(QorttgU Hnitreratta ffiibtarg 
 
 Jltljara, SJem fork 
 
 FROM THE 
 
 BENNO LOEWY LIBRARY 
 
 COLLECTED BY 
 
 BENNO LOEWY 
 
 1854-1919 
 BEQUEATHED TO CORNELL UNIVERSITY 
 
 MusKi 
 
The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924017104898 
 
THE BAYREUTH LETTERS 
 
 OF 
 
 RICHARD WAGNER 
 
Richard Wa 
 
THE STORY OF BAYREUTH 
 
 AS TOLD IN 
 
 THE BAYREUTH LETTERS 
 
 OF 
 
 RICHARD WAGNER 
 
 TRANSLATED AND EDITED BY 
 
 CAROLINE V. KERR 
 Illustrated from Photographs 
 
 im^MsSM 
 
 
 BOSTON 
 SMALL, MAYNARD AND COMPANY 
 
 PUBLISHERS 
 
Copyright, igiz 
 By Small, Maynard and Company 
 
 (incorporated) 
 
 Entered at Stationers^ Hall 
 
 THE UNIVERSITY PRESS, CAMBRIDGE, U.S.A. 
 
CONTENTS 
 
 Page 
 
 The Origin and Development of the 
 
 Bayreuth Festival Idea .... i 
 
 Bayreuth 17 
 
 Tour of Inspection in 
 
 Preliminary Rehearsals 189 
 
 The First Bayreuth Festival . . . 234 
 
 Ways and Means 280 
 
 Parsifal 318 
 
ILLUSTRATIONS 
 
 Richard Wagner Frontisfl 
 
 The Festival Theatre at Bayreuth 
 
 Wagner and his Friends 
 
 Dr. Hans Richter 
 
 A sketch by Adolph Menzel of Wagner at Bayreuth 
 Frau Cosima Wagner 
 
 opp, 
 
 86 
 128 
 198 
 236 
 318 
 
THE ORIGIN AND DEVELOPMENT 
 
 OF THE 
 
 BAYREUTH FESTIVAL IDEA 
 
 In order to be able to see the life work of 
 Richard Wagner in its true perspective it is 
 necessary always to keep in mind Bayreufh, 
 where the spirit of the great composer is ever 
 revived by fresh artistic deeds. 
 
 " Richard Wagner in Bayreuth " — the mas- 
 ter and his life work — is the only proper and 
 comprehensive formula by which to measure the 
 events which took place here. 
 
 Richard Wagner is an art phenomenon which 
 it would be as difficult to explain away as a 
 Beethoven, a Goethe, or a Schiller. 
 
 It is to the latter that he is the most clearly 
 related; he is the musical counterpart of the 
 "greatest German of them all," whose art, like 
 Wagner's, sent its roots down deep into German 
 national feeling and character. 
 
2 THE BAYREUTH LETTERS 
 
 It was this intense longing to " nationalise " 
 his art which gave Wagner the incomparable 
 energy necessary for creating a home for his 
 life work, where it would live and thrive in its 
 essential purity. 
 
 Bayreuth, then, is not only the little Bavarian 
 city which furnished a local habitation and a 
 name for the Wagnerian music drama, but it is 
 also the embodiment of an idea which reaches 
 back more than a quarter of a century in the 
 life of the composer. 
 
 As early as 1848, during his official connection 
 with the Royal Opera in Dresden, Wagner wrote 
 a feuilleton on a " Project for the Organisation 
 of a German National Theatre," in which he 
 made a plea for fewer performances, but these 
 to be of a superior quality, and he gave excel- 
 lent and practical advice for the realisation of 
 such a project. 
 
 He breaks a lance for the same idea in his 
 treatise on "The Theatre in Zurich" (1851), 
 "The Vienna Royal Opera" (1863), and a 
 
BAYREUTH FESTIVAL IDEA 3 
 
 "German National School of Music" (1863), 
 which he hoped to be able to found in Munich. 
 
 The real germ of the idea, however, which was 
 to crystallise eventually into the Bayreuth Fes- 
 tival of 1876, is indissolubly connected with the 
 creation of the heroic tetralogy " Ring of the 
 Nibelung." 
 
 To his friend, Friedrich Heine, he wrote, in 
 1850, the half-jesting, half -prophetic lines: 
 
 " I am now thinking of writing the music to 
 ' Siegfried.' In order to be able to produce it 
 properly some day, I am cherishing all sorts of 
 bold and unusual plans, for the realisation of 
 which nothing further is necessary than that some 
 rich old uncle or other should take it into his 
 head to die." 
 
 Writing in a more serious strain to Uhlig, he 
 amplifies the idea, and presents its details so 
 clearly as to leave no room for doubt as to the 
 powerful hold it has taken upon his heart and 
 mind. The tempting sum of five hundred thalers 
 had, at the instigation of Franz Liszt, been of- 
 
4 TEIE BAYREUTH LETTERS 
 
 fered for his " Siegfried " by the ducal theatre 
 at Weimar. Referring to this, he writes: 
 
 " I should like to send ' Siegfried ' into the 
 world in a different fashion from that which 
 would be possible to the good people of Weimar. 
 With this in mind, I am occupied with plans which 
 appear chimerical at the first glance, and yet it 
 is this alone which gives me courage to finish 
 ' Siegfried.' In order to carry into execution my 
 plans in regard to the best, the most important 
 and significant work which I am able to produce 
 under any circumstances, — in short to accom- 
 plish the conscious mission of my life, — would 
 mean a matter of ten thousand thalers. 
 
 " If I could command such a sum, I should 
 proceed as follows: 
 
 " Here, in Zurich, where I now chance to be, 
 and where many conditions are far from un- 
 favourable, I should erect a rough theatre of 
 planks and beams, according to my own plans, 
 in a beautiful meadow near the city, and furnish 
 it merely with the scenery and machinery neces- 
 
BAYREUTH FESTIVAL IDEA 5 
 
 sary for ' Siegfried.' Then I would select the 
 best available artists and invite them to come to 
 Zurich. I should go about securing my orchestra 
 in the same way. At the New Year a notifica- 
 tion of the event would' be made through the 
 leading newspapers of Germany to all friends of 
 the musical drama, with an invitation to be pres- 
 ent at the proposed musical Festival; anyone 
 giving due notice and coming to Zurich for the 
 purpose would be assured of admission, gratis of 
 course, as would be all admissions. 
 
 " The invitation would be further extended to 
 the young people of Zurich, the University stu- 
 dents, and members of the various choral unions. 
 
 " When everything was in order, I should give 
 three performances of ' Siegfried ' in the course 
 of a week; after the third, the theatre would be 
 pulled down and the score burned. 
 
 "To those people who had been pleased with 
 the thing, I should say, ' Now let me see you do 
 the same ! ' 
 
 " If, however, they wished to hear something 
 
6 THE BAYREUTH LETTERS 
 
 more from my pen, I should say, ' You furnish 
 the money ! ' 
 
 " Well, do I seem quite mad to you ! It may 
 be, but I assure you that to be able to do this is 
 the end and aim of my life, and the only prospect 
 which could tempt me to commence a new work 
 of art. 
 
 " So now ! get me ten thousand thalers ! That 
 is all I ask of you ! " 
 
 Rather than interfere with the realisation of 
 this as yet visionary plan for a monumental per- 
 formance of the complete work, Franz Liszt 
 magnanimously relinquished his idea of stand- 
 ing sponsor to the " Siegfried " music drama, 
 as he had for " Lohengrin " in 1850, although 
 the first performance of the work had virtually 
 been promised him by a letter written by Wagner 
 in 1852, in which he said: 
 
 " I can only imagine my audience as being 
 composed of friends who have assembled in some 
 place for the purpose of becoming acquainted with 
 my works — preferably, in some beautiful retreat 
 
BAYREUTH FESTIVAL IDEA 7 
 
 far from the smoke and industrial odours of city 
 civilisation; as such a retreat, I should at the 
 most consider Weimar, but certainly no larger 
 city." . . . 
 
 The following prefatory remarks appeared in 
 connection with the first edition of the drama 
 of the " Ring of the Nibelung," which appeared 
 in 1862: 
 
 " With me the chief thing is to imagine such 
 a performance as entirely free from the influence 
 of the repertory system in vogue in our perma- 
 nent theatres. Accordingly, I have in mind one 
 of the smaller German cities, favourably located 
 and adapted to the entertainment of distinguished 
 guests, and particularly a city in which there 
 would be no collision with a larger permanent 
 theatre, and where, consequently, a strictly metro- 
 politan theatrical public with its well-known cus- 
 toms would not present itself. Here a provi- 
 sionary theatre would be erected, as simple as 
 ppssible, perhaps only of wood, and with the in- 
 terior only designed for artistic purposes. I 
 
8 THE BAYREUTH LETTERS 
 
 should confer with an experienced and intelligent 
 architect as to a plan for such a house, with ample 
 theatrical arrangements of the seats, and the de- 
 cided advantage of an invisible orchestra. Here 
 then, in the early spring months, the leading dra- 
 matic singers, chosen from the ensemble of the 
 German opera houses, would be assembled, in 
 order to study the various parts of my stage work, 
 entirely uninterrupted by any other claims upon 
 their artistic activity. 
 
 "On the days appointed for the performance 
 — of which I have in mind three in all — the 
 German public would be invited to be present, as 
 these performances, like those of our large music 
 festivals, are to be made accessible, not only to 
 the partial public of any one city, but to all friends 
 of art, far and near. 
 
 "A complete performance of the dramatic poem 
 in question would take place in midsummer — on 
 a fore-evening ' Das Rheingold,' and on the three 
 following evenings the chief dramas ' Die Wal- 
 kiire,' 'Siegfried,' and ' Gotterdammerung.'" 
 
BAYREUTH FESTIVAL IDEA 9 
 
 After discussing at length, the advantages 
 which would accrue to the artists by " concen- 
 trating all their intellectual powers upon one 
 style and one task," Wagner takes up the ques- 
 tion of the invisible orchestra: 
 
 " To complete the impression of such a per- 
 formance, I should lay great stress upon an in- 
 visible orchestra, which it would be possible to 
 effect by the architectural illusion of an amphi- 
 theatrical arrangement of the auditorium. 
 
 " The importance of this will be clear to anyone 
 who attends our present operatic performances 
 for the purpose of gaining any genuine impres- 
 sion of the dramatic art work, and finds himself 
 made the involuntary witness of the technical 
 evolutions caused by the unavoidable view of the 
 mechanical movements made by the musicians 
 and their leader. These should be as carefully 
 concealed as the wires, roped canvas, and boards 
 of the stage machinery, the sight of which, as 
 everyone knows, creates a most disturbing impres- 
 sion and one calculated to destroy all illusions. 
 
10 THE BAYREUTH LETTERS 
 
 " After having experienced what a pure, ethe- 
 realised tone the orchestra gains by being heard 
 through an acoustic sounding-board which has 
 the effect of eliminating all the indispensable but 
 non-musical sounds which the instrumentalist is 
 obliged to make in producing the tone; and after 
 having realised the advantageous position in 
 which the singer is placed to his listeners, by 
 being able to stand, as it were, directly before 
 them — no one could arrive at other than a 
 favourable conclusion as to the effectiveness of 
 my plan for an acoustic-architectural arrange- 
 ment." ... / 
 
 In all the excferpts it is easy to trace the 
 germinative idea/ of the Bayreuth Festival in its 
 evolution and eventual characteristics. 
 
 There we have a special festival stage, erected 
 far from the noise and bustle of the metropolis, 
 an invisible orchestra, a band of chosen artists, — 
 fully in sympathy with the task intrusted to them, 
 — an audience assembled for the sake of the art 
 work, a summer season, and a biennial repetition. 
 
BAYREUTH FESTIVAL IDEA ii 
 
 Wagner projected these ideas with that fine 
 free breadth which characterises the minti of 
 genius, but the " three full years " which he al- 
 lowed himself for the completion of his heroic 
 musical task — " Ring of the Nibelung " — be- 
 came, in reality, a quarter of a century filled 
 with struggles and disappointments, bafiling to 
 anyone but a reformer fighting for an idea 
 which embodied his " conscious mission in life." 
 
 Having seen how the idea of a special festival 
 for the correct and adequate performance of his 
 tetralogy had become an obsession with Wagner, 
 we are now to follow it through its evolution and 
 ultimate realisation in the so-called " Bayreuth 
 Letters." 
 
 This correspondence, addressed to four of his 
 most faithful henchmen, furnishes a clear and 
 sustained story of the five years preceding the 
 first Bayreuth Festival, told in the authentic 
 words of its creator. ' 
 
 Shortly before his death in Venice (February 
 
12 THE BAYREUTH LETTERS 
 
 13, 1883) Wagner wrote to Friedrich Feustel, 
 one of the loyal fellow workers mentioned above, 
 a few lines which might aptly serve as a motto 
 for this book: 
 
 " When I take a general survey of the attitude 
 of my own age to me during the past ten years, 
 I must confess that the balance of my gratitude 
 falls on the side of the friends I made during 
 that time, and I herewith declare that, next to 
 my family, the dearest of all things to me is 
 Bayreuth." 
 
 In another place he writes: 
 
 " I should have given up the entire undertak- 
 ing had I given up Bayreuth. So far as my 
 great Festival Play has as yet attracted atten- 
 tion, it is inseparably associated with the name 
 of Bayreuth." 
 
 Of the friends whose services are perpetuated 
 in the " Bayreuth Letters," four take a con- 
 spicuous position by reason of their personal ac- 
 tivity in the various preparatory phases of the 
 epoch-making Festival. These four helpers — 
 
BAYREUTH FESTIVAL IDEA 13 
 
 Friedrich Feustel, Theodor Muncker, Emil 
 Heckel, and Carl Brandt — were German to the 
 core, and especially well suited to fight for the 
 realisation of the great German art work of the 
 future. 
 
 Glasenapp has given us admirable pen por- 
 traits of these four men in his " Life of Richard 
 Wagner," and from this I quote in free 
 translation : 
 
 " Feustel was actively occupied with political 
 matters connected both with the German Empire 
 and his own city of Bayreuth, and enjoyed a 
 position of great confidence among his fellow 
 citizens. His sense of justice, his keenness of 
 vision, and his financial instincts, which made 
 him so valuable a citizen, also fitted him excep- 
 tionally for effective work in connection with the 
 great art reformation planned by Wagner. His 
 entire strengthTbusiness ability, untiring energy, 
 and knowledge of worldly affairs were placed at 
 the service of the Bayreuth Idea. . . . 
 
 " He was the propelling personality ; for when 
 
14 THE BAYREUTH LETTERS 
 
 Muncker held back and cautioned economy, Feu- 
 stel pushed aggressively forward. He was not 
 at all disposed to sit with folded hands and await 
 the development of events, but to attack and over- 
 come the obstacles which presented themselves. 
 
 " He was always en route, and could in this 
 way do much for the cause; the manner in 
 which he was given to eliminating space pro- 
 voked Wagner to call him familiarly ' The Fly- 
 ing Dutchman of Bayreuth.' " 
 
 In summing up the characteristics of Theodor 
 Muncker, the burgomaster of Bayreuth, Glase- 
 napp makes use of the following tribute, in which 
 a son does honour to a father's memory: 
 
 "There was certainly much in Wagner's 
 thoughts and work which lay beyond my father's 
 intellectual sphere. He was lacking in the formal 
 philosophical schooling and the scientific knowl- 
 edge necessary for grasping clearly the magni- 
 tude of the individual Wagnerian works. But 
 that which he could not analyse with logical 
 acumen he accepted in a purely naive sense, and 
 
BAYREUTH FESTIVAL IDEA 15 
 
 viewed them in their entirety as they mirrored 
 themselves in the bottom of his soul. With the 
 heart, more than with the head, he comprehended 
 Wagner the artist and philosophic thinker, and 
 the most devoted and reverential love bound him 
 to Wagner the man. He took a personal share 
 in everything that distressed or delighted Wag- 
 ner, and abusive attacks upon the Master and 
 his family aroused his indignation as keenly as 
 if they had been directed against himself. It 
 was for him an absolute and heartfelt necessity 
 to share the work which piled up about Wagner, 
 and to help remove the obstacles which threat- 
 ened to bar his pathway towards the goal." 
 
 Emil Heckel of Mannheim was the founder 
 of the first Wagner Society, and was ever an 
 active outside agitator and organiser. To him 
 was intrusted the chief part of the business 
 connected with the organising and developing of 
 a Society of Patrons, by which it was hoped 
 that the great undertaking could be effectively 
 financed. 
 
i6 THE BAYREUTH LETTERS 
 
 Carl Brandt was the famous stage machinist 
 of Darmstadt, whose task went far beyond that 
 of the specific province of scenic machinery to 
 include everything that had to do with creating 
 a suitable home for the art work of the future. 
 
 Wagner's appreciation of his services found 
 frequent expression. In one of his earlier let- 
 ters to Brandt he writes: 
 
 " You understand perfectly what is at stake, 
 and this you would not be able to do did you 
 not possess the proper imagination and genuine 
 inventiveness." 
 
 And again: 
 
 " Without you no Nibelung, you know that ! " 
 
BAYREUTH 
 May, 1871-May, 1872 
 
 How did Wagner, in the pursuit of his plans 
 for the realisation of his Festival Idea, happen 
 to decide upon the quiet old Bavarian town of 
 Bayreuth ? 
 
 The answer to this question he gives in a letter 
 to Friedrich Feustel: 
 
 " The place must not be a large city with a 
 permanent theatre, nor one of the larger summer 
 resorts, where during the season an absolutely 
 undesirable public would offer itself; it must be 
 centrally located in Germany, and moreover be 
 a Bavarian city, as I also intend to take up my 
 permanent residence in the place, and consider 
 that I could do this only in Bavaria, if I hope 
 to enjoy the continued patronage of the King of 
 Bavaria. Apart from these considerations, this 
 
i8 THE BAYREUTH LETTERS 
 
 pleasant- old city, with its surroundings, made 
 an indelible impression upon me years ago, and 
 the fact that I am an utter stranger to the citi- 
 zens of Bayreuth gives me no cause for alarm." 
 
 In the spring of 1871 he revisited the city un- 
 officially, to confirm the " indelible impressions " 
 of his early youth, and again fell under the charm 
 of the quaint old town nestling among the hills 
 of central Germany and surrounded by the nim- 
 bus of a not uninteresting history. 
 
 It was during this incognito visit that Wagner 
 suddenly fell ill, and the leading physician of the 
 place was called in by the host of the inn " Die 
 Sonne " to see a patient by the name of Richard 
 Wagner. After performing his professional 
 duties the physician entered into a conversation 
 with his patient, during the course of which the 
 identity of the latter was revealed. 
 
 " Who could have dreamed of such a thing 
 and foretold to me yesterday that to-day I was 
 to make the acquaintance of the world-famous 
 master ! " 
 
BAYREUTH 19 
 
 Out of this casual acquaintance, the very first 
 which Wagner had made in Bayreuth, grew a 
 warm personal friendship, and Dr. Carl Land- 
 graf became not only the family physician but 
 the faithful house friend, in whose charge the 
 little family was always left when Wagner and 
 his wife were away on the repeated tours which 
 were to give an impetus to the Bayreuth fund. 
 
 In addition to his professional duties at Wahn- 
 fried, this altruistic man was the unofficial but 
 uncompensated physician of the artistic person- 
 nel of the Festival, and therefore it is quite 
 fitting that the first letter of the "Bayreuth" 
 collection should be addressed to Dr. Carl 
 Landgraf. 
 
 To Dr. Carl Landgraf 
 
 (Leipzig, May 11, 1871.) 
 Most esteemed Sir! 
 
 I am not coming back to Bayreuth this time, 
 as I promised you, and you will not see me again 
 until late in the summer. I make this announce- 
 ment, because I should not like you to consider 
 
20 THE BAYREUTH LETTERS 
 
 me ungrateful. I herewith acknowledge myself 
 as your debtor; your draught did me excellent 
 service. 
 
 As for the rest, it is now decided that my great 
 Stage Festival Play shall take place in the sum- 
 mer of 1873 in Bayreuth, at which time I also 
 intend to take up my permanent residence in 
 your city. In order that you, of whose friendly 
 good-will I am thoroughly convinced, may be in 
 a position to contradict all false reports as to 
 my enterprise, I take pleasure in informing you 
 that while it is true that His Majesty, the King 
 of Bavaria, has granted his permission for such 
 an undertaking, and will give considerable finan- 
 cial support to the same, it will nevertheless re- 
 main my personal affair, and can only be carried 
 to a successful issue by a far-reaching coalition 
 of the friends of my art. Consequently, just as 
 any other person who starts out on an enter- 
 prise, I shall have to create friendly relations 
 with the city authorities of Bayreuth; but I 
 believe I am justified in counting upon their 
 
BAYREUTH 21 
 
 ready co-operation, when the significance and 
 prominence into which the city will thereby be 
 brought is taken into consideration. 
 
 Late in the summer I shall arrange a meeting 
 in Bayreuth, with the necessary competent per- 
 sons, in order to choose and purchase the site 
 upon which to erect my Festival Theatre, work 
 upon which is to be commenced immediately. At 
 the same time I shall decide upon a building site 
 for my own residence, and I should be greatly 
 obliged to you if at your leisure you could assist 
 me in finding something desirable. I had already 
 discussed a pretty piece of meadow-land border- 
 ing on the castle park with the steward of the 
 castle; this lot, however, is entirely lacking in 
 a few old trees. I should be pleased if you could 
 find out something about this for me! In the 
 hope of being able to greet you personally in a 
 few months, I remain, with the greatest esteem, 
 Yours most faithfully, 
 
 Richard Wagner. 
 
 (Lucerne. TriebsGhen.) 
 
22 THE BAYREUTH LETTERS 
 
 To Emil Heckel 
 
 (Lucerne, May 19, 1871.) 
 Honoured Sir! 
 
 Deeply grateful for the kindnesses you have 
 shown me, I welcome, first of all, your decision, 
 which I have just learned, of taking an active 
 part in the realisation of our great undertaking. 
 I recognise fully the value of your decision, and 
 beg you to apply to Herr K(arl) Tausig, 35, 
 Dessauer str : Berlin, for further information in 
 the matter. 
 
 He has assumed the temporary management 
 until a Committee of Patrons can be organised, 
 and will give you exact information as to the 
 manner in which your participation can be made 
 most effective. 
 
 With the kindest greetings, 
 
 Yours sincerely, 
 
 Richard Wagner. 
 
 In April, 1871, Wagner had sent out commu- 
 nication and appeal to the friends of his art 
 
BAYREUTH 23 
 
 " About the Performance of his Stage Festival 
 Play, ' Ring of the Nibelung,' " in which the 
 thoughts contained in the preface to the text of 
 the drama were once more emphasised. 
 
 The first thing was to organise a society of 
 friends and patrons of the great undertaking, 
 and Karl Tausig (BerHn), Emil Heckel (Mann- 
 heim), and Baroness Marie von Schleinitz (now 
 Countess von Wolkenstein) assumed the task of 
 drawing up a plan for a Society of Patrons, and 
 of making the effort to secure the necessary 
 number of subscribers. 
 
 The entire cost of the Festival was estima- 
 ted at three hundred thousand thalers (about 
 $225,000) — a sum which was to be raised by 
 disposing of one thousand certificates of member- 
 ship at three hundred thalers each. The holder 
 of such a certificate was entitled to a place for 
 all the performances, and it was also possible 
 for three persons to participate in one of these 
 certificates. 
 
 Karl Tausig, who was the life and soul of the 
 
24 THE BAYREUTH LETTERS 
 
 project, and who also cherished the idea of or- 
 ganising an orchestra to give special concerts 
 for the cause, and later to form the nucleus of 
 the Festival orchestra, died at the early age of 
 thirty. 
 
 The burden of the work then fell upon Emil 
 Heckel, who also conceived the idea of calling 
 into existence the Wagner Societies, by which 
 persons of unlimited means would be given an 
 opportunity of taking part in the work. 
 
 The first Wagner Society was organised in 
 Mannheim in 1871, the members paying annual 
 dues of five florins, in return for which they 
 received a numbered ticket. Thirty-five of these 
 tickets bought a Patron's Certificate, the posses- 
 sion of which was decided by lot, and the remain- 
 ing thirty-four holders of tickets had to console 
 themselves with the consciousness of having con- 
 tributed to a worthy cause. 
 
 Similar societies were organised in Vienna, 
 Munich, and Leipzig, and by April, 1874, twenty- 
 five cities had leagued themselves together to 
 
BAYREUTH 25 
 
 make possible the Bayreuth enterprise. Not only 
 German but foreign cities rallied to Wagner's 
 support; among them, London, Petersburgh, 
 Brussels, and New York.^ 
 
 To Carl Brandt 
 
 (Lucerne, August 20, 1871.) 
 My dear Co-worker! 
 
 At this moment I have no more direct cause 
 for writing you than the one arising out of the 
 very pleasant remembrance of our last meeting. 
 
 I feel impelled to repeat more clearly upon 
 paper what I said to you verbally when we parted. 
 It is truly a great joy for me to have found you ! 
 A great share of the success of my undertaking 
 is now assured by your co-operation. I was 
 genuinely encouraged to find you so closely ac- 
 quainted with my intentions. You understand 
 perfectly what is at stake, and this you would 
 not be able to do did you not possess the neces- 
 sary imagination and genuine inventiveness re- 
 
 » From Henry T. Finck's "Wagner and his Works," Vol. II. 
 
26 THE BAYREUTH LETTERS 
 
 quired here. Certain directions which you speci- 
 fied to the architect really surprised me ; the ex- 
 tension of the proscenium was an inspiration on 
 your part, which crowns the entire idea of the 
 interior of the theatre. 
 
 As I thought over all this again to-day, it 
 became an absolute necessity to express to you 
 the great confidence you have inspired, as well 
 as my genuine joy at having found you. May 
 you receive this in an equally friendly spirit! 
 
 Within the next few days I expect definite 
 news as to the outside participation in my 
 undertaking. 
 
 In the meantime I have received deputies from 
 the "Wagner Societies," who have reported 
 quite encouraging news. Without doubt every- 
 thing will work out all right, and you also, es- 
 teemed friend, will find your reward in a proper 
 appreciation. 
 
 With cordial greetings, 
 
 Yours sincerely, 
 
 Richard Wagner. 
 
BAYREUTH 27 
 
 To Emil Heckel 
 
 (Lucerne, October i, 1871.) 
 Honoured Sir! 
 
 Pardon the delay in my answer ! I have been 
 occupied of late in a lively correspondence in 
 regard to the most immediate steps necessary for 
 the commencement of my undertaking. This will 
 suffer a decided backset if we are not able to 
 begin the preliminary work on the building of 
 the theatre this autumn. It is very important 
 to ascertain the present amount of the contribu- 
 tions, and to decide accordingly as to whether 
 the necessary contracts can be given to the archi- 
 tects and machinists; if the time which I have 
 set is to be kept, the preliminary work must be 
 begun at once. . . . 
 
 When the circumstances are favourable, I in- 
 tend to meet the architect and the machinist in 
 Bayreuth the end of October, to determine every- 
 thing necessary for the laying of the corner-stone, 
 to which event I intend to invite you, esteemed sir, 
 
28 THE BAYREUTH LETTERS 
 
 as well as the committees of the other societies. 
 In every respect such a meeting (in connection 
 with which I should address a word to the gen- 
 eral public) would be advantageous for the 
 progress of the undertaking, and for this reason 
 I wish very keenly to carry out my plans, even 
 if later delays unavoidably occur, . . . 
 
 With the warmest recognition of your kind, 
 services to me, and with the request that you 
 present my compliments to our valued friends 
 in Mannheim, I remain 
 
 Yours respectfully, 
 
 Richard Wagner. 
 
 To Friedrich Feustel 
 
 (Lucerne, November i, 1871.) 
 Honoured Sir! 
 
 Through my dear nephew, Clement Brock- 
 
 haus of Leipzig, the delightful assurance has 
 
 reached me that you would' meet me half-way if 
 
 I approached you in the not unimportant matter 
 
 which has already been brought to your notice. 
 
BAYREUTH 29 
 
 As to the undertaking itself, I take the liberty 
 of sending you under separate cover a more de- 
 tailed explanation of the same. My reasons for 
 choosing Bayreuth as the place of the execution 
 of my plans will not be difficult to divine (even 
 without the further particulars which I shall re- 
 serve for some future time) from the de- 
 mands which I have made upon the place. . . . 
 [Here follows paragraph already quoted on 
 page 17.] 
 
 With this preface, permit me to make you more 
 familiar with my affairs. 
 
 In the first place, there are various not un- 
 important points upon which I should like 
 information. 
 
 I take it for granted that the city of Bayreuth 
 is in no way to be called upon in collecting the 
 funds for my undertaking. Energetic friends 
 of my cause are already employed in collecting 
 the necessary sums, and I already feel myself 
 justified, by their success, in taking the necessary 
 steps to secure a site for the erection of my 
 
30 THE BAYREUTH LETTERS 
 
 provisionary theatre, the commencement of 
 which, on account of the unfavourableness of 
 the season, must be postponed until next March. 
 I should esteem myself particularly fortunate 
 if, by your kind permission, I could turn to you, 
 highly honoured sir, in the settlement of these 
 important preliminary questions. The first of 
 these is the choice and acquisition of a building 
 site. The chief thing to me seems to be whether 
 the city of Bayreuth, in consideration of the 
 advantages accruing to the city from my under- 
 taking (both as regards her reputation as well 
 as the increased intercourse with strangers), is 
 in a position to promise, or feels herself moved 
 to offer me, free of charge, a piece of ground 
 for the erection of my theatre. I will not say 
 tha;t my undertaking is absolutely dependent 
 upon such support; but it must be clear to any- 
 one that such concessions will tend to establish 
 from the very outset pleasant relations between 
 the city of Bayreuth and my undertaking. In 
 the event that such willingness is shown, there 
 
BAYREUTH 31 
 
 can be no question of a choice of place on my 
 part. . . . 
 
 I have further to mention the chief objection 
 which has been made against Bayreuth on the 
 part of my patrons, and that is their anxiety 
 that sufficient accommodation for the guests can- 
 not be found. It will be necessary to insure sat- 
 isfactory entertainment to a personnel of two 
 hundred persons — in the height of the season. 
 
 As my experience furnishes me with no sug- 
 gestion, I leave this point with you for your 
 kind consideration, and should be very much 
 pleased if you could put me in possession of in- 
 formation which would serve to quiet the anxie- 
 ties of my patrons. It would also be a comfort 
 to me to feel assured that there would be no 
 lack of workmen for the rapid erection of the 
 building, and that we should not find ourselves 
 crippled by a strike. . . . 
 
 I add at once to my report the settlement of 
 another point, namely, that it will devolve upon 
 me, as was signified to me in Munich, to secure 
 
32 THE BAYREUTH LETTERS 
 
 the approval of the city authorities for my entire 
 
 undertaking. 
 
 It would be well to keep in mind the fact that 
 this has nothing to , do with a money-making 
 theatrical enterprise; the performances will be 
 attended only by invited guests and the patrons 
 of the undertaking; no one will be allowed to 
 pay for admission. On the other hand, I have 
 already provided for a sufficient number of seats 
 to be placed at the disposal of the citizens of 
 Bayreuth — these to be distributed free of 
 charge. 
 
 Having, I believe, informed you, highly hon- 
 oured sir, of the chief points, which I felt en- 
 couraged to submit for your kind consideration, 
 advice, and co-operation, permit me to beg the 
 favour of a favourable answer, as well as to 
 assure you of the great esteem with which I 
 have the honour to salute you as 
 Yours most faithfully, 
 
 Richard Wagner. 
 
BAYREUTH 33 
 
 To Emil Heckel 
 
 (Lucerne, November 9, 1871.) 
 Most esteemed Herr Heckel! 
 
 Your suggestion is a most excellent one; if 
 such an alliance could be formed, it would be 
 exactly what I could wish. Just now the strength 
 of the situation lies in the strong individual or- 
 ganisations. It is the individual society which 
 offers at present the most effective support. The 
 Society " Wagneriana " in Berlin recently de- 
 cided to take sixty Patron's Certificates and 
 guarantees the entire orchestra. Vienna prom- 
 ises, at least, to prove herself most generous dur- 
 ing the course of the winter. 
 
 In Leipzig, on the other hand, only three- 
 fourths of a Patrons' Certificate has been re- 
 ported; in Munich — through the Society — 
 nothing has been accomplished, as far as I know. 
 
 It is only in Mannheim that you have proven 
 yourselves active. None the less I realise that 
 only by means of a big universal alliance can 
 
34 THE BAYREUTH LETTERS 
 
 the undertaking be assured in a permanent and 
 successful sense, and therefore I consider your 
 suggestions as particularly worthy of notice. . . . 
 
 In Bayreuth everything is going ahead in the 
 most inspiring manner ; my wishes are being met 
 with great seriousness. I shall take all the neces- 
 sary steps in regard to the building site (which 
 the city presumably will present me) in order 
 that work may begin in March. . . . 
 
 For the present the most important thing 
 seems to be to send out a vigorous and sharply 
 accentuated appeal, according to the plan which 
 you outlined for me. As a result of this, we 
 can then see what has been accomplished by 
 next March, and then an assembling of the com- 
 mittees in Bayreuth (for the corner-stone lay- 
 ing) would have especial significance. 
 
 I hope you are of my opinion, and will have 
 the kindness to impart my ideas to Herr v. Loen, 
 at the same time giving him my cordial greetings. 
 Respectfully yours, 
 
 Richard Wagner. 
 
BAYREUTH 35 
 
 To Emil Heckel 
 
 (Lucerne, November 13, 1871.) 
 Esteemed Sir! 
 
 I return at once your outline, of which I quite 
 approve. May the matter now take its course 
 and the Germans show that they at least under- 
 stand how to bestow the proper attention upon 
 such serious and persistent efforts for an igno- 
 miniously neglected branch of public art, and 
 yet one of such unlimited possibilities as this 
 to which I am devoting my life. It is encour- 
 aging to meet with a man of your stamp, Herr 
 Heckel! 
 
 A great number of copies of the green pam- 
 phlet on the performance of the " Ring of the 
 Nibelung " are at your disposal for the purpose 
 of distribution. If you like, I will send you 
 some. 
 
 In regard to money matters I beg of you to 
 keep in touch with Herr v. Loen. The banker 
 Cohn has also agreed to see that the various 
 
36 THE BAYREUTH LETTERS 
 
 sums are placed at interest until they need to 
 be used. 
 
 With expressions of my esteem, 
 Yours respectfully, 
 
 Richard Wagner. 
 
 To Friedrich Feustel 
 
 (Lucerne, November 23, 1871.) 
 
 Highly esteemed Sir! 
 
 Your capital news was not necessary — how- 
 ever much it delighted me for utilitarian and 
 other reasons — to strengthen me in my care- 
 fully considered intentions. I shall not attempt 
 to deny, however, that it had something of this 
 efifect. You only confirmed the suggesting of 
 my good spirit which brought to my memory, 
 from my far-distant youth, the city of Bayreuth, 
 lying almost unknown and unnoticed in the centre 
 of Germany, when I was looking about for a 
 spot of German soil upon which I could estab- 
 lish a home for myself. 
 
 Now that we have gone so far, offers from 
 
BAYREUTH 37 
 
 other sources are beginning to reach me in re- 
 gard to my undertaking. The City Council of 
 Baden-Baden offers me a building site gratis; 
 Darmstadt also offers to build a theatre accord- 
 ing to my plans and place it at my disposal dur- 
 ing the summer months. I feel convinced that 
 I shall never regret having refused these 
 offers. . . . 
 
 With the most cordial and respectful greet- 
 ings, I remain 
 
 Yours sincerely, 
 
 Richard Wagner. 
 
 To Carl Brandt 
 
 (Lucerne, November 25, 1871.) 
 Tell me, my worthy friend and companion, 
 
 what is the matter with you? You are silent 
 
 and silent, and moreover one hears nothing from 
 
 Berlin about you? 
 
 In the meantime I was obliged to arrive at 
 
 an understanding with Neumann, and it has now 
 
38 THE BAYREUTH LETTERS 
 
 developed that the building cannot be commenced 
 before the end of March next year ; by the way, 
 he was ready to vouch that you could be ready 
 by that time. 
 
 In the meantime Bayreuth has done a great 
 deal — gratuitous building site, etc. Baden also 
 made a similar offer. The telegraph wires were 
 congested in behalf of Darmstadt — in fact, with 
 such marvellous things of all sorts ; which I could 
 only explain to myself by the fact that they pro- 
 posed to make an arrangement with me in order 
 to be able to rebuild their theatre which was 
 burned down (!!) And still you remain silent! 
 
 May your silence not signify that your zeal 
 for my undertaking has grown cold ! . . . With- 
 out you no Nibelung — you must know that! 
 Cordial greetings from 
 
 Yours faithfully, 
 
 Richard Wagner. 
 
BAYREUTH 39 
 
 To Carl Brandt 
 
 (Lucerne, November 27, 1871.) 
 Esteemed Friend! 
 
 In reply to your kind letter just received, I 
 inform you briefly of the following facts. . . . 
 
 I have long since reconciled myself to the post- 
 ponement of our performance until the year 1874, 
 but I do not yet admit it. . . . The Darmstadt 
 reports I could have explained at once, as you 
 did later. I understand and appreciate your 
 ideas perfectly, as well as your excellent inten- 
 tions. And surely I shall soon convince you that 
 even under the most favourable circumstances I 
 can have nothing to do with the Darmstadt the- 
 atre. Here it is a case of either this — or that ! 
 Wholly — or not at all! 
 
 Only one thing I wish to remark: you fright- 
 ened me by the news that you had left the 
 Semper plans with the Grand Duke. Do not 
 forget that these are the property of the King 
 of Bavaria (dearly bought, and only intrusted 
 
40 THE BAYREUTH LETTERS 
 
 to me for the purpose of my enterprise, and to 
 which I consider myself authorised, in the name 
 of the King of Bavaria, for use only in a Bava- 
 rian city). 
 
 As, according to repeated experience, the 
 greatest possible unpleasantness could arise from 
 this, I beg of you, in whatever way seems to 
 you the most advisable, to leave the Semper 
 plans entirely out of the question. Should the 
 Grand Duke find them to his liking, the only 
 thing to do would be to advise him to apply 
 directly to Semper. The latter would then know 
 how far he was at liberty to make use of his 
 own property without trespassing upon the rights 
 of the King of Bavaria. . . . 
 
 With cordial greetings, 
 Yours, 
 
 Richard Wagner. 
 
 The plans to which Wagner here refers were 
 those drawn up by Gottfried Semper, at that 
 time Professor of Architecture at the Polytech- 
 
BAYREUTH 41 
 
 nic Institute in Zurich. King Ludwig's plans 
 for helping his favourite to the realisation of 
 his ideas in regard to a performance of the 
 " Ring of the Nibelung " included the erec- 
 tion of a monumental Festival Theatre on the 
 banks of the Isar, on the site occupied by the 
 Maximilianeum. 
 
 At Wagner's suggestion Semper was sum- 
 moned from Zurich in 1865 for a conference in 
 regard to the projected theatre, which was to 
 cost three and a half millions of guldens. But 
 before Semper's model arrived in Munich, feel- 
 ing against Wagner had reached such a crisis 
 that, in order not to endanger the peace of his 
 land, King Ludwig was obliged to yield to the 
 pressure of Wagner's enemies and beg the com- 
 poser to return to his Swiss exile, providing him, 
 however, with a full year's salary. 
 
 Frustrated in his plans for a Festival Theatre, 
 the order to Semper was countermanded, and all 
 that remains of the high-minded project of King 
 Ludwig is the model which stands in the Na- 
 
42 THE BAYREUTH LETTERS 
 
 tional Museum in Munich, instead of the monu- 
 mental structure which was to crown the heights 
 overlooking the city. 
 
 To Friedrich Feustel 
 
 (Munich, December 12, 1871.) 
 Esteemed Sir! 
 
 I beg your indulgence when I inform you 
 that I intend leaving here to-morrow evening 
 (Wednesday) and expect to arrive in Bayreuth 
 on the early train. To this information I add 
 the request that you will exert all your influence 
 in making it possible to settle all the necessary 
 business in connection with the great enterprise 
 to which you have pledged your active co-opera- 
 tion during the time between Thursday and Sat- 
 urday noon. For unfortunately my time is very 
 much occupied. Thursday I expect to receive 
 Building Inspector Neumann of Berlin, as well 
 as the Master Machinist Carl Brandt of 
 Darmstadt. 
 
 The first thing to be looked after will be the 
 
BAYREUTH 43 
 
 building site for the theatre, as well as the neces- 
 sary decisions in regard to the same which are 
 to be arranged with the worthy council of the 
 city magistrates. The choice of a situation for 
 my own residence lies also very near my heart. 
 A conference with the Court Architect Wolffel, 
 and also the Berlin architect, in regard to the 
 contracts, and the possibility of the adjustment 
 of the question with which I was obliged to 
 trouble you in regard to the accommodations of 
 our future guests, will form the close of our 
 discussion. . . . 
 
 In agreeable anticipation of making your 
 valued personal acquaintance, I am 
 Yours respectfully, 
 
 Richard Wagner. 
 
 To Carl Brandt 
 
 (Lucerne, December 26, 1871.) 
 My dear Friend! 
 
 Accept my sincere thanks for your faithful- 
 ness in coming and amiability of endurance! It 
 
44 THE BAYREUTH LETTERS 
 
 was delightful, and I shall never forget (nor 
 will anyone of the others) how in the depth of 
 winter we sought out the ground for the art 
 work of the " future." Surely it was well chosen, 
 and we three confederates will not conduct our- 
 selves badly on this new Griitli. . . . Now, my 
 dear sir, I hope you have gotten rid of 
 your " Melancolie " and think actively of our 
 work. 
 
 Do not hesitate to give any necessary order; 
 send me all of your contracts to be signed, and 
 Feustel will be immediately instructed and em- 
 powered to make the corresponding payments. 
 
 For the rest, everything remains according to 
 our recent agreement. Everything which time 
 and circumstances will permit will be got in 
 readiness; in May we shall meet again, and I 
 hope by that time to have the co-operation of 
 a few competent painters for the production of 
 the scenic sketches. 
 
 Sympathy for my undertaking has made such 
 significant progress that there is no longer any 
 
BAYREUTH 45 
 
 doubt as to the sure and certain accomplishment 
 of the same. 
 
