My Life by Richard Wagner (feel good fiction books txt) 📖

a beautiful building, which, besides containing a large concert-hall adapted to our requirements, would also have had other large rooms which could have been, let out on hire at a profit. The practicality of these plans was disputed by no one, as even the administrators of the orchestra's widows' fund saw in them an opportunity for the safe and advantageous laying out of capital; yet they were returned to me, after long consideration on the part of the general management, with thanks and an acknowledgment of my careful work, and the curt reply that it was thought better for things to remain as they were.

All my proposals for meeting the useless waste and drain upon our artistic capital by a more methodical arrangement, met with the same success in every detail that I suggested. I had also found out by long experience that every proposal which had to be discussed and decided upon in the most tiring committee meetings, as for instance the starting of a repertoire, might at any moment be overthrown and altered for the worse by the temper of a singer or the plan of a junior business inspector. I was therefore driven to renounce my wasted efforts and, after many a stormy discussion and outspoken expression of my sentiments, I withdrew from taking any part whatever in any branch of the management, and limited myself entirely to holding rehearsals and conducting performances of the operas provided for me.

Although my relations with Luttichau grew more and more strained on this account, for the time being it mattered little whether my conduct pleased him or not, as otherwise my position was one which commanded respect, on account of the ever-increasing popularity of Tannhauser and Rienzi, which were presented during the summer to houses packed with distinguished visitors, and were invariably chosen for the gala performances.

By thus going my own way and refusing to be interfered with, I succeeded this summer, amid the delightful and perfect seclusion of my new home, in preserving myself in a frame of mind exceedingly favourable to the completion of my Lohengrin. My studies, which, as I have already mentioned, I pursued eagerly at the same time as I was working on my opera, made me feel more light-hearted than I had ever done before. For the first time I now mastered AEschylus with real feeling and understanding. Droysen's eloquent commentaries in particular helped to bring before my imagination the intoxicating effect of the production of an Athenian tragedy, so that I could see the Oresteia with my mind's eye, as though it were actually being performed, and its effect upon me was indescribable. Nothing, however, could equal the sublime emotion with which the Agamemnon trilogy inspired me, and to the last word of the Eumenides I lived in an atmosphere so far removed from the present day that I have never since been really able to reconcile myself with modern literature. My ideas about the whole significance of the drama and of the theatre were, without a doubt, moulded by these impressions. I worked my way through the other tragedians, and finally reached Aristophanes. When I had spent the morning industriously upon the completion of the music for Lohengrin, I used to creep into the depths of a thick shrubbery in my part of the garden to get shelter from the summer heat, which was becoming more intense every day. My delight in the comedies of Aristophanes was boundless, when once his Birds had plunged me into the full torrent of the genius of this wanton favourite of the Graces, as he used to call himself with conscious daring. Side by side with this poet I read the principal dialogues of Plato, and from the Symposium I gained such a deep insight into the wonderful beauty of Greek life that I felt myself more truly at home in ancient Athens than in any conditions which the modern world has to offer.

As I was following out a settled course of self-education, I did not wish to pursue my way further in the leading-strings of any literary history, and I consequently turned my attention from the historical studies, which seemed to be my own peculiar province, and in which department Droysen's history of Alexander and the Hellenistic period, as well as Niebuhr and Gibbon, were of great help to me, and fell back once more upon my old and trusty guide, Jakob Grimm, for the study of German antiquity. In my efforts to master the myths of Germany more thoroughly than had been possible in my former perusal of the Nibelung and the Heldenbuch, Mone's particularly suggestive commentary on this Heldensage filled me with delight, although stricter scholars regarded this work with suspicion on account of the boldness of some of its statements. By this means I was drawn irresistibly to the northern sagas; and I now tried, as far as was possible without a fluent knowledge of the Scandinavian languages, to acquaint myself with the Edda, as well as with the prose version which existed of a considerable portion of the Heldensage.

Read by the light of Mone's Commentaries, the Wolsungasaga had a decided influence upon my method of handling this material. My conceptions as to the inner significance of these old-world legends, which had been growing for a long time, gradually gained strength and moulded themselves with the plastic forms which inspired my later works.

