus satisfied about the ability of my two helpers, I visited Royer in order to make my position secure by obtaining his authority for a contract with the two men. He did not seem to like my placing the work in the hands of two perfectly unknown people; but I insisted that they should at least have a fair trial. As I was obstinately resolved not to withdraw the work from Roche, but soon realised Lindau's complete inefficiency, I joined in the task myself at a cost of much exertion. We frequently spent four hours together in my room in translating a few verses, during which time I often felt tempted to kick Lindau out, for although he did not even understand the German text, he was always ready with the most impudent suggestions. It was only because I could not think of any other way of keeping poor Roche in the business that I endured such an absurd a.s.sociation.

This irritating and laborious work lasted for several months, during which I had to enter into fuller negotiations with Royer respecting his preparations for the production of Tannhauser, and particularly with regard to the cast and distribution of the parts. It struck me as odd that hardly any of the leading singers of the Opera were suggested by him. As a matter of fact none of them aroused my sympathy, with the sole exception of Mme. Gueymard, whom I would gladly have secured for Venus, but who, for reasons I never clearly understood, was refused me.

In order to form an honest opinion of the company at my disposal, I now had to attend several performances of such operas as La Favorita, Il Trovatore, and Semiramis, on which occasions my inner conviction told me so clearly that I was being hopelessly led astray, that each time I reached home I felt I must renounce the whole enterprise. On the other hand, I found continual encouragement in the generous way in which M.

Royer, in obedience to authority, now offered to secure me any singer I might choose to designate. The most important item was a tenor for the t.i.tle-role. I could think of no one but Niemann of Hanover, whose fame reached me from every quarter. Even Frenchmen such as Foucher de Careil and Perrin, who had heard him in my operas, confirmed the report of his great talent. The manager also regarded such an acquisition as highly desirable for his theatre, and Niemann was accordingly invited to come to Paris with a view of being engaged. Besides him, M. Royer wished me to agree to his securing a certain Mme. Tedesco, a tragedienne, who, on account of her beauty, would be a very valuable addition to the repertoire of his theatre, protesting that he could think of no woman better fitted for the part of Venus. Without knowing the lady I gave my consent to this excellent proposal, and moreover agreed to the engagement of a Mlle. Sax, a still unspoiled young singer with a very beautiful voice, as well as of an Italian baritone, Morelli, whose sonorous tones, as contrasted with the sickly French singers of this cla.s.s, had greatly pleased me during my visits to the Opera. When these arrangements were concluded, I thought I had done all that was really necessary, though I did not cherish any very firm conviction on the matter.

Amid these labours I pa.s.sed my forty-seventh birthday in a far from happy frame of mind, to which, however, on the evening of this day, the peculiarly bright glow of Jupiter gave me an omen of better things to come. The beautiful weather, suitable to the time of year, which in Paris is never favourable to the conduct of business, had only tended to increase the stringency of my needs. I was and still continued to be without any prospect of meeting my household expenses, which had now become very heavy. As I was ever anxious, amid all my other discomforts, to find some relief from this burden, I had made an agreement with the music-dealer Flaxland for the sale of all my French rights in the Fliegender Hollander, Tannhauser, and Lohengrin for whatever they would fetch. Our contract stipulated that for each of these three operas he was to pay me a sum of one thousand francs down, and further payments on their being performed in a Paris theatre, namely, one thousand francs after the first ten performances, and the same amount for the following performances up to the twentieth. I at once notified my friend Pusinelli of this contract, having made this condition in his favour when selling my operas to Meser's successors.

This I did by way of guaranteeing him the repayment of the capital advanced for their publication. I begged him, however, to allow me to retain Flaxland's first instalment on account, as otherwise I should be stranded in Paris without the means of bringing my operas to the point of being profitable. My friend agreed to all my suggestions. The Dresden publisher, on the contrary, was just as disagreeable, and complained at once that I was infringing his rights in France, and so worried Flaxland that the latter felt justified in raising all sorts of difficulties against me.

I had almost become involved in fresh complications in consequence, when one day Count Paul Hatzfeld appeared at my house with a request that I would visit Mme. Kalergis, who had just arrived in Paris, to receive certain communications from her. I now saw the lady again for the first time since my stay in Paris with Liszt in 1853. She greeted me by declaring how much she regretted not having been present at my concerts in the preceding winter, as she had thereby missed the chance of helping me in a time of great stress. She had heard that I had suffered great losses, the account of which she had been told ran to ten thousand francs, and she now begged me to accept that sum from her hand. Although I had thought it right to deny these losses to Count Hatzfeld, when an application was made to the Prussian emba.s.sy on behalf of the odious subscription-list, yet I had now no reason whatever for hiding the truth from this n.o.ble-hearted woman. I felt as though something were now being fulfilled which I had always been ent.i.tled to expect, and my only impulse was an immediate desire to show my grat.i.tude to this rare lady by at least doing something for her. All the friction which disturbed our later intercourse sprang solely from my inability to fulfil this desire, in which I felt ever more and more confirmed by her singular character and restless, unsettled life. For the present I endeavoured to do something for her which should prove the reality of my feeling of obligation. I improvised a special performance of the second act of my Tristan, in which Mme. Viardot was to share the singing parts with myself, and on which occasion my friendship for the latter received a considerable impetus; while for the pianoforte accompaniment I summoned Klindworth at my own expense from London. This exceedingly select performance took place in Mme.