 With the most friendly greetings, 
 Yours faithfully, 
 
 Richard Wagner. 
 
 The allusion here to the " new Griitli " refers 
 to a scene in Schiller's drama of " Wilhelm Tell," 
 when the three confederates, Werner Stauf- 
 f acher, Walter Fiirst, and Arnold von Melchtal, 
 from the three Swiss cantons of Ury, Schweiz, 
 and Unterwalden, met at a lonely spot on the 
 banks of Lake Lucerne and bound themselves 
 by an oath to deliver their countrymen from the 
 oppression of the Austrian yoke. This impres- 
 sive scene has been immortalised in a fresco on 
 the walls of the little Tell, chapel, which attracts 
 its large quota of tourists each season. 
 
 Equally solemn and significant seemed to 
 Wagner the confederacy into which he had en- 
 tered with his associates, Neumann the Berlin 
 architect and Carl Brandt the stage machinist. 
 
46 THE BAYREUTH LETERS 
 
 for the realisation of a plan which was to eman- 
 cipate German art. 
 
 To MUNCKER AND FeUSTEL 
 
 (Lucerne, December 26, 1871.) 
 My esteemed Sirs! 
 
 The decision of the two Councils of the city 
 of Bayreuth — by the terms of which the ground 
 necessary for the building of a Festival Theatre, 
 together with the roads and grounds belonging 
 thereto, on the chosen location in the vicinity 
 of St. George, are placed at my disposal free of 
 charge — contains for me a cause for especial 
 gratitude, which I beg of you to express most 
 cordially, in my name, to the highly esteemed 
 gentlemen of both Councils. 
 
 Although my most sanguine expectations led 
 me to hope for nothing more than a friendly 
 reception, which would enable me to choose Bay- 
 reuth as the long-sought location for my Fes- 
 tival performance, I now confess with great sat- 
 isfaction, that my joy at the fulfilment of my 
 
BAYREUTH 47 
 
 wishes has been increased in great measure by 
 the hospitable attitude expressed by this decision. 
 
 During the successful progress of my under- 
 taking I hope it will be possible to convince you 
 what significance I permit myself to attach to 
 the fact that my idea in regard to a remodelling 
 of the German art organism is to be concentrated 
 for its realisation in a definite local scheme, 
 which local scheme will serve as a model for 
 performances elsewhere. 
 
 That to the considerations which influence me 
 in my choice of Bayreuth is now to be added 
 the very encouraging and hospitable advances of 
 the magistrates of this city, gives me the most 
 confident security in the ultimate realisation of 
 my hopes and wishes. 
 
 Again begging you, most esteemed sirs, to 
 convey the cordial expression of my gratitude 
 to the members of both Councils of the city of 
 Bayreuth, and with the hope of seeing you soon 
 again, I am 
 
 Yours very faithfully, 
 
 Richard Wagner. 
 
48 THE BAYREUTH LETTERS 
 
 On December 15, 1871, the city magistrates 
 formally placed at Wagner's disposal a piece of 
 ground in the Stiickberg for his Festival Theatre, 
 and promised in addition that several acres of 
 ground should be laid out as a park. But at the 
 last moment one of the owners of this piece of 
 property withdrew his consent, and the City 
 Council had to look about for a new location. 
 
 This they found on the heights to the south 
 of the city, where the present provisionary the- 
 atre now stands, the enforced exchange proving 
 eventually to be more advantageous. 
 
 To Friedrich Feustel 
 
 (Lucerne, December 31, 1871. 
 New Year's Eve.) 
 
 Esteemed Sir and valued Friend! 
 
 With deep emotion I received your card to-day. 
 At the time I sent off my — in a certain measure 
 — official document, I had already determined 
 to employ the first leisure hour in recalling my- 
 self again personally to your memory. 
 
BAYREUTH 49 
 
 As I have recognized from the first, esteemed 
 friend, you are, of a truth, of particular sig- 
 nificance in my future, in fact in my Hfe plans. 
 
 I need a friend of your stamp. 
 
 Your great simplicity at once allowed me a 
 glimpse into the energetic traits of your char- 
 acter. I can fully rely not only on your open- 
 heartedness but also on your keen intelligence. 
 
 With this in mind, I shall retain in the future 
 your proffered hand. . . . 
 
 Since our great cause has now taken such a 
 favourable turn, I have but little more to tell 
 you in regard to it. The most important thing 
 is that I have taken the necessary measures by 
 which the payment of the present contracts will 
 be made possible by the conveyance of the funds 
 now held by Herr v. Loen. I am further 
 considering how the entire management of the 
 business can best be transferred to Bayreuth 
 after the first of May. 
 
 Here my energetic co-operation must be 
 counted upon, as otherwise a central point 
 
50 THE BAYREUTH LETTERS 
 
 would be hard to find, and therefore my con- 
 sent hitherto withheld in calm expectation (of 
 this time) has recently been given. 
 
 I expect therefore that an executive committee 
 will be formed here in Bayreuth, which will be 
 empowered by the delegates from the Society of 
 Patrons — at the time of the corner-stone lay- 
 ing in May — to assume control of the entire 
 enterprise. 
 
 For this reason I regard it as necessary that 
 I should not be away from Bayreuth for any 
 length of time, and should now take up my per- 
 manent residence there. 
 
 Your friendly aid is indispensable in regard 
 to this important point. 
 
 You know that I shall not be able to take 
 possession of my house until the autumn of 
 1873. What shall I do in order that I and my 
 family shall not be too seriously incommoded 
 during this interval? This is the question in 
 the solution of which I turn to you. It will 
 certainly be difficult to find suitable accommo- 
 
BAYREUTH 51 
 
 dation in the city of Bayreuth itself, and it would 
 be impossible for me to confine my numerous 
 little family in a small house with a restricted 
 city garden after the wide and delightful free- 
 dom which they have enjoyed here. 
 
 I have in mind' one of those large earlier es- 
 tates of the nobility, pointed out to me as 
 " castles," with large gardens, in fact, " parks," 
 one or two hours distant from the city, which 
 were offered me as a permanent residence. As 
 such I immediately refused them — as permanent 
 I mean — because I wished to settle in the im- 
 mediate vicinity of the city. . . . 
 
 The point now is to secure something desir- 
 able and rent it for a year and a half. I shall 
 have to learn to adapt myself to the distance 
 during this time, and shall have to make some 
 arrangement about a horse and carriage until 
 I am permanently settled. 
 
 As you were kind enough to promise me your 
 friendly aid in regard to my personal needs also, 
 I, first of all, beg your assistance in this point. 
 
52 THE BAYREUTH LETTERS 
 
 How it would delight me if you could hold 
 out an encouraging prospect to me! I should 
 set about looking for a temporary residence in 
 Dresden with great reluctance, but, on the other 
 hand, should nothing offer itself in Bayreuth, I 
 should be obliged to do so, as I must leave my 
 present asylum (although I have possession of 
 it until October, 1873) in order to be as near 
 the centre of Germany next spring as is made 
 imperative by the importance of my affairs. 
 
 You certainly understand this perfectly, and 
 I have nothing to repeat, as I am filled with the 
 greatest confidence in you, and with this feeling 
 beg you to accept the most cordial greetings 
 from me and my dear wife and also to remem- 
 ber us kindly to your dear ones. 
 
 With true esteem. 
 
 Yours most faithfully, 
 
 Richard Wagner. 
 
 At this time Wagner was still living at Villa 
 Triebschen near Lucerne, a spot which had 
 
BAYREUTH 53 
 
 proven a " blessed asylum " for him when polit- 
 ical animosity had forced him to leave Munich 
 and his royal benefactor. 
 
 This Triebschen period is full of significance, 
 as it was here that " Die Meistersinger " was 
 written, and the music drama of " Siegfried " 
 was completed after a decade and a half of 
 disheartening interruption. 
 
 It was during the Triebschen days that the 
 obstacles were removed which made it possible 
 for Wagner to unite himself with Cosima von 
 Biilow, the daughter of Franz Liszt and the 
 Countess D'Agoult, and the wife of Hans von 
 Biilow at the time that she came into Wagner's 
 life. 
 
 Here Siegfried Wagner was born, and it was 
 this long-wished event, the birth of a son, which 
 gave to the musical world the beautiful Sieg- 
 fried Idyll. 
 
 Under Wagner's direction the work was per- 
 formed by a little company of musicians and 
 friends on the steps of the Triebschen Villa, and 
 
54 THE BAYREUTH LETTERS 
 
 Frau Wagner was overcome by the unexpected 
 serenade. 
 
 Thus there is a close link connecting Trieb- 
 schen and Bayreuth, and it is not too much to 
 say that the calm and quiet of the Triebschen 
 period gave the direct impulse to the Bayreuth 
 Idea. 
 
 To Emil Heckel 
 
 (Lucerne, January 3, 1872.) 
 To the Five Just Men, Salutations and Blessings!^ 
 
 Allow me to thank you, my esteemed friend, 
 for your faithful zeal! . . . 
 
 I should like to learn something of the general 
 condition of our affairs. I am building away 
 here in Bayreuth without knowing but that in 
 the end we shall be left in the lurch. In May 
 all of you must make up your minds to establish 
 the general treasury in Bayreuth, with my excel- 
 lent friend, the banker Feustel. I now see that 
 
 ' This was the playful way in which Wagner characterised the 
 five men who composed the Executive Committee of the Mannheim 
 Wagner Society: Emil Heckel, Dr. Zeroni, Ferdinand Lange, 
 HSnlein, and Koch. 
 
BAYREUTH 55 
 
 I must begin to have a word to say, in order to 
 give the undertaking a focussing point. 
 
 I beHeve the " just men " will support me ! . . . 
 As for the rest, I place all sorts of pleasant 
 anticipation in the German national spirit, upon 
 which I am so dependent! . . . 
 
 That which gives me pleasure is a man of your 
 sort, valued friend; you know what — and why? 
 
 A thousand thanks for all the friendly tokens 
 of your kindness and love; I have taken cog- 
 nisance of them with great emotion! 
 
 Again cordial greetings from 
 Yours faithfully, 
 
 Richard Wagner. 
 (Former favourite of the European Court.) 
 
 To Friedrich Feustel 
 
 (Lucerne, February 7, 1872.) 
 My esteemed dear Friend! 
 
 You are the last person to whom I am writing 
 since my return; for two days I have done 
 nothing but write letters, and have only got 
 
56 THE BAYREUTH LETTERS 
 
 round to you late in the evening; so it is with 
 friendship! The friend comes last, because we 
 know with certainty that it is he alone who has 
 patience and forbearance. 
 
 We expect in a few days a report as to the 
 success of the Vienna Society, that the favour- 
 able news may be used in lending interest to 
 the corner-stone laying — an interest which I 
 intend to increase by an extraordinary musical 
 performance for which I have already taken the 
 preparatory steps. 
 
 Under all circumstances my goal remains the 
 same, and the certainty of reaching it is guar- 
 anteed by my move to Bayreuth. . . . That, 
 however, which fills me deeply with courage and 
 composure is the fact that I have gained you, 
 my friend! Had I not encountered you on my 
 way to the goal — you, and the characteristics 
 and intellectual traits which you possess — I 
 should possibly have recoiled before the difficul- 
 ties, and relinquished the idea of absolving my 
 task. And yet there is one thing which stands 
 
BAYREUTH 57 
 
 above all others, and that is the depth of my 
 artistic conviction as it manifests itself in the 
 consciousness of my mission. That now, on the 
 rough pathway mapped out for me by this mis- 
 sion, I find you, my friend, — and moreover, as 
 you are, who you are, and where you are, — I 
 recognise as the fulfilment of a profound decree 
 of fate, and you will have to accept the position 
 and consent to be regarded by me as "endse- 
 monic"! . . . Some patience will be necessary, 
 but above all things you must have faith and 
 courage. We must wait and see what the next 
 few weeks bring. . . . 
 
 In the meantime the entire Triebschen sends 
 greetings to the dear Feustel house in Bay- 
 reuth! . . . 
 
 Farewell, dear friend! I am happy when I 
 even think of you. Greetings to all friends, 
 above all, your dear ones, and be assured of my 
 genuine gratitude for your friendship. 
 
 Yours, 
 
 Richard Wagner. 
 
S8, THE BAYREUTH LETTERS 
 
 To Burgomaster Theodor Muncker 
 
 (Lucerne, February lo, 1872.) 
 Dear and valued Friend I 
 
 As you were kind enough to assume the tem- 
 porary planting of my newly acquired building 
 lot, and as there is no more time to be lost, I 
 take the liberty of availing myself of your kind- 
 ness, and disclosing to you my most casual plans 
 in regard to the same. 
 
 I have indicated the desired position of my 
 house on the accompanying photograph, and also 
 a rough sketch of the division of the lot. A road 
 will leaid from the street to the court, which 
 would best be an allee of chestnut trees. On 
 either side of the allee are to be fruit and vege- 
 table gardens, shut off by a hedge, the outer 
 boundaries, however, to be planted with shrub- 
 bery and groups of pine trees in the corners. 
 
 Between the house and the castle park we shall 
 lay out the real decorative garden. First of all, 
 there will be a big round lawn in the middle 
 
BAYREUTH S9 
 
 which later can be intersected by flower-beds; 
 in this space noble trees, such as plantains, 
 catalfa, etc., must be properly distributed. Here, 
 again, the side toward the castle park demands 
 much close shrubbery, with trees of various 
 species and, in the corners, pine and fir trees. 
 
 On account of the season the most important 
 thing is to see that a goodly number of trees 
 and shrubs are planted in the manner indicated, 
 and that too much, rather than too little, shall 
 be expended upon it. 
 
 A clever gardener, whom you, dear friend, 
 would choose for me, could possibly work out 
 a tentative plan for the laying out of the entire 
 piece of ground according to the appended ap- 
 proximate specifications; I should then be able 
 from here to indicate my wishes more exactly, and 
 in this way a beginning would have been made. 
 
 I feel sure that this cannot be entrusted to 
 anyone more competent than yourself, in con- 
 jundtion with our excellent friend Feustel. I 
 expect the definite plans for my house any day; 
 
6o THE BAYREUTH LETTERS 
 
 according to all promises made to me, they must 
 soon be here, and even before the end of the 
 month everything for further settlement shall 
 be in your hands. 
 
 May God grant that our great undertaking 
 may also soon come into an encouraging chan- 
 nel; I am of good courage, because I know that 
 for the greater part it rests in the hands of my 
 Bayreuth friends! My dear wife and I think 
 with great satisfaction on the fact that we shall 
 soon belong entirely to you; remain kindly dis- 
 posed toward me! 
 
 With the most cordial greetings — also to our 
 dear friend Feustel — I remain. 
 
 Your grateful and faithful, 
 
 Richard Wagner. 
 
 To Emil Meckel 
 
 (Lucerne, February i6, 1872.) 
 Dear just Man! 
 
 Please accept my belated thanks for your Bay- 
 reuth visit as well as your report of your recent 
 
BAYREUTH 6i 
 
 Berlin adventure! And in order to come at 
 once to the gravest point in connection with 
 the latter, I beg of you to say that under no 
 circumstances will I give my consent to this pro- 
 jected lottery. 
 
 There can really be nothing more humiliating 
 than the position into which I have been forced 
 by exaggerated reports as to the significance 
 of a " Wagneriana " in Berlin, and by being 
 thus made to believe that I could accept such 
 assistance which, of a certainty, would drive me 
 on to the shoals. 
 
 If anyone should offer me two hundred thou- 
 sand thalers toward the realisation of my idea, 
 I should be profoundly grateful to such a per- 
 son; on the other hand, to ask of me the au- 
 thorisation for a lottery seems to be simply a 
 swindle which cannot be too firmly repulsed. . . . 
 
 It seems also premature to me, valued friend, 
 to issue a proclamation in regard to a society 
 the aim of which is placed far beyond the goal 
 which lies nearest and yet is so difficult to reach, 
 
62 THE BAYREUTH LETTERS 
 
 namely, the first performance of my Festival 
 Play. Every possible effort will be necessary to 
 ensure the attainment of this goal; I shall ac- 
 complish it if I am patiently supported; my 
 chief anxiety on this point is directed towards 
 my dependence upon the King of Bavaria. 
 
 I am already recruiting for the Ninth Sym- 
 phony, and expect definite news soon in regard 
 to the instrumentalists. 
 
 If the laying of the corner-stone goes off ac- 
 cording to my programme, I hope for much as- 
 sistance from the impression it makes. 
 
 Cordial greetings for your colleagues, the just 
 men. Hoping to see you soon in Bayreuth! 
 Yours most devotedly, 
 
 Richard Wagner. 
 
 To Friedrich Feustel 
 
 (Lucerne, February 25, 1872.) 
 My dear Friend! 
 
 I cannot tell you how sorry I am to be obliged 
 
 to turn over my business to you in such a con- 
 
BAYREUTH 63 
 
 fused condition! But nothing would be gained 
 by giving way to such feelings. Upon closer 
 inspection there is only a bad stage to be passed 
 through into which we have temporarily been 
 thrown by neglect in a matter in itself full of 
 hope and promise. If things take a good course, 
 we shall have only good results from this pre- 
 vious neglect, that is, if they are now managed 
 cleverly and wisely ! This is my consolation and 
 encouragement ! 
 
 The chief thing now is the favourable outcome 
 of my project for May 22. I did not wish to 
 make anything public until I had secured the 
 consent of my musicians and singers. Accord- 
 ing to the latest information which has reached 
 me the success of the undertaking is beyond all 
 doubt. Everywhere my invitation has been re- 
 ceived with enthusiasm, and the acceptance of 
 the best musicians of the leading German or- 
 chestras reach me in almost overwhelming num- 
 bers. And no less on the part of the singers. 
 Therefore I can now give you authority to enter 
 
64 THE BAYREUTH LETTERS 
 
 into an agreement for the work on the orchestra 
 pit. ... I am to receive the plans for my house 
 this week. In the meantime I thank you heartily 
 for your trouble about the garden plot. Yes, my 
 Bayreuth friends, that is the right stamp! I 
 had indeed a prophetic feeling! 
 
 I look on quietly and modestly at your arrange- 
 ments concerning the commencement of work on 
 the theatre. Without doubt the chief thing is 
 to save the situation by putting as bold a face 
 on the matter as possible. 
 
 For the rest, I breathe freely at the thought 
 of not seeing the enormous undertaking hur- 
 ried through with, particularly from an artistic 
 standpoint. . . . 
 
 Our children are already romancing about 
 Bayreuth; it is difficult for us to endure it here 
 so long, so far from our new friends. 
 
 My blessings upon you and sincerest greetings ! 
 Yours, 
 
 Richard Wagner. 
 
BAYREUTH 65 
 
 The ceremonies in connection with the corner- 
 stone laying of the new theatre were to close 
 with a Festival Concert, of which the outstanding 
 feature was to be Beethoven's Ninth Symphony. 
 
 It was to take place in the old Margravian 
 Theatre, the orchestral pit of which had to be 
 enlarged to accommodate the large number of 
 musicians who had volunteered their services 
 for this great musical event. 
 
 To Burgomaster Theodor Muncker 
 
 (LtrCEENE, March 26, 1872.) 
 
 My excellent Friend! 
 
 ... I must address myself especially to you, 
 in order to prepare you for the anxieties which 
 you will necessarily encounter so long as you 
 remain favourably disposed toward my great un- 
 dertaking, as it has now become our mutual care. 
 
 So many obstacles have arisen that I consider 
 it all the more important that we hold to our 
 Preliminary Festival on May 22, which, assum- 
 ing the issue to be for certain a favourable one. 
 
66 THE BAYREUTH LETTERS 
 
 will bring with it a more vigorous impulse to 
 our great undertaking. 
 
 My invitation, which was presented to you for 
 signature, will have informed you that every- 
 thing is already in the most flourishing condi- 
 tion. In fact, my appeal has been met far be- 
 yond my expectations, for we have to provide 
 for four hundred instead of three hundred musi- 
 cal guests. 
 
 In addition to the increased demands upon 
 Bayreuth hospitality, the following difficulty in 
 regard to our further arrangements grows out 
 of this interest. The space in our opera house 
 will need to contain one hundred more singers 
 and proportionately one hundred more hosts. . . . 
 
 We must see how many acceptances come in 
 from our patrons and friends as the result of 
 our invitation; as only one symphony is to be 
 performed this time, I shall quite understand if 
 these notifications do not prove to be many. Pre- 
 sumably, therefore, the auditorium will prove 
 adequate, in spite of the fact that we are to 
 
BAYREUTH 67 
 
 place four hundred free seats at the disposal of 
 our Bayreuth hosts. 
 
 But now comes a bad piece of business, dear 
 friend, in which I must be able to count on your 
 friendly assistance. I shall have to leave en- 
 tirely to you the appeal to the Bayreuth citizens 
 who are willing to offer hospitality to the musi- 
 cians and singers for three days, although I 
 naturally place my name entirely at your disposal 
 and pleasure. 
 
 I intend to instruct all of my scattered musi- 
 cians and singers to send in their names and 
 addresses to you personally. . . . We will have 
 four hundred invitation forms printed, to which 
 will be added the address of the respective Bay- 
 reuth hosts. These invitation forms will then 
 be sent to the various organizations or (in cer- 
 tain cases) to the individual guests in due time, 
 so that each guest will know who his entertainer 
 is to be when he arrives in Bayreuth. More 
 definite instruction for this you will receive from 
 me in good time. 
 
68 THE BAYREUTH LETTERS 
 
 Finally, I confess to you, my dear friend, that 
 my present residence is becoming more and more 
 a distressing matter to me, particularly as I see 
 how necessary it is that I should not be so far 
 from the centre of Germany. 
 
 The interruptions which I regret are often the 
 result of dilatoriness, against which I shall be 
 obliged to take energetic measures. My Berlin 
 friend, the architect Neumann, gives me very 
 little comfort; everything is dragging vexa- 
 tiously; his plans and drawings for my house 
 have turned out beautifully, but what a time 
 elapses before they are handed over to my Bay- 
 reuth friends and agents for execution! This 
 must be done at once. Then — your troubles 
 begin again! 
 
 But you do it gladly; I have noticed this, 
 dear friend, with pleasure. So I remain of good 
 courage, and send you greetings from a grate- 
 ful heart. 
 
 Your deeply devoted 
 
 Richard Wagner. 
 
BAYREUTH 69 
 
 . To Feustel and Muncker 
 
 (Lucerne, April 7, 1872.) 
 To my dear and highly esteemed Friends, Messrs. 
 Feustel and Muncker! 
 
 You must permit me to write to you mutually, 
 for you are, as I know, one heart and one soul 
 in my cause, and it would therefore be difficult 
 to decide what, of all I have to impart, should 
 be said to either one separately! 
 
 Moreover, it is unnecessary to impress upon 
 you to what a great degree your kind letter re- 
 freshed and strengthened me. 
 
 For a long time I have cherished the wish — 
 greater even than for the success of my artistic 
 activity — to have a quiet home, in which I 
 should be able to strengthen my overtaxed men- 
 tal powers by getting out of harness; and I 
 have wished this all the more of late years, since 
 the noble blessing of an incomparably happy 
 family life has been granted me. 
 
 This wish, more than anything else, influenced 
 
70 THE BAYREUTH LETTERS 
 
 me in my choice of your dear city of Bayreuth, 
 and since I have known you, my dear friends, 
 and through you gained an insight into the 
 friendly attitude of your city toward me, the 
 consideration of settling in your midst has really 
 outweighed the success of my unusual artistic 
 undertaking. 
 
 This I have given the King of Bavaria to 
 understand unconditionally; and this I had a 
 right to do, as one of the first assurances which 
 I received from him was in connection with this 
 one point, that I was to be raised above all the 
 cares of life and be allowed to pursue uninter- 
 ruptedly my artistic activity. . . . 
 
 Although I have learned that the King has 
 finally become reconciled to the state of things, 
 I still deem it advisable to renounce his help in 
 my proposed move to Bayreuth, if I cling firmly 
 to my plans and wishes. 
 
 I have so expressed myself recently to the 
 Court Councillor Diifflipp, and shall remain firm 
 in refusing the support of the King in my re- 
 
BAYREUTH 71 
 
 moval to Bayreuth, as a result of which you, 
 dear Herr Feustel, will be requested eventually 
 to dispose of the building lot which was bought 
 at the expense of the Royal Treasury. 
 
 I confess that I almost felt myself moved, by 
 this failure of my most ardent wish, to renounce 
 definitely all my plans concerning Bayreuth. 
 But your two splendid letters have thoroughly 
 changed my views. Let us, then, remain firm! 
 The work must flourish, even should its creator 
 be left to his former anxiety! Even without a 
 building lot, you will probably accept me as one 
 of your citizens. . . . We were moved to tears 
 to learn of the care which you, dear Herr 
 Muncker, had bestowed upon the planting 
 and laying out of the lot intended for me. 
 Accept my thanks, as if it were really for 
 me! 
 
 From your intimations, dear Herr Feustel, am 
 I to recognise that your efforts in regard to our 
 great undertaking are being crowned with en- 
 couraging success ? May I not be deceiving my- 
 
72 THE BAYREUTH LETTERS 
 
 self? You will encounter much indolence and 
 unreliability, but presumably it will be the same 
 with you as with me, namely, you will not re- 
 linquish your faith that finally — finally it must 
 and will come to something with us good 
 Germans ! 
 
 Neumann is terrible ! Yesterday, after receiv- 
 ing your letter, I telegraphed him categorically, 
 and hope that it may have some effect. He is 
 just a thoughtless Berliner! Of quite another 
 sort is Brandt of Darmstadt! He has, in fact, 
 the most thorough understanding of the entire 
 matter, and how much I wish that we had also 
 left the choice of an architect to him! Possibly 
 we shall be obliged to call upon him, after all. 
 Have the kindness to telegraph me immediately 
 as to how N. has conducted himself, in order 
 that we may accordingly adopt other measures. 
 I fear that he has engrossed himself with 
 plans for " my " house, which I should deplore 
 very much, as the work, for a long time at least, 
 has become unnecessary! In this connection I 
 
BAYREUTH 73 
 
 am reminded of my former plans, and in regard 
 to them must beg of you to cancel my agree- 
 ment with the host of the inn at the " Fantaisie," 
 for which there is probably still plenty of time. 
 My immediate move would have had for an ob- 
 ject my proximity, when necessary, to my per- 
 manent home (now given up), as well as having 
 furnished me with a closer point of contact for 
 my labours in connection with the future Festival 
 Play. As regards the latter, we are now agreed 
 that we cannot be ready by next year, and ac- 
 cordingly dare not hold out a prospect of such 
 a thing before 1874. On this point I intend to 
 come to an understanding with my patrons on 
 May 22 in Bayreuth. 
 
 I have now, as a simple private citizen, to take 
 into consideration my peculiar circumstances, 
 and find that a summer residence in the " Fan- 
 taisie " would tax me too heavily, as I still have 
 to pay very high rent here for a year. How- 
 ever, I am willing to modify my decision as soon 
 as you, my dear friend, consider my further 
 
74 THE BAYREUTH LETTERS 
 
 absence from Bayreuth as injurious to our 
 undertaking. 
 
 In regard to our Festival performance of the 
 big Beethoven Symphony, I have hit upon a very 
 simple expedient for the placing of my big body 
 of singers, namely, all the singers, for whom 
 room cannot be found on the stage, will be placed 
 in the front rows of the parquet. In fact, this 
 idea corresponds exactly and in the most per- 
 fect manner to my most ideal demands, accord- 
 ing to which the public (just as the congrega- 
 tion in the church) shall join in the singing. 
 
 The question to be considered is that of pro- 
 viding for the " entertainers," in whose interests 
 I should therefore like to suggest that all those 
 who would prefer compensation in money rather 
 than by a temporary art pleasure should be paid 
 off in this way. 
 
 On the whole, I should like to have the entire 
 parquet and stage reserved for us crazy musi- 
 cians and singers, and relegate the listeners to 
 the boxes and the balconies. 
 
BAYREUTH 75 
 
 The question is now how many acceptances 
 will come in from the patrons and friends. For 
 that reason I regret the misunderstanding which 
 led you to believe that I did not wish the invi- 
 tation to be made public until April 15. I should 
 like the announcement to be made at once! So 
 much sooner we shall be clear as to whether 
 many or, as may be easily imagined, only 
 a moderate number of acceptances will be 
 received. 
 
 More soon in regard to everything else! For 
 to-day only the most friendly greetings from the 
 depths of my soul and that of my dear wife, to 
 you and yours! 
 
 Yours most faithfully, 
 
 Richard Wagner. 
 
 The King had still secretly cherished the hope 
 that a way would be opened by which he could 
 recall his favourite to Munich. But intriguers 
 were busy sowing seeds of doubt in order to 
 create a breach between the two friends, and 
 
76 THE BAYREUTH LETTERS 
 
 even though Wagner felt that the King would 
 eventually be reconciled to the course of events, 
 a natural feeling of pride prevented him from 
 accepting aid from his royal friend in building 
 a house and establishing his own menage in Bay- 
 reuth. It was this feeling which led him to 
 refuse the proffered gift of a building site. 
 
 To Friedrich Feustel 
 
 (Lucerne, April lo, 1872.) 
 My dear Friend! 
 
 Only two words in answer to your kind lines 
 received this morning. . . . Now to serious 
 matters ! 
 
 I have no further news from Brandt. Of his 
 competency I have not the slightest doubt; I 
 should like to see him as the real director of the 
 artistic management of the building also, for 
 he it is who, apart from myself, possesses a real 
 understanding of the matter. I am very anxious 
 to see now if he will answer my invitation and 
 put in his appearance. His demands are high, 
 
BAYREUTH 77 
 
 and yet I know enough to judge that he has 
 the strange, difficult, and complicated task. If, 
 at my first estimate, I calculated the provi- 
 sionary building at a hundred thousand thalers, 
 I allowed him also another hundred thousand for 
 machinery and decorations. We can, in any case, 
 abide by his estimates, as the decorations, as 
 such, are calculated unnecessarily high at fifty 
 thousand thalers. 
 
 If I reserve now the third one hundred thou- 
 sand for orchestra and singers — which eventu- 
 ally will not cost so much — I shall still have a 
 reserve fund for deficits. in the building or other 
 parts of the work. It is important now that we 
 limit the building in order that here, at least 
 approximately, we keep within the one hundred 
 thousand thalers ; this can be done less by limit- 
 ing the dimensions, than by reducing any un- 
 necessary solidity, as it is, after all, only planned 
 to be a provisionary structure. 
 
 These are my views which I offer for friendly 
 consideration at the renewed deliberations on 
 
78 THE BAYREUTH LETTERS 
 
 this subject, which will undoubtedly be caused 
 by the arrival of Brandt. . , . 
 
 Cordial greetings from myself and my wife, 
 who entertains the greatest respect for you. 
 Yours faithfully, 
 
 Richard Wagner. 
 
 To Feustel and Muncker 
 
 (LccERNE, April, 1872.) 
 Highly honoured Sirs and Friends! 
 
 With many thanks I return to you the three 
 plans made by Herr Franck. As in the mean- 
 time I have already informed you of my wishes 
 in regard to the placing of my musicians and 
 singers, you may now regard the matter as set- 
 tled. I however insist that nothing shall be 
 changed in the first plan, upon which Herr 
 Franck and I agreed in Bayreuth, as I regard 
 it as entirely appropriate to the character of the 
 performance that a part of the singers should 
 be placed in the stalls. I have quite made up 
 my mind as to the manner in which this is to 
 
BAYREUTH 79 
 
 be done, and the slightest change in the dispo- 
 sition of the parquet must not be attempted. I 
 beg of you now to give me an exact statement 
 of the number of seats in the entire parquet; 
 at the same time it is desirable that Herr Franck 
 should send me a plan of the interior of the 
 theatre, in fact, a statement of the number of 
 seats in the various parts of the building. I 
 think that I shall need the entire parquet space, 
 with all of its seats, for my singers, as I now 
 have over three hundred at my disposal, and no 
 one of whom I should like to reject — for almost 
 moral reasons. 
 
 The real listening public would accordingly be 
 placed almost exclusively in the galleries and 
 rows of boxes. As the theatre is said to seat 
 seven hundred, I count on placing two hundred 
 in the parquet, in which number standing-room 
 must probably also be included. According to 
 this, we would have at our disposal only five 
 hundred good seats for the audience. As I have 
 to provide for four hundred (Bayreuth) hosts 
 
So THE BAYREUTH LETTERS 
 
 of our musical guests, only one hundred places 
 would remain for patrons and friends from a 
 distance. This number will depend upon the re- 
 sult of the announcement, and for that reason 
 I should have wished that the public invitation 
 had not been withheld so long. As it is to be 
 no theatrical performance, I fancy, on the whole, 
 that there will be no musical rush at that time 
 on the part of the real " patrons," as there are 
 not so many of them, and among them are many 
 who (like the Emperor, twenty-five times a 
 patron) would not dream of making the trip 
 to Bayreuth simply to participate in this Festival. 
 In regard to the numbers of the Wagner So- 
 ciety, one could be a little careful about grant- 
 ing admissions. At all events, if a considerable 
 number of really justifiable guests announced 
 their intention of being present, then I must 
 appeal to my Bayreuth hosts, or friends, and beg 
 them to resign their claim of being present at 
 the performances. Naturally there are many 
 among them who are not very keen about a 
 
BAYREUTH 8i 
 
 Beethoven Symphony. Such, then, could receive 
 compensation from us for the proffered accom- 
 modations and meals, and it might be possible 
 from the beginning to make two lists of en- 
 tertainers, one of which would be put down as 
 voluntary (with tickets), the other those who 
 would be willing to accept compensation (with- 
 out tickets). 
 
 At any rate, there would be a considerable 
 amount of standing-room in the parquet (which 
 I should not dare offer the singers), and this 
 could be used and not be found too fatiguing 
 for mere listeners, as the performance lasts only 
 a little over an hour. The chief thing is an 
 inspiring Musical Festival; the chorus of the 
 symphony should really be sung by the entire 
 audience; in fact, it would be inspiring did they 
 only seem to be doing so. Therefore! be quick 
 with the announcement, in order that we may 
 set a limit for acceptance to be sent in; then 
 a plan of the theatre and information as to the 
 space. . . . 
 
82 THE BAYREUTH LETTERS 
 
 Levy no duty upon the musicians! If a musi- 
 cian is to take pleasure in playing well, the first 
 condition is that he must be untrammelled. By 
 the way, I have now exactly one hundred musi- 
 cians. Accept my most cordial greetings. More 
 later from your 
 
 Very faithful 
 
 Richard Wagner. 
 
 To Friedrich Feustel 
 
 (LucESNE, April, 12 1872.) 
 My esteemed Friend! 
 
 Many thanks for your last letter ! It does not 
 occur to me to doubt the genuine success of our 
 great undertaking as long as you remain faith- 
 ful to me. 
 
 You surely understood me correctly. Not for 
 a moment did I believe in the double-dealing of 
 my Bayreuth friends, but it frightened me to 
 know that the odious system by which everything 
 in Bayreuth is biased by Munich, had got a 
 footing. 
 
BAYREUTH 83 
 
 On the contrary, had I given up Bayreuth I 
 should have given up the entire undertaking. 
 They are so grown together that so far as my 
 great Stage Festival Play has as yet attracted 
 attention, it is already inseparably connected with 
 the name of Bayreuth. 
 
 It is gratifying to me, above all things, that 
 you, dear friend, remain indefatigable, and that, 
 on the whole, you seem to be convinced of the 
 good prospects. Certainly I can see that it is 
 going ahead about us; and I, who have such 
 boundless patience, wish for nothing more but 
 that we may be given plenty of time and not 
 rushed. Everything will certainly develop; it 
 grows and matures — only, everything must be 
 kept clean. 
 
 I quite agree with your ideas in regard to the 
 division of the necessary financial resources. 
 More exactly expressed, it is as follows: 
 
 I. The theatre building to be considered ab- 
 solutely provisional; it would please me if it 
 were entirely of wood, like the gymnasiums and 
 
84 THE BAYREUTH LETTERS 
 
 Saengerfest halls : no further solidity than what 
 is necessary to insure against collapse. There- 
 fore economise — no ornamentation. In this 
 building we are only giving the outline of the 
 idea, and hand it over to the Nation to per- 
 petuate it as a monumental structure. 
 
 2. Machinery and decorations all ideal, in re- 
 lation to the inner art- work — absolutely perfect. 
 Here no economy; everything designed for per- 
 manency, nothing temporary. 
 
 3. Singers and musicians to receive only com-- 
 pensation, but no (salary) " payments." He who 
 does not come to me from glory and enthusiasm 
 can stay where he is. A lot of use to me a 
 singer would be who came to me only for a silly 
 salary! Such a person could never satisfy my 
 artistic demands. This, my dear friend, is one 
 of my miracles, by which I show to the world 
 how a personnel is secured for the performance 
 of my work; and my friends must believe in 
 this. It is naturally quite different when a 
 Court Intendant has to deal with such people; 
 
BAYREUTH 85 
 
 then there is the very devil to pay, and it is 
 just this which I understand how to control. I 
 need about twenty leading and secondary per- 
 sons; they must not cost me more than thirty 
 thousand thalers for the two months, or other- 
 wise I can have nothing to do with them. A 
 hundred musicians, at a monthly compensation 
 of fifty thalers, would make at the most ten thou- 
 sand thalers. / vouch for this, for this is my 
 empire. 
 
 It is quite different when one has to deal with 
 builders, carpenters, wood, canvas, lead, brushes, 
 and machinery: here I have no power, but can 
 only arrange and give orders. Here only money 
 can accomplish anything. 
 
 Further matters can be discussed quietly at 
 a more convenient time. I am so extraordinarily 
 happy to have gained a man like you as a friend, 
 my dear Feustel. This is more comforting for 
 my future than if someone were hammering and 
 chiselling on " my " house to-day. 
 
 Let me know when you think it necessary for 
 
86 THE BAYREUTH LETTERS 
 
 me to be in Bayreuth; I consider myself now 
 as entirely dependent upon you. . . . 
 Devotedly yours, 
 
 Richard Wagner. 
 
 To Friedrich Feustel 
 
 (Lucerne, April 17, 1872.) 
 Dear Friend! 
 
 ... In regard to the theatre, I repeat the 
 following, as the result of the most mature 
 deliberation : 
 
 The dimensions of the auditorium as well as 
 of the stage must be so estimated that they may 
 serve as the foundation of the future massive 
 structure, for I wish to present my patrons at 
 once with the ultimate ideal plan in a clear and 
 distinct form. The material for the provisional 
 building, on the contrary, must be so selected as 
 to meet only the most necessary requirements in 
 regard to safety. 
 
 Everything that can be economised in the way 
 of material will be welcome, and in this direction 
 
I a 
 
BAYREUTH 87 
 
 it is necessary to go to the last extreme. I con- 
 sent to an entire structure of wood, however 
 much this will vex my dear Bayreuth fellow 
 citizens, who would like very much to see at once 
 a building of stately exterior. In an extreme 
 case I will adopt for the auditorium nothing 
 more than one of those temporary structures 
 which are so much used at present for music 
 festivals and the like. I would even accept the 
 obstruction of a balcony, as the entire thing is 
 only meant to give the general idea. On the 
 other hand, the heavy and ingenious machinery 
 must be made thoroughly solid; as this, together 
 with the foundation, shall, if God wills, outlast 
 our lightly-put-together provisionary structure. 
 
 In short, the material to be reduced to a mini- 
 mum. The expense which cannot be avoided 
 must be met in some way. . . . 
 
 For singers, musicians, and other personnel, I 
 need not far from one hundred thousand thalers. 
 On this point you must have confidence in me ! . . . 
 
 If, from these definite explanations, you can 
 
88 THE BAYREUTH LETTERS 
 
 feel that the purely technical authorities are suf- 
 ficiently instructed for a conference, I should 
 prefer you to get along without me, if possible, 
 dear friend; furthermore, the telegraph wire is 
 always there for definite questions and decisions. 
 ... At present my plan is to go to Vienna on 
 the 6th of May and arrive in Bayreuth at the 
 latest on the 15th. If I am not absolutely needed 
 for the time being, we shall return to Lucerne 
 the end of May, and move to Bayreuth in Octo- 
 ber with child and chattel for all time. . . . 
 Accept cordial greetings, dear friend, from 
 Yours faithfully, 
 
 Richard Wagner. 
 
 To Friedrich Feustel 
 
 (Fantaisie, near Bayeextih, 
 May 3, 1872.) 
 
 Dear, faithful Friend! 
 
 ... I am so exhausted that I shall need two 
 days of absolute rest in order to fortify myself 
 for the approaching period of strenuous work. 
 Therefore I shall not leave my asylum for either 
 
BAYREUTH 89 
 
 to-day or to-morrow, except in case of extreme 
 necessity; this necessity, however, is scarcely 
 apt to arise, as our excellent burgomaster holds 
 the key to the entire situation ; you yourself could 
 quickly take hold, and, for all musical arrange- 
 ments, my splendid conductor, Hans Richter, will 
 always be on hand. 
 
 If you have time to spare, may we hope to 
 see you at the Fantaisie? 
 With the most cordial greetings. 
 Yours most faithfully, 
 
 Richard Wagner. 
 
 No work in the entire range of musical litera- 
 ture had made so deep an impression upon Wag- 
 ner as Beethoven's Ninth Symphony. 
 
 Through all the phases of his musical devel- 
 opment this work remained for him the highest 
 good, the perfection of all art; and his belief 
 in the ultimate musical message which it con- 
 tained found expression in the following words : 
 
 " There are naive persons who continue to 
 
90 THE BAYREUTH LETTERS 
 
 write s)miphonies without realising that the last 
 symphonic word was written long ago." 
 
 It was the impression created by this work, 
 as heard at a Gewandhaus Concert in Leipzig, 
 which determined the eighteen-year-old student 
 of jurisprudence to follow the promptings of his 
 heart and become a musician. In order to 
 familiarise himself with the work, he laboriously 
 copied the score and enthusiastically went to 
 work on a piano arrangement. The letter in 
 which he offers this to the publishing house of 
 Schott in Mayence expresses the hope of " con- 
 tributing in this manner to a better knowledge 
 of this glorious Symphony. The more I famil- 
 iarise myself with the great value of this work, 
 the more depressed I am at the thought that it 
 is so little known or understood by the greater 
 part of our musical public." 
 