All this was sinking into my mind and slowly maturing, whilst with unfeigned delight I was finishing the music of the first two acts of Lohengrin, which were now at last completed. I now succeeded in shutting out the past and building up for myself a new world of the future, which presented itself with ever-growing clearness to my mind as the refuge whither I might retreat from all the miseries of modern opera and theatre life. At the same time, my health and temper were settling down into a mood of almost unclouded serenity, which made me oblivious for a long time of all the worries of my position. I used to walk every day up into the neighbouring hills, which rose from the banks of the Elbe to the Plauenscher Grand. I generally went alone, except for the company of our little dog Peps, and my excursions always resulted in producing a satisfactory number of ideas. At the same time, I found I had developed a capacity, which I had never possessed before, for good-tempered intercourse with the friends and acquaintances who liked to come from time to time to the Marcolini garden to share my simple supper. My visitors used often to find me perched on a high branch of a tree, or on the neck of the Neptune which was the central figure of a large group of statuary in the middle of an old fountain, unfortunately always dry, belonging to the palmy days of the Marcolini estate. I used to enjoy walking with my friends up and down the broad footpath of the drive leading to the real palace, which had been laid especially for Napoleon in the fatal year 1813, when he had fixed his headquarters there.

By August, the last month of summer, I had completely finished the composition of Lohengrin, and felt that it was high time for me to have done so, as the needs of my position demanded imperatively that I should give my most serious attention to improving it, and it became a matter of supreme importance for me once more to take steps for having my operas produced in the German theatres.

Even the success of Tannhauser in Dresden, which became more obvious every day, did not attract the smallest notice anywhere else. Berlin was the only place which had any influence in the theatrical world of Germany, and I ought long before to have given my undivided attention to that city. From all I had heard of the special tastes of Friedrich Wilhelm IV., I felt perfectly justified in assuming that he would feel sympathetically inclined towards my later works and conceptions if I could only manage to bring them to his notice in the right light. On this hypothesis I had already thought of dedicating Tannhauser to him, and to gain permission to do so I had to apply to Count Redern, the court musical director. From him I heard that the King could only accept the dedication of works which had actually been performed in his presence, and of which he thus had a personal knowledge. As my Tannhauser had been refused by the managers of the court theatre because it was considered too epic in form, the Count added that if I wished to remain firm in my resolve, there was only one way out of the difficulty, and that was to adapt my opera as far as possible to a military band, and try to bring it to the King's notice on parade. This drove me to determine upon another plan of attack on Berlin.

After this experience I saw that I must open my campaign there with the opera that had won the most decided triumph in Dresden. I therefore obtained an audience of the Queen of Saxony, the sister of the King of Prussia, and begged her to use her influence with her brother to obtain a performance in Berlin by royal command of my Rienzi, which was also a favourite with the court of Saxony. This manoeuvre was successful, and I soon received a communication from my old friend Kustner to say that the production of Rienzi was fixed for a very early date at the Berlin Court Theatre, and at the same time expressing the hope that I would conduct my work in person. As a very handsome author's royalty had been paid by this theatre, at the instigation of Kustner, on the occasion of the production of his old Munich friend Lachner's opera, Katharina von Cornaro, I hoped to realise a very substantial improvement in my finances if only the success of Rienzi in this city in any degree rivalled that in Dresden. But my chief desire was to make the acquaintance of the King of Prussia, so that I might read him the text of my Lohengrin, and arouse his interest in my work. This from various signs I flattered myself was perfectly possible, in which case I intended to beg him to command the first performance of Lohengrin to be given at his court theatre.

After my strange experiences as to the way in which my success in Dresden had been kept secret from the rest of Germany, it seemed to me a matter of vital importance to make the future centre of my artistic enterprises the only place which exercised any influence on the outside world, and as such I was forced to regard Berlin. Inspired by the success of my recommendation to the Queen of Prussia, I hoped to gain access to the King himself, which I regarded as a most important step. Full of confidence, and in excellent spirits, I set out for Berlin in September, trusting to a favourable turn of Fortune's wheel, in the first place for the rehearsals of Rienzi, though my interests were no longer centred in this work.

Berlin made the same impression on me as on the occasion of my former visit, when I saw it again after my long absence in Paris. Professor Werder, my friend of the Fliegender Hollander, had taken lodgings for me in advance in the renowned Gensdarmeplatz, but when I looked at the view from my windows every day I could not believe that I was in a city which was the very centre of Germany. Soon, however, I was completely absorbed by the cares of the task I had in hand.

I had nothing to complain of with regard to the official preparations