My Life by Richard Wagner (ebook reader TXT) 📕

be universally admired and loved. I was deeply moved, and wished only to express my embarrassment at so unexpected an outburst, when he kindly interrupted me and sought an escape from his own emotion in good- humoured confidences. He referred, with a smile, to the self- denial which had yielded the place of honour on so extraordinary an occasion to an undeserving man like Reissiger. When I assured him that this act had afforded me the liveliest satisfaction, and that I had myself persuaded my colleague to take the baton, he confessed that at last he began to understand me, but failed altogether to comprehend how the other could accept a position to which he had no right.

Luttichau's altered attitude towards me was such that for some time our intercourse on matters of business assumed an almost confidential tone. But, unfortunately, in course of time things changed for the worse, so that our relationship became one of open enmity; nevertheless, a certain peculiar tenderness towards me on the part of this singular man was always clearly perceptible. Indeed, I might almost say that much of his subsequent abuse of me sounded more like the strangely perverted plaints of a love that met with no response.

For my holiday this year I went, early in September, to Fischer's vineyard, near Loschwitz, not far from the famous Firidlater vineyard, where, somewhat late in the year, I rented a summer residence. Where under the kindly and strengthening stimulus of six week of open-air life, I composed my music for the second act of Tannhauser, which I completed by the 15th of October. During this period a performance of Rienzi was given before an audience of no ordinary importance. For this event I went up to town. Spontini, Meyerbeer, and General Lwoff, the composer of the Russian National Anthem, were seated together in a stage box. I sought no opportunity of learning the impression made by my opera upon these learned judges and magnates of the musical world. It was enough for me to have the complacent satisfaction of knowing that they had heard my oft-repeated work performed before a crowded house and amid overwhelming applause. I was delighted at the close of the opera to have my little dog Peps, which had run after me all the way from the country, brought to me; and without waiting to greet the European celebrities, I drove off with it at once to our quiet vineyard, where Minna was greatly relieved to recover her little pet, which for hours she had believed to be lost.

Here I also received a visit from Werder, the man whose friendship I had made in Berlin under such dramatic circumstances. But this time he appeared in ordinary human guise, beneath the kindly light of heaven, by which we disputed in a friendly way concerning the true worth of the Fliegender Hollander, my mind having somewhat turned against this work since Tannhauser had got into my head. It certainly seemed odd to find myself contradicted on this point by my friend, and to receive instruction from him on the significance of my own work.

When we returned to our winter quarters I tried to avoid allowing so lengthy an interval to elapse between the composition of the second and third acts as had separated that of the first and second. In spite of many absorbing engagements I succeeded in my aim. By carefully cultivating a habit of taking solitary walks, and thanks to their soothing influence over me, I managed to finish the music of Act iii. by the 29th of December, that is to say, before the end of the year.

During this period my time was otherwise very seriously occupied by a visit paid us by Spontini with reference to a proposed presentation of his Vestalin, the preparation for which had just begun. The singular episodes and characteristic features of the intercourse which I thus gained with this eminent and hoary- headed master are still so vividly imprinted on my memory that they seem worthy of a place in this record.

Since, with the co-operation of Schroder-Devrient, we could, on the whole, rely upon an admirable presentation of the opera, I had inspired Luttichau with the idea of inviting Spontini to undertake the personal superintendence of his justly famous work. He had just left Berlin for ever, after enduring great humiliation there, and such an invitation at this moment would be a well-timed proof of respect. This was accordingly sent, and as I had myself been entrusted with the conductorship of the opera, I was given the singular task of deciding this point with the master. My letter, it appears, although written in French, inspired him with a high opinion of my zeal for the enterprise, and in a gracious reply he informed me what his special wishes were regarding the arrangements to be made for his collaboration. As far as the vocalists were concerned, and seeing that a Schroder-Devrient was among the number, he frankly expressed his satisfaction. As for chorus and ballet, he took it for granted that nothing would be lacking to the dignity of the performance; and finally, as regarded the orchestra, he expected that this also would be sure to please him, as he presumed it contained the necessary complement of excellent instruments which, to use his own words, 'he hoped would furnish the performance with twelve good contrabass!' (le tout garni de douze bonnes contre-basses). This phrase bowled me over, for the proportion thus bluntly stated in figures gave me so logical a conception of his exalted expectations, that I hurried away at once to the director to warn him that the enterprise on which we had embarked would not, after all, prove as easy as we thought. His alarm was great, and he said that some plan must at once be devised for breaking off the engagement.