Viardot's house. Besides Mme. Kalergis, in whose honour alone it was given, Berlioz was the only person present. Mme. Viardot had specially charged herself with securing his presence, apparently with the avowed object of easing the strained relations between Berlioz and myself. I was never clear as to the effect produced upon both performers and listeners by the presentation under such circ.u.mstances of this extraordinary selection. Mme. Kalergis remained dumb. Berlioz merely expressed himself warmly on the chaleur of my delivery, which may very well have afforded a strong contrast to that of my partner in the work, who rendered most of her part in low tones. Klindworth seemed particularly stirred to anger at the result. His own share was admirably executed; but he declared that he had been consumed with indignation at observing Viardot's lukewarm execution of her part, in which she was probably determined by the presence of Berlioz. By way of set-off to this, we were very pleased by the performance, on another evening, of the first act of the Walkure, at which, in addition to Mme.

Kalergis, the singer Niemann was present. This man had now arrived in Paris, at the request of the manager Royer, to arrange a contract. I confess I was astounded at the pose he a.s.sumed, and the airs with which he presented himself at my door with the question, 'Well, do you want me or do you not?' Nevertheless, when we went to the manager's office he pulled himself together, so as to make a good effect. In this he succeeded admirably, for every one was amazed to meet a tenor of such extraordinary physical endowments. Nevertheless, he had to submit to a nominal trial performance, for which he chose the description of the pilgrimage in Tannhauser, acting and singing it upon the stage of the Grand Opera House. Mme. Kalergis and Princess Metternich, who were secretly present at this performance, were both enthusiastically prepossessed in Niemann's favour, as were also all the members of the management. He was engaged for eight months at a monthly salary of ten thousand francs. His contract referred solely to Tannhauser, as I felt obliged to protest against the singer appearing before this in other operas.

The conclusion of this agreement, and the remarkable circ.u.mstances under which it had been brought about, filled me with a hitherto unknown consciousness of the power thus suddenly placed in my hands. I had also been drawn into closer contact with Princess Metternich, who was undoubtedly the good fairy of the whole enterprise, and I was now also received with flattering cordiality by her husband and by the whole diplomatic circle to which they belonged. To the Princess, in particular, people attributed an almost omnipotent influence at the French Imperial Court, where Fould, the otherwise influential Minister of State, could effect nothing against her in matters pertaining to myself. She instructed me to apply only to her for the fulfilment of all my wishes, and said she would know how to find ways and means of attaining the success of the project, on which she had now evidently set her heart, all the more firmly because she saw that I still had no real faith in the enterprise.

Under these more hopeful auspices I spent the months from summer to autumn, when rehearsals were to begin. It was a great boon to me that I was just then able to make provision for Minna's health, as the doctors had urgently prescribed her a visit to the baths of Soden, near Frankfort. She accordingly set off at the beginning of July, when I promised myself the pleasure of fetching her on the completion of her cure, as it happened that I myself had occasion to visit the Rhine at that time.

It was just at this moment that an improvement took place in my relations with the King of Saxony, who had hitherto obstinately opposed to grant me an amnesty. I owed this to the growing interest now taken in me by the other German emba.s.sies, especially those of Austria and Prussia. Herr von Seebach, the Saxon Amba.s.sador, who was married to a cousin of my magnanimous friend, Mme. Kalergis, had shown great kindness to me, and at last he seemed to grow tired of being continually taunted by his colleagues about my objectionable position as a 'political refugee,' and consequently felt it his duty to make representations to his court on my behalf. In this action he appears to have been generously a.s.sisted by the Princess-Regent of Prussia--once more through the intervention of Count Pourtales. I heard that on the occasion of a meeting between the German princes and the Emperor Napoleon in Baden she used her influence on my behalf with the King of Saxony. The result was that, after settling several ridiculous objections, all of which Herr von Seebach had to repeat to me, the latter was able to report that, although King John would not pardon me, nor permit my return to the kingdom of Saxony, yet he would raise no obstacle to my staying in any other state in the German Confederation which I might have to visit in pursuit of my artistic aims, provided such a state made no objection to my presence. Herr von Seebach added the further hint, that it would be advisable for me to present myself to the Princess-Regent on the occasion of my next visit to the Rhineland, in order to express my thanks for her kindly intercession, a courtesy which he gave me to understand the King of Saxony himself appeared to desire.

But before this project could be realised I had still to endure the most hara.s.sing torments with my translators of Tannhauser. Amid these anxieties, and indeed throughout all my previous worries, I was again suffering from my old malady, which now seemed to have settled in my abdomen. As a remedy I was advised to take horse exercise. The painter Czermak, a friendly young man, whom Fraulein Meysenburg had introduced to me, offered his help for the necessary riding lessons. In return for a subscription for a fixed period, a man from a livery stables brought round his quietest horses, for which we had specially bargained, for the use of myself and comrade, upon which we ventured forth with the utmost caution for a ride in the Bois de Boulogne. We chose the morning hours for this exercise, so as not to meet the elegant cavaliers of the fashionable world. As I placed implicit reliance on Czermak's experience, I was naturally astonished to find that I far excelled him, if not in horsemanship, at least in courage, for I was able to endure the exceedingly disagreeable trot of my horse, whereas he loudly protested against every repet.i.tion of the experience. As I grew bolder I resolved one day to ride out alone. The groom who brought me the horse prudently kept an eye on me as far as the Barriere de l'Etoile, as he was doubtful of my ability to take my horse beyond this point.