 It is a significant fact that the very first 
 letter in the voluminous Wagner correspondence 
 should have as its subject the Ninth Symphony 
 of Beethoven. 
 
BAYREUTH 91 
 
 During the dark days of Wagner's first visit 
 to Paris (1839-42), he drew one of his charac- 
 teristic pen pictures of "a German musician in 
 Paris," who dies a lonely death with this con- 
 fession of faith on his lips : " I believe in God, 
 Mozart, and Beethoven ! " 
 
 This German musician bears strong Wagnerian 
 features, and the autobiographical note is em- 
 phasised by the fact that it was during this 
 same period of Paris privation that Wagner 
 again heard the Beethoven Symphony, and that 
 it again marked a turning-point in the musical 
 development of the man who was shipwrecked 
 in this " boundless, brilliant, dirty city." The 
 immediate result of this " new birth " was the 
 " Faust " Overture, in which the lonely artist 
 gave expression to his innermost thoughts and 
 feelings, as once the lonely Beethoven revealed 
 his great heart in the music of his Ninth 
 Symphony. 
 
 The first opportunity Wagner had for initiat- 
 ing the wider musical circles into the beauties 
 
92 THE BAYREUTH LETTERS 
 
 of the work came during the period of his ac- 
 tivity in Dresden. When, in 1846, he was invited 
 to conduct a big concert on Palm Sunday, the 
 Ninth Symphony was the work chosen, and it 
 was this occasion which called into existence 
 Wagner's " programme " of the work, now con- 
 sidered as the most authoritative exegesis of the 
 content. So indelible was the impression made 
 by Wagner's earlier labour of love, that he was 
 able to conduct all the rehearsals from memory. 
 The performance was epoch-making in the his- 
 tory of the Symphony, which even by such dis- 
 criminating musicians as Spohr and Mendelssohn 
 had been pronounced the " abortive eflfort of a 
 boundless fantasy." 
 
 It was but natural therefore that this monu- 
 mental Symphony, which had always seemed to 
 him the " point of transition from purely instru- 
 mental music to the art work of the future," 
 should be chosen by Wagner to crown the cere- 
 monies connected with the corner-stone laying 
 on May 22, 1872. 
 
BAYREUTH 93 
 
 Invitations to participate in this Beethoven 
 Festival had been widely distributed, and the 
 response with which they met exceeded Wagner's 
 most sanguine expectations. Riedel's Choral 
 Union of Leipzig and the well-known organisa- 
 tion which Julius Stern had called into exist- 
 ence in Berlin, formed the nucleus of the big 
 chorus of three hundred singers who placed 
 themselves at his disposal; the orchestra, com- 
 posed of one hundred master musicians, at 
 their head the ardent Wagnerian, August Wil- 
 helmj, came from Berlin, Vienna, Munich, Leip- 
 zig, and other German cities ; the solo quartette 
 was made up of Albert Niemann, Franz Betz, 
 Marie Lehmann, and Johanna Jackmann- Wagner. 
 Wagner himself conducted the work, and many 
 characteristic anecdotes have been put on record 
 by those present. Tappert tells of the difficulty 
 which the Presto of the last movement caused 
 the Master and his men: 
 
 " Wagner expressed a desire that here all 
 rhythms and accents should disappear and that 
 
94 THE BAYREUTH LETTERS 
 
 a flood of tone should burst in, wild and irre- 
 pressible. It was difficult to carry out this idea, 
 but after many attempts the interesting problem 
 was solved. When Betz got up to sing the famous 
 phrase, " O friends, not these tones! " his mag- 
 nificent voice filled the auditorium, but still Wag- 
 ner was not satisfied. " With more spirit," he 
 cried, "as if you meant to say, 'What awful 
 rubbish you fellows are playing ! ' " 
 
 Bachrich, a Vienna musician who was one of 
 the first violinists, relates Wagner's instructions 
 to Henschel, the well-known kettle-drummer of 
 the Berlin Royal Orchestra. In the fortissimo 
 passage given to the tympani just preceding the 
 entrance of the Choral Finale, Wagner cried to 
 him excitedly: "My dear Henschel! Imagine 
 that the combined kettle-drums of the whole 
 world are to be heard in this passage. Play 
 away as if the devil were after you ! " 
 
 An innovation which he introduced, but one 
 which seems not to be followed by present-day 
 conductors, was that of placing two smaller 
 
BAYREUTH 95 
 
 choruses of men's voices, headed by Niemann 
 and Betz, in the so-called " Trumpeters' Boxes," 
 from which vantage-points the " Seid um- 
 schlungen Millionen " was first heard, as if a 
 mystery were being announced to the body of 
 the chorus. 
 
 The idea which dominated Wagner in this 
 performance of the Ninth Symphony was solely 
 that of paying a tribute to the mighty genius 
 of Beethoven. To his artists he said: 
 
 " There will be no programme, no announce- 
 ments to be read on the street corners; we are 
 giving no concert, only making music for our own 
 enjoyment and to show the world how Beethoven 
 should be played, and may the devil take him 
 who criticises us ! " 
 
 The concert at the old opera-house was pre- 
 ceded by the ceremony of the laying of the 
 corner-stone, the impressiveness of which event 
 was marred by a downpour of rain. While a 
 regimental band played the " March of Hom- 
 age," which Wagner had written and dedicated 
 
96 THE BAYREUTH LETTERS 
 
 to his royal patron, King Ludwig of Bavaria, 
 Wagner took the hammer and gave the first 
 three strokes, uttering the significant words: 
 " Blessings on this stone ; may it stand long and 
 hold firmly." 
 
 On this day Wagner entered upon his sixtieth 
 year, and all that had gone before was only a 
 preparation for this significant moment. 
 
 From the King came a telegram, addressed to 
 the " German poet-composer, Richard Wagner, 
 in Bayreuth " : 
 
 From the profoundest depths of my soul I 
 express to you, dearest friend, my warmest and 
 most sincere congratulations on a day of such 
 significance to all Germany. Blessing and pros- 
 perity to the great undertaking next year. 
 
 To-day more than ever, I am with you in 
 spirit. 
 
 LuDWIG. 
 
 The chief treasures deposited under the cor- 
 nerstone were this telegram and a few lines 
 
BAYREUTH 97 
 
 written by Wagner, which have the significant 
 trend : 
 
 " Hier schliess ich ein Geheimnis ein 
 Da ruh es viele hundert Jahr ; 
 So lange es verwahrt der Stein 
 Macht es der Welt sich offenbar." ^ 
 
 Another incident connected with this day has 
 no artistic significance, but throws a side-Hght 
 on Wagner the man. A simple Bayreuth work- 
 man in a wool factory summoned up courage 
 to invite the man who was the subject of con- 
 versation all over Europe to act as godfather 
 at the christening of a son born on the day of 
 the corner-stone laying. To his joy Wagner ac- 
 cepted, and with his entire family appeared in 
 the humble home, where he remained several 
 hours, delighting the entire company by his high 
 spirits and unrestrained good-humour. 
 
 ' TTie writer is indebted to Henry Finck's "Wagner and His 
 Works" for the greater part of the material used in the descrip- 
 tion of the comer-stone laying. 
 
98 THE BAYREUTH LETTERS 
 
 To Burgomaster Theodor Muncker 
 
 (Fantaisie, near BAYREtTTH, 
 May 2S, 1872.) 
 
 My dear Friend! 
 
 I am too tired to come to you, and yet it 
 distresses me not to be able to assure you im- 
 mediately of the deep gratitude which I feel 
 for your friendship and its extraordinary 
 manifestation. 
 
 Your quiet and yet so effective efforts for the 
 success of the splendid enterprise upon which 
 we can now look back with satisfaction, and 
 in all of which you showed yourself so consid- 
 erate of my comfort, fills my memory as a genu- 
 ine blessing from Heaven. 
 
 With my whole heart I greet you. 
 Your truly devoted 
 
 Richard Wagner. 
 
 The Fantaisie, where Wagner and his family 
 took up their temporary abode during the sum- 
 mer of 1872, was a pleasure castle built by the 
 
BAYREUTH 99 
 
 splendour-loving Margrave Friedrich. This 
 monarch was the husband of the witty and in- 
 telligent Sophie Wilhelmine, the favourite sister 
 of Frederick the Great, and her letters to her 
 brother, though filled with scornful sarcasm, are 
 important documents of the life and customs of 
 the little Ma rgr avian Court in the eighteenth 
 century. 
 
 June, 1872-December 31, 1874. 
 To Friedrich Feustel 
 
 (Fantaisie, near Bayeeuth, 
 June 12, 1872.) 
 
 Highly esteemed Friend! 
 
 As you seem to have assumed the task of 
 making my stay in Bayreuth as agreeable as 
 possible, I beg of you to communicate the 
 following requests to the editor of the local 
 " Tageblatt." 
 
 The editors will be good enough to leave my 
 name entirely out of their columns, except when 
 it has to do with an actual report of my activity 
 
loo THE BAYREUTH LETTERS 
 
 here, and about which they are able to express 
 themselves with authority. To regale the citi- 
 zens of Bayreuth with newspaper gossip from 
 other places about me in the well-known anec- 
 dotal manner, or to report events, concerning 
 which their own experience and exact knowledge 
 does not justify them in forming an opinion, will 
 prove the surest means of spoiling my life for 
 me in Bayreuth. 
 
 My request to be spared such nonsense seems 
 to be permissible, as I assume the obligation of 
 giving the editors privately and truthfully all 
 necessary information in regard to important 
 notices. . . . 
 
 With sincere thanks for all friendliness and 
 kind offices. 
 
 Your truly devoted 
 
 Richard Wagner. 
 
BAYREUTH loi 
 
 To Emil Heckel 
 
 (Fantaisie, near Bayreuth, 
 June IS, 1872.) 
 
 Dearest Friend! 
 
 ... As to the musicians, it is still a little 
 early! Children, children, I have first other 
 lambs to be looked after! 
 
 Mannheim will soon receive a souvenir from 
 
 Bayreuth and 
 
 my 
 
 Humble self — 
 
 who recommends himself heartily to the Five 
 
 Just Men. 
 
 To Emil Heckel 
 
 (Fantaisie, near Bayreuth, 
 June 22, 1872.) 
 
 Dear Friend! 
 
 One cannot be too cautious! Again it has 
 happened that I quite forgot that the person you 
 recommended was your brother-in-law, and thus 
 I was guilty — unintentionally — of giving you 
 rather rude advice about a man who is related 
 to you! 
 
I02 THE BAYREUTH LETTERS 
 
 But truly, dear friend, so many questions like 
 this come up, and as I am now always excited 
 and engrossed with some subject, I become con- 
 fused and indignant. 
 
 By the way, there is still plenty of time for 
 the decorations! I still need two months more 
 for my own work; then I shall look about me 
 to the right and left in Germany, and certainly 
 I shall also come to you in Mannheim, and God 
 will take care of the rest. 
 
 Retain your friendship for me, and that will 
 suffice at present for 
 
 Yours faithfully, 
 
 Richard Wagner. 
 
 To Friedrich Feustel 
 
 (Fantaisie, near Bayreuth, 
 July 3, 1872.) 
 
 Dear Flying Dutchman of Bayreuth! 
 
 As your ship has again come to anchor, I take 
 advantage of this rarely favourable state of 
 things to invite myself and my wife to dinner 
 
BAYREUTH 103 
 
 on your ship (namely, at your house) to-morrow, 
 
 Thursday, at one o'clock. We beg you also to 
 
 ask Master Wolffel to join us after dinner (shall 
 
 we say — at two o'clock) with his plans for our 
 
 house. If our coming inconveniences you, I beg 
 
 of you to let me have a word from you in order 
 
 that I may keep a proper distance. 
 
 With the most cordial greetings from house 
 
 to house, 
 
 Yours faithfully, 
 
 Richard Wagner. 
 
 (Also soon to be Ship's Captain.) 
 
 To Joseph Hoffmann 
 
 (Fantasee, near Bayeeuth, 
 July 28, 1872.) 
 
 Honoured Sir! 
 
 It is my intention to present my Stage Festival 
 Play, " The Ring of the Nibelung," according 
 to a plan which can only be realised on the one 
 hand by a far-reaching co-operation of the friends 
 of my art, and on the other by a corresponding 
 participation of the talent which lies scattered 
 
104 THE BAYREUTH LETTERS 
 
 in Germany for the execution of the technical 
 part of the work. In regard to the scenic deco- 
 rations I have come to the conclusion that noth- 
 ing can be attained here, worthy of the German 
 name in its best and noblest sense, if the re- 
 quired task is left to our regular theatre deco- 
 rators. It is most important that we should be 
 able to lay before the cleverest or most experi- 
 enced decorative painters, sketches by genuine 
 artists, in order that the former may be inspired 
 to an idealising of their work. 
 
 I have already addressed myself to several 
 artists (historical painters). My attention has 
 recently been called to your unusual work, es- 
 teemed sir, which seems to approach very nearly 
 my requirements. As a result of this, I feel jus- 
 tified in making the request that -you will con- 
 sider it worth your while to acquaint yourself 
 with my poem, " The Ring of the Nibelung," to 
 such an extent that it would be easy for you 
 to draw such sketches of the chief scenes, as well 
 as the setting of the same and the characterisa- 
 
BAYREUTH 105 
 
 tion of the dramatic figures, as would serve either 
 you yourself (provided you would consent to as- 
 sume this task) as a model for future working 
 out, or could be turned over to such decorative 
 painters and costumiers as would then have to 
 be chosen. 
 
 For the present it is sufficient to have called 
 your attention in general to the matter, and as 
 soon as you give me the pleasure of hearing 
 from you I hope to find an opportunity of com- 
 ing to an agreement as to further details with 
 you personally. 
 
 The first thing is to thank you for the gratify- 
 ing assurances on your part which were con- 
 veyed to me by Herr Scharf, and I remain until 
 later 
 
 Yours very faithfully, 
 
 Richard Wagner. 
 
io6 THE BAYREUTH LETTERS 
 
 To Carl Brandt 
 
 (Baykeuth, October 7, 1872.) 
 Valued Friend and Associate! 
 
 I hope that within the next few days Hoffmann 
 will make an appointment for a meeting here in 
 Bayreuth, and I beg you earnestly not to leave 
 me alone with him, as that would defeat the en- 
 tire purpose (of our conference). 
 
 I should like the meeting to take place by the 
 1 2th of the month; as soon as he fixes a day, I 
 shall telegraph you and beg of you (to leave) the 
 time free for eventual disposition in this matter. 
 
 With respectful greetings. 
 Yours, 
 
 Richard Wagner. 
 
 To Carl Brandt 
 
 (Baykeuth, October 22, 1872.) 
 Valued Friend and Associate! 
 
 . . . On October 31 the contracts are to be 
 
 granted. ... I beg of you with all my might 
 
 and main to be present. It is no small matter 
 
BAYREUTH 107 
 
 to be obliged to dispense with you in any ques- 
 tion connected with our undertaking; you are 
 the head and support of the entire performance. 
 . . . For the execution of this undertaking/ we 
 shall have to rely upon lucky inspirations, and 
 these you alone have, while from other quarters 
 I fear only reluctance and unwillingness. There- 
 fore my urgent request of you to come here. I 
 will also write to Hoffmann to-day! The man 
 does not displease me in spite of the ponderous- 
 ness which makes him tiresome now and then. 
 If, in addition to his deep understanding of the 
 matter, he really paints well, there is hope for 
 us. We find no talent quite ready for us; we 
 shall have to bring it to maturity. 
 With the most cordial greetings, 
 
 Yours very faithfully, 
 
 Richard Wagner. 
 
 Malinda von Meysenburg, who is known in 
 German letters as " The Beautiful Idealist," was 
 
 1 A hall for the painters. 
 
io8 THE BAYREUTH LETTERS 
 
 a frequent guest in Bayreuth, and one of her 
 visits coincided with that of Brandt and Hoff- 
 mann, of whom she writes: 
 
 "We have had Brandt and Hoffmann here, 
 and the latter submitted his sketches for the 
 scenery of the ' Nibelung Ring.' 
 
 " The Master was pleasantly surprised and very 
 much satisfied with them; they are the work of 
 a genuine artist, who has grasped the idea of 
 the poem with deep understanding and given it 
 the setting worthy of Wagner's intentions. 
 Whenever a slight difference of opinion occurred, 
 and the composer with his poetic intentions in 
 view was obliged to require this or that sacrifice 
 of the plastic artist, this was always done with 
 the greatest tact. 
 
 "We had here an example of what is to be 
 realised by the ' art work of the future,' the 
 union of all the arts into one harmonious whole, 
 without undue emphasis being given to one or 
 the other." 
 
BAYREUTH 109 
 
 To Friedrich Feustel 
 
 (Baykeuth, November 9, 1872.) 
 My dear, good Friend! 
 
 With some concern I think of the last day we 
 were together. The chief cause of our tacit 
 anxiety is now removed; God knows what con- 
 fusion there (Vienna) prevented timely explana- 
 tion, but finally Kapka announces from Vienna 
 that sixteen thousand florins will be ready for 
 us within the next few weeks, and twenty thou- 
 sand florins at Easter. Although the most cau- 
 tious promises were made in this connection (I 
 know for certain that already more has been 
 collected), this will suffice to convince friend 
 Muncker that he is justified in granting the 
 necessary contracts. The further information 
 which I had from him forms a new incentive for 
 me to start on my travels as soon as possible, 
 in order to be able to report the condition of 
 our affairs upon the spot. I hope I shall have 
 only good to report, and this all the more as I 
 
no THE BAYREUTH LETTERS 
 
 have resolved to work energetically everywhere 
 in procuring the necessary funds. 
 
 Under these circumstances and with these in- 
 tentions nothing remains for me to-day, on the 
 eve of my departure, but to send you my most 
 cordial greetings, and to repeat the assurance 
 that your love and friendship count for very 
 much with me, and that my gratitude for your 
 assistance so active and effective in all directions 
 will never be diminished. 
 
 From my whole heart, 
 
 Yours, 
 
 Richard Wagner. 
 
TOUR OF INSPECTION 
 
 On November lo, 1872, Wagner, accompanied 
 by his wife, started out on what he called a 
 " tour of inspection," which meant a visit to the 
 various German opera houses in search of mate- 
 rial for his first production of the " Ring." 
 
 That he did this not without misgivings is to 
 be seen from a line in one of his letters : " I 
 must now have a look at the singers of Germany. 
 . . . What shall I not learn? ? ? Sighs!" 
 
 He had been so long absent from Germany 
 that he had got quite out of touch with oper- 
 atic conditions, and it was necessary for him 
 to establish again a point of personal contact. 
 The conditions with which he met were on the 
 whole discouraging, and he did not hesitate to 
 beat a precipitate retreat from any performance 
 which did not meet with his approval, a course 
 
112 THE BAYREUTH LETTERS 
 
 which naturally increased the number of his 
 enemies. In Frankfort he attended a perform- 
 ance of Meyerbeer's " Prophet," and found that 
 " the presentation of such a Meyerbeer opera in 
 our larger and smaller theatres is the most non- 
 sensical and undignified procedure that a tortured 
 fantasy can imagine, and the worst of it is the 
 stupid seriousness with which the most ridiculous 
 things are accepted by a gaping public." 
 
 In Darmstadt he was present at a performance 
 of Auber's " The Mason," but was so indignant 
 that he abruptly left the house and thus, as he 
 expressed it, " stamped himself as a barbarian 
 in the eyes of the management." 
 
 In Mannheim he was the guest of Emil Meckel, 
 the chief of his " just men," and in the latter's 
 music room a circle of the elect were allowed to 
 listen to one of Wagner's incomparable readings 
 of the " Gotterdammerung." 
 
 He knew enough of hearsay to expect to find 
 his own works misrepresented and mutilated, and 
 had partially steeled himself with resignation to 
 
TOUR OF INSPECTION 113 
 
 meet this state of affairs. But in spite of this 
 a much abbreviated performance of his " Fliegen- 
 der Hollander " in Mannheim so excited his in- 
 dignation that he left the theatre oblivious of the 
 applause intended for the composer. 
 
 In Carls ruhe he found that the big festival 
 scene in the second act of " Tannhauser " was 
 presented in such a manner " as to give the 
 knights and ladies of honour the appearance of 
 executing a chasse croise of the contra-dance." 
 
 Everywhere he was obliged to listen to frag- 
 ments of his works lustily played by the regi- 
 mental bands ; but this was accepted by him with 
 fortitude, when the necessity for this was made 
 clear to him as an impetus to his cause. 
 
 From Mayence he writes : " Music corps to the 
 front of us, music corps to the rear of us — all 
 blowing the Bayreuth horn ! " 
 
 In Mayence he also made the acquaintance of 
 his publisher, Franz Schott, and attended a " Fi- 
 delio " performance, which, on the whole, met 
 with his approval. 
 
114 THE BAYREUTH LETTERS 
 
 In Cologne he grew sarcastic over a perform- 
 ance of Mozart's " Magic Flute " because at the 
 entrance of the " Queen of the Night " an in- 
 diflEerent stage management had neglected to 
 shift the scene from bright daylight to darkness. 
 
 A visit to Cologne was like taking the war 
 into the enemy's country on account of the in- 
 fluence exerted by Ferdinand Hiller, an ardent 
 non- Wagnerian. Glasenapp relates a delightful 
 episode which occurred at a banquet given in his 
 honour here. " A military band was stationed 
 in a neighbouring balcony to play the ' Tann- 
 hauser ' Overture as an act of homage to the 
 distinguished composer. This was followed by 
 the ' Freischiitz ' Overture of Carl Maria von 
 Weber, during the performance of which the 
 Master was noticed moving about uneasily in his 
 chair. Suddenly he sprang up, and before his 
 surprised neighbours at the table knew what he 
 was about, he stood in the midst of the players. 
 At a sign from the director the music ceased 
 and all the musicians arose. 
 
TOUR OF INSPECTION 115 
 
 " ' Grentlemen,' began Wagner, after apologis- 
 ing for the interruption, ' I have heard this over- 
 ture under the baton of the composer himself 
 and have preserved his traditions, particularly 
 the interpretation of the latter part. If you will 
 permit me, I shall show you this, for your 
 future performances of this composition.' 
 
 " He seized the baton, indicated the passage, 
 and had it played a number of times. The young 
 musicians, as in a dream, hung upon his every 
 motion, and never forgot the evening when the 
 great German Master, who until then had been 
 only a gigantic mythical figure to them, had con- 
 ducted their performance in person ! " 
 
 Wagner embodied the impressions he had 
 gained during this tour of inspection in a paper 
 on " A Survey of the Present Condition of Ger- 
 man Opera," which appeared in the Leipzig 
 " Musikalisches Wochenblatt." 
 
 After spending the Christmas holidays with 
 his family in Bayreuth, he again fared forth, 
 accompanied as ever by his faithful wife, to look 
 
ii6 THE BAYREUTH LETTERS 
 
 about him in North Germany. In a banquet 
 given in his honour in Dresden he said: 
 
 "I declare that my sole support is in the ar- 
 tists! If I still cherish any hope it is not in 
 those who talk about art but those who of a truth 
 practise it — the musicians and the singers. I 
 know that I can make myself understood b.y them 
 everywhere." 
 
 In regard to his Bayreuth project he said : " I 
 cannot make my work a ' national ' one ; that 
 must be left to others, to the scattered friends of 
 my art." 
 
 Incidentally he conducted a few concerts, but 
 this he always did reluctantly. 
 
 " I have an aversion amounting to bitterness 
 against concert-giving and I simply cannot ex- 
 pose myself to the tremendous strain, however 
 necessary each thousand thalers to be gained in 
 this way is to the success of our undertaking." 
 
 From Dresden he went to Berlin, where, in the 
 presence of an exclusive audience composed of 
 the aristocracy and haute finance of the Prussian 
 
TOUR OF INSPECTION 117 
 
 capital, he gave a reading of his " Gotterdam- 
 merung" text. 
 
 This reading was so coloured by Wagner's 
 personality, by his running commentary on his 
 views in general as to the opera, and his ideas 
 as to the significance of the dialogue, that the 
 effect upon the audience was electrifying, and the 
 concrete result of his Berlin visit was twenty 
 Patrons' Certificates. 
 
 In Hamburg he was received with as much 
 honour as a visiting monarch, and here he gave 
 a memorable performance of Beethoven's Fifth 
 Symphony. 
 
 After a visit to Schwerin, where he succeeded 
 in interesting the Grand Duke in the Bayreuth 
 enterprise, he returned to Berlin to conduct a 
 concert arranged by the Wagner Society — an 
 event which the anti-Wagnerian party tried in 
 every way to prevent from being a success. 
 
 The Intendant of the Royal Opera House, 
 Herr V. Hiilsen, the father of the present in- 
 cumbent of this influential position, when ap- 
 
ii8 THE BAYREUTH LETTERS 
 
 preached in regard to securing the Opera House 
 for the concert, answered that : " It was not cus- 
 tomary to allow the Royal Opera House to be 
 used for a private concert. This he could do 
 only by the special permission of the Emperor, 
 and^he did not feel justified in approaching His 
 Majesty with such a request, as, with all due 
 recognition of the artistic ability of Richard 
 Wagner, he would nevertheless hesitate about 
 showing such unusual consideration to this 
 composer." 
 
 The conductor of the Berlin S)miphony Or- 
 chestra dismissed three of his men who had taken 
 part in the Wagner concert. But in spite of this 
 opposition in high places, the concert was a 
 memorable musical event! The Emperor, the 
 Empress, and the entire court were present, and 
 such enthusiasm had never before been witnessed 
 in Berlin. Upon their return t6 Bayreuth Frau 
 Wagner wrote in a letter : " Yesterday your uncle 
 sadly remarked that of all the persons whom he 
 has now won for his cause, who run to his con- 
 
TOUR OF INSPECTION 119 
 
 certs and become patrons out of a feeling of 
 personal sympathy, not one really comprehends 
 his work, and that he himself is the only one 
 who understands and can defend his ideas. . . . 
 " This splendid isolation, which your uncle 
 feels at times, has always compelled my love 
 from the very first ; I cannot always comprehend 
 his intentions and his ability to execute them,^ 
 and often ask myself which power will prove 
 stronger in the end — his, or that of the world 
 in which he lives ! " 
 
 To Friedrich Feustel 
 
 (Darmstadt, November 20, 1872.) 
 My dear Friend! 
 
 Are you at home? How are you? In good 
 
 spirits ? — or otherwise ? I have now swallowed 
 
 four theatres and have unfortunately been 
 
 obliged to participate in many gala dinners and 
 
 friendly meals. Up to the present I have only 
 
 one singer as definite booty, and this one, in fact, 
 
 * In the original, "Wollen und Konnen." 
 
I20 THE BAYREUTH LETTERS 
 
 here in Darmstadt; she is of great (if as yet 
 unknown) excellence. This evening a festival 
 banquet by the Wagner Society! — Heckel will 
 report to you in a few days from Mannheim his 
 financial condition and announce himself ready 
 to make payments at any time. Notifications of 
 Patrons' Certificates I shall announce to you next 
 time. I shall labour zealously — in fact, prob- 
 ably conduct a concert in Hamburg. To-morrow 
 I shall be in Stuttgart. From Basel we then go 
 — through Mayence (Wiesbaden), first to Co- 
 logne, with Aix-la-Chapelle, Diisseldorf, etc. At 
 all events, we shall return from our first excur- 
 sion before Christmas for a short time to our 
 dear Bayreuth. (I would gladly give, as a 
 Christmas present to anyone who could have 
 relieved me from this trip, all the honours and 
 festivities which have fallen to me.) 
 
 How is everything going on at home? Are 
 all well and healthy in the F'dusteleif Is Muncker 
 merry? And our dears? Do you three dear 
 friends, who constitute our new home, think 
 
TOUR OF INSPECTION 121 
 
 kindly of us? I hope so, and in this hope re- 
 main — to you and yours — your faithful grate- 
 ful friend, 
 
 Richard Wagner. 
 
 To Friedrich Feustel 
 
 (Wiesbaden, November 29, 1872.) 
 My dear Friend! 
 
 Briefly, greetings, thanks, and other things! 
 
 I visited the Grand Duke of Baden, and be- 
 lieve I have accomplished something by so doing. 
 Be so kind as to send the Grand Duke directly 
 in my name (as I promised him) the recent re- 
 port (of which copies are still to be had?), as 
 well as our earlier printed circulars with one (or 
 more?) Patrons' Certificate, and enclose also the 
 photograph of the theatre which is now ready. 
 
 The Societies of Darmstadt and Mayence have 
 surprised and delighted me, and there was no 
 lack of regimental music in the streets. You 
 will soon receive a more accurately specified sug- 
 gestion from me as to what I consider the right 
 
122 THE BAYREUTH LETTERS 
 
 course to take with the societies. ... It has to 
 do with an appeal to the societies for more 
 vigorous measures in order to secure the neces- 
 sary results by the end of January. . . . 
 
 We travel in all directions, grow very fatigued, 
 but shall manage to hold out. After Cologne, 
 Aix-la-Chapelle, Diisseldorf, Hanover, Bremen, 
 Braunschweig, Cassel, in order that we may 
 merit a quiet Christmas in Bayreuth with the 
 children and our dear friends. At New Year 
 we start out again for a long time! 
 
 Cordial greetings to you, the family and 
 friends ! 
 
 Yours, 
 
 Richard Wagner. 
 
 To Friedrich Feustel 
 
 (Bayheuth, January 14, 1873.) 
 Dear Friend! 
 
 Just returned home, I receive through Frau 
 
 von Schleinitz the news that a draft for 
 
 500 Pounds Sterling 
 
TOUR OF INSPECTION 123 
 
 from the Khedive of Egypt is on the way for 
 Patrons' Certificates, which I wished to announce 
 to you, in order to restore your good spirits. 
 Your faithful 
 
 Richard Wagner. 
 
 To Carl Brandt 
 
 (Baykeuxh, February 16, 1873.) 
 
 My highly esteemed dear Friend and Associate! 
 If I remain silent so long, must you also let 
 nothing be heard from you? As far as I am 
 concerned, I require a great deal of good news 
 from you. You have heard, no doubt, how tor- 
 mented I was? Finally, I was obliged to start 
 out on a predatory excursion in order to keep 
 our administrative council afloat at all hazards. 
 In this respect the expedition to the North has 
 done much good and opened up to us significant 
 sources of assistance. At present I am letting 
 my back heal from the scourging it has received, 
 in order to resign it to the executioner again in 
 March ! 
 
124 THE BAYREUTH LETTERS 
 
 But now one thing! Can you not get after 
 Briickwald energetically and induce him to fur- 
 nish us with the interior of the theatre accord- 
 ing to our recent decisions? It makes me, and 
 also others, appear ridiculous to be able only 
 to show to parties interested in our theatre the 
 very uninteresting exterior, but not the interior 
 for which all are eagerly waiting. I wish very 
 much to have this, as I should like to use it as 
 an engraving in connection with a little treatise 
 of mine on the construction of theatres. 
 
 Do take the architect soundly in hand! . . . 
 God bless you, my dear friend, you "pillar of 
 my temple ! " 
 
 Cordial greetings to the excellent committee 
 of the Wagner Society. They were the first — 
 then the matter went further ! — and may they 
 collect much money; I hope soon to accomplish 
 miracles ! 
 
 Your faithful compagnon and associe, 
 
 Richard Wagner. 
 
TOUR OF INSPECTION 125 
 
 To Friedrich Feustel 
 
 (Bayreuth, February 18, 1873.) 
 
 Oh! my Friend! 
 
 It is really audacious of you to pretend to live 
 in Bayreuth ! One should come here in order to 
 be sure that he has come to the only place where 
 you are not! 
 
 Well, I am not much better myself, either 
 at present or in the future. Therefore — no 
 reproaches ! 
 
 And herewith — to business! 
 
 . . . Herr Nettke claims that the rich banker, 
 Emile Erlanger in Paris, has declared his inten- 
 tion of giving ten thousand thaler for Bayreuth ! 
 . . . Erlanger, who has clearly shown himself 
 very devoted to me, is said to be frightfully rich 
 now. We should bestir ourselves seriously in 
 securing the co-operation of this man. 
 
 And when are you coming back? You will 
 not find me particularly recovered; it was a ter- 
 rible strain on me this time. However — what 
 
126 THE BAYREUTH LETTERS 
 
 must be — let it come! Farewell, and remain 
 true to your faithfully devoted compagnon, 
 
 Richard Wagner. 
 
 On my way back from Austria, about the end 
 of March, I intend to stop in Munich for a few 
 days — to the consternation of this and that 
 person? ! 
 
 The Baron Erlanger mentioned in the above 
 letters was the financier recommended by Slidell 
 (at that time Special Envoy to the Court of 
 France from the Confederate government) as 
 a suitable person for bringing out the Confed- 
 erate loan in 1862. 
 
 The finances of the new Confederacy were in 
 a bad state, there were heavy debts in Europe, 
 and unless the bills were paid there would be 
 an end of supplies. England was suffering for 
 cotton, and the time seemed propitious for the 
 successful negotiation based on this commodity. 
 
TOUR OF INSPECTION 127 
 
 To Friedrich Feustel 
 
 (Bayeeuth, July 22, 1873.) 
 Dear and valued Friend! 
 
 I informed the Burgomaster yesterday that I 
 wished that the festivities connected with the 
 house-raising of our theatre (which are set for 
 Saturday) might be extended to include the 
 highly deserving local Wagner Society. I have 
 it at heart to introduce myself to them on this 
 occasion and to express my thanks to them. 
 Will you give the matter the necessary 
 consideration ? 
 
 Possibly notice of this outside of Bayreuth 
 could be made in good time through four lead- 
 ing newspapers, and in that way furnish welcome 
 intelligence to many friends and patrons who 
 have in view a visit to Bayreuth. 
 
 Cordial greetings from 
 
 Your grateful and devoted 
 
 Richard Wagner. 
 
128 THE BAYREUTH LETTERS 
 
 To Carl Brandt 
 
 (Bayeeuth, August 4, i873.> 
 Esteemed Colleague! 
 
 . . . Our Hebefest was very delightful and 
 favoured by glorious weather ; I — almost thought 
 you would find your way to us this day! Liszt, 
 my wife, and children were with me on the roof. 
 Good spirits prevailed. 
 
 May God bless your entrevue with Hoffmann ! 
 
 Be faithful to me and — if you are always on 
 
 the wing — don't forget your faithful friends in 
 
 Bayreuth ! 
 
 Yours cordially, 
 
 Richard Wagner. 
 
 The devotion of Liszt to his aristocratic friend. 
 Princess Wittgenstein, had led him to accede to 
 her wishes and hold himself aloof from Wagner 
 even at such decisive moments as the laying of 
 the corner-stone. The Princess, in her wish to 
 guard jealously the musical reputation of her 
 lover, had denied the great genius of Wagner, 
 
TOUR OF INSPECTION 129 
 
 and had frustrated the overtures made by the 
 latter for a meeting. 
 
 But Wagner had a strong personal affection 
 for Liszt, in addition to the gratitude he owed 
 him as artistic sponsor of his works, and per- 
 sisted in his efforts to remove the restraint of 
 many years' standing by taking advantage of 
 Liszt's yearly visit to Weimar to resume friendly 
 relations. 
 
 Together with his wife, he spent three delight- 
 ful days in Weimar, and, the ice once broken, 
 the friendship of the two great composers was 
 never allowed' to suffer another interruption. 
 Liszt paid yearly visits to Bayreuth, and it was 
 here that he died and was buried on July 31, 
 1886. 
 
 Liszt's first visit after this period of estrange- 
 ment was timed to coincide with the festivities 
 connected with the "house-raising" of the new 
 Festival Theatre. According to an old German 
 custom, this is primarily a fete of the workmen, 
 and Wagner, who with his family and Liszt 
 
I30 THE BAYREUTH LETTERS 
 
 formed a group on the roof, made a speech in 
 verse in which humorous reference was made 
 to his trusty band of co-workers and manual 
 assistants. 
 
 To Friedrich Feustel 
 
 (Baykeuth, August 8, 1873.) 
 Dear Friend! 
 
 ... I cannot leave the house for three days 
 for the following reason. The King of Bavaria 
 expects a dedicatory gift from me on every birth- 
 day ; a^year ago I was able to send him the third 
 act of " Gotterdammerung " in manuscript ; this 
 time I should have had nothing had I not been 
 able to use for this purpose the edition of my 
 complete writings which is just ready. 
 
 Therefore I instructed my publisher to deliver 
 into my hands by the 20th of August a copy 
 de luxe of the ninth volume in order that it might 
 be bound and sent off to Munich in good time. 
 This has been promised me, only under the ex- 
 plicit condition, however, that I return the proofs 
 immediately. In addition to this, I have just 
 
TOUR OF INSPECTION 131 
 
 received a letter from the Court Councillor, 
 Diifflipp, in which the King reminds me that he 
 expects something from me. . . ." 
 
 These nine volumes of " Complete Writings " 
 were sent to King Ludwig accompanied by a 
 poem comparing them to the Sibylline books of 
 ancient Rome: 
 
 " Neun Bxicher bot dem Konig Roms Sibylle 
 Neun biet ich Dir ; erf iille sie Dein Wille ! " 
 
 To Emil Heckel 
 
 (Bayeeuth, September 19, 1873.) 
 Dear Friend Heckel! 
 
 He who is once just will always remain so. 
 Accept thanks for your friendly information. 
 Louis XIV said to Jean Bart, " I could wish for 
 five hundred persons like you ! " Whereupon he 
 answered, " Sire, I can well believe that ! " 
 
 You could make the same answer if I wished 
 for a dozen Heckels with his just companions 
 in Germany. 
 
 As to the rest, you are all peculiarly exacting 
 
132 THE BAYREUTH LETTERS 
 
 people! And you really think you must warn 
 me explicitly against accomplishing my purpose 
 by means of a joint stock company. Is that all 
 then my circular meant? Now, God knows! I 
 didn't so understand it; whatever I may have 
 hinted at in this respect was only with a view 
 to humiliating the Germanic public! It was 
 again a most unpleasant experience to find that 
 the whole thing had been given to our beloved 
 press even before I had received the slightest 
 notice from anyone to whom the circular had 
 been sent. What kind of people are my patrons ! 
 To run immediately to the newspapers with 
 everything, as if it had only been gotten up 
 for that purpose! 
 
 Now, you will have to go to work to undo 
 this mischief in whatever way you think best, 
 and you will have done a good deed. In the 
 future I shall be more guarded; the public can 
 write and gossip — also give hundreds and thou- 
 sands of suggestions. But to do something — 
 that only the " just men " do ! 
 
TOUR OF INSPECTION 133 
 
 The chief thing is that we soon come to an 
 agreement regarding a renewed attempt in the 
 matter; subscription Usts must be printed and 
 sent around; a few can give (let us say, for 
 a national object) a hundred thaler; some fifty, 
 still more twenty, and a great many ten thaler, 
 
 — namely, such as could be persuaded to sup- 
 port so great an undertaking, without having any 
 special interest which could determine them at 
 any time to make the trip to Bayreuth for the 
 purpose of being present at the performances. 
 
 You should work out a sketch for a well- 
 organised agitation of this sort and send it to 
 me for my approval, and then, armed with my 
 permission, bring the matter before the people 
 with frightful publicity, so that no one can say, 
 "Yes, but I know nothing whatever about it" 
 
 — as I meet with so often. 
 
 Well! I hope to see you here soon! I shall 
 give no more concerts. They only do harm in- 
 stead of inciting to further effort; everyone 
 thinks that enough has been accomplished by 
 
134 THE BAYREUTH LETTERS 
 
 these concert receipts, and then all is up with 
 the matter. So it is with Cologne, where, 
 as a result of the concert, the Wagner Society 
 has- accomplished absolutely nothing. On the 
 whole — ! 
 
 Now cordial greetings to the just men, particu- 
 larly the miracle doctor, also, greetings to you 
 and your dear wife from me and mine. 
 
 Yours, 
 
 Richard Wagner. 
 
 A second appeal had been sent out on August 
 31, 1873, stating that unless fresh help came 
 work in the building would have to be suspended, 
 and containing an invitation to the friends and 
 patrons of his undertaking to be present at a 
 conference to be held in Bayreuth October 31. 
 
 Wagner had in mind a widespread national 
 subscription, but did not wish that either he or 
 his council should take the initiative in the mat- 
 ter, but that this should be assumed by a con- 
 sortium of wealthy and influential men. 
 
TOUR OF INSPECTION 135 
 
 To Friedrich Feustel 
 
 (Bayeeuth, September 30, 1873.) 
 My dear Friend! 
 
 I thank you for your renewed efforts with 
 Wolf el; only I should like to beg you earnestly 
 to attend in person the proposed conference, 
 whether it takes place on Monday or Tuesday! 
 However unjust it may be on my part to lay 
 such strong claims upon your friendship for me, 
 I should not know what to do without your as- 
 sistance; for your consolation in the future, I 
 promise you that I shall never have another 
 house built for me, not even in Germany. 
 
 My circular, by the way, begins to bear good 
 fruits. Among other things, I was touched to-day 
 by the notification of a one-third patron in Aus- 
 tria, who wrote that he had sent Heckel two 
 hundred thaler in order that he might become 
 a full patron. 
 
 If a mason with a broken nose presents him- 
 self to you, with a card from me, I beg you to 
 
136 THE BAYREUTH LETTERS 
 
 give him a fee of ten florins from the building 
 fund; from the time of the corner-stone laying 
 he has worked day after day in the building and 
 has always impressed me favourably by his dili- 
 gence and friendly attitude. 
 
 He was dismissed from work this evening and 
 took a very decent leave. 
 
 Therefore — everything considered — remain 
 kind to your 
 
 Ever grateful 
 
 Richard Wagner. 
 
 To Emil Heckel 
 
 (Bayreuth, September 30, 1873.) 
 Dearest Friend! 
 
 The answer to your letter, or rather sugges- 
 tion, really demands some deliberation. 
 
 I have no word to say as to the manner in 
 which the Mannheim society deems proper to 
 serve the purpose for which it was founded: at 
 any rate, as it called into existence the idea of 
 the Wagner Societies, it also has a right to 
 
TOUR OF INSPECTION 137 
 
 take the initiative; and the honour of being the 
 champion in this matter will be contested by no 
 one. 
 