When Schroder-Devrient heard of our dilemma, knowing Spontini well, she laughed as though she would never stop at the ingenuous impudence with which we had issued our invitation. A trifling indisposition from which she then suffered provided a reasonable excuse for a delay, more or less prolonged, and this she generously placed at our disposal. Spontini had, in fact, urged us to use all possible despatch in the execution of our project, for, as he was impatiently awaited in Paris, he could spare us but little time. It fell to my lot to weave the tissue of innocent deceptions by which we hoped to divert the master from a definite acceptance of our invitation. Now we could breathe again, and duly began rehearsing. But on the very day before we proposed to hold our full-dress rehearsal at our leisure, lo and behold! about noon a carriage drove up to my door, in which, clad in a long blue coat of pilot-cloth, sat no other than the haughty master himself, whose manners resembled those of a Spanish grandee. All unattended and greatly excited, he entered my room, showed me my letters, and proved from our correspondence that the invitation had not been declined, but that he had in all points accurately complied with our wishes. Forgetting for the moment all the possible embarrassments which might arise, in my genuine delight at beholding the wonderful man before me, and hearing his work conducted by himself, I at once undertook to do everything I possibly could to meet his desires. This declaration I made with the utmost sincerity of zeal. He smiled with almost childlike kindliness on hearing me, and I at once begged him to conduct the rehearsal arranged for the morrow. He thereupon grew suddenly thoughtful, and began to weigh the numerous disadvantages of such an action on his part. So acute did his agitation become that he had the greatest difficulty in expressing himself clearly on any point, and I found it no easy matter to inquire what arrangements on our part would persuade him to undertake the morrow's rehearsal. After a moment's reflection he asked what sort of baton I was accustomed to use when conducting. With my hands I indicated the approximate length and thickness of a medium-sized wooden rod, such as our choir-attendant was in the habit of supplying, freshly covered with white paper. He sighed, and asked if I thought it possible to procure him by to-morrow a baton of black ebony, whose very respectable length and thickness he indicated by a gesture, and on each end of which a fairly large knob of ivory was to be affixed. I promised to have one prepared for the next rehearsal, which should at least be similar in appearance to what he desired, and another of the specified materials in time for the actual performance. Visibly relieved, he then passed his hand over his brow, and granted me permission to announce his consent to conduct on the following day. After once more strongly enforcing his instructions as to the baton, he went back to his hotel.

I seemed to be moving in a dream, and hastened in a whirl-wind of excitement to publish the news of what had happened and was to be expected. We were fairly trapped. Schroder-Devrient offered to become our scapegoat, while I entered into precise details with the theatre carpenter concerning the baton. This turned out so far correct that it possessed the requisite length and breadth, was black in its colour, and had two large white knobs. Then came the fateful rehearsal. Spontini was evidently ill at ease on his seat in the orchestra. First of all he wished to have the oboists placed behind him. As this partial change of position just at that moment would have caused much confusion in the disposition of the orchestra, I promised to effect the alteration after the rehearsal. He said no more, and took up his baton. In a moment I understood why he attached such importance to its form and size. He held it, not as other conductors do, by the end, but gripped it about the middle with his clenched fist, waving it so as to make it evident that he wielded his baton like a field-marshal's staff, not for beating time, but for command.

Confusion arose in the very first scene, which was increased by the fact that the master's instructions, both to orchestra and singers, were rendered almost unintelligible by his confused use of the German language. This much at least we were soon able to grasp, that he was particularly anxious to disabuse us of the idea that this was a full-dress rehearsal, and to show us that he was set upon a thorough re-study of the opera from the very beginning. Great, indeed, was the despair of my good old chorus-master and stage manager, Fischer--who before had enthusiastically advocated the invitation of Spontini--when he recognised that the dislocation of our repertoire was now inevitable. This feeling swelled by degrees to open anger, in the blindness of which every fresh suggestion of Spontini's appeared but frivolous fault-finding, to which he bluntly responded in the coarsest German. After one of the choruses Spontini beckoned me to his side and whispered: 'Mais savez-vous, vos choeurs ne chantent pas mal'; whereupon Fischer, regarding this with suspicion, shouted out to me in a rage: 'What does the old hog want now?' and I had some trouble to pacify the speedily converted enthusiast.

But our most serious delay arose, during the first act, through the evolutions of a triumphal march. With the most vociferous emphasis the master expressed intense dissatisfaction with the apathetic demeanour of our populace during the procession of vestal virgins. He was quite unaware of the fact that, in obedience to our stage manager's instructions, they had fallen on their knees upon the appearance of the priestesses; for he was so excited, and withal so terribly short-sighted, that nothing which appealed to the eye alone was