 Only be cautious in boasting about me; we 
 could not count on Chicago and London quite 
 so unconditionally; in both cities a new theatre 
 had already been built and was to be fitted out 
 according to my wishes — only, however, if I 
 would assume personal control, in which case 
 the personnel of the artists should be selected 
 according to my choice. This refers to my opera 
 in general. But we now come to the decisive 
 point : in Berlin a " Wagneriana " has been 
 formed with subscriptions already amounting to 
 two hundred and twenty thousand thaler, and the 
 prospect of a million is held out to me if I will 
 transfer Bayreuth (with modifications) to Ber- 
 lin; the same offer would have been immeasur- 
 ably easier for Vienna than to have collected 
 money there for Bayreuth. It is therefore not 
 proven that my theatre would not have been built 
 for me in a large German metropolis; but the 
 
138 THE BAYREUTH LETTERS 
 
 vital point lies in the fact that I had in mind 
 an undertaking for the benefit of the entire 
 German nation in a neutral spot, and not 
 for the people of one certain city. Cities (like 
 Chicago, etc.) will perhaps also be found in 
 Germany, but — the German public is not to be 
 found. 
 
 In regard to the drawing up and issuing of 
 a subscription list it would perhaps be more ad- 
 visable if this were done by a consortium of in- 
 fluential men from the various German cities. 
 In this matter I am already somewhat bound, as 
 a rich and energetic Hamburg merchant intends 
 to call together such a meeting for the isth of 
 October. 
 
 Will you not put yourself in touch with him? 
 He wished, at all events, to communicate with 
 you. 
 
 If you take any steps towards issuing a mani- 
 festo (which might be very effective), I shall re- 
 quest you to consult with Nietzsche as to its 
 
TOUR OF INSPECTION 139 
 
 wording; at all events, you can first invite him 
 to draw up such a manifesto. For this I have 
 quite especial confidence in him — particularly 
 in him . . . 
 
 I am tired, God knows, but send you and yours 
 cordial greetings. 
 
 Yours faithfully, 
 
 Richard Wagner. 
 
 An episode which should have been humiliat- 
 ing to Wagner's countrymen was the liberal offer 
 made to him by Chicago. 
 
 This city wished to celebrate its renascence 
 after the "Great Fire" of 1871 by building a 
 theatre for Wagrier, over which he was to as- 
 sume the personal direction, with the liberty of 
 choosing his own personnel. 
 
 This offer he was unable to accept, but the 
 confidence in his art, which a city was ready to 
 give, deeply touched him, and more than once, 
 in moments of deepest depression, he referred 
 to this offer, and often gave expression to a 
 
I40 THE BAYREUTH LETTERS 
 
 lingering regret that he had not taken his art 
 work and his family to a land which held out 
 such hospitable arms to him and his ideas. 
 
 Later he wrote : " Great Heavens ! Such sums 
 as I should have earned in America! People 
 ought to be willing to give me a present, without 
 asking in return anything more than what I am 
 now doing, and which is the very best I am able 
 to do." 
 
 To Emil Heckel 
 
 (Bayreuth, October 17, 1873.) 
 My dear Friend! 
 
 The " Conference " was again a — ■ More 
 about this verbally! 
 
 Let us abide by the delegates' meeting. If 
 there are only a few of us, we at least represent 
 something — namely, the Wagner Societies. A 
 manifesto can very properly be issued in their 
 name. My wife has written you concerning 
 this. 
 
 Now, do come, and if possible bring Zeroni 
 
TOUR OF INSPECTION 141 
 
 with you. My opinion is that eventually every- 
 thing will go well. 
 
 With the most cordial greetings, 
 Yours respectfully, 
 
 Richard Wagner. 
 
 To Burgomaster Theodor Muncker 
 
 (Bayreuth, October 31, 1873.) 
 Dearest Burgomaster! 
 
 Here are sample copies of a Manifesto drawn 
 up by Professor Nietzsche, and which I wish dis- 
 tributed for temporary cognisance to the dele- 
 gates who have arrived and those yet to come. 
 
 Who can best look after this matter ? In fact, 
 how can I best learn who has arrived? (I have 
 also to bear in mind the dinner-table, in regard 
 to the number of covers.) At present I know of 
 only Nietzsche, Heckel, Ballingad, and M. du 
 Moulin. Unfortunately I am much embarrassed 
 by my lack of servants. 
 
 Pardon me and remain kindly disposed toward 
 Yours most respectfully, 
 
 Richard Wagner. 
 
142 THE BAYREUTH LETTERS 
 
 The last day of October came, and with it a 
 number of delegates representing the Wagner 
 Societies and the Society of Patrons. 
 
 Friedrich Nietzsche, who was one of these 
 delegates and had brought with him the desired 
 proclamation, wrote to a friend : " After a tour 
 of inspection in mud, fog, and darkness, a con- 
 ference was held in the city hall, when my appeal 
 was read and politely but firmly rejected. I my- 
 self protested against any alterations, and sug- 
 gested that Professor Stern be intrusted with the 
 task of drawing up a new one. . . . 
 
 " The building is much more beautiful and well 
 proportioned than it appears in the picture. It 
 is impossible to look upon it without emotion, as 
 it outlines itself against the clear autumn sky. 
 We have a house, and that is now our symbol." 
 
 A letter written by Elizabeth Nietzsche-Foers- 
 ter, the sister of the great German philosopher, 
 contains the following allusion to this manifesto : 
 
 " At the instance of Wagner the executive 
 board of the Wagner Societies had requested 
 
TOUR OF INSPECTION 143 
 
 my brother to draw up an appeal to the German 
 nation in aid of the Bayreuth enterprise. With 
 much reluctance my brother sketched it out be- 
 tween October 18-20, 1873, worked it out in de- 
 tail, and had a number of copies printed in order 
 to distribute in Bayreuth. But the proclamation 
 was politely but firmly rejected by the delegates. 
 Wagner was indignant about the matter." 
 
 The Stern manifesto was printed and freely 
 distributed, but in spite of the vigorous tone in 
 which it was expressed, and the subscription lists, 
 which, at the suggestion of Meckel, had been 
 placed in every book, music, and art shop in Ger- 
 many, a few thalers subscribed by some Got- 
 tingen students was the total result of this broadly 
 outlined " National Subscription," from which so 
 much was expected and upon which so much 
 depended. 
 
 It was in reply to the discouraging reports 
 concerning the same that Wagner wrote to 
 Meckel. 
 
144 THE BAYREUTH LETTERS 
 
 To Emil Heckel 
 
 (Bayreuth, November 19, 1873.) 
 O you most excellent Man! 
 
 Accept my most heartfelt thanks for that 
 which you are doing, and which it is not neces- 
 sary to specify further! You can console your- 
 self with the thought that if the ways and means 
 which you are pursuing do not lead to the goal, 
 then nothing else — of an honourable nature — 
 would help us. 
 
 God knows, possibly you will find that much 
 good comes even from the newspapers; I have 
 often noticed that a lack of understanding creates 
 more confusion than pure malice! 
 
 I go to-morrow to Munich to see if there is 
 any hope of interposition on the part of the King. 
 
 Even if worse happens, we shall still be able 
 to keep to the year 1875, if this winter bears 
 good fruit! If I am able to close with Brandt 
 and Hoffmann definitely in the spring, then they 
 will still have time enough — according to their 
 
TOUR OF INSPECTION 145 
 
 earlier statements — in which to get ready. I 
 shall have a conference with both of them here, 
 at the end of this month. 
 
 Therefore — let us hope ! Through the meas- 
 ures which you are taking with such energetic 
 caution, we shall learn in the end the still latent 
 power of the German character ; that is the con- 
 sideration which almost outweighs the success of 
 the undertaking itself. 
 
 A thousand cordial greetings to you and yours 
 from me and my dear wife. 
 
 Yours, 
 
 Richard Wagner. 
 
 To Joseph Hoffmann 
 
 (Bayreuth, December 19, 1873.) 
 
 Highly esteemed Sir and Friend! 
 
 Accept my sincerest thanks for your efforts, 
 of which you inform me in your kind letter, and 
 be assured that it is not until now, after having 
 become more closely acquainted with you and 
 your important achievements, that I feel myself 
 
146 THE BAYREUTH LETTERS 
 
 relieved on the subject of the artistic success of 
 our undertaking. Highly as I valued the news 
 from you, I was prevented by a very special 
 reason from letting you hear from me until later. 
 
 Even now I am not in possession of informa- 
 tion which would permit me to feel assured of 
 positive assistance, and without which it would 
 seem ill-advised to adhere to the year 1875 for 
 the performances, or to grant the contracts for 
 the beginning of the work at the first of the 
 year. 
 
 As I expect any day now, however, to receive 
 this information, and which from certain signs 
 I venture to hope will prove favourable, I must 
 beg of you to exercise the same patience with 
 me. As we, furthermore, have as yet only pro- 
 visory information as to your conditions, permit 
 me to notify you, on my part, that I, as well as 
 the gentlemen of the committee, consider your 
 demands and suggestions quite reasonable, and 
 only in one particular will it be necessary to find 
 some other way of satisfying you, and that is 
 
TOUR OF INSPECTION 147 
 
 in regard to the two per cent royalty that you 
 claim, without our first being able to discover 
 upon what basis of receipts this percentage is to 
 be deducted. 
 
 The performances at the Festival Theatre in 
 Bayreuth are never to be accessible by an ad- 
 mission fee, nor are they to be given for the 
 financial profit of any person. On the contrary, 
 they are to take place, once for all, only when 
 the costs of the same — that is, the necessary 
 outlay and the compensation for the assisting 
 personnel — shall be covered by the voluntary 
 subscriptions of the patrons, but never is there 
 to be a question of recompense for the author. 
 
 I believe, however, that I shall be able to com- 
 ply with your wishes by pledging myself to per- 
 mit such theatres as wish to present my works 
 according to the customary admission fees, to 
 do so only under the condition that the scenery 
 is executed from your designs and that an agree- 
 ment concerning the same is entered into with 
 you and your heirs. 
 
148 THE BAYREUTH LETTERS 
 
 For the present, as our money has grown quite 
 scarce, we have instructed Baron Viktor v. Er- 
 langer in Vienna, who has pledged himself for 
 fifteen hundred thalers, to pay this sum to you 
 immediately as the compensation which you 
 claim, and do not doubt that this will be done. 
 
 I have to express my sincere thanks, as well 
 as those of my wife, for your kind souvenir and 
 also for your obliging efforts, and at the same 
 time to beg you to remember us both cordially 
 to your esteemed wife whom we have not the 
 pleasure of knowing. 
 
 With the reservation of more definite news for 
 you shortly, I remain, with the deepest respect, 
 
 Yours, 
 
 Richard Wagner. 
 
 To Emil Heckel 
 
 (Bayeeuth, January 19, 1874.) 
 Esteemed, dear Friend! 
 
 It is only fitting that I should address myself 
 to you, the most active and efficient founder and 
 
TOUR OF INSPECTION 149 
 
 promoter of a society for the furtherance of my 
 proposed Stage Festival Play, when a decisive 
 step is to be taken, which can be carried into 
 effect more suitably by an intelligent and proven 
 friend of my undertaking, than by me, the origi- 
 nator of the undertaking. 
 
 Powerful assistance has become necessary, if 
 the work we have commenced is to be carried 
 on to speedy execution ; everything depends upon 
 despatch in this matter, as it is dependent upon 
 the endurance of my personal vitality. 
 
 In the course of two years we have reached 
 the point where we are provided with one hun- 
 dred thousand thaler by the close friends of my 
 art; with this money we have laid the perma- 
 nent foundation of the entire undertaking by 
 erecting a Stage Festival Play theatre, the solid- 
 ity of which insures its usefulness for an im- 
 measurable period of time. But now, just at 
 a time when there can be no further delay in 
 giving the definite commissions for the execu- 
 tion of the stage machinery and decorations, the 
 
ISO THE BAYREUTH LETTERS 
 
 strength of the former patrons of the undertak- 
 ing is exhausted', progress is necessarily retarded, 
 and will be forfeited to a sad fate unless some 
 decisive power comes to its assistance. 
 
 My local counsellors are of the opinion that 
 the undertaking should be supported at any cost, 
 up to the point of the projected Festival perform- 
 ances, and that we might expect with certainty 
 to cover the costs by the support which comes 
 to us from all directions by those interested in 
 this unusual enterprise. With this in view, we 
 should only need a guarantee sufficient to insure 
 the uninterrupted progress of the work. 
 
 In order to secure such a guarantee, I recently 
 approached my noble benefactor, the King of 
 Bavaria, but, for reasons quite obscure to me, 
 he refused my request. 
 
 You know that of late we have been searching 
 for such a guarantee among particularly sym- 
 pathetic and wealthy friends. Should, however, 
 even temporary relief grow out of this attempt, 
 I am nevertheless resolved to look for help in 
 
TOUR OF INSPECTION 151 
 
 so significant a cause in the only direction which 
 would impart the proper dignity to the enterprise. 
 If I have here in mind the " Empire," you are 
 not unacquainted with the fact that the thought 
 of seeing my undertaking and the Kulturwillens- 
 akt * which it represents, discussed by the rep- 
 resentatives of our Parliament, has always filled 
 me with horror, because I feared that not a single 
 person would be discovered among all of these 
 who would be able to expound convincingly the 
 rightful significance of my undertaking and de- 
 fend it against the insulting defamations of the 
 absolutely ignorant, but at the same time power- 
 ful, press. On the contrary, I have now decided 
 to offer the first performances of my work to our 
 victorious Emperor, as a lustrum celebration of 
 the famous peace with France, closed in 1871. 
 The chief thing would be to place the perform- 
 ance of my " Nibelung " work — which is con- 
 structed on entirely new lines corresponding 
 more closely to the peculiarities of the German 
 > Voluntary deed of culture. 
 
1 52 THE BAYREUTH LETTERS 
 
 character — in sharp contrast with the theatrical 
 performances with which, according to a some- 
 what reprehensible custom, such solemn days are 
 usually commemorated. I venture to think that 
 should my offer be accepted, it would express the 
 recognition of a significant epoch in German cul- 
 ture. I could not be expected to express myself 
 forcibly and convincingly on this subject ; I must 
 unconditionally look among the friends of my art, 
 or the patrons of my undertaking, for an advocate 
 who, armed with the detailed instructions which 
 I have drawn up as a guide, would be able to 
 present my project in its true significance and in 
 a favourable light before the proper personages. 
 In this, as well as in other matters, it fills me 
 with pleasant encouragement to appoint you, dear 
 and valued friend, as my choice for the position 
 of chief mediator with your own sovereign, the 
 Grand Duke of Baden, whom I so highly esteem. 
 It was this model German prince who received 
 me and my artistic undertakings with such truly 
 enlightened favour when in 1861, after long ban- 
 
TOUR OF INSPECTION 153 
 
 ishment, I again put my foot upon German soil. 
 Since that time I have had no cause to complain 
 of any diminution in the high-hearted sentiments 
 which greeted me at that time, and believe there- 
 fore that you will find His Royal Highness seri- 
 ously prepared and favorably disposed, if you 
 approach him with a request for assistance along 
 the lines I have already indicated, in the name 
 of all those who have already given their sup- 
 port to my cause, — among whom I count with 
 peculiar satisfaction my royal patron himself. 
 
 It would not be fitting for me to suggest further 
 measures for the pursuance of this course; if, 
 however, the Grand Duke should declare himself 
 in our favour, it is to be taken for granted that 
 the co-operation of His Royal Highness the 
 Crown Prince of Germany would naturally occur 
 at once to my Illustrious Highness as the most 
 effective. I should only permit myself to suggest 
 that the Grand Dukes of Saxon Weimar and 
 Mecklenburg, as well as the Duke of Nassau, all 
 of whom have already taken a great personal 
 
1 54 THE BAYREUTH LETTERS 
 
 interest in my undertaking, should eventually be 
 secured as co-operators. 
 
 If I now specify exactly what I anticipate as 
 the crowning result of all my wishes and efforts 
 in behalf of my undertaking, it would be to secure 
 herewith a commission from the German Em- 
 peror for three complete performances of my 
 Stage Festival Play, the " Ring of the Nibe- 
 lung," • during the summer of 1876, at the Fes- 
 tival Theatre erected for this purpose in Bay- 
 reuth, as a first lustrum celebration of the peace 
 made with France. 
 
 In return for this, the sum of one hundred 
 thousand thalers — in other words, a third of 
 the total cost — should be guaranteed in support 
 of the undertaking. . . . 
 
 As it would not be a difficult task to specify 
 in plain figures the number of seats which right- 
 fully would need to be put at the disposal of the 
 donors of such a sum, I refrain, in this commu- 
 nication, from any amplification of the business 
 aspect of the matter, and beg of you, in conjunc- 
 
TOUR OF INSPECTION 155 
 
 tion with our valued friends in Mannheim, to 
 take the first steps toward the realisation of the 
 idea which I have in mind, and which, I freely 
 admit, originated with you. 
 With devoted friendship. 
 
 Yours faithfully, 
 
 Richard Wagner. 
 
 Wagner had already appealed to his royal 
 patron, King Ludwig of Bavaria, but his letter 
 had remained unanswered. 
 
 In spite of this, however, he was convinced 
 of the genuine interest and sympathy of the 
 King, and went to Munich to make personal in- 
 quiry as to the strange silence. A conference 
 with the King's councillor, Diifflipp, had no im- 
 mediate results, and after a period of anxious 
 waiting Wagner asked for a decisive answer, be 
 it Yes! or No! 
 
 Promptly the annihilating telegram came that 
 the King refused the guarantee. Heckel was at 
 once summoned and found Wagner in a state of 
 
iS6 THE BAYREUTH LETTERS 
 
 despair : " I shall board up the sides of the Festi- 
 val Theatre in order to prevent the owls from 
 nesting there until we are able to resume work 
 on the building." 
 
 The secret ground of King Ludwig's momen- 
 tary displeasure with his favourite was that 
 Wagner had refused to furnish a setting to an 
 extremely weak poem, which in Latin verse ex- 
 tolled the virtues of the Bavarian monarch, on 
 the plea that he was occupied in completing his 
 " Gotterdammerung." 
 
 Wagner was not told that it was the wish of 
 the King, and the latter's displeasure was fanned 
 into flame by the ever-ready Munich intriguers. 
 
 Feustel, to whom the secret had been imparted, 
 had pledged himself not to tell Wagner how mat- 
 ters stood, but he broke the spirit, if not the 
 letter, of his vow by giving the particulars to 
 Heckel, who was then at liberty to act as 
 mediator. 
 
 Later an effort was made to induce the Grand 
 Duke of Baden to intercede with Emperor Wil- 
 
TOUR OF INSPECTION 157 
 
 Ham I for his consent to accept the perform- 
 ances as a sort of lustrum celebration of the 
 peace following the Franco-Prussian War. 
 
 In this connection Wagner suddenly uses the 
 date " 1876 " for the first time. 
 
 After a long wait the Prussian court returned 
 a negative answer, which could be attributed 
 only to a feeling of delicacy and consideration 
 toward the Bavarian King, who was known to 
 be jealous of any outside assistance being given 
 to his favourite. Bismarck is reported to have 
 said, " I do not know but that the King of 
 Bavaria would have considered that we were 
 poaching upon his preserves, had we advanced 
 Wagner's efforts ! " 
 
 As soon as Heckel had thrown a light on the 
 mysterious attitude of the King, Wagner had 
 not delayed writing to his royal patron, who in 
 his former enthusiastic tone answered: 
 
 " No, no, and again no! It must not end so! 
 Something must be done! " 
 
 The old relations were resumed between the 
 
IS8 THE BAYREUTH LETTERS 
 
 master and the disciple, and Wagner was able 
 to announce to Heckel: 
 
 " Everything is in order with His Majesty ! " 
 
 To Emil Heckel 
 
 (Bayreuth, Febraary 9, 1874.) 
 Dear, good Friend Heckel! 
 
 Only have courage! 
 And all will be well! — 
 The matter has been arranged with His Maj- 
 esty; the undertaking in which you are taking 
 such a serious and splendid part is now assured. 
 More details soon! — 
 
 ... I knew that all of that would be in vain ; 
 a " wise fool " is necessary for my cause ! — but 
 who is foolish nowadays ? — 
 
 This in haste! More soon! With my whole 
 heart, 
 
 Yours, 
 
 Richard Wagner. 
 
TOUR OF INSPECTION 159 
 
 To Carl Brandt 
 
 (BAYREtn:H, February 9, 1874.) 
 
 Dear Friend! 
 
 At last I have reached the point where I am 
 able to put the direct question to you — and 
 Hoffmann. 
 
 Provided you receive all the necessary condi- 
 tions, in the form of a contract, for the begin- 
 ning of your work here in Bayreuth by the end 
 of the month, can you then be ready with every- 
 thing so that we may plan for the performances 
 with absolute certainty for August, 1875? 
 
 Even if you cannot assent to the above, a con- 
 ference at the end of the month will be indis- 
 pensable in order that the contracts for 1876 
 (should this become necessary) can be discussed. 
 With cordial greetings, 
 
 Yours faithfully, 
 
 Richard Wagner. 
 
i6o THE BAYREUTH LETTERS 
 
 To Emil Heckel 
 
 (Baykeuth, March 5, 1874.) 
 Dear Friend! 
 
 The signature of the King has just come. It 
 guarantees a credit of a hundred thousand thaler 
 from his own private treasury, in order that the 
 costs of the stage machinery, decorations, and 
 lighting may be defrayed; during the period of 
 the loan all moneys accruing from the Patron 
 Certificates shall be credited to the Royal Treas- 
 ury in liquidation of the debt, until which time 
 all the designated acquisitions remain the prop- 
 erty of the Royal Court Secretary. 
 
 This is the contract. 
 
 You can see that we are placed in a position 
 to go forward, but have not as yet received any 
 additional funds, and therefore remain, as be- 
 fore, dependent upon the support of the public 
 if we are eventually to carry out our undertaking. 
 
 I beg of you, therefore, to proceed with that 
 circumspection and caution in making your com- 
 
TOUR OF INSPECTION i6i 
 
 munications and notifications necessary to the 
 two purposes: 
 
 1. To present this supervening reHef only in 
 the light of a guarantee for the realisation of the 
 enterprise. 
 
 2. Not to make people believe that now noth- 
 ing more is left for them to do. 
 
 We consider it, therefore, best simply to report 
 the fact, namely: 
 
 That the proposed contracts with the painter 
 Hoffmann in Vienna, as well as with the Royal 
 Theatre machinist, Brandt, for the furnishing of 
 the decorations and stage machinery, are to be 
 closed as soon as possible. 
 
 I think this will be sufficient and refute every- 
 thing. In the same way I shall now write to 
 the singers I have selected, and also give in- 
 structions in regard to the orchestra, all of which 
 will soon give another aspect to the matter. 
 
 I shall rejoice all the more if this gives you 
 genuine pleasure, my dear friend, as I unfortu- 
 nately enjoy but little of this pleasure, having 
 
i62 THE BAYREUTH LETTERS 
 
 been so wearied and tormented by all that has 
 preceded that the success leaves me rather cold 
 and mindful only of my duties. 
 
 Cordial greetings from house to house, 
 Yours, 
 
 Richard Wagner. 
 
 To Feustel and Muncker 
 
 (Bayretjth, March 7, 1874.) 
 
 My highly esteemed Sirs and Friends! 
 
 It will ever remain an impossibility for me to 
 give adequate expression to my gratitude for, and 
 recognition of, your great service in the under- 
 taking I have initiated. This is the first thing 
 which troubles me in responding now to your 
 communication of to-day! 
 
 The second is that I am obliged to regard it 
 as utterly impossible to pay my debt of deeply 
 felt gratitude by yielding to your wish that our 
 performances should take place in the coming 
 year. 
 
 I thought that I had already expressed myself 
 
TOUR OF INSPECTION 163 
 
 quite clearly and sufficiently on this point at our 
 last meeting, and therefore can only repeat that 
 the more seriously I force myself to look the 
 matter squarely in the face, the more fully I am 
 able to estimate the injury which the delay in 
 the contracts has caused. . . . 
 
 As a result of this delay I have got out of touch 
 with the personnel I previously had in view, and 
 am obliged to start again from the very begin- 
 ning in regard to securing a new one. For ex- 
 ample, I could not now say to any singer, " Don't 
 make any contract for the summer, in order that 
 you may be at my disposal," and I should regard 
 myself as fortunate, should I be able to per- 
 suade any of the former ones to place themselves 
 at my disposal for a few days, in addition to 
 their other obligations. 
 
 Believe me, it is quite impossible to present the 
 enormous four-part work, each part of which 
 would require three months' preparation in the 
 largest theatres, in the time which now remains 
 for us, from now until next year. 
 
i64 THE BAYREUTH LETTERS 
 
 That is one thing! The other is your sugges- 
 tion and wish that the means be collected by my 
 personal activity. Provided I should be success- 
 ful in getting together considerable sums by con- 
 stant travelling about and constant concert-giv- 
 ing, it grieves me to be obliged to declare to 
 you that I could not endure the strain, and it is 
 for this reason that I am obliged to provide my- 
 self with a conductor to assume these duties even 
 for the Festival performances, a precaution which 
 I was obliged to take in Munich in the past. I 
 feel, more than either one of you, my highly 
 esteemed friends, that the ultimate guarantee of 
 the success of our great undertaking lies in the 
 maintenance of my physical and mental vitality, 
 because no one can estimate the task which I 
 have imposed upon myself in this respect. And 
 furthermore, my experience of the preceding 
 year has convinced me that all these attempts 
 to give a personal impetus to the matter in no 
 way produce results commensurate with the ef- 
 fort made. On the contrary, I learned quite dis- 
 
TOUR OF INSPECTION 165 
 
 tinctly from the experience that it is not the 
 idea which is preached beforehand, but the fact 
 of the proposed musical performances, which 
 may possibly arouse a certain degree of curious 
 sympathy, and this eventually may procure for 
 us the necessary funds. On the other hand, this 
 sympathy can be increased by prolonging and 
 thus exciting curiosity, provided the one fact re- 
 mains firm, and that is the eventuality of the 
 performances. By means of the rehearsals 
 which will be held in the summer of 1875, with 
 decorations, etc., this interest can be raised to 
 a profitable degree of impatience — which would 
 be all the better for us. 
 
 I am quite clear about this. But that about 
 which I am quite in the dark is, how I am to 
 persuade myself to invite fifteen hundred guests 
 (apart from my personnel), among them most 
 distinguished personalities, in the present condi- 
 tion of the entertaining strength of Bayreuth. 
 This it is, my highly esteemed friends, which 
 is so serious a point that I am forced to beg of 
 
i66 THE BAYREUTH LETTERS 
 
 you to throw some light on the subject, which 
 will quiet my anxieties. 
 
 I do not believe that it will be possible for 
 you to convince me that, by the means which 
 up to the present have been used, a thousand 
 patrons, most of them from aristocratic circles, 
 to say nothing of five hundred free seats, can 
 be so accommodated in our hotels and private 
 houses as not to convert the assembling in Bay- 
 reuth into a disagreeable experience, which would 
 make the repetition of the Festival an impossi- 
 bility the year following. 
 
 I therefore regard it as my duty, my highly 
 valued friends, to beg of you to arrange a meet- 
 ing for an early date for deliberating this very 
 important point and as far as I am able to judge 
 of the difficulty of the situation, you will find 
 it by no means too early for serious considera- 
 tion of the matter, if we expect to receive the 
 guests of the Festival in a befitting manner in 
 the summer of 1876, so that they will cherish 
 no manifest objection to coming again in the 
 year 1877. 
 
TOUR OF INSPECTION 167 
 
 May you receive this answer in a friendly and 
 considerate manner, as the conviction of one 
 deeply serious and also of one weighed down 
 with cares, — for the faith's sake, — and beg of 
 you to ascribe it to my great gratitude toward 
 you. 
 
 With the deepest respect. 
 Yours, 
 
 Richard Wagner. 
 
 Among the visitors at the first Festival in 1876 
 was the great Russian composer, Tschaikowsky, * 
 who was at that time only thirty-six years of 
 age. In a letter written to an intimate friend, 
 and since published, he expressed himself unre- 
 servedly as to the impressions he had received 
 at Bayreuth. 
 
 " Bayreuth is an insignificant little city, in 
 which several thousand persons are gathered to- 
 gether. As far as accommodations are con- 
 cerned, one is very badly served. We had or- 
 dered our room beforehand and that is very nice. 
 
i68 THE BAYREUTH LETTERS 
 
 but the first day I succeeded in getting my din- 
 ner only by the greatest effort, and yesterday's 
 breakfast I owe only to a lucky accident. 
 
 "... I am not at all bored, but, on the other 
 hand, I cannot say that my stay here gives me 
 any great pleasure, so that all my thoughts and 
 wishes are directed toward fleeing from here as 
 soon as possible and returning to Russia via 
 Vienna." 
 
 From Henry T. Finck we also have an account 
 of the material discomfort to which the guests 
 were subjected, but, unlike Tschaikowsky, his 
 musical enthusiasm enabled him to take a hu- 
 mourous view of the situation: 
 
 " The chief difficulty was to get something to 
 eat. The small hotels could accommodate only 
 their own guests, and of restaurants there were 
 only a few. I remember a characteristic scene 
 at Lochmiiller's, the principal restaurant at that 
 time. Everyone at the crowded tables was im- 
 ploring the waiters to serve them, and finally the 
 majority decided that they might save an hour 
 
TOUR OF INSPECTION 169 
 
 or two by waiting on themselves. So they all 
 crowded around the buffet, ready to grasp what- 
 ever appeared from the kitchen; while the 
 waiters, pushed aside, stood in a corner, and one 
 of them sarcastically suggested to his compan- 
 ions that they should sit down and let the guests 
 wait on them." 
 
 To Emil Heckel 
 
 (Baxkeuth, April 17, 1874.) 
 Esteemed Friend! 
 
 Best thanks ! We are now burdened with the 
 arrangements of our house and our approach- 
 ing move. My wife suffering continually with 
 a cold, and I — expecting good things and — 
 putting up with bad. I expect Richter the be- 
 ginning of May to assist me for four months. 
 He will then see about your tenor. . . . 
 
 I shall not lack for men, but I have not many 
 women to boast of. The summer will make all 
 this clear; just at present I still have winter 
 somewhat in my bones!! . . . 
 
I70 THE BAYREUTH LETTERS 
 
 Most cordial greetings to you and the friends 
 from 
 
 Yours faithfully, 
 
 Richard Wagner. 
 
 In addition to Wagner's anxieties in regard to 
 the building of the theatre were connected those 
 of his private residence, to which, in jest, he 
 gave the name of " Argersheim " (The House 
 of Anger), as a play upon his " Nibelheim " of 
 the " Ring." He had so often had to call upon 
 Feustel to adjust difficulties with the architect 
 that he wrote : " For your consolation in the 
 future, I promise you that I shall never build 
 another house, not even in Bayreuth." 
 
 The first object which greets the eye of the 
 visitor to Wahnfried is a life-sized bronze bust 
 of Wagner's royal patron, which was put in place 
 during the rehearsals of 1875, and stands as 
 an enduring symbol of the loyal protection of- 
 fered by a German monarch to a German 
 composer. 
 
TOUR OF INSPECTION 171 
 
 The house is singularly simple in its decora- 
 tive scheme, with the exception of the semi- 
 circular space over the entrance, which is occu- 
 pied by sgrafHtto painting of an allegorical 
 character. 
 
 It represents the German myth, which, in the 
 person of Wotan the Wanderer, in mantle and 
 wide-brimmed hat drawn down over his missing 
 eye, journeys through the world accompanied by 
 his ravens. The features are those of Ludwig 
 Schnorr von Carolsfeld, the creator of the role 
 of " Tristan." The Wanderer meets on his jour- 
 neyings the figure of Tragedy, bearing the fea- 
 tures of Wilhelmine Schroder-Devrient, the great 
 dramatic singer, and a second figure in which 
 the art of Music is personified by Frau Cosima 
 Wagner. She leads towards Wotan the boy 
 Siegfried (Siegfried Wagner), who with his self- 
 forged sword is symbolic of the Ai-t Work of 
 the Future. 
 
 Below the picture is the reddish marble tablet 
 bearing the name of the house "Wahnfried," 
 
172 THE BAYREUTH LETTERS 
 
 flanked on either side by the explanatory inscrip- 
 tion : " Hier, wo mein Wahnen Frieden f and, 
 Wahnfried sei dieses Haus von mir genannt." 
 
 In this house Wagner spent the happiest decade 
 of his life with his wife Cosima and three chil- 
 dren. Villa Wahnfried became the amplified ful- 
 filment of the yearning to which he gave expres- 
 sion in an earlier letter to Uhlig: "I want a 
 small house with meadow and garden ! To work 
 with zest and pleasure! Rest! Rest! Rest! 
 Country ! Country : a cow, a goat. Then health 
 — happiness — hope ! " 
 
 To Joseph Hoffmann 
 
 (Bayreuth, June 9, 1874.) 
 Esteemed Sir and Friend! 
 
 I wish to express to you my sincere thanks 
 for the alterations in your beautiful designs. 
 Thereby the room of Hunding has become thor- 
 oughly in keeping with the demands of the dra- 
 matic action, and it is so excellent that I cannot 
 find that it has forfeited anything of its char- 
 
TOUR OF INSPECTION 173 
 
 acter. No less have I to thank you for the space 
 in front of the hall of the " Gibichung " on the 
 banks of the Rhine. 
 
 The general effect will be magnificent; it is 
 to be hoped that the level space of the front and 
 middle stage is wide enough to accommodate the 
 great number of persons required by the action 
 which takes place here. 
 
 One wish I have always had, namely, to see 
 the entrance of the hall in somewhat more of 
 a straight or curved profile; here the decisive 
 meeting of the chief catastrophe takes place. I 
 have made the mistake of keeping, unconsciously, 
 in view our — very incorrect — theatrical con- 
 ventionalities, according to which, for example 
 in " Lohengrin," the portal of the minster is 
 placed sufficiently to one side so that for a 
 long time the action could take place on the 
 steps. 
 
 This time I should like to have a concession 
 on your part, according to which you would move 
 the entire scene rather more from right to left, 
 
174 THE BAYREUTH LETTERS 
 
 so that more would be seen of the hall and 
 somewhat less of the Rhine. 
 In this way: 
 
 (In the original is a drawing indicating this.) 
 
 from which we assume that we have here only a 
 landing place on the river, while in the first and 
 last act we look out upon the broad stream itself. 
 
 But it will be difficult for you to sacrifice any- 
 thing here, for the picture, as you have given 
 it, is unusually characteristic and beautiful. 
 
 Be indulgent and remain favourably disposed 
 always to yours 
 
 Very faithfully, 
 
 Richard Wagner. 
 
 To Carl Brandt 
 
 (Bayreuth, June 9, 1874.) 
 Dear Friend! 
 
 I am in trouble, which I pour out to you as a 
 friend ! 
 
 Frau Jaide troubles me. If she had only come 
 to me at the right time instead of going off 
 
TOUR OF INSPECTION 175 
 
 to Vienna to introduce herself as a Wagner 
 
 singer ! 
 
 That she " injured " herself in Vienna signi- 
 fies nothing, absolutely nothing, although I wish 
 she had considered herself as one of my chosen 
 artists and not subjected herself to the risks of 
 a Vienna appearance. 
 
 This corresponds to her character, which I 
 could wish were more serious, so that she should 
 more deeply realise the nature of the great task 
 before her. 
 
 From inquiries which I have made from ab- 
 solutely reliable authorities and disinterested 
 friends, one thing seems certain: Frau Jaide is 
 credited with a big talent, a highly significant 
 artistic instinct as a dramatic interpreter, and a 
 warm noble nature but — her voice is said to 
 have been injured, she is said to have grown 
 unreliable, and therefore does not fulfil in the 
 performance the expectation she arouses in the 
 rehearsals. 
 
 For me this is no small matter — during the 
 
176 THE BAYREUTH LETTERS 
 
 time which Frau Jaide tardily allows to go by 
 — presumably in Vienna appearances — to be 
 obliged to decide about the casting of the chief 
 roles in my work. 
 
 Now I beg of you ! You are in Darmstadt on 
 the spot; tell me something of the assiduity of 
 this singer. Do you consider her as thoroughly 
 reliable as the mainstay of my performances 
 should be? 
 
 I most heartily hope that you will be able to 
 quiet my mind on this point! 
 
 As stage machinist you are now obliged to 
 help me by deed and word in everything. Do 
 you remember that I also applied to you for 
 information about your orchestra? ? ? . . . 
 
 May Fate be treating you particularly well, 
 but — always think a little of 
 
 Yours cordially and faithfully, 
 
 Richard Wagner. 
 
 Frau Jaide was the Darmstadt singer whom 
 Wagner discovered on his tour of inspection and 
 
TOUR OF INSPECTION 177 
 
 mentioned in his letter to Feustel as "the only- 
 singer whom I have as definite booty so far — 
 she is of great (if as yet unknown) excellence." 
 
 In March, 1874, Wagner wrote to her as fol- 
 lows : " I am now at the point where I can re- 
 quest you to come to Bayreuth for a long stay, 
 in order to afford me the opportunity of acquaint- 
 ing you with the great task which I hope to see 
 accomplished by means of your great gifts. 
 
 " Come when you will, and when it best suits 
 your convenience ; during the course of the sum- 
 mer I expect similar visits from all of the other 
 artists whom I have chosen." 
 
 At first Wagner hoped that Frau Jaide might 
 answer for Sieglinde, but later he was obliged 
 to abandon this idea and intrust to her the roles 
 of Erda and Waltraute. 
 
 To Friedrich Feustel 
 
 (Bayeeuth, June 10, 1874.) 
 Dear Friend! 
 
 Every evening my musicians are with me in 
 
 order to be coached in the proper interpretations 
 
178 THE BAYREUTH LETTERS 
 
 of my scores, which the singers are soon to begin 
 studying with them. 
 
 He who wishes to participate in these gather- 
 ings is heartily welcome, even were it the highly 
 esteemed " circle." Every night something is 
 going on, and I cannot leave the house a single 
 evening. 
 
 Faithful greetings from your ever grateful 
 
 friend, 
 
 Richard Wagner. 
 
 The summer of 1874 was devoted to studying 
 the big score with the young musicians of the 
 so-called " Nibelungkanselei," presided over by 
 Dr. Hans Richter. Among the young " copy- 
 ists " who were at work under his direction were 
 Anton Seidl, Joseph Rubinstein, and Franz 
 Fischer. 
 
 Chests were already filled with the different 
 parts of the score, and every evening some part 
 of the gigantic work was taken out and gone 
 through with, and here was laid the foundation 
 of the " Bayreuth style." 
 
TOUR OF INSPECTION 179 
 
 None of these young disciples was more thor- 
 oughly imbued with the spirit of the work than 
 Anton Seidl, who was afterward to become the 
 great Wagner prophet of America. Later Wag- 
 ner wrote of him : " At any moment I could, had 
 it been necessary, have intrusted him with the 
 direction of the entire work. He was filled with 
 the spirit of the ' Nibelung Ring ' from the crown 
 of his head to the soles of his feet ! " 
 
 To Carl Brandt 
 
 (Bayeeuth, June 14, 1874.) 
 Esteemed Friend! 
 
 I should like to have a list of the 
 
 Most Meritorious, 
 
 consequently 
 
 the most excellent, musicians 
 
 of the grand Ducal Court Orchestra. To whom 
 
 shall I apply? . . . 
 
 I should like you to ask whichever conductor 
 
 of the orchestra you consider most capable of 
 
 deciding this point, an opinion which will be 
 
i8o THE BAYREUTH LETTERS 
 
 treated with the most absolute confidence. Out 
 of six orchestras, which are unemployed dur- 
 ing these months, I intend to form my big 
 orchestra. . . . 
 With the most cordial greetings, 
 Yours faithfully, 
 
 Richard Wagner. 
 
 To Joseph Hoffmann 
 
 (Bayseuih, October 12, 1874.) 
 Honoured Sir and Friend! 
 
 It is not my wish that you withdraw from 
 further co-operation in the execution of the plans 
 which you have designed. I have demonstrated 
 to you that it was most important to me, for the 
 successful progress of the work, to keep you on 
 good terms with the gentlemen to whom the ex- 
 ecution of your plans was directly intrusted. At 
 the present moment it is not my purpose to in- 
 quire closely into the reasons which have arisen 
 for making impossible this necessary unanimity. 
 It is sufficient to assume that you yourself rec- 
 
TOUR OF INSPECTION i8i 
 
 ognise that the situation has grown impossible. 
 This opinion I have imparted to the gentlemen 
 of the Executive Council, without, however, ex- 
 pressing a wish. My sole, sincere desire is that 
 you and I, two honourable men, should part in 
 peace for the present. In regard to the payment 
 of any indemnification, this question belongs to 
 a province in which I take part with all the 
 necessary force and energy only when it con- 
 cerns the accomplishment of my undertaking as 
 a whole, and as I have eliminated any idea of 
 material profit for myself, I leave all decisions 
 of this nature to the directors of the economic 
 part of the undertaking, who are pledged to the 
 strictest economy on every point. 
 
 As soon as the part Herr Briickner is to take 
 in the final execution of the decorations is settled, 
 I promise you without fail to remember him and 
 also yourself by compensating you for the part 
 you have taken in the matter by the further pro- 
 tection of your copyright in the future. 
 
 With the request that you present my regards 
 
i82 THE BAYREUTH LETTERS 
 
 to your highly esteemed wife and mother-in-law, 
 
 I extend my hand to you at parting and remain 
 
 always 
 
 Yours respectfully, 
 
 Richard Wagner. 
 
 During a long stay with Brandt in Darmstadt 
 Hoffmann had finished the models for the 
 scenery of the " Ring " ; but serious differences 
 of opinion had occurred between himself and his 
 colleagues, as a result of which the scenic exe- 
 cution of his models had been entirely trans- 
 ferred to the Briickner brothers in Coburg, and 
 Brandt appointed exclusively to the task of in- 
 specting their work. 
 
 To Carl Brandt 
 
 (Bayreuth, November 23, 1874.) 
 Dear Herr Brandt! 
 
 Can you not at last see that my wish in re- 
 gard to the orchestra affair is looked after by 
 the suitable person in the Darmstadt Orches- 
 tra? ? ? I only need this information in order 
 
TOUR OF INSPECTION 183 
 
 to form my orchestra temporarily, whereupon I 
 can only then take the official steps. 
 
 Yesterday I finished my score, and shall de- 
 vote myself now entirely to business. 
 Cordial greetings from 
 
 Yours very faithfully, 
 
 Richard Wagner. 
 
 The score of the " Gotterdammerung " was 
 finished in November, 1874. 
 
 " Finished in Wahhfried. I say nothing fur- 
 ther. R. W." he wrote on the last page. 
 
 In spite of all the interruptions and obstacles, 
 in spite of the disheartening experiences, strug- 
 gles, and self-sacrifice, his great work lay fin- 
 ished before him after almost a quarter of a 
 century of labor. 
 
 It could have been finished and performed in 
 Zurich in 1859; Weimar was next thought of 
 as the place of its christening; it was driven 
 out of Munich by hostile force; and at last, by 
 his own efforts, he had built a house for it on 
 
i84 THE BAYREUTH LETTERS 
 
 virgin soil. The work was finished on paper, 
 but there was to be a repetition of many strug- 
 gles and anxieties before it could be performed. 
 No sooner was it finished than his publisher, 
 Schott of Mayence, gave him no peace until he 
 had written a whole series of " Introductions 
 and Finale," so that single numbers could be 
 used for concert purposes. 
 
 "Oh, Germany!" was his distressed cry. 
 
 To Friedrich Feustel 
 
 (BATfKEtncH, December i6, 1874.) 
 Dear good Friend! 
 
 Still filled with gratitude for yesterday, I come 
 
 to make another claim upon you to-day. I 
 
 wished to inform you that Rth^ 818 (for " Flie- 
 
 gender Hollander") have reached me to-day 
 
 from Berlin ; the entire sum I have kept for 
 
 myself, for well-known outlay (for example, 
 
 Kietz in Dresden for the marble bust, etc.), as 
 
 well as for the calamities of the Christmas and 
 
 New Year season. . . . 
 
 > Reichsthaler. 
 
TOUR OF INSPECTION 185 
 
 If for any reason you prefer another modus, 
 and if you would rather have my baria go 
 through your bureau, I beg of you to let me 
 know your opinion. 
 
 Not until January shall I have any income 
 worth speaking of, and then I shall incorporate 
 this with our Conto corrent. 
 
 The chief impulse to " Forwards " in my fi- 
 nances I do not expect until April of this year, 
 when, in addition to the presumably good receipts 
 from the profitable quarterly payments, come 
 those promised me by Schott. 
 
 So — one swims and wades ! One hopes fi- 
 nally, however, to reach the shore — at least, 
 when someone stands by you who has a resem- 
 blance to my friend Feustel! . . . 
 
 From his whole heart greets you 
 
 Your ever grateful and faithful 
 
 Richard Wagner. 
 
 P. S. The SgrafHtto ^ did cost something, after all ! 
 
 • The fresco in sgraffitto work, which is placed over the entrance 
 of Wahnfried, was executed by Robert Krause. 
 
i86 THE BAYREUTH LETTERS 
 
 To Professor Carl Doeppler 
 
 (Bayeeuih, December 17, 1874.) 
 Esteemed Sir! 
 
 I permit myself to inquire if you would be 
 favourably inclined to undertake the designing 
 of the costumes, as well as the superintendence 
 of the execution of the same, for the projected 
 Festival performance of my four-part Stage 
 Festival Play, the " Ring of the Nibelung," in 
 the summer of 1876. 
 
 For your preliminary information as to the 
 character of your task, I am sending you a copy 
 of the dramatic text as well as several brochures 
 referring to the execution of the same. You 
 will recognise at once that it is the difficulties 
 which have arisen in connection with the matter 
 which have determined me upon looking about 
 for an unusually experienced and excellent artist 
 in this particular province. 
 
 I believe I am justified in regarding the task 
 as a fertile field and one which offers great 
 
TOUR OF INSPECTION 187 
 
 possibilities for an inventive mind. For, to get 
 at the gist of the matter, I require nothing less 
 than a characteristic painting executed in single 
 figures, which shall present with striking vivacity 
 individual events from each and every episode of 
 this far-distant culture epoch. You will soon find 
 that the picture which has been accepted as the 
 authoritative characterisation of the figures in the 
 mediaeval Nibelung Epic, according to the prece- 
 dent set by Cornelius, Schnorr, and others, must 
 here be left quite out of the question. On the 
 other hand, if one has given attention of late 
 to the characterisations from the specific North- 
 ern mythology, it will have become apparent 
 how an effort was being made to avoid diffi- 
 culty by using a modification of the classic an- 
 tique. Intimations of the Roman writers, who 
 came in touch with the Germanic peoples as to 
 the costumes of these people, do not seem to 
 have received the attention they merit. 
 
 According to my opinion, any artist who 
 wished to appropriate the sketches I gave him, 
 
i88 THE BAYREUTH LETTERS 
 
 and make them his own, would find a unique field, 
 not only for intelligent compilation, but for his 
 inventive fancy as well; and I could wish for 
 nothing more than that you, highly esteemed sir, 
 should assume this task. 
 
 Begging you to let me know your inclination 
 in the matter, I do myself the honour of sending 
 you greetings of especial respect as 
 Your humble servant, 
 
 Richard Wagner. 
 
PRELIMINARY REHEARSALS 
 The Year 187s 
 
 To Emil Heckel 
 
 (Bayreuth, December 31, 1874.) 
 My dear Friend! 
 
 In order that I may close the old year with 
 something agreeable, I reply at once to your dear, 
 dear greeting just received! 
 
 You dear just men, and particularly our chief 
 co-worker, Zeroni ! Be heartily greeted from me 
 and mine! 
 
 Health, good spirits, and humour — in short, 
 everything which one calls the gifts of God and 
 of nature — are good. Here and there enor- 
 mous difficulties,^ but always leading to some- 
 thing good. 
 
 Beautiful, very beautiful, was your dear visit, 
 
 ' In the original, "Hangen und Wiirgen." 
 
igo THE BAYREUTH LETTERS 
 
 you two chief " just men " ! But another time 
 bring also the wives of the just men. 
 
 You will soon receive accurate information as 
 to the progress of our preparations! 
 
 Above all things, a wish for a good year from 
 Yours faithfully, 
 
 Richard Wagner. 
 
 To Emil Heckel 
 
 (Baykexjth, January 2, 1875.) 
 
 Dear Friend! 
 
 Once again: a good' New Year! But now 
 come the worries, namely, the definite decisions 
 as to casting certain roles for my work. As I 
 have quite a collection of interrogation points 
 before me in regard to Mannheim, I appeal to 
 you as a diplomat, hoping you will do better by 
 me than Count Arnim did by Bismarck. 
 
 I. Herr Unger shall make the effort to learn 
 the Loge and in addition study the Siegmund for 
 an emergency. This could be of advantage to 
 him in the future, in case he is present at all of 
 
PRELIMINARY REHEARSALS 191 
 
 the rehearsals, even should he not sing it just 
 yet in Bayreuth. 
 
 2. Herr Knapp I should like to have for 
 Fafner, on account of many characteristics; 
 friend Langer must see if this is possible with 
 Knapp's voice (on account of the deep tones). 
 If not, then he shall stick to Dormer, with the 
 study of Gunther as doublette — just in the same 
 way as Unger with Siegmund. 
 
 3. Fraulein Auguste v. Miiller : " Grimmgerde," 
 one of the Valkyries : Erda and First Norn for 
 emergency, vide : Unger — Siegmund. 
 
 4. Fraulein Johanna Konig — the bird's voice 
 in " Siegfried," — the somewhat slight figure of 
 the lady preventing my making further use of her. 
 I should like to have used her for the first 
 Rhine daughter, Woglinde; but for this I need, 
 above all, routined, experienced, and courageous 
 women, as they sing most of the time in a fly- 
 ing machine for which the Lehmann sisters 
 (Lilli and Marie) have offered themselves. But: 
 caution is also advised here: Fraulein Konig 
 
192 THE BAYREUTH LETTERS 
 
 may as well study the Woglinde, just as it would 
 be advisable for Fraulein v. Miiller to study the 
 Flosshilde. 
 
 Friend Langer is to look after all the coach- 
 ing — these are the temporary machinations ; if 
 I receive good news from you as to the willing- 
 ness of the above-mentioned singers, official 
 measures, distribution of the roles, more exact 
 arrangements will follow. Only I must be ab- 
 solutely assured of the unconditional willingness 
 of the participants in every way; this was a 
 point emphasised in my suggestion. 
 
 Artistic sensitiveness, coveting of roles, and 
 any demands of this nature will necessitate a 
 complete breach whenever I meet with such 
 conditions. 
 
 Only by the voluntary good-will of cdl partici- 
 pants can that which I have in view be success- 
 fully accomplished. 
 
 I still need a Sieglinde:^ that is a calamity! 
 
 * The greatest trouble Wagner encountered in the casting of 
 his work was in finding a suitable Sieglinde and Siegfried. 
 
PRELIMINARY REHEARSALS 193 
 She must be slender and competent. Frau Jaide 
 will not answer. Have you thought of anyone? 
 In case Knapp does not wish to sing Fafner, do 
 you know of any suitable fellow for the rolef 
 However, he must be a deep, powerful bass. 
 
 A thousand cordial greetings from house to 
 house, and to the distinguished just men! 
 Your little old 
 
 Richard Wagner. 
 
 To Emil Heckel 
 
 (Bayeeuth, January 28, 1875.) 
 
 Well, here is the desired (circular). We shall 
 be able to manage eight or ten marks a day for 
 those without means; therefore — say to the 
 singers that they can make this condition. 
 
 Great care will be taken that my company re- 
 ceives good and cheap accommodations. 
 
 Good evening, dear friend. 
 
 Yours, 
 
 Richard Wagner. 
 
 (Clerk.) 
 
194 THE BAYREUTH LETTERS 
 
 Heckel had made an inquiry concerning the 
 amount which was to be allowed the artists for 
 their living expenses while in Bayreuth, and' at 
 the same time he requested that a copy of the 
 circular to the artists be sent him. 
 
 He received the latter with the lines above 
 written on the back of it. 
 
 This circular which Wagner drew up in Jan- 
 uary, 1875, and had distributed among the ar- 
 tists whom he had in view for his Festival per- 
 formances, read as follows: 
 
 " In the course of the personal intercourse with 
 you, which it has been my privilege to enjoy, 
 you have learned of my wish to secure your 
 co-operation in carrying into effect, under abso- 
 lutely unique conditions, a three- fold performance 
 of my four-part stage work entitled the " Ring 
 of the Nibelung." 
 
 " I believe that the realisation of this idea, 
 which, on the one hand, has depended' upon the 
 extraordinary support of the friends and patrons 
 of my art, can only be made possible by the cor- 
 
PRELIMINARY REHEARSALS 155 
 
 dial and vigorous consent of the distinguished 
 artists whose co-operation has been soHcited, as 
 the support of my patrons should and must only 
 be given to an undertaking in connection with 
 which there is no thought of money-making 
 speculation. You will therefore find yourselves 
 (perhaps for the first time in your lives) called 
 upon to devote your gifts solely and singly to 
 the achievement of an ideal artistic purpose, 
 namely, that of showing to the German public 
 what the German is able to do with his art on 
 his own native ground, and in this way be able 
 to present to foreign countries, from whose ar- 
 tistic leavings we have lived chiefly up to this 
 time, something which they are not capable of 
 imitating." 
 
 Here follow the obligations and conditions 
 upon which this invitation was to be accepted, 
 and an accurate statement of the time and length 
 of the rehearsals, with a request that the artists 
 name the sum which would cover their expenses. 
 
 The letter closed with the following clause: 
 
196 THE BAYREUTH LETTERS 
 
 " I now await your favourable answer, in order 
 to learn that I shall be able to count you among 
 those who have bound themselves voluntarily 
 into a confederation of the highest significance, 
 and pledged themselves to carry into execution 
 an artistic idea such as was never before 
 projected." 
 
 To Carl Brandt 
 
 (Not dated.) 
 Dearest Colleague! 
 
 When I got home, I found the letter which 
 I at once send on to you. I believe we may 
 trust this man, as the English in this particular 
 point ^ are somewhat ahead of us. 
 
 Will you kindly write to the man whatever 
 there is to be said? And also make closer in- 
 quiries as to his work? 
 
 ' This refers to the Dragon in "Siegfried," which was eventually 
 ordered from the man mentioned here for £500. It was transported 
 in sections and caused the greatest anxiety in Ba3rreuth. 
 
 When all of the various detachments had finally arrived, Fricke, 
 the ballet-master, was so disgusted that he cried: "Away to the 
 attic with such a monsterl " 
 
PRELIMINARY REHEARSALS 197 
 
 With cordial greetings and many thanks for 
 your last visit, 
 
 Yours, 
 
 Richard Wagner. 
 
 To Emil Meckel 
 
 (Bayreuth, February 6, 1875.) 
 
 Dear Friend! 
 
 To you therefore — as always — briefly and 
 to the point! 
 
 Knapp bores me somewhat with the absurd- 
 sounding clause in regard to certain particular 
 deductions. Eilers and other excellent artists, 
 as well as the poor Unger, accept the simple 
 compensation — Eilers, in fact, only ninety 
 thaler s a month. Eilers sings two of the chief 
 roles for me, while I can only count on Knapp 
 of a certainty for the Donner, and for the same 
 role I could have Degele in Dresden for nothing. 
 If Herr Knapp insists upon his fifteen marks 
 (per day), I can only use him for the first week 
 in July and the first week in August of this 
 
198 THE BAYHEUTH LETTERS 
 
 year, and he can then earn money elsewhere in 
 the interim. 
 
 Honestly, this haggling annoys me! I will 
 write personally to Unger, Fraulein Konig, and 
 Fraulein von Miiller. Otherwise everything is 
 going very well, and a great effort is being made 
 on every side to lighten the expenses for me. 
 
 Richter has just been here on his wedding 
 journey. On the nth of this month we start 
 ourselves for Pesth and Vienna. Be in Vienna 
 evening of March ist. (Nothing but " Gotter- 
 dammerung"!) 
 
 Cordial greetings from house to house! 
 Wholly and entirely yours, 
 
 Richard Wagner. 
 
 Hans Richter came to Bayreuth, not only to 
 discuss the approaching concert in Pesth, where 
 he was at that time musical director, but to in- 
 troduce his bride to Wagner. 
 
 As a wedding present, Wagner had sent him 
 the newly published score of the "Walkiire" 
 
Doctor Hans Ricliter 
 
PRELIMINARY REHEARSALS 199 
 
 with some humourous dedicatory lines referring 
 to the firm attitude taken by Richter during the 
 " Rheingold " period in Munich. 
 
 " Gedenkt dass noch in femen Tagen, 
 Wie Richter und Wagner es einst mochten wagen, 
 Eher Werk und Taktstock zu zerschlagen, 
 Als die Welt mit schlechtem Auffiihrungen zu plagen." 
 
 To Friedrich Feustel 
 
 (Vienna, Febraary 27, 1875.) 
 My dearest Friend! 
 
 Your kind letter pleased and gratified me 
 greatly. Accept my thanks for yoiir so unusually 
 considerate friendship. 
 
 I regret that you are still obliged to keep up 
 such a " lively " correspondence with Schott, as 
 I can only infer this to mean that you are meet- 
 ing with difficulties. 
 
 . . . Here (Vienna) I at once met with great 
 vexation. But now, thanks to my extraordinary 
 efiforts, everything is going well. But it will not 
 be easy to bring the receipts up to the desired 
 amount. The calamity here is so great at the 
 
200 THE BAYREUTH LETTERS 
 
 present that my friends have not dared to ask the 
 same high prices that they did three years ago; 
 instead of twenty-five florins at that time, they 
 could venture on only twenty, and so on in pro- 
 portion, so that the highest gross receipts to be 
 expected will be twelve thousand florins. Every- 
 where astonishment reigns that at a time of gen- 
 eral stagnation, when many theatres have been 
 obliged to close their doors on account of lack 
 of an audience, the name of R. W. has been able 
 to work such a miracle. 
 
 In Pesth it will not be very different, and I 
 shall be obliged to renounce all idea of large 
 receipts; however, I have resolved to equalise 
 matters by repeating the concert in Vienna on 
 March 4, namely, at lower prices, in order that 
 the less-well-off public (who are pining for this) 
 will be able to come. 
 
 It is to be assumed that this second concert 
 will also be filled to overflowing, and that the 
 receipts will prove satisfactory, as the expenses 
 will be very little. 
 
PRELIMINARY REHEARSALS 201 
 
 Within the next few days I shall suggest to 
 the King, from obligatory considerations, a pri- 
 vate performance of the same numbers in the 
 Residenz Theatre. Whether he accepts this or 
 not, I intend in any case to return by way of 
 Munich in order to see and hear the artist pair 
 Vogel. 
 
 My wife joins me in greetings and thanks! 
 
 I remain always 
 
 Your deeply grateful 
 
 Richard Wagner. 
 
 To Emil Meckel 
 
 (Bayreuth, March 26, 1875.) 
 Dear Friend Heckel! 
 
 Many thanks! Much trouble and vexation — 
 
 I gladly await Herr v. Reichenberg, but my 
 
 time is short ^ which brings me to ask you to 
 
 arrange the affairs with Herr Knapp. Since 
 
 the conductors are behaving so badly, I have 
 
 grown tired of the haggling and bargaining, 
 
 ' In German, " Knapp." 
 
202 THE BAYREUTH LETTERS 
 
 and moreover Herr Knapp really interests me. 
 Let him dispose of his time according to the 
 order of the rehearsals. I need him only for 
 the " Rheingold," and, provided he will sing one 
 of the men in the " Gotterdammerung," the 
 other numbers he can use for concert work, etc. 
 Moreover, I should not care to make payments 
 to the Mannheim Pension Fund during the time 
 that he is lying here idle. 
 
 In regard to Unger I am rather uncertain 
 just at present. You know that! 
 
 I am expecting news which will result in my 
 seeing " Tristan " in Munich April 5th at the 
 latest ; if Frau Vogel fulfils my expectations and 
 I am able to secure her for Sieglinde, this will 
 undoubtedly depend upon my taking her husband 
 also. I can give him no other role than that of 
 Loge. For this reason I do not see at present 
 what I could do with Unger, whom I know so 
 little. He, however, has left an impression which 
 decides me in any case to become better acquainted 
 with him. He must therefore spend some time 
 
PRELIMINARY REHEARSALS 203 
 
 in my neighbourhood, purely for the cause and 
 in order to profit by my instructions. I cannot, 
 however, make any compensation to him for his 
 sojourn here. 
 
 Now do see what is to be done ! In the event 
 that Frau Vogel definitely displeases me, Unger 
 would then serve for Loge. 
 
 I have passed through much lately and am also 
 not at all well. 
 
 But in the end everything must succeed. 
 
 Cordial greetings from 
 
 Your faithful 
 
 Richard Wagner. 
 
 To Carl Brandt 
 
 (Baykeuth, April 6, 1875.) 
 Dear Herr Brandt! 
 
 You can see what kind of people I have to do 
 with in Darmstadt! Still no word has been re- 
 ceived from the Kapellmeister there! ! ! I fear 
 I shall be obliged to renounce all claim on the 
 Darmstadt Orchestra. And now another thing 
 which makes my heart heavy! 
 
204 THE BAYREUTH LETTERS 
 
 I was at the theatre again to-day, and must 
 confess that, unless I wish to perjure myself 
 shamefully, the architect has built my orchestra 
 pit absolutely incorredt. 
 
 I cannot accommodate my musicians in this 
 space. It is quite impossible! Nothing remains 
 to be done but to remove two rows of seats from 
 the auditorium (which is of no concern) and 
 to take away the dividing wall and put it farther 
 back. 
 
 I will point this out to Runckwitz to-morrow 
 (will you have the kindness, at the same time, 
 to put yourself into communication with Mr. 
 — Henry VIII.^) in Leipzig. 
 
 I remember to have heard you say, on this 
 point, earlier, that there would be no fundamental 
 difficulties in the way of removing the wall. 
 
 It is a matter of absolute indifference to me, 
 in the plan as a whole, if a hundred listeners 
 more or less are accommodated. The thing is 
 to present a perfect performance in every re- 
 
 ' Briickwald — his name just occurs to me! 
 
PRELIMINARY REHEARSALS 205 
 
 spect — the rest is a matter of indifference. But 
 your Darmstadt musicians! And no one upon 
 whom I can rely but the poor " machinist," whom 
 I greet most cordially as his 
 
 Faithful 
 
 Richard Wagner. 
 
 To Friedrich Feustel 
 
 (Berlin, April 16, 1875.) 
 Dearest Friend! 
 
 Best thanks for your letter which I found 
 awaiting me here, and which made me feel at 
 home, although it contained no very encourag- 
 ing news. . . . 
 
 My trip, upon which I started eight days ago, 
 has been so far only a chase after singers. I 
 have not been entirely unlucky in this respect, 
 and I also made the very delightful acquaintance 
 of the Braunschweig impresario, which I almost 
 dare to hope will lead to the Duke becoming a 
 patron. Everything here is said to be going 
 well. I have resolved to follow up to the very 
 
2o6 THE BAYREUTH LETTERS 
 
 last point all the resources which Berlin offers 
 me. Unfortunately this all costs a great deal of 
 money, which often seems to be an unnecessary 
 expenditure. . . . 
 
 May we recommend our children and our house 
 to the kind care of you and yours, and for this 
 all of you are most heartily greeted by me and 
 my wife. 
 
 Always yours gratefully and faithfully, 
 
 Richard Wagner. 
 
 To Friedrich Feustel 
 
 (Baykeuth, May 2, 1875.) 
 My dearest Friend! 
 
 How right you were to insist, above all, that 
 the artistic details in the execution of my under- 
 taking should be the chief consideration, and 
 that our slender and painfully accrued funds 
 should not be wasted upon the exterior of our 
 theatre! The very justifiable warning, which 
 was moreover accompanied by a side glance at 
 our treasury, immediately decided me to limit 
 
PRELIMINARY REHEARSALS 207 
 
 the excavations to such as are absolutely indis- 
 pensable for the 'immediate environment of the 
 theatre. 
 
 In any case I wish to return to the city the 
 entire piece of ground reaching from the theatre 
 terrace to the extreme front entrance, with the 
 serious suggestion that this large piece of ground 
 be used entirely according to the wisdom of the 
 City Council. If needs be, the chaussee already 
 built can be used profitably as a street. 
 
 I shall content myself, then, with the still very 
 considerable space which now forms a plateau 
 surrounding the theatre; the entrance and exit 
 can take place by way of the chaussee leading 
 to Burgerreuth. I found yesterday, in a con- 
 versation with Herr Runckwitz, that this could 
 easily be accomplished. 
 
 The young building master told me also that 
 about five thousand florins have already been 
 expended on the excavations; I wish now that 
 the contracts (with especial consideration for 
 certain contractors) be annulled, and then I 
 
2o8 THE BAYREUTH LETTERS 
 
 would set aside about two thousand to three 
 thousand florins for the levelling of the plateau, 
 so that the entire work of excavation would cost, 
 for the present at least, only eight thousand 
 florins. 
 
 For, in the first place, I have to keep in mind 
 the rehearsals this summer. If the next con- 
 cert in Vienna succeeds according to my expec- 
 tations, then I may well claim the credit of hav- 
 ing created the necessary financial basis for these 
 rehearsals. It shall now be my chief concern to 
 hold this intact for these rehearsals ; on the other 
 hand, the fact that the city of Bayreuth will have 
 to transform a large piece of ground into a park 
 for the Sunday promenades of its citizens, cannot 
 be laid to my ambition. 
 
 In the same way I shall refrain from having 
 anything further to do with the agitation con- 
 cerning the hotel question. In response to my 
 very first inquiry in regard to the accommoda- 
 tion of strangers, I received the assurance of 
 the city of Bayreuth, through my representative, 
 
PRELIMINARY REHEARSALS 209 
 
 that this question would be satisfactorily solved, 
 and it was only upon receiving this promise that 
 I decided upon Bayreuth as the home of my Fes- 
 tival Play. 
 
 I now rely upon the sense of honour of my 
 new fellow citizens, and in the future shall only 
 keep in view the purely artistic success of my 
 undertaking. 
 
 In any case I shall present my work to the 
 German public in three successive performances ; 
 as to whether out of this a permanent institu- 
 tion will be formed or not for the benefit of the 
 city of Bayreuth will depend largely upon what 
 Bayreuth does in the matter. 
 
 I hope, dearest friend, that you agree with me 
 in my view of the situation, as well as in my 
 decisions concerning the same, and in this as- 
 sumption I beg of you to suggest a way by which 
 my appeal to the city to take back part of the 
 ground given me may best be accomplished, as 
 well as the solution of the question concerning 
 the annulling of the contracts for the excavations. 
 
2IO THE BAYREUTH LETTERS 
 
 I hope I shall see you before my departure, 
 which, however, takes place to-morrow after- 
 noon. In the meantime I greet you as ever. 
 Your deeply grateful 
 
 Richard Wagner. 
 
 (Saturday, May 2, 1875.) 
 
 The night in which my good Russ suddenly 
 died. 
 
 The material results of the two Berlin concerts 
 amounted to only six thousand thalers; the ex- 
 penses were borne by the Berlin Wagner So- 
 ciety, which demanded in return six Patrons' 
 Certificates. 
 
 Wagner felt himself under obligations to use 
 this small sum, which was so incommensurate 
 with the effort expended in obtaining it, for the 
 approaching rehearsals, and not devote it to the 
 grounds around the theatre. 
 
 The postscript is full of significance, as the 
 dog Russ had been Wagner's faithful companion 
 for nine years; he had belonged to the happy 
 
PRELIMINARY REHEARSALS 211 
 
 Triebschen days and had come with the family 
 to Bayreuth. At the time of the erection of 
 Villa Wahnfried, Wagner had his vault built in 
 the garden back of the house and covered it with 
 a plain granite slab. At the foot of this the 
 faithful Russ was buried, and on a small stone 
 tablet the inscription is still to be read : " Here 
 rests and watches Wagner's Russ." 
 
 To Emil Heckel 
 
 (Bayreuth, May 27, 1875.) 
 Best thanks to all 
 
 The Just Men and their Wives! 
 
 My good wife delighted me with a splendid 
 
 garden fete on my birthday! 
 
 But: — 
 
 Business! — 
 
 Unger still has n't put in his appearance, al- 
 though I have twice telegraphed him that I had 
 something important in view for him. I fear 
 I shall be obliged to give him up at the very 
 start. . . . 
 
 Pardon me! But your little questions about 
 
212 THE BAYREUTH LETTERS 
 
 this or that, as to whether or not anyone can 
 be admitted to the rehearsals? . . . etc. often 
 demand answers which are not so easy to give, 
 — for I am much more worried than you seem 
 to think. 
 
 This year's Preparatory Studies, not rehear- 
 sals, are to be devoted entirely to the matter in 
 hand and not to an audience; from the ist to 
 the 15th of August, however, there will be or- 
 chestra rehearsals for placing, seating, sound, 
 and first reading of the score. 
 
 Whoever happens to be there and conducts 
 himself modestly will eventually have an oppor- 
 tunity of hearing something, but no special per- 
 missions for this will be given out. 
 
 What difficulties there still are ahead of me! 
 
 May all the just men realise this and not be 
 continually congratulating me beforehand on my 
 " successes." 
 
 Many cordial greetings. 
 
 Yours, 
 
 Richard Wagner. 
 
PRELIMINARY REHEARSALS 213 
 
 The rehearsals were imminent, and it was to 
 get these under way that Wagner had come back 
 to Bayreuth. During his long absence the work 
 had accumulated; new singers were to be tried, 
 roles were to be distributed, and in the eleventh 
 hour he was still without an interpreter for his 
 Siegfried. 
 
 Only a Schnorr, the creator of Tristan, seemed 
 adequate for this second heroic role, but this 
 great singer had died suddenly in 1865, and his 
 loss Wagner mourned afresh when it came to 
 casting the important role of Siegfried. Vari- 
 ous singers had been tested but had been found 
 wanting, and Georg Unger seemed to be the 
 only one who could come under serious con- 
 sideration. 
 
 This choice was due not so much to Unger's 
 imusual vocal gifts as to his personal appearance 
 and great stature, which fitted him admirably 
 for the joyous youthful hero, Siegfried. 
 
 The conditions upon which he was accepted 
 at Bayreuth were that he should leave the stage 
 
214 THE BAYREUTH LETTERS 
 
 for a year and devote himself exclusively to the 
 preparation of the role, and in addition devote 
 himself to serious voice work with Professor 
 Julius Hey in Munich. 
 
 Wagner himself studied the role with him 
 word by word, note by note, and wrought a 
 marvellous transformation in Unger both as an 
 actor and an artist. Hey, in his " Reminis- 
 cences," writes that: 
 
 "The sixty-two-year-old Wagner not only 
 made clear to Unger every passage of the ' Sieg- 
 fried ' score, in regard to meaning, mood, vocal 
 technic, and plasticity in the treatment of the 
 text, but also endeavoured to influence his entire 
 character, so as to bring Unger into closer har- 
 mony with that of the ' hero without fear.' " 
 
 Wagner, according to the testimony of his ar- 
 tists, had a marvellous gift of vitalizing the 
 music, and as a singer without a voice he made 
 the dramatic situation so vivid as to create an 
 indelible impression upon all present. Hey re- 
 lates a little anecdote from the " Siegfried " 
 
PRELIMINARY REHEARSALS 215 
 
 rehearsal, where at the point where Mime utters 
 his second distressed cry of " Fafner ! " Wag- 
 ner's voice broke on the high A, producing an 
 irresistibly comical effect. He laughed immod- 
 erately, as did everyone else, and cried : " Where 
 shall I hide myself ! There is no anvil here ! " 
 
 To quote Hey further : " How did this voice, 
 which in reality was no voice at all, succeed in 
 producing such moving tone nuances, so as to 
 present in the clearest manner every varying 
 phase of emotion! And in addition a dramatic 
 declamation which penetrated to the very bottom 
 of the listener's soul ! " 
 
 To Emil Heckel 
 
 (Baykeuth, June 6, 1876.) 
 
 Dear Friend! 
 
 I beg of you to make inquiries about Brahms' 
 present residence and have this letter sent to him. 
 
 Everything is going on fairly well! More 
 
 later ! 
 
 Yours faithfully, 
 
 Richard Wagner. 
 
2i6 THE BAYREUTH LETTERS 
 
 In order to understand this reference to 
 Brahms, it is necessary to go back almost a 
 decade and a half in the life of Wagner, to the 
 period when he returned from his Parisian exile. 
 He went to Vienna, where there seemed to be 
 a somewhat vague prospect for a performance of 
 his " Tristan," which, however, eventually took 
 place in Munich in 1865. The friends who stood 
 nearest to him at this time were Peter Cornelius 
 and Carl Tausig, the former of whom, out of 
 genuine enthusiasm for the Master and his music, 
 had offered to copy the score of the Parisian 
 arrangement of the " Tannhauser," as the origi- 
 nal one was much the worse for wear. 
 
 When this labour of love was finished, the 
 Cornelius copy (with German text) was given to 
 Wagner, and the original manuscript (in French) 
 Cornelius coolly kept for himself, although noth- 
 ing was further from Wagner's intentions than 
 to make him a present of it. Later this original 
 manuscript, at that time unpublished, in some 
 mysterious way came into the possession of Carl 
 
PRELIMINARY REHEARSALS 217 
 
 Tausig, who took the further liberty of giving 
 it to none other than Johannes Brahms, a musi- 
 cian considered by the Wagnerian party to be 
 the arch enemy of the music being made by the 
 Master of Bayreuth. 
 
 In August, 1865, Wagner made an attempt to 
 regain possession of the original manuscript and 
 demanded that Cornelius should write to Brahms. 
 This he did, but the letter remained unanswered. 
 He also wrote to Tausig, saying: 
 
 "That is a stupid affair with Brahms! You 
 are supposed to have given him that scene from 
 ' Tannhauser ' ! " 
 
 Wagner's wife, at that time the wife of 
 Hans von Biilow, also wrote to Brahms, but in 
 vain. 
 
 The only intimation he gave of having re- 
 ceived these various requests is found in a few 
 lines to Cornelius saying that he did " not wish 
 to return the manuscript given him." Years 
 went by, and finally Wagner was obliged to take 
 the matter in hand, as he needed the manu- 
 
2i8 THE BAYREUTH LETTERS 
 
 script for the new edition of the " Tannhauser " 
 scene. 
 
 In order to make sure that the letter contain- 
 ing a personal request should reach Brahms, he 
 sent it in care of Heckel. 
 
 The request read : " I am told that you claim 
 this manuscript on the ground that it was given 
 to you by Peter Cornelius, but I am not able 
 to credit this statement, as Cornelius, to whom 
 I lent but by no means gave this manuscript, 
 could not possibly have passed it on to a third 
 person, and he solemnly assures me that he did 
 not do so. It is probably unnecessary to re- 
 mind you of these facts, and assume that no 
 further explanation will be necessary in order 
 to induce you to return the manuscript, which 
 for you could have only the value of a curiosity, 
 but which to my son would be a highly valued 
 sotivenir." Still Brahms adhered to the stand- 
 point that possession is nine points of the law, 
 and it was not until Frau Wagner had written 
 that he consented to an exchange, by the terms of 
 
PRELIMINARY REHEARSALS 219 
 
 which he was to have a copy of the " Meister- 
 singer " score, and a page of some original Wag- 
 ner manuscript, but in the end had to content 
 himself with an edition de luxe of the " Rhein- 
 gold " score. This is the Brahms episode as it 
 is recorded by C. F. Glasenapp. 
 
 To Friedrich Feustel 
 
 (Bayeeuth, June 9, 1875.) 
 
 Dearest Friend! 
 
 There seems to be no end of my demands upon 
 you for payments of various sorts, without my 
 having been able to deposit with your treasurer 
 fresh supplies for myself. This I hope to be 
 able to do within the next few days. . . . 
 
 I shall try to keep my time free for the next 
 meeting of our " circle," and beg of you to in- 
 form the gentlemen this evening that I hope to 
 beg their pardon in sackcloth and ashes next 
 Thursday. 
 
 Ach, Gott! if friends would just drop in any 
 evening! The devil is to pay here at eight 
 
220 THE BAYREUTH LETTERS 
 
 o'clock; there is always beer and also cigars; 
 you could seat yourselves in the garden before 
 the music-room and we would make music for 
 you. But — ? ! 
 
 Cordial greetings from 
 
 Your ever grateful 
 
 Richard Wagner. 
 
 To Emil Meckel 
 
 (Bayreuth, June 25, 1875.) 
 
 How now! Friend Heckel! Do you change 
 your opinion so easily? Not long ago you de- 
 fended Unger — now you believe in Jager? — 
 Well, I have already begun with Unger, and have 
 taken a great deal of trouble in overcoming his 
 Saxon vocalisation, which made his voice com- 
 pletely unrecognisable, until now I hope to be 
 able to get along with him better than any tenor 
 I know. I shall keep him here all the time; he 
 was apparently lost, but he is a person not with- 
 out energy. Jager is excellent, but — 
 
PRELIMINARY REHEARSALS 221 
 The entertainment question is now entering a 
 new phase : we shall be obliged to manage with- 
 out building any new hotels. 
 Cordial greetings from 
 
 Your faithful composer, 
 
 Richard Wagner, 
 
 To Carl Brandt 
 
 (Visiting card, not dated.) 
 (At the theatre.) 
 
 To Herr Carl Brandt. 
 
 Professor Doeppler is here with beautiful de- 
 signs. Do come, if not at once to supper, at 
 least as soon as possible. 
 
 R. W. 
 
 The first musical sounds which were heard in 
 the new Festival Theatre were on June 24, 1875. 
 
 The entire artist personnel, as well as many 
 invited guests, had assembled to inspect the new 
 scenery for " Rheingold " and " Die Walkiire." 
 When Wagner had satisfied himself that all was 
 in order, he clasped his hands and cried: 
 
222 THE BAYREUTH LETTERS 
 
 " Now, children, go on the stage and let us 
 hear something ! " 
 
 The women climbed over the frail planks bridg- 
 ing the orchestral pits and gave with irresistible 
 effect the first scene from the " Rheingold," with 
 Alberick's sinister voice sounding from some in- 
 visible corner. 
 
 The three singers who were to open the 
 " Ring " with the beautiful terzet of the Rhine 
 maidens were Lilli Lehmann, her sister Marie, 
 and Fraulein Lammert. 
 
 To present this scene with proper realism was 
 one of the most difficult problems with which 
 the stage machinists were confronted. 
 
 Not only had the singers to make the move- 
 ments which would correspond with the music 
 and suggest their watery home, but these same 
 movements must be executed by the cages in 
 which they were fastened. 
 
 One man was needed to steer the Undines, an- 
 other to see that they were raised, lowered, or 
 shifted at the proper time, and such musicians 
 
PRELIMINARY REHEARSALS 223 
 
 as Anton Seidl, Felix Mottl, and Franz Fischer, 
 each one provided with a carefully marked score, 
 sat in the cages to give the signal for the vari- 
 ous movements to the machinists. 
 
 Wagner was in a terrible state of anxiety over 
 this scene, but was comforted after seeing the 
 detailed plan which Richard Fricke, his ballet- 
 master, had worked out for its satisfactory 
 execution. 
 
 Fricke compared the three young directors 
 with their scores to dancers executing a pas 
 de trois, and gave frank expression to his doubts 
 concerning the singers : " It is not clear to me 
 how the singers will have the courage to lie 
 in such a machine — and, moreover, to sing. 
 Not alone on account of the difficulty of sing- 
 ing in a half-upright position, but they will not 
 be able to produce a tone out of sheer fright. 
 I am very curious to see how it will turn out." 
 
 Three of the men belonging to the band of 
 Nibelungs were first put into the cages as figu- 
 rantes, and then the day came when the three 
 
224 THE BAYREUTH LETTERS 
 
 Rhine maidens were to perform their task for 
 the first time. As soon as Lilli Lehmann caught 
 sight of the cages, she cried : " No, no one could 
 expect me to do such a thing; I shall not do 
 it under any circumstances. I am just out of 
 a sick-bed, and am already as dizzy as I can be." 
 
 Fricke used his powers of persuasion to better 
 purpose with Marie, who with shrieks and cries 
 was strapped into her cage and the " swimming " 
 lesson began. Upon her solemn assurance that 
 " it was not as bad as it looked," Lilli Lehmann 
 and Fraulein Lammert let themselves be per- 
 suaded, and were soon swimming about in the 
 bravest possible manner. Wagner was beside 
 himself with joy, and embraces and kisses were 
 the immediate reward of his courageous Rhine 
 maidens. 
 
 On the ist of August, 1875, the orchestral and 
 ensemble rehearsals began. 
 
 It was then that the effect of the invisible 
 orchestra was tested. Wagner assigned his mu- 
 sicians their place in the " mystic abyss," ac- 
 
PRELIMINARY REHEARSALS 225 
 
 cording to the arrangement which to-day is so 
 convincing. The strings were placed under the 
 upper sounding-board, the harps and woodwinds 
 in the uncovered space, in order that their deli- 
 cate quality might assert itself, and the brasses 
 and instruments of percussion were relegated to 
 a position under the stage projection, in order 
 that the aggressiveness of their tone might be 
 modified. The results justified in the highest 
 degree the expectations of Wagner and the as- 
 sembled listeners. The volume of sound sur- 
 prised by its ideal tonal beauty; everything ma- 
 terial seemed to have been fully eliminated, and 
 every figuration, even in the middle voices, came 
 out with startling distinctness. The most pains- 
 taking effort was expended upon every detail of 
 the performance. 
 
 How could it be otherwise when a conductor 
 with the ardour of Hans Richter was at the 
 helm, and when the violinist, August Wilhelmj, 
 performed the functions of concert-master ; when 
 each musician was filled with ardent enthusiasm, 
 
226 THE BAYREUTH LETTERS 
 
 and when encompassing the whole was Wagner's 
 spirit, arranging, supervising, inspiring, and en- 
 couraging ! For every detail he found a remedy, 
 which was often the result of momentary inspira- 
 tion, and much, which neither the printed text 
 nor the carefully marked' score revealed, sug- 
 gested itself only at the moment of actual con- 
 tact of the work with the stage. 
 
 A small table furnished with a petroleum lamp 
 and a box which served as a support for the 
 score was placed for Wagner on the stage, and 
 from this vantage-point he kept watch over the 
 conductor and the progress of events on the 
 stage. 
 
 A picture of Wagner as he appeared at these 
 rehearsals has been preserved for us by the 
 genius of Adolph von Menzel, the great German 
 historical painter. 
 
 Wagner's idea in these rehearsals was not to 
 proceed from the single point to the whole, but 
 just the reverse. First the whole, and then the 
 working out of details, so that as a result of 
 
PRELIMINARY REHEARSALS 227 
 
 this method something relatively perfect was ac- 
 complished, and the rehearsals, so far as orches- 
 tral and voice parts were concerned, differed but 
 little from the eventual public performances. 
 
 Everyone who was permitted to take part in 1 
 these rehearsals in any capacity whatever had 
 the feeling that here a new epoch of musical 
 history was being ushered in. 
 
 Among the invited guests was Franz Liszt, 
 v/ho gave expression to this same thought in a 
 letter written at that time : " I recently heard 
 twenty rehearsals of that wonderful work ' The 
 Nibelung's Ring.' It towers over and dominates 
 our art epoch as does Mont Blanc the other 
 mountain peaks." 
 
 Three years earlier, Wilhelmj's official ap- 
 pointment to his responsible post was made by 
 Wagner in the following letter: 
 
 (Bavkeuth, June 3, 1872.) 
 My dear Herr Wilhelmj! 
 
 Upon my largest sheet of writing paper, I 
 
 confirm your appointment as 
 
228 THE BAYREUTH LETTERS 
 
 Concert-Master of the Orchestra 
 for the performance of the 
 
 " Ring of the Nibelung " 
 in 
 Bayreuth. 
 As I see that your delightful offer to stand by 
 me in the capacity of concert-master was not 
 made jestingly, it is only fitting that I should 
 also take the matter very seriously, as you will 
 see from the above. 
 
 With the greatest seriousness, my friend, let 
 us from to-day pledge ourselves to think solici- 
 tously of the formation of our orchestra, above 
 all, of an orchestra free from the traditional evil 
 habits; to exchange opinions on the subject, and 
 at all times to take such steps as will insure 
 an organisation of great excellence. 
 
 You undoubtedly wish and desire this as much 
 as I do; this I recognised in you, who at such 
 an early age have become so celebrated a master 
 of your instrument. 
 
 Let us then, from now on, be united in this 
 
PRELIMINARY REHEARSALS 229 
 
 extraordinary work, and permit me, in addition to 
 all the other arrangements which will be made 
 to your satisfaction, to proclaim you as my valued 
 Master of Musicians, as which you will partici- 
 pate in all the success which will not be denied 
 our work. With the most cordial greetings 
 from me and my wife, I remain 
 Yours faithfully, 
 
 Richard Wagner. 
 
 To Carl Brandt 
 
 (Baykeuth, September 21, 1875.) 
 
 Dear and valued Friend! 
 
 We have got into a terrible state of procras- 
 tination, and I turn to you, as my sole real con- 
 fidant and sympathetic associate in the work, to 
 enjoin upon you to exert all of your strength 
 to change matters. 
 
 What help would it be to me to insist upon 
 Bruckner's coming over to Bayreuth if you were 
 not here at the same time? Briickwald pretends 
 to be without help in executing his models, but 
 promises to be ready in time. 
 
230 THE BAYREUTH LETTERS 
 
 Now you arrange a time for a general meet- 
 ing; this must take place in October, because I 
 am obliged to be at Vienna during November 
 and half of December. Therefore, after con- 
 sulting with the others, you decide this matter, 
 and I shall support you by especial exhortations 
 to the parties concerned. So let it be ! And ac- 
 cept cordial greetings from 
 
 Your very faithful 
 
 Richard Wagner. 
 
 To Friedrich Feustel 
 
 (Vienna, November 4, 1875.) 
 
 Dearest Friend! 
 
 I have taken cold and am exhausted and kept 
 back by the bad accommodations in the hotel 
 decided upon beforehand. Since yesterday, how- 
 ever, I am well taken care of in Hotel Imperial, 
 and expect to continue the rehearsals to-morrow. 
 
 For to-day only the information, as briefly as 
 possible, that it is settled that the royal residence 
 in Bayreuth shall be left for the royal guests; 
 
PRELIMINARY REHEARSALS 231 
 
 if the Emperor should come, the King of Bavaria 
 would give up his own suite; as for the rest, 
 nothing but the most distressing complaints and 
 disclosures about — the well-known conditions. 
 
 This is what I wanted to write you. Now re- 
 main faithful to me, as I shall always remain 
 grateful to you. 
 
 Cordially yours, 
 
 Richard Wagner. 
 
 To Emil Heckel 
 
 (Vienna, November 11, 1875.) 
 Allervorsuglichster Patronenlader! ^ 
 
 Otherwise it is going so-so! — A cantor, 
 Fischer, in Zwickau, has recently collected six 
 and three-quarter Patrons' Certificates, sent six 
 thousand marks, with the inquiry if this sum 
 would entitle him to a free seat (!!!). "Tann- 
 hauser " here the 21st of this month (!!) — I 
 have none of the rehearsal plans with me; have 
 
 ' No English equivalent can be found for this inscription, 
 as the expression Patronenlader is a play on words referring to 
 Heckel's efforts in regard to the Society of Patrons. 
 
232 THE BAYREUTH LETTERS 
 
 one sent you from Feustel or Fischer (" Nibe- 
 lung Kanzelei"). 
 
 Many cordial greetings from your harassed 
 
 Richard Wagner. 
 
 To Friedrich Feustel 
 
 (Vienna, November 14, 1875.) 
 . . . Does our great cause seem to be moving 
 forward without interruption? Yesterday a 
 Prince ski made inquiries concerning Pa- 
 trons' Certificates; referred him to you. 
 
 Heckel announces four items, etc. I suffer 
 here from great weariness and take but Uttle 
 pleasure in the matter. In the forenoon, very 
 taxing rehearsals, when I am obliged to show 
 these people how to do everything; after this, 
 complete change of clothing, rest in bed ; towards 
 evening, a little exercise (without Angermann).^ 
 
 * Kietz, the Dresden sculptor, has given a picture of this 
 favourite resort of Wagner and his disciples in his reminiscences: 
 
 "What life there is here! It is impossible to recognise the 
 Bayreuth of 1873. The quiet streets of the little ducal residence 
 are full of people. At Angermann's, in the long narrow room 
 which the artists have christened 'The Catacombs,' there are 
 the most hilarious proceedings. After the rehearsals everyone 
 goes to the ' Catacombs.' " 
 
PRELIMINARY REHEARSALS 233 
 
 In the evening, the theatre (very bad!) or some 
 tiresome entertainment. 
 
 The sole consolation is that it is progressing, 
 and I hope to be at home again by the middle 
 of December at the latest. 
 
 The children are already looking forward to 
 the day of our departure. A thousand greetings, 
 dearest friend, and at least five hundred for the 
 good Gross.^ 
 
 Ever in faithful gratitude, 
 
 Yours devotedly, 
 
 Richard Wagner. 
 
 * The right-hand man of Feustel during the troublesome 
 Bayreuth days was his son-in-law, Adolph Gross, who from the 
 very beginning was initiated with every detail connected with the 
 enterprise, and his knowledge of persons and things was so exten- 
 sive and so accurate that he was a living archive of Bayreuth. 
 
 He was destined to be the future " Bismarck of Bayreuth " 
 and to despatch misunderstandings, confusion, and threatened 
 dangers with statesmanlike ability. 
 
THE FIRST BAYREUTH FESTIVAL 
 
 1876 
 
 To Carl Brandt 
 
 (Baykeuth, January 3, 1876.) 
 
 My dear Friend! 
 
 I regret exceedingly to have heard nothing of 
 you for so long ! No other cause of anxiety leads 
 me to write to you than this — because it is al- 
 ways so comforting for me to receive a sign of 
 life from you. We are, of a truth, the only two 
 who have understood each other from the be- 
 ginning as to the execution of the work, and 
 the most beautiful experience so far was the 
 reception on your finished stage. Why have you 
 not thought even once of me of late? 
 
 There are many reasons which excuse my 
 silence ! 
 
 I have not had an easy time since the close 
 of our rehearsals. Surrounded by deceivers, 
 
FIRST BAYREUTH FESTIVAL 235 
 contract breakers, and scoundrels of all sorts, 
 it has been long since I have drawn a free 
 breath. 
 
 I have really nothing to say to you at present 
 about business. Difficulties of all sorts, and yet 
 a firm will and confidence! 
 
 Frau Jaide has written me a very nice letter. 
 She is evidently the biggest artistic talent and 
 the most sensible artist in our ensemble. I was 
 right in estimating her highly from the very 
 start. It is possible that, without being given 
 one of the larger roles, she will serve me best 
 by undertaking two episodes, both of which re- 
 quire as conspicuous an artist as do the largest 
 roles. 
 
 Without such an artist it would be impossible 
 to give these episodes with the strong effect 
 necessary, and in which lie the strength and dis- 
 tinction of our performances as a whole. 
 
 Remember me to this great artist and promise 
 her a speedy token of my esteem! 
 
 And now hearty greetings to son, mother, 
 
236 THE BAYREUTH LETTERS 
 
 daughter, and, above all, to your wife. The 
 same from my wife, the much-tormented one! 
 
 Both of us look forward to receiving good 
 news from you. 
 Cordially, 
 
 Your faithful colleague, 
 
 Richard Wagner. 
 
 To Emil Heckel 
 
 (Bayreuth, February 4, 1876.) 
 
 Dearest, best Friend! 
 
 In answer to the question " How are all of 
 you ? " there is much that could be said ! The 
 world, and particularly Germania, is becoming 
 more and more odious to me! 
 
 Our cares are great, and, on the whole, the 
 project of allowing our performances to take 
 place this year seems foolhardy. The number 
 of our Patrons' Certificates reaches only four 
 hundred and ninety; while, according to the 
 latest calculations, thirteen hundred are neces- 
 sarv in order to come out even. 
 
A sketch ]>)■ Adolph Menzel of Wagner at Bayreuth 
 
FIRST BAYREUTH FESTIVAL 237 
 
 The undertaking as originally planned is there- 
 fore fully shipwrecked. Now we must take the 
 risk of seeing what curiosity will eventually do 
 for our cause. Even Feustel believes that we may 
 make this venture; but we anticipate a lack of 
 funds in June, etc., when the musicians and 
 singers arrive and will wish to draw their money. 
 I solicited a loan of thirty thousand thalers from 
 the Emperor. When I go to Berlin in May to 
 look after " Tristan," — in which I have no 
 great faith, — I shall see what can be done. For 
 the rest, we must put a good face on the matter 
 here. Everything will be ready (on credit!) ; the 
 artistic details of the performance will be car- 
 ried out to a point of the highest perfection. 
 Brandt — as ever, excellent — my chief support. 
 
 Aside from Scaria,^ I have come across no re- 
 
 ' Emil Scaria was a Vienna singer, whom Wagner hoped to secure 
 for the role of Eager, but his demands seemed so excessive that 
 he was obliged to relinquish the idea, and the first Bayreuth 
 Festival took place without the desired co-operation of Scaria. 
 Wagner who recognised this artist's talent and capacity for the 
 role, wrote to him: " If any rich man or monarch were backing 
 me, as you erroneously seem to suppose, I should not hesitate to 
 comply with your demands secretly ! " Fortunately Scaria was a 
 
238 THE BAYREUTH LETTERS 
 
 luctance among the singers; everyone seems to 
 stick to the cause with fine courage. I shall know 
 how to help myself even if Scaria does not mend 
 his ways at the last moment; however, I have 
 not entirely given him up yet. Otherwise there 
 is nothing new. Cordial greetings to your wife 
 and friends from me and mine. If you could 
 practise a little sorcery, it would be most wel- 
 come to me. 
 
 But I remain always 
 
 Yours most faithfully, 
 
 Richard Wagner. 
 
 Wagner had returned to his former scheme 
 of making a direct appeal to the German Em- 
 peror, as he had learned that a certain sum for 
 the advancement of national interests had been 
 placed at this monarch's disposal, to be used as 
 he deemed best. 
 
 conspicuous exception, as the other artists gave themselves heart 
 and soul to the undertaking, and only demanded sufficient com- 
 pensation to make it possible for them to devote all of their time 
 to the rehearsals. 
 
FIRST BAYREUTH FESTIVAL 239 
 
 Wagner writes that he had been assured that 
 the Emperor had agreed to this request and had 
 recommended it to the chancellorship, but the 
 finance minister Delbriick had dissuaded the Em- 
 peror from his purpose. 
 
 From his private funds the Emperor took 
 twenty-five Patrons' Certificates, but the small 
 sum was but a fraction of the million marks 
 necessary to establish for all time a model the- 
 atre — to make of Bayreuth, in fact, a high 
 school of German art. 
 
 It was only when King Ludwig again came 
 to the rescue with a loan of two hundred thou- 
 sand marks that Wagner decided to adhere to 
 his plan of having the Festival in 1876. 
 
 In addition to these anxieties about his great 
 enterprise, he was weighed down with cares of 
 a private nature. He had built and furnished 
 Villa Wahnfried, which had become a rendez- 
 vous for the Bayreuth personnel and guests, 
 and this broad hospitality demanded unceasing 
 expenditure. 
 
240 THE BAYREUTH LETTERS 
 
 To Emil Heckel 
 
 (Bavkeuth, April 8, 1876.) 
 
 Dearest Friend! 
 
 Within the next few days an announcement 
 will be made in regard to the free places, which 
 will undoubtedly prove highly satisfactory to 
 you! 
 
 Cordial greetings, 
 
 Yours, 
 
 Richard Wagner. 
 
 Open Letter to Burgomaster Muncker 
 
 (Baykeuth, June 4, 1876.) 
 
 Highly esteemed Herr Burgomaster! 
 
 A short time ago the local " Tageblatt " con- 
 tained a friendly welcome to the artists who are 
 now arriving to take part in the approaching 
 Festival Play, and I take it for granted that this 
 editorial expression voiced the sentiments of the 
 citizens of Bayreuth. I now feel impelled, in the 
 name of the artists as well as in my own posi- 
 
FIRST BAYREUTH FESTIVAL 241 
 
 tion as citizen of the town which has bestowed 
 upon you the honourable position of its first mag- 
 istrate, to express to you my gratitude for the 
 unusual solicitude which you especially, Herr 
 Burgomaster, have given to the reception and 
 entertainment of my guests. 
 
 It is a task which has required genuine self- 
 sacrifice on your part. 
 
 Nor can I make any allusion to this feature of 
 your very effective co-operation without express- 
 ing my appreciation of the active and untiring 
 support which you, in conjunction with the entire 
 local administrative body of Bayreuth, have de- 
 voted for years to the advancement of this part 
 of our enterprise. 
 
 It is only here upon the spot, after close scru- 
 tiny of the effective participation of the city 
 authorities, that all those who until now had 
 not been able to understand why a larger and 
 healthier city was not chosen for the exe- 
 cution of my plans were obliged to confirm the 
 wisdom of my choice. In no other place would 
 
242 THE BAYREUTH LETTERS 
 
 I have been assured of such a degree of self- 
 sacrificing support on the part of the Civic Coun- 
 cil, and it was this which prepossessed me so 
 strongly upon my first acquaintance with the 
 leading local authorities. 
 
 Even though I am obliged to reserve for the 
 more fitting moment of our final great success 
 an adequate expression of my gratitude for the 
 unusually effective, yes, unique, sympathy of- 
 fered by the Administrative Council, composed 
 of yourself and your highly esteemed friends, 
 to the unusually difficult execution of my plans, 
 I hold it, nevertheless, to be my duty to-day to 
 express my appreciation of the work of the civic 
 administration of Bayreuth, as I have been sur- 
 prised to see the zeal of the same administration 
 exposed to suspicion in announcements made 
 public within the last few days. Our local af- 
 fairs have such a wide-reaching interest that 
 these announcements could easily lead to incred- 
 ibly false constructions and misunderstandings. 
 
 In the consciousness of having written in this 
 
FIRST BAYREUTH FESTIVAL 243 
 
 letter quite in accordance with the sentiments of 
 our recently welcomed artistic guests, I greet 
 you also, in the name of my artistic colleagues, 
 esteemed Herr Burgomaster, and remain with 
 unceasing gratitude and the highest respect, 
 Yours very faithfully, 
 
 Richard Wagner. 
 
 To Burgomaster Theodor Muncker 
 
 (Bayreuth, July 23, 1876.) 
 
 Highly esteemed Friend! 
 
 I have only just seen the announcement of 
 the Executive Council, according to which my 
 wish to try the acoustics of the hall next Tuesday 
 by filling it, is to be met by offering the seats 
 for sale. 
 
 I cannot possibly allow this, as we are obliged 
 to rehearse very seriously that day (with a quite 
 new singer, Herr Siehr), and while I could well 
 afford to allow my local acquaintances and 
 friends to be present, I could never extend this 
 permission to those who paid for admission, as 
 
244 THE BAYREUTH LETTERS 
 
 amongst them would assuredly be found ex- 
 tremely critical and questionable elements. 
 
 I beg of you to induce our esteemed friends 
 of the Executive Council to retract this announce- 
 ment, as otherwise I should find myself compelled 
 to change the rehearsal. 
 With the deepest respect, 
 Yours, 
 
 Richard Wagner. 
 
 Wagner had intended that this acoustic trial 
 should be done by filling the house with soldiers 
 from the Bayreuth barracks. 
 
 To Burgomaster Theodor Muncker 
 
 (Bavxeuth, July 23, 1876.) 
 Most esteemed Herr Burgomaster! 
 
 It was hinted to me this evening by our friend 
 Gross that our highly esteemed Herr Feustel 
 regards the countermanding of the attendance on 
 Tuesday " for pay " as an insult to himself, and 
 
FIRST BAYREUTH FESTIVAL 245 
 
 accordingly would withdraw his so very valuable 
 assistance from our Executive Council. 
 
 In the face of this genuine calamity I resolved 
 to let things take the course wished by Herr 
 Feustel; after further consideration of the mat- 
 ter, I must, however, declare that I, for my part, 
 will not be present at the rehearsal, and that I 
 intend to leave the singers to themselves; may 
 the consequences not prove injurious! 
 
 With respectful greetings, 
 
 Yours faithfully, 
 
 Richard Wagner. 
 
 Inscription under a photograph of himself 
 given to Emil Heckel immediately after the close 
 of the first Festival. 
 
 O Freund Heckel 
 Es war doch gut! 
 
 Richard Wagner. 
 (Bayeeuth, 1876.) 
 
 In an address to his personnel at the close of 
 the rehearsal in 1875, Wagner said: "The first 
 
246 THE BAYREUTH LETTERS 
 
 troubles have been overcome. Within a short 
 time we must bring to perfection a genuine heroic 
 deed. If we perform it in such a manner as I 
 now distinctly see that we shall do, then we may 
 well say with justice — we have done a great 
 deed!" 
 
 And now the time had come to present this 
 " great deed " to a half-confident, half-cynical, 
 but wholly expectant art world. 
 
 On June 3 active preparations were resumed 
 for the " Ring of the Nibelung." For six weeks 
 these rehearsals continued ; first the instrumental 
 groups and vocalists were taken separately, next 
 came the single acts, to each of which an en- 
 tire day was devoted, and finally the complete 
 drama was gone over. 
 
 The King of Bavaria had announced his in- 
 tention of being present at the general rehearsal, 
 which commenced on August 6; the house was 
 absolutely empty with the exception of the soli- 
 tary figure in the royal box, and a few persons 
 closely associated with the work, who had been 
 
FIRST BAYREUTH FESTIVAL 247 
 
 permitted to take their places in the front rows 
 or had been smuggled into the gallery. 
 
 The presence of the royal patron served as a 
 spur to the artists and musicians, and the re- 
 hearsal varied in no detail from the regular 
 performance. 
 
 As was anticipated, however, the acoustics 
 were not satisfactory, and Wagner succeeded in 
 persuading his royal friend to allow the house 
 to be filled for the next performance. 
 
 An announcement was made that the holders 
 of Patrons' Certificates could obtain tickets for 
 the " Walkiire " rehearsals, but as these alone 
 would not fill the house it was necessary to dis- 
 tribute the remainder of the tickets with the 
 greatest tact and discretion. 
 
 First to be considered were the Bayreuth hosts, 
 but many who had no claim for admittance suc- 
 ceeded in securing tickets, and the auditorium 
 presented an entirely different physiognomy from 
 the preceding day. 
 
 After the first act Wagner left the royal box 
 
248 THE BAYREUTH LETTERS 
 
 and appeared upon the stage, but was so moved 
 that he could scarcely find words in which to 
 thank his artists. He next visited the orchestral 
 pit, and when the audience heard his voice, 
 as he praised his musicians, a mighty cry of 
 " Bravo for the Master ! " went up from the 
 auditorium. 
 
 At the close of the rehearsal cycle King Lud- 
 wig returned to Munich, but immediately sent a 
 telegram from his castle of Hohenschwangan, 
 thanking Wagner for the indelible impression 
 which the work had made upon him, and an- 
 nouncing his intention of returning for the third 
 regular cycle. 
 
 Three days later the theatre was filled with an 
 eager and curious international crowd, among 
 them many royal personages, at their head the 
 venerable Emperor William I, and on August 13, 
 1876, all that Wagner had worked and wrought 
 during the last quarter of a century took con- 
 crete form and became the First Bayreuth 
 Festival/ 
 
FIRST BAYREUTH FESTIVAL 249 
 
 The decisive moment had come when his ar- 
 tists had to be left to stand or fall alone. Every- 
 where in the wings and the garderobe he had 
 posted his farewell exhortation: 
 
 " Last request to my faithful artists ! 
 Distinctness ! 
 The big notes will take care of themselves; the 
 little notes and their text are the chief thing. 
 Never say anything to the public, but always to 
 each other; in monologues look either up or 
 down, but never directly in front of you. Last 
 wish : Be good to me, you dear children ! " 
 
 For the orchestra, which he knew would be 
 well taken care of by Hans Richter, the admoni- 
 tion was more concise: 
 
 " No preluding ! Piano, pianissimo, and then 
 all will be well!" 
 
 And now it remained to be proven whether or 
 not the intellect and will of a single man would 
 be able to lead, not only his artists, but the public 
 as well, out of the old operatic grooves into the 
 music of the future. 
 
2SO THE BAYREUTH LETTERS 
 
 With the exception of a few technical details, 
 the " Rheingold " was a perfect performance, but 
 these trifling mishaps quite spoiled the evening 
 for Wagner, who sat in his room back of the 
 scenes abusing all the participants, and neither 
 could he be induced to show himself on the stage, 
 nor would he allow his artists to appear. 
 
 At the close of the " Gotterdammerung " the 
 entire house rose with thundering bravos for the 
 creator of this new art work. 
 
 Wagner's reply was full of significance. " We 
 owe this to your favour, and the tireless energy 
 of my artists. What I have to say to you can 
 be expressed in an axiom! You have now seen 
 what we can do; it remains with you to make 
 it possible. And if it is your work, then we 
 shall have an art." 
 
 This is the axiom which sounds through the 
 centuries from the lips of every reformer of his- 
 torical significance. 
 
 " Here I stand, I can do nothing else ! " 
 
 The inadequacies which the entire perform- 
 
FIRST BAYREUTH FESTIVAL 251 
 
 ance displayed were clearer to Wagner than to 
 anyone else. 
 
 The " style " which he hoped to form was not 
 yet fully established; to whatever degree this 
 work overtopped its epoch, it was still far from 
 perfection and the ideal he had in mind. 
 
 Wagner's consolation was in the difficult hope 
 entertained of being able to repeat the Festival 
 the following year. " Next year it will all be 
 different." No prophetic vision disclosed to him 
 that it would be six years before the doors of 
 the Festival Theatre would again be opened to 
 present to the world the stage-consecrating play 
 of "Parsifal"! 
 
 At the close of the Festival Wagner made an 
 address, in the course of which he said: 
 
 " The Festival is now at an end, and I do not 
 know whether or not it will occur again! I 
 have called this work with its years of prepara- 
 tion a Festival Play — with what right, I can- 
 not say, as historic annals record no feast day 
 at this season of the year. It was designed with 
 
252 THE BAYREUTH LETTERS 
 
 confidence in the German spirit and completed to 
 the glory of its exalted patron, His Majesty the 
 King of Bavaria, who has been not only its 
 patron and promoter, but also a co-creator of the 
 work." 
 
 To Friedrich Feustel 
 
 (Verona, September i8, 1876.) 
 Dearest Friend! 
 
 Many thanks for all the solicitude expended 
 upon me ! I received everything, letter of credit, 
 parcel i, and to-day letters. 
 
 Unfortunately I spent yesterday in bed, and 
 had so high a fever in the night that I am obliged 
 to recover somewhat to-day, in" order to go on 
 to Venice to-morrow (Hotel Europa). The 
 " Mistress of Risby " pleased me very much, and 
 I beg for the continuation of the story. Of other 
 newspapers such only as you consider important, 
 but, on the other hand, send the two Leipzig 
 music journals as regularly as possible. The 
 good cousin Gross will look after my dogs once 
 in a while. 
 
FIRST BAYREUTH FESTIVAL 253 
 
 Now I must take a thorough rest among the 
 diversions offered by a new environment! I in- 
 tend soon to devote myself to the affairs of next 
 summer; at any moment I am ready to attend 
 to any necessary matters, in order to participate 
 to the best of my strength and abiUty in the 
 worries left to you. 
 
 Greet your dear wife cordially from us both; 
 our departure was beautiful and quite in keeping 
 with our first meeting. 
 
 In sincere friendship, 
 
 Richard Wagner. 
 
 Fidi ^ took the whip away from the coachman 
 to-day because he always beat his horses. 
 
 To Friedrich Feustel 
 
 (Sorrento, October 7, 1876.) 
 Dearest Friend! 
 
 Best greetings first of all to my good friends 
 
 of the Executive Council ! Next, sincere thanks, 
 
 1 Fidi was the pet name of Siegfried Wagner. 
 
254 THE BAYREUTH LETTERS 
 
 and a humble plea for pardon, for my previous 
 
 silence. 
 
 Until to-day I have had no leisure, but now 
 I shall set about fulfilling my obligations one by 
 one. For to-day only information as to plans. 
 First of all, I consider an appeal to the patrons 
 as indispensable. 
 
 To procure a loan for an undertaking which 
 was regarded with universal suspicion was quite 
 a different thing from securing energetic co- 
 operation and support for one which, to the as- 
 tonishment of the whole world, has been carried 
 into effect. 
 
 Very naturally, however, this co-operation is 
 to be effected only from a small number of genu- 
 ine enthusiasts, who are at the same time men 
 of means. 
 
 The appeal which I have drawn up for this 
 purpose I am sending first of all to you, in order 
 that the report of the Executive Council may be 
 added. 
 
 In addition to this appeal I intend to make 
 
FIRST BAYREUTH FESTIVAL 255 
 
 application to some of the most distinguished 
 patrons with the request that they head a sub- 
 scription list, to be sent out by them personally. 
 For this I have Count Magnis particularly in 
 view, as he has already declared himself will- 
 ing; however, I shall put myself in touch with 
 Herr v. Radowitz in order, if possible, to form 
 a committee at once. 
 
 I further intend to ask the advice of my 
 friends as to whether or not I shall apply to the 
 Emperor for reimbursement. 
 
 Perhaps only a suggestion would be necessary 
 to explain to him that, in addition to distribut- 
 ing orders to the assisting musicians, my efforts 
 should meet with direct personal recognition. 
 
 By this I naturally mean nothing less than aid 
 in meeting the expenses, the burden of which 
 should not be allowed to fall upon me. This done, 
 the way would possibly be opened for me to lay 
 a petition before Parliament asking for the fur- 
 ther support of the Bayreuth Festival Play as 
 a national project. Some time will be necessary 
 
2S6 THE BAYREUTH LETTERS 
 
 to work this out, but fortunately we still have 
 plenty of time at our disposal, as we shall not 
 be together and ready for business before 
 November. 
 
 The King wrote me quite splendidly while I 
 was in Venice, exhorting me to endurance and 
 perseverance, which he places above everything 
 else. I hope accordingly to see everything set- 
 tled before the close of the year, and hope to 
 begin the preparation for the repetition of the 
 Festival by the beginning of the new year. This 
 latter requires much self-control on my part, as 
 I shall feel myself compelled to proceed very 
 seriously and strictly in improving both the per- 
 sonnel and the performance, especially if I find 
 the proper sympathy and support. At present 
 all courage and desire to make such an effort 
 are totally lacking. 
 
 For two days I have been in Sorrento, our 
 temporary goal ; we are quite delighted with the 
 place, only we shall be obliged to enter upon some 
 agreement with the hotel, as otherwise our stay 
 
FIRST BAYREUTH FESTIVAL 257 
 
 here will be so tremendously expensive. Unfor- 
 tunately there was no one to help us in finding 
 good accommodations, and we were obliged to 
 secure everything with the greatest difficulty. 
 
 So think of us then ever kindly, dearest friend ! 
 Remember us cordially to your dear family; as- 
 sure our friends of our faithful devotion, and 
 believe always in the sincere gratitude of 
 Your deeply devoted 
 
 Richard Wagner. 
 
 The first Festival closed with a deficit of 
 $37,500, and Wagner was forced to admit that 
 persistence in the plan was nothing short of reck- 
 less, as not more than half the number of Pa- 
 trons' Certificates necessary to cover the actual 
 expenses had been subscribed. A few weeks 
 after the Festival he went with his family to 
 Italy, thus carrying out the intention to which 
 he gave expression on the occasion of the fete 
 arranged in honour of his sixty-third birthday : 
 
 " When this nonsense is all over, I intend to 
 
2S8 THE BAYREUTH LETTERS 
 
 stretch myself out at full length, presumably in 
 Italy, and there, with wife and child, to thrive 
 upon the money received from my American 
 march." 
 
 But he was not able to escape the haunting 
 thought of the burden created by the deficit. 
 
 In November he sent out a circular letter to the 
 patrons of the Festival asking for renewed as- 
 sistance under the supposition that they had made 
 his cause their own and would now stand by 
 him in his hour of direct need. But his confi- 
 dence was rudely shaken by the meagreness of 
 the response, and he could only come to the con- 
 clusion that there had been " in reality no pa- 
 trons at all, but only spectators occupying ex- 
 pensive seats." Thus the burden of the deficit 
 rested practically upon him, and Finck says with 
 fine irony: 
 
 " He had composed and presented to his con- 
 temporaries an immortal work of art; now he 
 was called upon to pay for it, and was, more- 
 over, soundly taken to task by the press for not 
 
FIRST BAYREUTH FESTIVAL 259 
 
 having thanked these contemporaries for going 
 to hear it." 
 
 To Emil Heckel 
 
 (Sorrento, November 3, 1876.) 
 My dearest Friend Heckel! 
 
 You are really the first person in Germany 
 from whom a sign of life has come. Accept my 
 thanks for this. 
 
 As yet Herr Feustel has let nothing be heard 
 from himself but the most terrifying reports 
 about the increasing deficit, in covering which it 
 is claimed that I am the only one who can save 
 the situation. Good! I have framed my appeal 
 and sent it out; I have made inquiries in Berlin 
 and also of the King of Bavaria without having 
 received an answer. 
 
 Your idea of having a fourth performance to 
 cover the deficit is, under the wretched condi- 
 tions, certainly the most feasible; however, the 
 payment of certain debts cannot be postponed 
 so long. 
 
26o THE BAYREUTH LETTERS 
 
 As I hear nothing at present but distressing 
 news in connection with the closing of the Fes- 
 tival, and as I feel just now that very great en- 
 couragement for the repetition and continuation 
 of the Festival must be given me, if I am to over- 
 come my unbounded repugnance for the entire 
 matter, I am only waiting for some particularly 
 painful experience to occur which would decide 
 me to retreat entirely, and I wish this to be in- 
 terpreted in the most literal sense. I shall then 
 remain silent, and without a murmur give what- 
 ever there is to the creditors of the undertaking,, 
 just as would be the case with a legal bankrupt. 
 
 Really, you are the only one — yes, the sole 
 one — who shows serious solicitude about me in 
 the matter! 
 
 Under such circumstances my health cannot be 
 of the best, my mental suffering and this agony 
 of uncertainty are too great. On the other hand, 
 I am able to rejoice over the good health of my 
 wife and children in these beautiful surround- 
 ings. . . . However, we shall soon be obliged to 
 
FIRST BAYREUTH FESTIVAL 261 
 
 turn our faces homeward, as my private treasury- 
 was so exhausted last summer (in spite of the 
 American March) that it will not suffice to keep 
 us here much longer. 
 
 Therefore ! Most cordial greetings from Wag- 
 ner's to Heckel's. 
 
 Yours faithfully, 
 
 Richard Wagner. 
 
 This letter is in answer to one in which Heckel 
 informs Wagner that the Executive Council had 
 decided against the publication of a circular ap- 
 pealing for assistance in covering the deficit. 
 " It is our affair to decide upon ways and means, 
 and I am of the opinion that this should be done 
 by personal letters and visits to the real friends 
 of the undertaking." Heckel had also conceived 
 the idea of giving four instead of three perform- 
 ances of the " Ring " in 1877, the receipts of the 
 extra cycle to be applied to covering the deficit. 
 
 For threfe years, instead of applying the re- 
 ceipts of his concerts to his private exchequer, 
 
262 THE BAYREUTH LETTERS 
 
 Wagner had borne all the expense of the costly 
 trips and hotel bills. It was undoubtedly this 
 pressure on his private purse which led him to 
 accept a curious offer which came to him from 
 America. 
 
 This was an invitation to write a festival com- 
 position, in the form of a march, for the formal 
 opening of the Centennial in Philadelphia. The 
 idea of intrusting this music to the greatest liv- 
 ing composer originated with Theodore Thomas, 
 who was at that time the conductor of the New 
 York Philharmonic Society. 
 
 The suggestion met with ready response, and 
 the Woman's Society of the Centennial Commit- 
 tee pledged themselves to raise the necessary 
 funds. Wagner had resolutely rejected previous 
 overtures of this sort, and in acceding to this one 
 he was undoubtedly influenced by two reasons — 
 the more immediate one that of retrieving his 
 financial embarrassment, and, as a more remote 
 one, the hope of interesting Americans in his 
 great Bayreuth enterpJ-ise. 
 
FIRST BAYREUTH FESTIVAL 263 
 
 Of this he leaves no doubt, as he distinctly 
 writes : " If I send it to you, I shall then expect 
 the Americans to treat me well, particularly in 
 regard to advancing the interests of my Festival." 
 
 Upon receiving a second invitation through 
 Theodore Thomas, Wagner declared himself will- 
 ing to write a composition for large orchestras 
 of the character of the Kaiser March, and to 
 send it to any German banking-house which might 
 be chosen, in return for which he was to receive 
 the sum of five thousand dollars. 
 
 The result was the splendid Centennial March, 
 which Americans of the older generation heard 
 and wondered at without realising the true great- 
 ness of the genius who had written it, and what 
 his reformatory ideas were to signify to the art 
 world. 
 
 The motto he chose was the Goethe line : " Nur 
 der verdient sich Freiheit wie das Leben, der 
 taglich sie erobern muss." (" He only merits 
 freedom as well as life who must daily conquer 
 them.") 
 
264 THE BAYREUTH LETTERS 
 
 This word "erobern" (to conquer) led to a 
 comical misunderstanding; the delegates sent to 
 receive the composition could speak but little 
 German, and Wagner less English. One of them 
 translated the word to mean " to rob," and Wag- 
 ner often laughed heartily at this unexpected 
 version of the Goethe lines. 
 
 A curious point in connection with this com- 
 position was that, for the first time in his life, 
 the imperative need of executing a work was 
 there before the poetic idea had taken form. 
 This lack of inspiration was due to the fact that 
 his musical spirit was soaring in the more rare- 
 fied region of the " Parsifal " music instead of 
 being devoted to his American patrons. Anton 
 Seidl relates that Wagner was genuinely de- 
 pressed for a time by his vain search for a theme 
 on which to build his march, until one day, as 
 he stepped out of a dark passage into the bright 
 sunlight, the Goethe motto, as well as the opening 
 theme in triplets, suddenly came to him. 
 
 The soft lyric passages of the work, by his 
 
FIRST BAYREUTH FESTIVAL 265 
 
 own confession, were written with the " beauti- 
 ful and clever women of North America in mind." 
 
 When a telegram came from America report- 
 ing the success of the work, he said whimsically : 
 
 " Do you know what the best thing about that 
 march is? The money that I got for it! " 
 
 To Friedrich Feustel 
 
 (Rome, November 23, 1876.) 
 
 Esteemed Friend! 
 
 Since my departure from Bayreuth, no further 
 information has reached me than your announce- 
 ment that the deficit proves to be more and more 
 significant, and that I am expected to suggest 
 ways and means of meeting it. To me the most 
 imperative thing seemed to be an appeal to the 
 previous supporters of my undertaking. I drew 
 up such an appeal and sent it to you (about the 
 8th or loth of October) with the request that 
 your report to the patrons be added to it. At 
 the same time I wrote at length to the King of 
 Bavaria and enclosed the chief features of a plan 
 
266 THE BAYREUTH LETTERS 
 
 for a constitution, by the terms of which the 
 theatre with all its accessories should accrue to 
 the state in exchange of the assumption of all 
 the debts resting upon it, and the further ad- 
 ministration of which should be transferred to 
 the city magistrate of Bayreuth. Up to the pres- 
 ent time no answer has reached me, and I can 
 only assume that the King is not lacking in cor- 
 dial good-will, but that he is embarrassed in find- 
 ing just the right way of meeting my wishes. 
 
 While I was waiting for an answer from that 
 side, my friend Heckel announced to me his great 
 regret that I myself should be called upon to 
 make the appeal for a contribution to cover the 
 deficit, whereas, to his mind, this should be the 
 affair of my friends ; this opinion he had already 
 expressed to our friends of the Executive Coun- 
 cil. I answered that he seemed to be moved 
 by a very proper feeling, and that it would in^ 
 deed be gratifying to me if the matter could be 
 taken in hand by friends of my cause. In re- 
 gard to his suggestion that four (extra) per- 
 
FIRST BAYREUTH FESTIVAL 267 
 
 formances at increased prices should be given to 
 cover the deficit, I expressed the fear that the 
 imperative payment of our debts could not be 
 postponed for so long a period. 
 
 I am convinced that there are people who can 
 and will gladly get together the necessary funds 
 for us; however, I do not know anyone of the 
 proper ability who could be asked to place him- 
 self at the head and front of such a movement. 
 
 Perhaps this could be accomplished by the 
 committees of the older Wagner Societies, for 
 whom it would surely be easier to raise their 
 voices now than at a time when the undertaking 
 was received with suspicion on all sides. 
 
 In any case, I regret that no use was made of 
 the appeal I sent to you; at least one good re- 
 sult would have come from its distribution in 
 letting us know where we stood in the matter. 
 
 It seems to me that through no fault of mine 
 there has been much unnecessary delay; on the 
 other hand, I declare myself still ready to sup- 
 port any measure which is suggested to me. 
 
268 THE BAYREUTH LETTERS 
 
 Under all these circumstances it seems now to 
 have grown too late to prepare for a repetition 
 of the Festival next summer with any degree 
 of assurance — in fact, even to entertain such 
 an idea. In order to reach the goal once, and 
 to show the world what it was all about, I could 
 enter into these financial embarrassments and 
 deceptions; but to remain continually in such a 
 condition by exposing myself repeatedly to the 
 chance of being abandoned to fresh anxieties 
 (for example, through the calumny of the news- 
 papers), of which I should never have even 
 learned, as no financial profit was ever connected 
 with my undertaking — all this I must absolutely 
 refuse to do in the future. 
 
 The great defects in the performance of my 
 work can only be explained by the financial un- 
 certainty and the consequent doubts which arose 
 as to the timely accompHshment of the under- 
 taking on the part of those commissioned with 
 its execution. We shall be obliged to have at 
 our immediate disposal the means for remedying 
 
FIRST BAYREUTH FESTIVAL 269 
 
 these defects. Moreover, I should not have the 
 courage to approach certain artists of my per- 
 sonnel, whom I secured only with the greatest 
 difficulty, and invite them to renewed co-opera- 
 tion without being able to assure them of an ade- 
 quate honorarium; this, however, could not be 
 done unless the deficit of this year's perform- 
 ances had been previously completely covered. 
 And to give a fourth (extra performance) for 
 this purpose would naturally fill the minds of 
 any singers and musicians with consternation as 
 soon as they heard of it, for it would be tempt- 
 ing Providence to rely solely upon a repetition 
 of the auspicious circumstances which made it 
 possible for us to give the three performances 
 successively within so short a time. 
 
 I am therefore obliged to wait and see if by 
 any impulse whatever the money for covering 
 the deficit can be collected in time. Has this not 
 been done by January ist, then a repetition of 
 the Festival next year must be abandoned, and 
 then we can only wait and see if any interest 
 
270 THE BAYREUTH LETTERS 
 
 is taken in the matter in certain quarters and 
 help is extended to us. I refrain from any ref- 
 erence to my own person on this occasion, nor 
 shall I call your attention in detail to the state 
 of my health. I only assure you that even here 
 in Italy, under the influence of totally new im- 
 pressions, I drag along with my entire nervous 
 system apparently shattered; nor is this to be 
 wondered at when one considers that I have been 
 prevented from taking my customary water-cure, 
 in spite of all things that have happened and 
 continue to happen. Moreover, I cannot regard 
 the absolute necessity of the repetition of the 
 Festival next year as obligatory for me, tmless 
 this can take place under such circumstances as 
 to make a pleasant duty of the self-sacrifices it 
 would incur — that is, if the friends of my art 
 do not convince me that they care something 
 about me and my undertaking. I can and will 
 not sacrifice my strength any more to a mere 
 enterprise, for better for worse. 
 
 As not the slightest blame in this deplorable 
 
FIRST BAYREUTH FESTIVAL 271 
 
 situation is to be laid at the door of my esteemed 
 friends in Bayreuth — we having mutually ac- 
 complished something that was able to arouse 
 astonishment and enthusiasm — it is all the more 
 painful to be obliged to prepare you, in an ex- 
 treme case, for the most depressing news. 
 
 I must look squarely in the face the possibility 
 that we shall never be able to have another Fes- 
 tival performance, and this state of things would 
 occur if the deficit could not be covered at the 
 given time, and at the same time the payments 
 could no longer be postponed. In this case noth- 
 ing would remain but to declare the undertaking 
 in a state of bankruptcy, and all existing prop- 
 erty, after a report to this effect to the patrons, 
 would be turned over to our creditors. 
 
 Whatever belongs to the King of Bavaria 
 would be made over to him, and whatever else 
 of value remained be sold to the highest bidder, 
 and the money applied to discharging the re- 
 maining debts. For my part, I see no other 
 course to take, as I am forced to doubt exceed- 
 
272 THE BAYREUTH LETTERS 
 
 ingly any further success as the result of my 
 personal efforts, and no one who is acquainted 
 with the strain I have been under would expect 
 me to give concerts and the like at present. 
 
 Above all, most esteemed friend, do not inter- 
 pret this communication as the outburst of a 
 despondent man who is trying to disquiet you 
 in a most terrible manner; on the contrary, I 
 have had ample opportunity of considering my 
 real attitude toward my contemporaries during 
 the past ten months and have accordingly reached 
 this conclusion. I have shown what I can do, 
 and feel myself justified, as well as impelled, to 
 close my artistic career, and regard as my sole 
 duty henceforth the welfare of my friends and 
 my family, which has hitherto been sacrificed (to 
 the success of the undertaking). 
 
 With the most cordial greetings to the friends 
 and family, I remain 
 
 Your always grateful and devoted 
 
 Richard Wagner. 
 
FIRST BAYREUTH FESTIVAL 273 
 
 To Friedrich Feustel 
 
 (Rome, November 29, 1876.) 
 
 Much esteemed Friend! 
 
 I regret that you did not acquaint me with the 
 delay in the distribution of my circular to the 
 patrons, in which case I could then have in- 
 iformed you how the appeal it contained could 
 have even most efifectively disseminated, without 
 being accompanied by the report of the Execu- 
 tive Committee. 
 
 I beg of you to retrieve this delay as quickly 
 as possible by sending out the appeal in the form 
 of a letter to my patrons. 
 
 As I look at the matter, this step is the only 
 one which it remains for me to take in order 
 to proclaim the true state of affairs; in my ear- 
 lier letter, of which only the last clause seems 
 to have made any impression upon you, I in- 
 formed you that all my previous efforts had re- 
 mained without any results. 
 
 In this letter I also assured you of my will- 
 
274 THE BAYREUTH LETTERS 
 
 ingness to take any step suggested by you or 
 other friends in securing the necessary assis- 
 tance; to proceed, however, to announce a repe- 
 tition of the Festival after such serious delay 
 was a step which I did not feel myself justified 
 in taking. 
 
 In considering the latter hypothesis I did not 
 overlook the fact that, if no help came from 
 the outside towards covering the deficit, the 
 remaining debts would become so urgent that 
 the settlement of them would have to be con- 
 sidered from the ordinary standpoint of civic 
 law. 
 
 I had nothing more or less in mind concern- 
 ing the prospective bankruptcy process than the 
 payment of these debts by the sale of the 
 property. 
 
 In doing this, it did not occur to me to keep 
 the carpenters and paperers of Bayreuth out of 
 their money, and if I used the word " bankrupt " 
 in this connection, it was only to characterise 
 unreservedly my position, as I do not hesitate 
 
FIRST BAYREUTH FESTIVAL 275 
 
 to declare myself and my artistic undertaking 
 as completely bankrupt. 
 
 On the contrary, I should like to see my resi- 
 dence in Bayreuth, as well as my private income, 
 — in regard to which you are able to give the 
 most accurate information, — appropriated to the 
 liquidation of the debts, and I beg of you not to 
 entertain the slightest doubt on this point. 
 
 I thought I had intimated this to you when 
 I announced my intention, under extreme cir- 
 cumstances, of relinquishing my artistic career 
 and devoting myself only to the interests of my 
 family, who must be regarded as heavy sufferers. 
 
 With the most respectful greetings. 
 
 Your ever grateful 
 
 Richard Wagner. 
 
 To Friedrich Feustel 
 
 (Florence, December 4, 1876.) 
 Dear Friend! 
 
 I thank you very much for the recent favour- 
 able news. The circular, of which (also with 
 
276 THE BAYREUTH LETTERS 
 
 thanks) I am sending you at once a revised copy, 
 I beg of you in any case to have sent out as 
 quickly as possible to my patrons. I must have 
 this as a basis for further proceedings. I in- 
 tend to stop in Munich for further conference, 
 and declare to you further that I have left noth- 
 ing undone to make possible the barely imagin- 
 able case of a repetition of the performances next 
 summer. 
 
 Only here in Florence have I been able to 
 arrange for the end of my visit in Italy, as I 
 could not refuse the worthy Bolognese to be 
 present at the last performance of " Rienzi." 
 Everything pleased me very much, even though 
 it was a very great strain. . . . 
 
 In any case we expect to celebrate the Christ- 
 mas Festival at home. 
 
 I beg of you to convey my most cordial greet- 
 ings to your valued family and our friends. 
 
 Ever gratefully mindful of your friendship. 
 Yours faithfully, 
 
 Richard Wagner. 
 
FIRST BAYREUTH FESTIVAL 277 
 
 Heckel was obliged to agree with Feustel that 
 it was an unfavourable moment to launch a fresh 
 appeal to the patrons, and felt it to be his duty 
 to inform Wagner of this. The latter was very 
 much agitated and wrote the following letter to 
 Heckel : 
 
 (Florence, December 9, 1876). 
 Dear Friend! 
 
 I am very sorry that you also have the heart 
 to give me and my concerns no further consid- 
 eration, and only speak to me of the matter in 
 the same strain as do my other friends. No per- 
 son is able to devise ways and means; even my 
 appeal to the patrons should be sent only " with 
 caution," because the times are so bad, and yet, 
 notwithstanding this, the performances should 
 be announced as quickly as possible! It is in- 
 credible! You inquire, in fact, about the Fes- 
 tival medallion, which I naturally countermanded 
 at once, when the ever-increasing deficit was an- 
 nounced. What does one not expect of me! 
 
 For my part, I announce to you quite positively 
 
278 THE BAYREUTH LETTERS 
 
 that I shall devote the coming summer entirely 
 to regaining my health — for which, on account 
 of my increasing abdominal trouble, I expect to 
 take a protracted water-cure in November. 
 
 If I find myself restored to health, we shall 
 then see what can be arranged for the year after 
 next. If in the meantime the deficit is not cov- 
 ered, and this without further effort on my part, 
 I intend to hand the theatre over to some enter- 
 . prising person, possibly even to the Munich 
 Royal Theatre, but not to give myself any fur- 
 ther concern about it. Here, dear friend, my 
 strength is exhausted. My undertaking up to 
 this point has been a question to the German 
 public — " Will you? " I now assume that they 
 will not, and accordingly am at the end of my 
 resources. I beg you to consider the matter from 
 now on solely in this light, and, if you think it 
 wise, also to explain summarily to my other 
 friends about me, as they seem unable to 
 understand. 
 
 In one of my constant sleepless nights I am 
 
FIRST BAYREUTH FESTIVAL 279 
 
 seeking to create for myself some degree of com- 
 fort by unburdening my heart frankly and freely 
 to the true and sympathetic friend, as which I 
 have ever recognised you. 
 
 Remain kindly disposed to me! 
 Yours ever faithfully, 
 
 Richard Wagner. 
 
WAYS AND MEANS 
 1877-1879 
 
 To Emil Heckel 
 
 (Bayreuth, Febraary 11, 1877.) 
 
 Oh I dearest, dearest Friend! 
 
 Yes, yes ! The King of Bavaria ! As if that 
 could make up to me for the time that has been 
 lost! 
 
 Do you not believe that if anyone could do 
 it, I am that one, and do you think that I have 
 not done my utmost? 
 
 Please let us be silent on this point! 
 
 You must have realised, dear friend, that what 
 I have now set in motion has only been done 
 in order to preserve the honour of my undertak- 
 ing and my attitude toward the same. 
 
 On the other hand, do you really believe that 
 I ever had any hope that anything would be 
 accomplished ? 
 
WAYS AND MEANS 281 
 
 Learn to know Germany and the German pub- 
 lic! That is all — all lost! Believe me! 
 
 What we accomplished last year was a miracle, 
 and will remain so, as long as anyone knows 
 about it. But beyond that it will never, never 
 go: this we must realise once for all. 
 
 The performances for this year are already 
 impossible, both from material and artistic rea- 
 sons; even if the money could be obtained, it 
 would not suffice; the artistic dangers are great. 
 A resumption could only be thought of if my 
 programme in regard to a Patrons' Society (but 
 not alone on the basis of the former allotment 
 plan) could be strictly carried out. The new one 
 must have quite a different aspect from the old ; 
 there must be power and knowledge behind it. 
 
 In the meantime I have to look after the de- 
 ficit, and intend therefore to give concerts in 
 England several months, solely for this purpose. 
 If I return alive, I hope nothing further will be 
 required of me than to think of myself — to 
 recover and — forget! 
 
282 THE BAYREUTH LETTERS 
 
 Well, we are so far! 
 
 Now, dear friend, get His Majesty the King 
 of Bavaria out of your head, and continue to be 
 kindly disposed to your 
 
 Ever faithful 
 
 Richard Wagner. 
 
 To Emil Heckel 
 
 (Bayeeuth, April II, 1877.) 
 My dear Heckel! 
 
 God grant you long life, at least decidedly 
 longer than mine, in order that someone will be 
 there after my death who in himself shall fur- 
 nish a root for further cultivation. 
 
 I understand everything, but say little — if 
 possible, no more — about it. I can do nothing 
 but wait until someone from the outside follows 
 after, as I seem to be considerably in advance ! 
 
 Cordial greetings! 
 
 Yours, 
 
 Richard Wagner. 
 
WAYS AND MEANS 283 
 
 In January the King's Councillor arrived in 
 Bayreuth to discuss the matter of the deficit 
 with Wagner and the gentlemen of the Execu- 
 tive Council. 
 
 Should the King or the German Parliament 
 decide to assume the debt, then Wagner declared 
 his readiness to resume the Festival performances 
 in 1878. His second suggestion was that the 
 King should take over the Bayreuth Theatre 
 as a sort of adjunct to the Munich opera until 
 the loan was discharged. 
 
 The King's messenger seemed, however, not 
 authorised to accept either of these suggestions, 
 and the conference, from which so much was 
 hoped, left the situation unchanged. 
 
 It was while under the shadow of this dis- 
 appointment that Wagner surprised his wife one 
 day with the announcement : " I shall begin my 
 * Parsifal ' and not stop until it is finished ! " 
 
 Everything that had been left sealed up in his 
 innermost soul now began to germinate and re- 
 veal itself. From day to day the earlier sketch 
 
284 THE BAYREUTH LETTERS 
 
 of 1865 assumed a firmer and more tangible 
 shape. 
 
 Since finishing the " Meistersinger " text, fif- 
 teen years before, Wagner the poet had been 
 obliged to recede before Wagner the man of 
 affairs, but that mathematical worries had not 
 destroyed his metrical facility was proven by the 
 rapidity with which the " Parsifal " legend as- 
 sumed the proportions of a music drama. 
 
 During his visit to London in the spring of the 
 same year he was able to read the complete ver- 
 sified text to a select company, including, among 
 other distinguished personalities from the Eng- 
 lish world of art and letters, George Eliot and 
 her husband, George Henry Lewes. 
 
 From London the text went back to his royal 
 benefactor in Munich, whose name had already 
 been mentioned in connection with the " Parsi- 
 fal " drama in a letter written almost two decades 
 earlier. " He is so strikingly handsome that he 
 might pose as the King of the Jews; and in 
 strict confidence — I am thinking a great deal 
 
WAYS AND MEANS 285 
 
 about the Christian tragedy; possibly something 
 may come of it." 
 
 In the meantime, however, the creator of 
 " Parsifal " was being confronted by the stub- 
 born statistics of the Festival deficit, and in order 
 to meet the most urgent part of the indebted- 
 ness he had been obliged to borrow the sum of 
 eight thousand dollars at five per cent interest. 
 
 Not without extreme reluctance did he yield to 
 the suggestion of August Wilhelmj that he should 
 come to London for a series of Wagnerian con- 
 certs, but necessity and a desire to prove to his 
 friends that he had no wish to shirk any re- 
 sponsibility which might give an impetus to the 
 situation finally prevailed over his personal feel- 
 ing in the matter. 
 
 Six concerts were arranged to take place at the 
 Albert Hall, Wagner conducting the first half 
 of each programme, and Hans Richter the sec- 
 ond, with the co-operation of a number of the 
 Bayreuth singers. It soon became clear that 
 these concerts would not, as had been expected, 
 
286 THE BAYREUTH LETTERS 
 
 wipe out the Bayreuth deficit; for while the 
 audiences were eager, the expenses were so enor- 
 mous as to cause disaster to the box-office receipts. 
 
 At first the actual financial condition was kept 
 from Wagner, but as soon as he learned how 
 matters were going he voluntarily offered to re- 
 notmce the large sum promised him for his per- 
 sonal services, and moreover paid the singers, 
 whom he had brought with him from Germany, 
 out of his own pocket. 
 
 This sacrifice his business agents, Messrs. 
 Hodge and Essex, refused to accept, although 
 they were themselves on the brink of bankruptcy, 
 and the sum of seven hundred pounds was event- 
 ually remitted to Bayreuth. 
 
 When the disastrous results of the Albert Hall 
 Festival became known, a number of wealthy and 
 public-spirited men determined to wipe off the 
 stain on the English artistic character by open- 
 ing a subscription list which resulted in the sum 
 of five hundred and sixty pounds. 
 
 But Wagner's pride prevented him from ac- 
 
WAYS AND MEANS 287 
 
 cepting from the hands of strangers that which 
 would have been a largesse from his own coun- 
 tr)mien, and he accordingly returned the sum to 
 the subscribers. 
 
 Apart from George Eliot and her husband, 
 Wagner also made the acquaintance of Robert 
 Browning and Burne-Jones and saw Joseph 
 Jefferson in his famous characterisation of Rip 
 Van Winkle. 
 
 Henry T. Finck includes in his Wagner biog- 
 raphy Mr. Hubert Herkomer's amusing account 
 of how he painted his famous portrait for the 
 German Athenaeum Club: 
 
 " The whole business of the portrait was dis- 
 agreeable to him, but I was at least allowed free 
 admission to his abode (12 Orme Street), so this 
 ' seeing ' instead of ' sitting ' went on for nearly 
 a month ; my patience was sorely tried, and my 
 independence got chafed. 
 
 " But I was wrought up to a curious pitch of 
 excitement during this training, for I was af- 
 fected by the personal power of the man over 
 
288 THE BAYREUTH LETTERS 
 
 those around him, by the magic of his music, 
 and by the face of this poet-musician, which, 
 when stirred by emotion, was a grand reflection 
 of his work. 
 
 " Now I doubt whether any man since Napo- 
 leon has ever been known to exercise such powers 
 of fascination over his admirers as Richard Wag- 
 ner does daily, and will do to the termination 
 of his life. You lose your identity when in his 
 presence, and are inclined to forget that there 
 is something else in the world besides Wagner 
 and his music. You are under the influence that 
 sets every nerve at its highest key. He has been 
 able to make people frantic with enthusiasm. . . . 
 
 "Wagner was in my mind day and night — 
 a constant vision which barred out every other 
 thought, willing or unwilling — and it was in 
 a moment of anger arising from this constant 
 putting off of the sittings that I determined to 
 try what my memory could furnish, and with 
 his face only inwardly visible to me, I set to 
 work. I worked all day, and it grew I knew 
 
WAYS AND MEANS 289 
 
 not how. The next day I worked still harder 
 ■ and more excitedly and finished the portrait. On 
 the third day I took it to Wagner. 
 
 " Up to that time he had but suffered me to 
 be near him, paying little more attention to me 
 than to an animal, but from the moment that 
 he saw his portrait his demeanour changed, and 
 never did a man show admiration more truly 
 and heartily than did Richard Wagner on this 
 occasion, and ever since to me. 
 
 " How I had done it puzzled him. You use 
 'witchcraft,' he said to me. 
 
 " So then he was ready to sit for me, and I 
 was intensely eager, not to say nervous, to com- 
 pare my impressional portrait with the original 
 subject." 
 
 To Friedrich Feustel 
 
 (London, May 13, 1877. 
 12 Onne Square, 
 Bayswater, 
 W. London.) 
 Dearest Friend! 
 
 In addition to the communication made to 
 
 friend Adolph, I have nothing further to say 
 
290 THE BAYREUTH LETTERS 
 
 in regard to the conditions here. If, in spite of 
 my accurate knowledge of these conditions which 
 has always kept me from visiting London, I could 
 have entertained the thought that perhaps, this 
 once, such an effort might be successful (un- 
 heard of!), it was, on the whole, not so much 
 this idea and the hope based upon it which in- 
 duced me to come to London, as the resolve to 
 prove to you and the friends in favour of this 
 plan, that it was neither laziness nor love of ease 
 on my part which led me to hope that the deficit 
 might be met in some other way. 
 
 It is now time to take another course, and 
 therefore I beg of you in the most friendly spirit 
 to send out at once an appeal from the Executive 
 Council of the Stage Festival Play enterprise for 
 a subscription to cover the deficit; in this you 
 will kindly recapitulate the state of affairs, and 
 also mention my zeal in endeavouring to spare 
 the patrons this burden by the most importunate 
 efforts. At the same time I shall ask you to open 
 the list with a subscription of three thousand 
 
WAYS AND MEANS 291 
 
 marks from me, to which you may also feel inclined 
 to add a subscription as a generous private citizen. 
 
 I should not care to have the circulars put into 
 the hands of the Wagner Societies as such, on 
 account of their great impotence, but recom- 
 mended to a few private persons. ... As soon 
 as the lists are full, and strong enough to meet 
 our needs, the complete list had better be sent 
 at once to each subscriber with a request for 
 payment. Should this course also fail, then I 
 have resolved to close with Ullmann for America, 
 to offer my Bayreuth property for sale, and go 
 across the ocean with my entire family, never 
 to return to Germany. 
 
 As far as the local business here is concerned, 
 we fear that we shall not even make our ex- 
 penses. I should be glad if the money I ad- 
 vanced to the singers through you could be 
 returned to me. In any case you would greatly 
 oblige me by placing a sum to my credit here 
 in order that I might be able to move comfort- 
 ably to Ems the beginning of June. 
 
292 THE BAYREUTH LETTERS 
 
 As to whether or not my health is restored 
 will depend hrgely upon the character of the news 
 I receive as to the start and progress of the sub- 
 scription list. 
 
 It is to be hoped that something comforting 
 will happen from this side! 
 
 Bear with me and forgive the many anxieties 
 I have caused you. Remember us cordially to 
 our friends, your dear family, and especially my 
 good Adolph. 
 
 Your ever grateful 
 
 Richard Wagner. 
 
 To Friedrich Feustel 
 
 (London, May 27, 1877. 
 Sunday, early.) 
 
 Dearest Friend! 
 
 It seems now as if I am destined to hear of 
 calamity on top of calamity. I read in your — 
 otherwise so highly welcome — communication 
 to Dannreuther that the amount of the deficit 
 is estimated at one hundred and sixty thousand 
 marks; in our conversation concerning the pos- 
 
WAYS AND MEANS 293 
 
 sible London receipts, you specified the sum neces- 
 sary for covering the deficit at five thousand 
 pounds; I have never known of anything more 
 than "something" over one hundred thousand 
 marks. 
 
 • If the deficit in the meantime is really swollen 
 by fifty or sixty thousand marks, then I must 
 confess that with this continued obscurity as to 
 my obligations my last particle of courage for- 
 sakes me, and I prefer to give myself up to 
 desperation. 
 
 I deduce some little hope for the success of 
 the last projected subscription from the fact that 
 I see more and more clearly that my deep dis- 
 couragement as to the complete failure of my 
 appeal to the patrons of last year was without 
 cause. 
 
 I showed Dannreuther a copy of that appeal 
 which you sent me lately as an intimation of the 
 failure of the more recent effort, and learned to 
 my astonishment that he knew nothing whatever 
 of that appeal ; as we have heard the same from 
 
294 THE BAYREUTH LETTERS 
 
 various sources, we can only attribute this enig- 
 matic circumstance to some singular mishap in 
 sending it out. 
 
 If a similar ill fate does not control this re- 
 newed effort, may it bring us better and more 
 encouraging information as to the true attitude 
 of our friends! 
 
 Forgive the cursoriness of these lines ! Heart- 
 ily thanking you for all the care and solicitude 
 which your active friendship impels you to as- 
 sume for me, I greet you most cordially as 
 Your ever devoted 
 
 Richard Wagner. 
 
 To-morrow and the day following, concerts! 
 
 To Friedrich Feustel 
 
 (London, May 30, 1877. 
 12 Onne Square, 
 Bayswater, 
 W. London.) 
 Most valued Friend! 
 
 I suffer greatly by your conduct. The caution 
 
 you employ leads me to infer that you consider 
 
WAYS AND MEANS 295 
 
 our representation of my position in London as 
 exaggerated, and that you imagine we should be 
 able to help ourselves, while the chief thing for 
 you is to make payments in Bayreuth. 
 
 If no further help comes, then I am resolved 
 to surrender everything to which I have the least 
 shadow of a title. I desire that no attempt shall 
 be made to dissuade me from doing this. I need 
 the London money for London, in order that I 
 may not appear as a bankrupt. Everything 
 I have experienced here is confirmed with 
 my former knowledge of London; and yet, 
 in spite of this, I sacrificed my better views 
 to you in order not to appear indolent and 
 unwilling. 
 
 I leave quite out of the question how much 
 older I have grown under these renewed expe- 
 riences, and how much vitality I have squan- 
 dered in vain. This and that will still be tried 
 here, and a local subscription will probably bring 
 in something; but for the present I beg you to 
 take my explanations and wishes quite seriously 
 
296 THE BAYREUTH LETTERS 
 
 and not bring me to a point of desperation by 
 opposing them. 
 
 Forgive these Hnes! But I cannot do other- 
 wise! 
 
 With the most respectful greetings, 
 
 Your ever grateful 
 
 Richard Wagner. 
 
 This letter was followed by a telegram the 
 next day saying: 
 
 Erroneous report regarding size of deficit led 
 me into violence in letter, which regret and beg 
 you to forgive. 
 
 Wagner. 
 
 To Friedrich Feustel 
 
 ' (London, June 3, 1877.) 
 Dearest Friend! 
 
 At last the confusion of the past few days 
 begins to unravel itself! I am astonished how 
 difficult it is to obtain accuracy even from clear- 
 headed business men. 
 
 I shall report to you in time verbally into what 
 
WAYS AND MEANS 297 
 
 a state of perplexity I have been thrown by in- 
 credible thoughtlessness and ignorance, as well 
 as fantastic presumption not based on reality. 
 Enough! No one has lost a penny by me or 
 through me. 
 
 I send you herewith a cheque for seven hun- 
 dred pounds, and beg you to place me on the sub- 
 scription list with ten thousand marks, and to 
 pay this sum at once to the most pressing creditor 
 — the remainder of the London receipts to be 
 placed at my disposal. 
 
 The result of the London subscription will be 
 made known to us in a short time. 
 
 Now, don't be angry with me for my recent 
 violence. It was really high time the singers 
 should be paid; and the twelve hundred pounds 
 was to be employed first of all for this purpose. 
 
 It was announced to me that only twelve thou- 
 sand marks had been returned by you, and that 
 the bank would not pay this to me without your 
 special instruction. 
 
 The first report (incorrect) caused the letter; 
 
298 THE BAYREUTH LETTERS 
 
 the second, the telegram. I soon perceived the 
 error in regard to the size of your remittance. 
 
 Therefore I beg for written absolution! I 
 have reached the extreme point and could liter- 
 ally jump out of my skin at any moment. . . . 
 
 I thank you warmly for the good birthday 
 wish; it delighted me greatly (on this gloomy 
 day). 
 
 To-morrow evening we start for Ems, where 
 we expect to arrive on the evening of the 5th. 
 Only Adolph knows the address; I do not. 
 
 Kindest and best greetings from us to you 
 and yours. 
 
 Your ever grateful 
 
 Richard Wagner. 
 
 To Friedrich Feustel 
 
 (Ems, Jime 14, 1877.) 
 Dearest Friend! 
 
 Here are the two signatures! May this en- 
 croachment upon the real existence of my family 
 at least serve to gain time enough in which to 
 
WAYS AND MEANS 299 
 
 learn in peace and quiet how matters stand, and 
 with what kind of people I shall have to deal 
 throughout my life. In order to see clearly for 
 the future, I feel myself obliged to recognise that 
 it is not my work which has been censured but 
 — Bayreuth. 
 
 My works will be performed everywhere and 
 attract numerous spectators, but no one will come 
 to Bayreuth. 
 
 This is the real state of the case, and the cause 
 of the intervening coolness for my enterprise. 
 I can blame the place only in so far that I chose 
 it. And yet I had a great idea in so doing; I 
 hoped, with the support of the nation, to create 
 a thoroughly new and independent work in a 
 place which should first rise to importance 
 through this work — a sort of Art- Washington. 
 
 I had too high an opinion of our best society. 
 In order to please me, and at the same time to 
 satisfy their curiosity, they sacrificed themselves 
 once to the terrible inconvenience of Bayreuth, 
 but became frightened when a repetition was 
 
300 THE BAYREUTH LETTERS 
 
 suggested. Therefore the coolness toward my 
 enterprise. A very important London firm com- 
 municated to me an offer to remove the Bay- 
 reuth stage machinery to a big London theatre, 
 with a repetition of the Festival during the 
 whole of next season. If I really wished it, a 
 theatre like mine will be built for me in Leip- 
 zig, and Wtirzburg or Nuremberg, to judge by 
 the great success of the preceding year, would 
 be able to compensate me and continue the work. 
 Bayreuth can only be a success if my idea of 
 a musical and dramatic high school, which I re- 
 cently pointed out, could be carried into effect, 
 as this would lead to distinguished people set- 
 tling there. The city itself, which would reap 
 great profit, could present a petition to the 
 King, etc. 
 
 As far as I am concerned, I shall probably do 
 nothing more than worry myself to death to 
 cover the deficit and get rid of the theatre! 
 
 I am frightened anew at hearing of the man- 
 ner in which the twenty thousand marks recently 
 
WAYS AND MEANS 301 
 
 received in Vienna has melted away to seven 
 thousand nine hundred. 
 
 Dolce far niente — yes, yes! Do nothing! — 
 No: accomplish nothing! that is my vocation. 
 
 Now, as God wills! I remain under everlast- 
 ing obligations to you! 
 Cordial greetings from 
 
 Your devoted 
 
 Richard Wagner. 
 
 " The two signatures " mentioned in the open- 
 ing of this letter were those placed by Wagner 
 and his wife to a legal document empowering 
 Feustel to draw a certain sum from their private 
 treasury and expend it in satisfying the demands 
 of the most urgent creditors. This, together with 
 the sum which he had renounced in London in 
 order to pay the singers he had taken with him 
 from Germany, amounted to about fifty thousand 
 marks. 
 
302 THE BAYREUTH LETTERS 
 
 To Friedrich Feustel 
 
 (Ems, July 2, 1877.) 
 Dear Friend! 
 
 If you are still alive, I will not delay in ac- 
 quainting you with my immediate travelling 
 plans. . . . 
 
 I have announced myself for the third week 
 of the month in Munich (His Majesty has al- 
 ready written me very graciously). Will you 
 accordingly be kind enough to arrange for our 
 meeting there! 
 
 Should any change of plans occur, you will 
 be informed in good time. I hope that all is 
 well with you and your family. Every move or 
 retreat on the chessboard of life brings anger 
 with it, which undoubtedly arises from the fact 
 that most persons are very sordid. 
 
 Under the circumstances of the " present," it 
 must be regarded as a " matter of course " that 
 we were obliged to spend our last spare penny 
 to pay the claims of the Bayreuth hotel-keepers 
 last year. 
 
WAYS AND MEANS 303 
 
 Heckel was here ; he will get as far as theatre- 
 director in Mannheim — so now at least he has 
 something from it! I now hope — and really 
 hope — to be able to shift my heavy burden upon 
 the Munich Royal Theatre. 
 
 This is the last hope of my strange life! 
 
 Therefore we shall see each other soon. Think 
 kindly of me in the meantime. 
 
 I am going to learn to play Taroc ^ soon ! Cor- 
 dial greetings to the entire Feustelei! 
 Ever your grateful 
 
 Richard Wagner. 
 
 To Emil Heckel 
 
 (Telegram) 
 
 (Heidelberg, July 7, 1877.) 
 Please take dinner with us to-morrow at one 
 o'clock with Zeroni. In the evening reading of 
 " Parsifal," to which Pastor also invited. 
 
 Wagner. 
 
 1 A well-known Bavarian game of cards. 
 
304 THE BAYREUTH LETTERS 
 
 Of this meeting Heckel writes: 
 
 " In addition to Zeroni, myself, and the Catho- 
 lic priest, Richard Pohl came from Baden-Baden. 
 We were the first who were made acquainted 
 with the drama of ' Parsifal.' It is indescribable 
 with what feeling and deep emotion the Master 
 read us his own poem. He was so moved that 
 he withdrew after the reading and left us alone. 
 
 " We also remained silent, and it was a long 
 time before we felt ourselves again on this crooked 
 earth!" 
 
 In Heidelberg Richard Wagner and General 
 Grant met, but the meeting was not very satis- 
 factory, as the distinguished warrior had never 
 conquered either German or French. 
 
 To Friedrich Feustel 
 
 (Bavkeuth, October 9, 1877.) 
 Dearest Friend! 
 
 In order to prove the vitality of our entire 
 
 project it seems to me to be high time to begin 
 
 with the advertisements for applications. 
 
WAYS AND MEANS 305 
 
 In regard' to Hey we shall be obliged to come 
 to some conclusion, and this can only appear jus- 
 tifiable when we shall have been given our cue to 
 a certain extent by the success of the announce- 
 ment in regard to the school. 
 
 Therefore — in haste — advertise! or: have 
 you any doubts then : hold back entirely ! What 
 do you think? 
 
 I was on my way to you, but my bad toe forced 
 me to turn back. 
 
 Cordial greetings from 
 
 Your ever devoted 
 
 Richard Wagner. 
 
 Defeated in his plan of repeating the " Ring," 
 Wagner's active brain at once evolved a bigger 
 general scheme, which was to make the Bayreuth 
 Theatre a Dramatic High School, where singers, 
 players, and conductors could learn to interpret 
 not only the Wagnerian works but all of the 
 classics in a correct manner. 
 
 He counted upon the co-operation of Liszt, 
 
3o6 THE BAYREUTH LETTERS 
 
 Wilhelmj, and Professor Julius Hey, the distin- 
 guished Munich singing-master. He hoped that 
 under his personal guidance and inspiration this 
 idea would ripen into a stable foundation for 
 future Bayreuth deeds, and he rejoiced in the 
 added significance that would be given to his be- 
 loved Bayreuth by such a concentration of the 
 various artistic elements. He wrote to Wilhelmj : 
 
 " I have in my mind to teach the young people 
 something before I die ; namely, tempo — that is 
 to say, interpretation. Could you assure me of 
 your assistance here in Bayreuth from January 
 I to April 20 for quartette playing and general 
 higher analytical interpretation. What would 
 you demand for this? 
 
 " Under no circumstances should I presume or 
 wish to teach how it should be done (composing), 
 but only to give instructions as to how that which 
 has already been created should be properly un- 
 derstood and interpreted." 
 
 Wagner's idea was to arrange a six-year cycle, 
 which was to include the most significant works 
 
WAYS AND MEANS 307 
 
 in German musical literature as well as the 
 Wagner dramas, from the " Flying Dutchman " 
 to the " Ring," with " Parsifal " as a finale in 
 1883. 
 
 The rehearsals were to take place during the 
 first two quarters of the year, Wagner himself 
 to be present at least three times a week. Dur- 
 ing the third quarter the performances were to 
 take place. 
 
 For the purpose of carrying out this broadly 
 outlined Festival plan, a central Bayreuth So- 
 ciety of Patrons was formed, each member of 
 which pledged himself to pay fifteen marks a 
 year to cover the expenses. 
 
 He applied once more to Parliament. Inas- 
 much as the government paid large sums each 
 year to institutions of various kinds, why should 
 not a real dramatic school like the one planned in 
 Bayreuth receive support as well? The sum of 
 twenty-five thousand dollars would have been 
 sufiicient, but before the close of the year he 
 realised the hopelessness of his plans and directed 
 
3o8 THE BAYREUTH LETTERS 
 
 his friends to concentrate all of their energies 
 in the organisation of a Society of Patrons 
 with a view to making possible the " Parsifal " 
 performance. 
 
 As an " equivalent," as Wagner expressed it, 
 for the abandonment of the Dramatic High 
 School, he then proposed a journal which was to 
 be called the " Bayreuther Blatter," and become 
 the organ of communication to the Wagner So- 
 cieties, a publication which has survived its 
 founder. 
 
 That which gives historic significance to the 
 " Bayreuther Blatter " is that in its columns ap- 
 peared nearly all of the essays which Wagner 
 wrote during the last six years of life, on the 
 greatest possible variety of topics. 
 
 To Friedrich Feustel 
 
 (Bayreuth, February 3, 1878.) 
 Dearest Friend! 
 
 I return the Vienna letter to you with many 
 
 thanks. We must discuss it again sometime. 
 
WAYS AND MEANS 309 
 
 But for to-day, dear friend, I wish to express 
 my thanks to you, for the extraordinary patience, 
 wisdom, and energy which you have employed in 
 deahng with the situation in regard to the Fes- 
 tival deficit, and to express my great joy that, 
 although this has been accomplished through the 
 King's noble friendship for me, it is your efforts 
 which have led up to such satisfactory results. 
 
 The turn in our affairs is all the more com- 
 forting to me, as it is, in reality, owing to the 
 unexpected success of my own work that we now 
 find ourselves provided with means with which 
 to struggle against the lamentable material re- 
 sults of the year 1876. That is creditable. 
 
 But it will depend only upon your confidence 
 in the matter, that, out of the friendly decision 
 of the King, a prompt and genuine solution of 
 the painful situation can be found. 
 
 All of this I know, and recognise distinctly, 
 and therefore express to you the most sincere 
 gratitude of a friend. 
 
 The chief gain in all this is that I shall now 
 
3IO THE BAYREUTH LETTERS 
 
 be able to devote myself with calm imperturba- 
 bility to new creations, which must be uninter- 
 rupted and undisturbed or else the good spirits 
 take instant flight from us queer " geniuses." 
 Accept my thanks now and always ! 
 Yours faithfully, 
 
 Richard Wagner. 
 
 In spite of all the efforts made in various 
 sources, the covering of the deficit of the first 
 Stage Festival Play fell upon the creator of this 
 work. No effective alliance of patrons and 
 friends was organised to remove this burden 
 from him, and nothing remained to be done but 
 to apply the royalties of the Munich performance 
 of the " Ring " to the gradual liquidation of the 
 debt, which meant that not only the funds for 
 this purpose came from Wagner's private purse, 
 but that he saw himself coerced into giving up 
 the pivotal motive of his entire life, namely, the 
 Bayreuth monopoly of the " Ring." 
 
WAYS AND MEANS 3" 
 
 To Emil Heckel 
 
 (Bayreuth, March 23, 1879.) 
 My oldest and most esteemed Friend! 
 
 How could you give me greater pleasure than 
 by the good news that the preparations for the 
 Mannheim performance of the " Ring " are pro- 
 gressing so satisfactorily! 
 
 If one takes a closer view of the situation, it 
 seems like a miracle! Fate has taken its own 
 course with my works ; even though it is not the 
 one which I originally had in view, it behooves 
 me to look on quite soberly and calmly and see 
 what can be accomplished for my cause in this 
 way. 
 
 This is my standpoint: I look on from a dis- 
 tance, rejoice over good results, and am not as- 
 tonished at bad. But — I can never again be 
 present. If you ever learn that I have ever been 
 present at the performance of a part of that work, 
 you will be at liberty to accuse me of treacherous 
 friendship, but such a thing will never happen. 
 
312 THE BAYREUTH LETTERS 
 
 Therefore my most sincere thanks for the kind 
 invitation to Mannheim, which I beg you also 
 to convey to the esteemed gentlemen of Grand 
 Ducal Theatre committee. 
 
 Filled with the most agreeable memories of 
 your zeal for my work and its execution, I am 
 and remain 
 
 Yours most faithfully, 
 
 Richard Wagner. 
 
 To Emil Heckel 
 
 (Bayreuth, April 28, 1879.) 
 My dear Friend Heckel! 
 
 At last I find time in which to oilfer my con- 
 gratulations to you on your splendid success as 
 well as my joy at the success of your perform- 
 ances. 
 
 Until now I was not to be diverted from my 
 finishing touches in the composition of " Parsi- 
 fal"; this is now completed, and you are the 
 first person in the outside world to whom I ad- 
 dress myself. 
 
WAYS AND MEANS 313 
 
 You have furnished a salutary example in 
 Mannheim of what can be accomplished by a 
 powerful will. Since I have been obliged to re- 
 linquish all idea of a repetition in Bayreuth, 
 it is only by the most carefully prepared per- 
 formances in our ordinary theatres that the 
 permanent vitality of my work, if it is not 
 to be altogether lost and forgotten, can be 
 proven. 
 
 That you approached your voluntary task with 
 apprehension, by anxiously comparing the scope 
 of your own resources with those of the very 
 largest Royal theatres, decided you to go ahead 
 and follow out my principle of getting at the 
 spirit of the thing. A director who is thoroughly 
 initiated and who is, moreover, intelligent and 
 energetic, and, above all, convinced — such a 
 director, I say, furnishes me with the surest 
 guarantee. 
 
 However much as I am pleased at the public 
 praise of Fischer, I am not surprised. I knew 
 what he could do. 
 
314 THE BAYREUTH LETTERS 
 
 It is a great good' fortune that I have finally 
 a theatre director who would offer a position to 
 one of the few intelligent and well-trained con- 
 ductors whom I have succeeded in winning (for 
 my cause). 
 
 Until now my recommendations have always 
 proved a detriment to those whom I have recom- 
 mended ; nothing is more odious to the directors 
 of the Royal theatres than the so-called " Wag- 
 nerian." For then they say : " Heaven help us ! 
 that means a person who will demand a lot of 
 rehearsals, particularly if it is going badly; who, 
 moreover, will not make any cuts, in spite of the 
 fact that it will turn out much better if it is 
 quite incomprehensible. No, indeed! I can get 
 along much better with servile bunglers ! " It 
 was better in Mannheim this time, and I hope 
 that the Leipzig performances will also be bene- 
 fited by the fact that the director there has re- 
 cently appointed one of my proteges — the col- 
 league of Fischer at the Bayreuth performance. 
 And our young Brandt as well! 
 
WAYS AND MEANS 315 
 
 There is something to be hoped for and ex- 
 pected there — that the entire management, to 
 which I myself am under obHgations, will be 
 moved to do the proper thing. Under such 
 circumstances singers and musicians accomplish 
 wonders. I have experienced this. But — the 
 chief wonder of all — Heckel as theatre-director ! 
 Good luck! Now I understand fate, and to you, 
 who are in its care, I send cordial greetings. 
 Yours faithfully, 
 
 Richard Wagner. 
 
 The protege here mentioned was Anton Seidl, 
 and the director who had the perspicacity suffi- 
 cient to appoint the young " Wagnerian " was 
 Angelo Neumann, to whom Wagner wrote in 
 this connection: 
 
 " You have delighted me by your announce- 
 ment of Seidl's appointment, because I see from 
 this that there is one theatre at least to which 
 I can be of some service. 
 
 " You will never have cause to regret Seidl's 
 
3i6 THE BAYREUTH LETTERS 
 
 appointment as long as you pursue the course 
 which you have entered. 
 
 " Don't concern yourself about anything but 
 giving the best possible performances, and if this 
 requires sacrifice, be assured that you will be 
 amply rewarded." 
 
 In a previous letter Wagner had recommended 
 his young protege in these words: 
 
 " In recommending Seidl to your notice I am 
 consulting his interests less than those of the 
 Leipzig performances of my operas, and — I 
 know what I am doing. 
 
 " No one of all the conductors understands 
 so well my tempi, and the union of the music 
 with the action. I have trained S,eidl. He will 
 conduct the ' Ring ' for you better than anyone 
 else. If my word is not enough to convince you, 
 then I shall never have any further suggestions 
 to make to you." 
 
 Neumann, in his recent reminiscences, com- 
 ments on this letter by saying: 
 
 " The Master was quite right in his praise of 
 
WAYS AND MEANS 317 
 
 Seidl ; I was later to find in him the most gifted 
 of all the Wagnerian conductors. ... I have 
 neither before nor since known a conductor who 
 was able to get such excellent work both from 
 the singers and the musicians. . . . 
 
 " Even from soloists of mediocre gifts Seidl 
 succeeded, often in a short time, in securing re- 
 sults which one could expect only from the very 
 first artists. And in addition to this he had a 
 most pronounced instinct and great understand- 
 ing for scenic arrangements." 
 
 In 1885 Seidl was called to New York to suc- 
 ceed Leopold Damrosch as the director of the 
 German opera, and his great services to Ameri- 
 can art are a matter of too recent history to need 
 any detailed mention here. 
 
 He died in New York in 1898. 
 
PARSIFAL 
 
 ON PREPARATION AND REALISATION 
 
 To Friedrich Feustel 
 
 (Naples, March 4, 1880.) 
 My dear and faithful Friend! 
 
 You rejoiced me greatly by your very kind 
 letter; accept my best thanks for the same. 
 
 The immeasurable sorrow you have had to 
 bear has removed you to a distant and more 
 glorified sphere, and thither I send you my most 
 sympathetic greetings/ 
 
 My own life has been shrouded in darkness 
 during the past few years; the gray sky which 
 almost incessantly hung heavily above us at 
 home has left its effects not only upon my health 
 but also upon my mental nature. 
 
 * This letter is in response to the news Wagner had received 
 of the death of Feustel's wife. 
 
I / 
 
 Frail Cosima Wacjner 
 
PARSIFAL 319 
 
 Had I not had the immeasurable consolation 
 of a family so dear to me, and been surrounded 
 by a few rarely congenial friends, I cannot im- 
 agine what could have influenced me to have 
 taken a thought about preserving my own life. 
 
 I cherish absolutely no hope for Germany and 
 its conditions, and this is saying a great deal, as, 
 when I entered with full consciousness upon the 
 course I had mapped out for myself, I wrote on 
 my flag, " Stand or fall with Germany ! " 
 
 For this reason an expensive sojourn in Italy 
 can have absolutely nothing but a climatic signi- 
 ficance for me; even this incredible Naples, with 
 all of its life and movement, can serve only as 
 a spectacle for my diversion and to cause me to 
 forget; and even this it cannot really furnish 
 me, as all the misery of our civilisation crowd's 
 constantly upon me in a thousand variations of 
 poverty, barbarity, and vice. 
 
 In addition to this I have daily increasing 
 cares, that of more and more being unable to 
 meet the growing expenses arising out of my 
 
320 THE BAYREUTH LETTERS 
 
 condition, with the means which I have at my 
 command. 
 
 In being thus obliged to appeal to you for as- 
 sistance, I have ever to keep in mind, in view of 
 the rest so imperative for me, how I — to be per- 
 fectly frank — shall otherwise be able to manage 
 to exist under the enormous demands made by 
 the" state of my health. 
 
 I have therefore seriously considered anew a 
 trip to America, and have taken into account the 
 great tax this will make upon my physical 
 strength. To be frank, I have always recoiled 
 from the thought ,of allowing myself to be 
 dragged about by a speculator only out of avar- 
 ice, in order that, under the most favourable 
 conditions, I may eventually return with a little 
 fortune and — then begin the misery all over 
 again! — Yes, perhaps, to sacrifice my money 
 again for an idea to which I think I have already 
 sacrificed enough, only to realise in the end how 
 this idea stands in relation to our entire German 
 character. 
 
PARSIFAL 321 
 
 In spite of this feeling, I must confide to you 
 that the thought of settling permanently in 
 America with my family, my idea, and my work 
 has quite taken possession of me. 
 
 I have chiefly to regret that I did not sooner 
 select a fresher and more fertile soil for the 
 future of my works as well as for my family, 
 and therefore my deep conviction of the deca- 
 dence of European culture only induces me to 
 consider all the more seriously and definitely this 
 means of escape. 
 
 I am almost letting my decision depend upon 
 how my oflfer is regarded by the Americans. At 
 the present I must consider how I may extend 
 my present sojourn, as my excellent local physi- 
 cian strongly recommends the sea baths, which 
 cannot begin before June, as the best remedy 
 for the complete restoration of my health. 
 
 This circumstance, which in many ways calls 
 for due consideration, is particularly agreeable 
 to me in one point, and that is the possibility 
 that you and Adolph may visit us here. 
 
322 THE BAYREUTH LETTERS 
 
 This would be really something beautiful and 
 worth while, and believe me, quite apart from the 
 pleasure of our meeting, I long earnestly to show 
 the beauties of this wonder world to those I love ; 
 it is indescribable ! 
 
 My present troubles are nothing but the after 
 effects of the climatic conditions in Bayreuth. 
 Now we are wiser, scarcely leave our terraces 
 and gardens, do not exhaust ourselves with long 
 tours, avoid as far as possible the society and 
 din of the streets, and give up ourselves entirely 
 to the enjoyment of such air and such sunlight 
 as one would rarely find anywhere else on earth 
 — therefore — Auf Wiedersehen in Naples! 
 
 For to-day I say only a heartfelt fare you well. 
 May you fathom all that I mean thereby. 
 
 Always your most grateful friend, 
 
 Richard Wagner. 
 
PARSIFAL 323 
 
 To Friedrich Schon 
 
 (Naples, June 28, 1881.) 
 My highly esteemed Friend! 
 
 How deeply I regret to learn from your letter 
 to my dear wife that you are placed in any un- 
 certainty concerning me! 
 
 I should like very much to learn, from a plan 
 which you should lay before me, wherein your 
 justification for an agitation in favour of the 
 Bayreuth idea consists, in order that I may do 
 what is expected of me. 
 
 I only beg of you, in regard to the execution 
 of your plan, to take into consideration my ex- 
 perience concerning the German world as well 
 as myself. 
 
 I should not like you to place my proposed plan 
 of September, 1877, too much in the foreground; 
 as all the experience I have gained serves to show 
 me that at that time — I confess not entirely un- 
 consciously — I reckoned without my host. 
 
 If, on the other hand, I take into consideration 
 
324 THE BAYREUTH LETTERS 
 
 the hopes awakened in me and all my friends 
 since you have come to our aid, I can see no 
 other possibility of meeting your wishes than by 
 — as you think — endeavouring to give a fresh 
 impulse to the interest we failed to arouse with 
 the Festival of 1876, by presenting " Parsifal " 
 at the earliest possible moment. 
 
 This plan seems feasible for the year 1882, 
 provided I can remain perfectly quiet until that 
 time; but this only, as far as the material pos- 
 sibilities are concerned, in the event that I can 
 lay claim to the assistance of the King of Bavaria. 
 
 Under such assured conditions I intend to pre- 
 sent, in addition to the " Parsifal," one of my 
 older works each year,, in town,, making these 
 model performances my artistic testament to my 
 friends. As I am to-day in my sixty-eighth year, 
 I can count upon a ripe and vigorous old age for 
 the realisation of this plan, and think I shall 
 then have done enough to be released from the 
 performance of " Magic Flute," " Freischiitz," 
 " Fidelio," etc. 
 
PARSIFAL 32s 
 
 Anything I can do privately in the way of in- 
 struction and information I shall be glad to do 
 — you only need to visit me here in Bayreuth. 
 
 If with each performance of my works I do 
 not leave behind my " school," then I have noth- 
 ing whatever to do with a " school." . . . 
 
 To Carl Brandt 
 
 (Baykeuth, January, 1881.) 
 Esteemed Friend and Colleague! 
 
 It is going to be serious with " Parsifal." I 
 inquire of you if you are a^ain willing to stand 
 by me. If I have the necessary means, I shall 
 show in yearly performances how I hope to have 
 all of my works performed. 
 
 Will you help me in this? We have shown 
 what we can do; ich muss noch einmal wollen; 
 wollen Sie mil wollen? ^ If so, then I beg of you 
 as the first thing that you will give me the pleas- 
 
 1 It is impossible to find an English eqmvalent for this reitera- 
 tive use of the word wottem, and in order not to rob it of its 
 intended diaracter, the German phrase is allowed to stand. 
 
326 THE BAYREUTH LETTERS 
 
 ure of a visit as soon as convenient for you ; you 
 will be kind enough to stop with me. 
 With most cordial greetings, 
 Your faithful old 
 
 Richard Wagner. 
 
 To Emil Heckel 
 
 (Bayeeuth, July 2, 1882.) 
 Oh! old Friend! 
 
 Must you also make my life a burden by taking 
 offence because I allowed an inquiry from you 
 to be answered by my wife, as it had to be got- 
 ten off and I was hard at work on my score? 
 
 There seem to be idlers who can always write 
 letters! Possibly I shall come to that also! 
 
 Dearest friend, the enclosed I return to you with 
 a thousand thanks (that is understood) ! But I 
 cannot possibly bother my patrons with such jests !^ 
 
 Many thanks for all your kindness, 
 Ever your same 
 
 Richard Wagner. 
 
 * Heckel had laboriously arranged an arithmetical table of 
 the number of measures in Wagner's various works which he wished 
 to appear in the " Bayreuther Blatter." 
 
PARSIFAL 327 
 
 To Friedrich Feustel 
 
 (Venice, 
 Palazzo Contarini dalle figure, 
 Gran Canale.) 
 
 My dearest faithful Friend! 
 
 And so a misunderstanding must bring us 
 again into correspondence, after I had refrained 
 for so long a time from approaching you. 
 
 The reason for this is to be found in the fact 
 that, after the distressing experience through 
 which you have been called upon to pass, my own 
 situation, at no time free from care and anxiety, 
 did not suggest to me just the way in which this 
 could be done. 
 
 Now I know that you yourself have conquered 
 your grief and view life again with firm courage ! 
 I was comforted by this ! 
 
 As for myself, it seems as if nothing could 
 affect me; I see before me possibilities which I 
 have not the least intention of avoiding. 
 
 But I am in great perplexity about the offer 
 of this man in Berlin. I believe he is asking 
 
328 THE BAYREUTH LETTERS 
 
 for my technical assistance for a Wagner the- 
 atre he proposes to erect. 
 
 In the meantime I am to build such a theatre 
 upon one of his sites, as a sort of speculation, 
 etc., etc. 
 
 For God's sake, let him erect a circus or some- 
 thing of that sort; I have had enough of the 
 Bayreuth theatre. 
 
 Will you be kind enough to give this gentle- 
 man whatever information you deem necessary? 
 
 Something is yet to come of our Bayreuth — 
 at least I think so. My ideas in regard to this 
 you have probably already heard. 
 
 1. "Parsifal" I retain solely and exclusively 
 for Bayreuth; even the King renounces it for 
 Munich, but sends me every year his chorus and 
 orchestra. 
 
 2. Yearly performances open to everyone for 
 admission (high!). 
 
 3. The patrons' fund is to serve as capital 
 for the enterprise; as this fund increases, aug- 
 mented by the box office receipts, it is in time 
 
PARSIFAL 329 
 
 to serve for the further performances of my 
 works. 
 
 I herewith relinquish all the receipts, as I am 
 not even editing the " Parsifal " score. 
 
 I must look elsewhere for personal support; 
 five months in America (September, 1881, April, 
 1882) shall secure me an independent income. 
 
 So the matter stands and — I think all will be 
 well! 
 
 Your ever grateful 
 
 Richard Wagner. 
 
 To Friedrich Feustel 
 
 (Bayreuth, July 18, 1881.) 
 
 Dearest and most valued Friend! 
 
 After being informed as to the way matters 
 stand in your negotiations as to the publication 
 of a piano arrangement of my Stage-Consecrat- 
 ing Play " Parsifal," I believe it to be necessary 
 to express myself to you in the following manner. 
 
 During the writing of the same, the nature of 
 this, my last work, has become more and more 
 
330 THE BAYREUTH LETTERS 
 
 clear to me, and I have reached the conclusion 
 that, even under all the circumstances which 
 made possible the performances of single num- 
 bers of the " Nibelung's Ring " in our Court 
 and municipal theatres, the Stage-Consecrating 
 Play of " Parsifal," the action of which is taken 
 directly from the mysteries of the Christian re- 
 ligion, could not possibly be included in the regu- 
 lar operatic repertoire. 
 
 When I imparted this to my noble benefactor 
 the King of Bavaria, with the most perfect un- 
 derstanding, he refused immediately to have the 
 " Parsifal " given in his own Court theatre, but, 
 on the contrary, declared that only the Festival 
 Theatre of Bayreuth was suited to such a unique 
 and distinct performance. 
 
 In consideration of this noble decision, it is 
 difficult to decide as to the profitableness of pub- 
 lishing a piano arrangement, as an actual ac- 
 quaintance with this one of my works can only 
 be gained by a visit to the proposed yearly per- 
 formance in Bayreuth for all time. . . . 
 
PARSIFAL 331 
 
 To Carl Brandt 
 
 (Bayseuth, October 17, 1881.) 
 Dear Friend! 
 
 Solicitude as to my health will not permit me 
 to remain here much longer. On Tuesday I shall 
 go with my family direct to Palermo (Hotel des 
 Palmes), and expect to return only at the last 
 moment — in May or June. 
 
 I should be anxious about this, and fear that 
 something in connection with the next year's 
 Festival would be neglected, did I not feel that, 
 thanks to your care and solicitude, everything 
 will be arranged beforehand. I feel therefore 
 that I may put my mind quite at rest concerning 
 the scenic and other arrangements. All musical 
 preparation has been assumed by K, M. Levi,^ 
 and Dr. Schukowsky (who will also be absent 
 from Bayreuth during the winter) has looked 
 after all the necessary arrangements in regard to 
 the costumes and scenic requisites ; the only point 
 
 1 Kapellmeister Levi. 
 
332 THE BAYREUTH LETTERS 
 
 which would cause me any uneasiness would be 
 in the event that you, dearest colleague and 
 friend, did not consent to act as my represen- 
 tative in the negotiations with the Frankfort 
 theatrical costumier. 
 
 Therefore I beg of you to consider yourself 
 as fully authorised by me to supervise closely the 
 work of the costumier, to take a stand against 
 any dilatoriness, and also to make sure of his 
 services as chief property-man with the requisite 
 number of assistants. 
 
 The local Executive Committee will at once 
 support you in any measure, and Herr Gross is 
 there to listen to any complaint. 
 
 Confident of your willingness to do this, I 
 shall set out comforted in search of a better 
 climate. 
 
 It is time that I should do so, for I am con- 
 vinced that I shall not live another year if I 
 remain here during the winter. 
 
 I said to Schnappauf that at most there were 
 only five days when the sun did not shine in 
 
PARSIFAL 333 
 
 Palermo, and he said it was in Upper Franconia 
 during these five days. 
 
 Once again sincere thanks from a heart deeply 
 grateful for your effective support in the past 
 as well as for this my last undertaking; with 
 you to help me I feel secure about everything — 
 everything! With the rhost cordial greetings. 
 Yours faithfully, 
 
 Richard Wagner. 
 
 To Fritz Brandt 
 
 (Palekmo, Janxiary 14, 1882.) 
 
 Dear young Friend! 
 
 Thanks for your letter — it was very kind ! 
 Not until to-day have I been able to write to 
 you! I was obliged to postpone this distressing 
 matter, as my condition is such that my dear 
 wife had scruples about informing me of the 
 sudden death of your dear father — an accident 
 revealed to me this calamity! 
 
 You surely understand me and forgive me for 
 not being able to put my feelings into words. 
 
334 THE BAYREUTH LETTERS 
 
 I stand in the third age of humanity, and have 
 already seen two generations of contemporaries 
 pass away; in your father I lost the last mem- 
 ber of the second generation which connected 
 me with the past. 
 
 In you I greet the third generation, to which 
 I have surrendered the further deeds of my ma- 
 ture old age. I welcome you! 
 
 I assume that you are willing to carry into 
 execution the last work in which your father and 
 I were associated. At all events, everything is 
 at your disposal for this, and you know exactly 
 what is to be done in regard to the scenic pro- 
 duction of " Parsifal." 
 
 Permit me therefore to appoint you to the 
 position, in connection with my Bayreuth per- 
 formance, made vacant by the death of your 
 father. 
 
 During my absence of several months my Ex- 
 ecutive Council in Bayreuth will be ready to give 
 you all information and assist you in all neces- 
 sary arrangements. 
 
PARSIFAL 335 
 
 To the most sympathetic greetings to your 
 mother I add the assurances of the most friendly 
 feeling for yourself. 
 
 Your deeply sorrowing 
 
 Richard Wagner. 
 
 To Friedrich Feustel 
 
 (Palermo, January 17, 1882.) 
 My dear Friend! 
 
 It is certainly time that I let you hear from 
 me again! Forgive me for this neglect, but I 
 hope that the news of me which has reached you 
 from time to time has kept you sufficiently in- 
 formed' as to banish all doubts as to my loyalty 
 and devotion. 
 
 As a matter of fact, the completion of my last 
 great work has greatly exhausted me! Now it 
 is finished, and may the course of its ultimate 
 realisation present no difficulties! I shall hope 
 so! The most unexpected interruptions, and the 
 distressing incident of the death of my important 
 colleague Brandt, had to be overcome. 
 
336 THE BAYREUTH LETTERS 
 
 To the son of my dead friend, Fritz, who is 
 already thoroughly initiated into the present task, 
 I have already transferred the completion of his 
 father's work, and referred him to the Execu- 
 ecutive Council in all questions concerning the 
 same. 
 
 As for the rest, I think I have left everything 
 in good order, so that I can feel justified in per- 
 mitting myself a complete surrender to impres- 
 sions so very much needed for the improvement 
 of my bodily condition. . . . 
 
 It distresses me to see my friends in embar- 
 rassment in regard to our Festival Theatre ; will 
 you kindly convey to our excellent friend Burgo- 
 master Muncker, first of all, my hearty thanks 
 for his energetic stand in this not very agreeable 
 matter. 
 
 When I take a general survey of the attitude 
 of my own age to me during the past ten years, 
 I must confess that the balance of my gratitude 
 falls on the side of the friends whom I made 
 during that time, and I herewith declare that 
 
PARSIFAL 337 
 
 next to my family the dearest of all things to 
 me is Bayreuth. 
 
 Accept your own great and full share of this, 
 my dearest friend, and be assured for all time 
 of the most sincere gratitude and friendship of 
 Yours faithfully, 
 
 Richard Wagner. 
 
 With this acknowledgment of his debt of 
 gratitude to Bayreuth, the collection of Bayreuth 
 Letters comes to a fitting close, but in order to 
 carry out the " Story of Bayreuth " to its logical 
 conclusion, it has been thought best to include 
 the epoch-making Festival which took place in 
 the summer of 1882. 
 
 The inception of Wagner's eleventh and last 
 music drama of " Parsifal " must be sought in 
 the earlier period of the composer's creative 
 activity. 
 
 In fact, with the single exception of " Tristan 
 and Isolde," — which, as all the world knows, 
 was called into existence by the Swiss exile and 
 
338 THE BAYREUTH LETTERS 
 
 Wagner's friendship with Mathilde Wesendonk, 
 — all of the music dramas were conceived at 
 a time when their author had not yet achieved 
 his thirty-fifth year. 
 
 In 1848 he made a sketch of a drama which 
 was to be called "Jesus of Nazareth," and in 
 which, for the first time, the " Parsifal " episode 
 is foreshadowed. 
 
 That the idea in its ultimate development dif- 
 fered radically from the earlier sketch is to be 
 read in the reminiscences of Frau Eliza Wille. 
 Here this true but staunchly orthodox friend' 
 gives vehement expression to the indignation she 
 felt at learning from Wagner that he considered 
 the earthly love of the Magdalene for the 
 " Prophet of Nazareth " a grateful subject for 
 a stage work. 
 
 " He presented the ' thrilling beauty ' of this 
 episode to us with great vivacity. I stared at 
 him in astonishment and left the room." Later 
 she adds : " In the last gift of his genius, in the 
 knightly priest, Parsifal, and Kundry, who is 
 
PARSIFAL 339 
 
 freed from the sway of the evil spirits, is again 
 found the idea which he already had in mind 
 as early as 1852." 
 
 Henry T. Finck, in his Wagner biography, 
 relates an interesting incident told him by Anton 
 Seidl in regard to the Flower Maiden music. 
 " When Seidl first became Wagner's secretary, 
 he one day heard him playing ravishing strains, 
 which made an indelible impression upon him. 
 Some years later, when Seidl was putting the 
 sketches into rough shape for practical use, 
 Wagner played various parts for him. When 
 he came to the Flower Maiden music, Seidl re- 
 marked : ' Ah, I know that ! ' Whereupon Wag- 
 ner jumped up excitedly, almost angrily, and 
 wanted to know where he had heard it. He was 
 somewhat pacified on being told where, but for 
 a long time the shock affected him, and he often 
 said to his young secretary : ' Well, have you 
 found any more familiar things in my music ? ' " 
 
 Hans von Wolzogen, the veteran Wagnerian, 
 has quite recently put upon paper some interest- 
 
340 THE BAYREUTH LETTERS 
 
 ing reminiscences of this " Parsifal " period, at 
 which time he was an inmate of Wahnfried 
 in the capacity of editor of the " Bayreuther 
 Blatter." 
 
 "The great magician, who was usually the 
 soul of punctuality ('tardiness,' he used to say, 
 ' is the next thing to treason '), came in late one 
 day to the so-called Kindertafel, and looking 
 about him with a pleased smile said, ' Well, 
 children, I have hung a mantle about my Kling- 
 sor to-day which I think will suit him very well.' 
 
 " Another time he gave a sigh of relief and 
 said, ' At last I have got him off my hands, the 
 musical-dramatic horse-radish; from now on, I 
 shall write only quartettes.' By which we un- 
 derstood that he had finished the terrible Kling- 
 sor scene and was ready to set about giving a 
 musical form to the Flower Maidens. After 
 that we often heard the Flower Maiden music 
 in the evening, which Wagner jokingly charac- 
 terised as his ' latest ballet.' " 
 
 That nothing was further from Wagner's 
 
PARSIFAL 341 
 
 thought than any set of terpsichorean evolutions 
 borrowed from the operatic stage, for which he 
 had so profound a contempt, was proven by his 
 letter inviting Richard Fricke to come to Bay- 
 reuth and assume direction of the Flower Maiden 
 scene, " which is to be absolutely un-ballet like. 
 I can show you what I mean! Your material 
 will be : soloists of the best quality, at their head 
 the Lehmann sisters," to which Fricke responded, 
 " Give me a sufficient number of Lilli Lehmanns 
 and I could tear the world to pieces." 
 
 Fricke was the Nestor among the German 
 dancing-masters of that period, but he cared less 
 for the technique of the ballet than the artistic 
 thought and the true spirit of the composition. 
 He was a thinking artist, and it was this rare 
 quality which attracted and held the interest of 
 such a man as Richard Wagner. 
 
 It was Fricke who was called to Bayreuth in 
 1875 to organise the horde of the Nibelung in 
 their comically drastic motions, and it was he 
 who was again summoned when the Flower 
 
342 THE BAYREUTH LETTERS 
 
 Maidens were to be trained in their difficult 
 evolutions. 
 
 In this connection it is of interest to read a 
 characteristic effusion which was sent to LilH 
 Lehmann in response to her request to be allowed 
 to see the score of the music: 
 
 "Oh, my best of all the LiUis! To let the 
 * Parsifal ' score go out of my hands requires 
 serious consideration. The composition is fin- 
 ished, and anyone who comes to me here in Bay- 
 reuth can hear it played from beginning to end 
 by Rubinstein (Josef). 
 
 " But — as I said — first I must consider it a 
 little. 
 
 " But my Kapellmeisterin Lilli shall see what 
 she now has to do! All sorts of devilish ideas 
 which only occurred to me because her genius 
 was ever before me. Without Lilli is Klingsor's 
 sorcery not to be accomplished. 
 
 " Oh, and here she has something to sing! If 
 she would only come, she could see it ; she must 
 be responsible for the entire thing! But — to 
 
PARSIFAL 343 
 
 send it away — out of the house, that is impos- 
 sible just now. What an unlucky star could 
 hang over such a manuscript! 
 
 " Therefore — we must act together ! " 
 
 In a later letter Wagner writes : " Here is a 
 sort of piano arrangement of the scene with the 
 Flower Maidens in the second act of ' Parsifal.' 
 Take a close look at it; it is no joke, and from 
 this single scene you will be able to see that my 
 latest work is not intended for the theatres scat- 
 tered here and there and everywhere." ^ 
 
 Hans von Wolzogen was also one of the little 
 band who listened to the " Parsifal " drama at 
 Wahnfried in September, 1877, the occasion 
 being the Conference of the Delegates. 
 
 " This reading was my first experience in 
 Wahnfried! And what a memorable event it 
 was to me ! Think of hearing the * Parsifal ' 
 drama for the very first time (without an inkling 
 
 1 This letter is from the recently published volume of cor- 
 respondence, "Richard Wagner to. His Artists," and appears here, 
 for the first time in English, by the courtesy of the German pub- 
 lishers, Schuster & Loeffler (Berlin). 
 
344 THE BAYREUTH LETTERS 
 
 of it more than the hint given me by Emil 
 Heckel that there was a sort of Venusberg 
 scene!) and to become acquainted with it out of 
 the poet's own mouth! 
 
 " His delivery was characterised by the great- 
 est degree of naturalness, without any attempt 
 at pathos, and was only raised to the ethical 
 power of expression by the emotional sincerity 
 of its creator! Here, for the first time, Gurne- 
 manz and the young knights were awakened by 
 the morning call from the Grailsberg; here for 
 the first time appeared the enigmatic figure of 
 Kundry, the wild messenger of the Grail; here 
 for the first time the sick king was borne in 
 with impressive solemnity; here for the first 
 time we heard the expression ' pure fool ' and 
 saw the mysterious picture of the sacred spear ! 
 
 ' O wunden, wundervoUer heiliger Speer ! ' 
 
 Not even when heard in Scaria's most powerful 
 tones did this invocation of the mysterious sym- 
 bol affect me as strangely as in this reading of 
 
PARSIFAL 345 
 
 the Master's. I remember that all of these 
 strange and surprising occurrences, which fol- 
 lowed each other in such quick succession, im- 
 pressed me at first as a romantic epic of adven- 
 ture, with an uncanny mysterious meaning, and 
 it was not until the second act that I awoke 
 from this epic dream and began to grasp the 
 real meaning of the drama — the great drama 
 of redemption: Parsifal — Kundry!" 
 
 Franz Liszt, ever the high-minded champion 
 of the Bayreuth Master, wrote: 
 
 " The sketch of ' Parsifal,' which Wagner 
 read to us recently, is filled and permeated with 
 the essence of Christianity. It would be a singu- 
 lar inconsistency to admire the last scene of 
 'Faust' (Part Second) and to condemn 'Par- 
 sifal,' which, to me, seems to stand on the 
 same plane of mystic inspiration. In fact, I 
 am willing to confess that most of our 
 poets who are regarded as Christian-Catholics 
 stand far behind Wagner in their religious 
 sentiments." 
 
346 THE BAYREUTH LETTERS 
 
 Reference has already been made to the musi- 
 cal surprise prepared by Wagner for his wife 
 Cosima in Triebschen, December 25, 1870, when 
 he made her a birthday present of the " Siegfried 
 Idyll." 
 
 The same date, eight years later, was chosen 
 as a christening day for the " Parsifal Vorspiel." 
 In Chronicling this event Glasenapp says: 
 
 " Through the generosity of the Duke of Mei- 
 ningen the ducal orchestra was granted a two 
 days' leave of absence, and placed at Wagner's 
 disposal for the first performance of the ' Par- 
 sifal Vorspiel,' which took place in the hall at 
 Wahnfried between seven and eight in the morn- 
 ing. The impression created by the sublime 
 sounds, heard here for the first time, was an in- 
 describable one. ... It was the birthday of the 
 ' Parsifal Vorspiel,' the most sublime orchestral 
 prelude ever presented to the musical world." 
 
 Two months before, Wagner had written a 
 letter to his friend, Edward Dannreuther, in 
 London, the chief burden of which was a request 
 
PARSIFAL 347 
 
 that some Yorkshire hams be sent him, and clos- 
 ing with the remark, "The 'Vor spiel' is fin- 
 ished. It sounds very nice!" 
 
 It was Dannreuther to whom a second appeal 
 of a totally different nature was sent two years 
 later, in reference to the bells whose solemn peal- 
 ing closes the first and last acts. According to 
 Henry T. Finck these bells unfortunately were 
 a failure at the first " Parsifal " Festival. Their 
 sound was to be produced by a kind of specially 
 constructed hammer-klavier. At later festivals a 
 great improvement was effected by combining the 
 sounds of tam-tams with the piano strings ; " but 
 absolute illusion has not yet been reached in this 
 respect." 
 
 Wagner himself realised the inadequacy of the 
 first attempt, and hence his telegram to Dann- 
 reuther four days preceding the first perform- 
 ance: 
 
 " My kingdom for a tam-tam ! With the 
 proper C normal Diapason ! " 
 
 The response with which the " Parsifal " idea 
 
348 THE BAYREUTH LETTERS 
 
 met gave a strong impetus to the work, and suc- 
 ceeded in effectively dispelling from Wagner's 
 mind the whimsical idea to which he gave ex- 
 pression in one of his moments of despondency. 
 
 " When my old friend Brunnhilde leaps into 
 the funeral pyre, I shall also rush into the flames, 
 and hope to find there a blessed death. So that 
 is settled ! Amen ! " 
 
 He felt impelled to g^ve a new — perhaps a 
 last — musical message to the world, and the 
 musical sketches for the " Parsifal " score grew 
 with astonishing rapidity. 
 
 " Parsifal " had been promised for the sum- 
 mer of 1880, and could have been easily com- 
 pleted had the enthusiasm of the intimate circle 
 of friends in and' about Wahnfried, who were 
 following with such intense interest every step 
 \n the development of this music-drama, com- 
 municated itself to the German public at 
 large. 
 
 But this was not the case, and at a meeting 
 of the Society of Patrons at Wiesbaden in March, 
 
PARSIFAL 349 
 
 1880, there was no alternative but that of post- 
 poning the " Parsifal " Festival until 1882. 
 
 Wagner was at the time in Palermo, endeav- 
 ouring to regain his health and enjoy the abso- 
 lute rest and quiet necessary to the completion 
 of his " Parsifal," and it was at the Hotel des 
 Palmes in Palermo that (January 13, 1882) he 
 could write the word Finis on the score. But 
 before this auspicious point had been reached, 
 he was forced to pass through another slough 
 of despondency, and in his disgust at the com- 
 plete indifference of the German nation, he seri- 
 ously contemplated moving to America. 
 
 To Hans von Wolzogen he wrote at this time : 
 "... I hope to be able to stand it in my native 
 land, and am ready for anything if — yes, if? — 
 Dearest friend, I shall leave off for to-day with 
 this ' if,' for it makes me too sad to give ex- 
 pression to my absolute hopelessness concerning 
 European, and more especially German, culture. 
 
 "This firm conviction of its ever-increasing 
 decadence is so strong in me that, in order to 
 
3SO THE BAYREUTH LETTERS 
 
 preserve the seed which I possess, I have seri- 
 ously thought of a complete and permanent re- 
 moval to America, in order to plant this seed 
 when it will fructify in a soil composed of Ger- 
 man elements." 
 
 Again it was King Ludwig who removed the 
 difficulties which threatened to obstruct the real- 
 isation of the second Bayreuth Festival. After 
 listening to the " Parsifal Vorspiel," played by 
 his own orchestra under the baton of the com- 
 poser, he consented to assume the protectorate 
 of the Festival, at the same time placing at 
 Wagner's disposal the forces of the Munich 
 Opera under the joint conductors Hermann Levi 
 and Franz Fischer. 
 
 Without this intervention of the King, Wag- 
 ner's last artistic deed could not have been car- 
 ried to its execution — at least, not without a 
 repetition of the unpleasant features of the first 
 Festival, and an involving of the enterprise in 
 renewed financial confusion. 
 
 The appointment of Hermann Levi as the 
 
PARSIFAL 3SI 
 
 musical director of " Parsifal " led to an anony- 
 mous letter being sent to Wagner, in which he 
 was implored " to keep his work undefiled and 
 not let it be conducted by a Jew." Wagner, who 
 did not take the matter at all seriously, showed 
 the letter to Levi, who, fearful of further mis- 
 understandings and unpleasantnesses, took an 
 unceremonious departure from Bayreuth, but was 
 recalled en route by a telegram and a letter beg- 
 ging him " to pay no attention to such nonsense, 
 but for Heaven's sake come back and get really 
 acquainted with us. . . . This may, perhaps, 
 mean an entire change in your life but — in any 
 case — you are my ' Parsifal ' conductor." 
 
 And again : " You are my plenipotentiary, my 
 alter ego for the ' Parsifal ' performances next 
 year!" 
 
 One of the young musicians who had allied 
 himself to the Wagnerian cause was Engelbert 
 Humperdinck, who was chosen to perform the 
 duties of an itinerant coach and was sent about 
 from place to place to take the singers through 
 
352 THE BAYREUTH LETTERS 
 
 their preliminary studies in the " Parsifal " score. 
 Wagner, according to a well-known fashion of 
 his, allowed himself many liberties with Humper- 
 dinck's name, writing once to Levi: 
 
 " The six solo Mag^c Maidens are to be coached 
 by Humperting ! . . . Have you a score ? If not, 
 you can get one from Hump ! " 
 
 The preliminary rehearsals for " Parsifal " 
 took place in the summer of 1881, but as only 
 one work was to be gotten ready for this second 
 Festival, instead of the four composing the mam- 
 moth musical structure of the " Ring," a month 
 was deemed sufficient. 
 
 Moreover, during the six years that had 
 elapsed since the first Festival, a nucleus of com- 
 petent artists had been formed, so that the cast- 
 ing of the various roles did not cause the same 
 trouble as in 1876; in fact, there was no diffi- 
 culty in securing three casts. 
 
 Winkelmann, Jager, and Gudehus were cast 
 for the Parsifal; Materna, Marianne Brandt, and 
 Therese Malten were to alternate in singing the 
 
PARSIFAL 353 
 
 Kundry; Gurnemanz by Emil Scaria and Siehr ; 
 Amfortas, Reichmann and Beck; Titurel, Kin- 
 dermann; Klingsor, Hill and Fuchs; and Lilli 
 Lehmann as the leader of the Flower Maidens. 
 The chorus was composed of eighty-four voices, 
 and in addition a boys' chorus of fifty voices; 
 the orchestra, under Hermann Levi, was com- 
 posed of a hundred and five players, of whom 
 seventy-three came from the Royal Opera in 
 Munich. 
 
 Since then the physiognomy of musical Ger- 
 many has gone through material modifications. 
 Munich no more sends the nucleus of the orches- 
 tra and chorus, as the increase in home consump- 
 tion resulting from the inauguration of its own 
 Wagner Festival has prevented this exportation. 
 
 Instead of this, Berlin, one of the last cities 
 to recognise ungrudgingly the greatness of the 
 living Wagner, does honour to the dead Prophet 
 by supplying the larger part of the Festival per- 
 sonnel. Dr. Karl Muck has succeeded Hermann 
 Levi as the " ' Parsifal ' plenipotentiary," and 
 
354 THE BAYREUTH LETTERS 
 
 it is usually the fresh young voices from the 
 Court Church in Berlin which ring out so pure 
 and true from the cupola of the Grail Temple. 
 
 Winkelmann, the creator of the Parsifal, who 
 has just died in Vienna at the age of sixty-three, 
 in some rather recent reminiscences of the " Par- 
 
 ft 
 
 sifal " period, creates a very vivid picture of 
 Wagner's magnetic influence upon his artists: 
 
 ■ "Anton Seidl, who was at that time (1881) 
 musical director in Leipzig, brought about a 
 meeting between Wagner and myself. Once 
 when I was singing in Leipzig, he asked if I 
 would have the courage to sing Parsifal in Bay- 
 reuth. The Festival was then in course of prep- 
 aration. After some consideration I said I would, 
 and we travelled together to the Mecca of the 
 Prophet. 
 
 "Wagner immediately exercised an overpow- 
 ering effect upon me. I can see him standing 
 before me, can see every gesture, his facial ex- 
 pression, his tremendous enthusiasm for the cause 
 which he believed to. be a holy one. I can hear 
 
PARSIFAL 355 
 
 his voice as he spoke to me long and convinc- 
 ingly, and asked me if ' on my word of honour ' 
 I really felt that I possessed the strength neces- 
 sary for the Parsifal. 
 
 " And then he explained to me, for hours at 
 a time, the content of his work, the significance 
 of each single character, of every scene, and 
 showed me the connection between it all. 
 
 " Richard Wagner was of a truth a genuine 
 revelation for the artists who at that time had 
 not yet been able to emancipate themselves from 
 the ' farce ' of expressing themselves by mean- 
 ingless poses and musical violence. 
 
 " How entirely different was Wagner's au- 
 thority over us; he was not contented to be 
 merely our musical director and stage manager, 
 but was our adviser and teacher ! Wagner hated 
 every pose on the stage, any straining after ef- 
 fect, every disturbing movement. 
 
 " He used to say : ' the acting must be con- 
 trolled by the intelligence! ' ' Everything must 
 be genuine, sincere, on the stage/ 
 
3S6 THE BAYREUTH LETTERS 
 
 " ' Do you think you are in a theatre ! ' he 
 cried to a singer who was making the most im- 
 possible gesticulations. ' Those are swimming 
 exercises, no human gestures! Anyone who is 
 unnatural, I consider as my enemy ! ' These were 
 some of his dicta from the ' Parsifal ' rehearsals 
 . . . What iron nerves, what incredible energy, 
 what burning enthusiasm ! That was a glorious 
 period ! " 
 
 One of the most interesting pictures of the 
 " Parsifal " period is " An Evening in the Wahn- 
 fried," representing Wagner in the midst of a 
 select circle of enthusiasts. 
 
 The Festival was on a firmer financial basis, 
 thanks to Hans von Billow's generous gift of 
 forty thousand marks and another ten thousand 
 from Friedrich Schon of Worms ; and Wagner's 
 own contribution, leaving quite out of the ques- 
 tion his gift of a priceless musical legacy, was 
 the sum of sixty thousand marks, the amount 
 paid for the " Parsifal " score by the publishing 
 firm of Schott and Sons in Mayence. 
 
PARSIFAL 357 
 
 The first " Parsifal " Festival took place in the 
 summer of 1882 (July 26- August 29), and in 
 spite of the religious character of the content 
 which departed so radically from the previous 
 trend of the Wagnerian dramas, there was an 
 extraordinary manifestation of interest in the 
 work, and the impression created by it was a 
 strong and lasting one. 
 
 This new revelation of a supreme poetic and 
 musical genius, together with the magic of the 
 mystic consecration, took powerful hold upon the 
 listeners, and never before nor since has a the- 
 atre been the scene of such rare and genuine 
 emotion. 
 
 Tappert writes: "A nobler and more beauti- 
 ful legacy than this Biihnenweihfestspiel could 
 not have been left us by the Master. In the 
 temple of the Holy Grail we were all moved to 
 hold out our hands in reconciliation, to whatever 
 religious sect we belonged." 
 
 It was the second time that Wagner's patrons 
 and disciples had rallied around him in Bayreuth. 
 
3S8 THE BAYREUTH LETTERS 
 
 Was he, perhaps, moved by a strange presenti- 
 ment, when during the last performance he seized 
 the baton in the third act and directed his swan 
 song to its close? 
 
 " Parsifal " was presented under quite differ- 
 ent circumstances from the ill-fated " Ring " ! 
 Fourteen performances for a paying public had 
 placed it on a firm material basis; the receipts 
 exceeded all expectations, and covered not only 
 all expenses, but left a balance of six thousand 
 marks, so that the reserve fund of fourteen thou- 
 sand marks remained untouched. 
 
 With confidence the Society of Patrons could 
 make their Festival plans for the following and 
 succeeding years, and the composer could look 
 on with a hitherto unknown degree of artistic 
 assurance, and a blessed freedom from financial 
 anxiety. 
 
 The fate of the Bayreuth Festival was assured, 
 but the creator of the Festival was not to live 
 to enjoy his triumph. 
 
 A few months after the white dove had hov- 
 
PARSIFAL 359 
 
 ered ovef the head of " Parsifal," another mes- 
 senger, this time a sable-hued one, entered the 
 Palazzo Vendramin in Venice and on February 
 13, 1883, the news flashed around the world: 
 " Richard Wagner is dead! " 
 
 He was laid to rest in the garden of his be- 
 loved Wahnfried, and no pilgrim to Bayreuth 
 fails to pay a visit of reverent homage to the 
 last resting-place of the Master of Bayreuth. 
 
 Richard Wagner needs no epitaph, for by his 
 works he is known, least of all by the Epitaphium 
 which he wrote in a moment of bitter sarcasm 
 in the year 1864, just when the horizon of his 
 art was hung so heavy with clouds, and he had 
 no prophetic feeling that the " German Prince " 
 whom he had invoked had been found, and was 
 about to send out his messenger in all directions 
 to search for the great and lonely composer and 
 bring him to his court. ' 
 
 Just before the clouds lifted, Wagner wrote 
 this earlier epitaph (only recently published) 
 which ran as follows : 
 
36o THE BAYREUTH LETTERS 
 
 " Hier liegt Wagner, der nichts geworden 
 Nicht einmal Ritter vom humpigen Orden ; 
 Nicht einen Hund hintern Ofen entlockt er, 
 Universitaten nicht'ipal 'nen Dockter 1 " 
 
 That the idea outHved its creator is a proof 
 not only of the essential greatness of the art 
 work itself, but of the growing intelligence of the 
 German public and the world at large to accept 
 the work of a reformer when the reformer him- 
 self was dead and gone. 
 
 The legal copyright of the work expires in 
 1913, but an effort is being made by the friends 
 of the Wagnerian music drama to have this 
 period extended by a special act of the Imperial 
 Parliament. 
 
 Should this measure eventually be carried, it 
 would be convincing proof that Germany knows 
 how to respect the musical legacy left her by the 
 greatest and most genuinely German composer. 
 
 It would however be erroneous to convey the 
 impression that the family at Wahnf ried and the 
 friends of the Wagnerian art have set their hearts 
 and hopes upon effecting a change in the Ger- 
 
PARSIFAL 361 
 
 man copyright laws, which should serve only 
 the interests of the Wagnerian music dramas. 
 On the contrary, the effort is being made to 
 have the author's copyright in general extended 
 from thirty to fifty years, and thus avoid the 
 frequent friction arising out of the dissimilarity 
 between the German and French laws — as in 
 France an author's works are already protected 
 for fifty years after his death. 
 
 The fact that a large party in Germany is 
 strongly opposed to violating the express wish 
 of the creator of " Parsifal " leads to the gen- 
 eral belief that, even should the copyright not be 
 extended, no German stage of any repute would 
 venture to defy the public opinion to the extent 
 of including " Parsifal " in its heterogeneovis 
 repertory. 
 
 Wagner at many times and in many places 
 expressed himself in terms not to be misunder- 
 stood concerning the disposition of his last stage 
 work, but never more convincingly than in 
 a letter written, to his noble friend and pa- 
 
362 THE BAYREUTH LETTERS 
 
 tron, King Ludwig of Bavaria, written from 
 Siena, 
 
 " Having been obliged to surrender all of my 
 works so ideally conceived to the theatres and 
 to a public which I deem so deeply ill suited for 
 such a work, I now ask myself the serious ques- 
 tion, whether I should not at least preserve this 
 last and most sacred of my works from the fate 
 of being doomed to an ordinary operatic career. 
 
 " In the mere content and character of ' Par- 
 sifal,' I recognise the imperative necessity for 
 no longer disregarding such a decision. In fact, 
 how can an action, into which the most sub- 
 lime mysteries of the Christian faith are in- 
 troduced, be presented in theatres like ours, be 
 closely associated with our customary operatic 
 repertoire, and be given before such a public as 
 assembles there? I should really not blame our 
 church committees if they took a firm stand 
 against the presentation of the most consecrated 
 mysteries on the stage upon which yesterday and 
 to-morrow frivolity comfortably disports itself, 
 
PARSIFAL 363 
 
 and before a public attracted solely by such 
 frivolity. 
 
 " Imbued by the spirit, I called my ' Parsifal ' 
 a Bithnenweihfestspiel, ' a Festival Play for the 
 Consecration of the Stage.' 
 
 " I must therefore endeavour to consecrate a 
 stage to this work, and this can only be my iso- 
 lated stage Festival House in Bayreuth. 
 
 " There the * Parsifal ' is to be given for all 
 time and there only ; never is the ' Parsifal ' to 
 be presented in any other theatre, nor offered any 
 audience as a mere diversion." ^ 
 
 A book purporting to deal with the historical 
 and artistic development of the Bayreuth Idea is 
 not the proper place for an ethical discussion of 
 the " Parsifal " question in its relation to other 
 stages and other audiences from those for which 
 it was originally designed. And yet the writer 
 cannot refrain from quoting a passage from 
 Wolfgang Golther's little book on Bayreuth, as 
 
 1 This letter is from the volume "Richard Wagner to His 
 Friends and Contemporaries," and appears here by the courtesy 
 of the German publishers, Schuster & LoefSer (Berlin). 
 
364 THE BAYREUTH LETTERS 
 
 it so admirably and concisely expresses the Ger- 
 man attitude toward any disturbance of Wag- 
 ner's original plan. Golther has this to say: 
 " The American theft of the grail, and the ex- 
 piration of the copyright of this sacred work, 
 must be deplored both from artistic as well as 
 moral reasons. The release of the * Parsifal ' 
 rights is unworthy chaffering with something 
 that is holy, a profanation of our deepest and 
 tenderest religious sentiments, a source of end- 
 less errors and misunderstandings, a misinter- 
 pretation of the purest principles of art, a sin 
 against the Holy Ghost of German art, and an 
 act of the greatest irreverence against the last 
 wish of our great Master." 
 
Cornell University Library 
 ML 410.W1A323 
 
 The story of Bayreuth as told in the Bay 
 
 3 1924 017 104 898