My Life - Richard Wagner (top ten ebook reader TXT) 📗

was the leader must invariably be excellent, whoever stood at the conductor's desk. Now it happened, as is always the case when a new man with fresh ideas is installed in office, that the members of the orchestra came to me with the most varied suggestions for improvements which had hitherto been neglected; and Lipinsky, who was already annoyed about this, turned a certain case of this kind to a peculiarly treacherous use. One of the oldest contrabassists had died. Lipinsky urged me to arrange that the post should not be filled in the usual way by promotion from the ranks of our own orchestra, but should be given, on his recommendation, to a distinguished and skilful contrabassist from Darmstadt named Muller. When the musician whose rights of seniority were thus threatened, appealed to me, I kept my promise to Lipinsky, explained my views about the abuses of promotion by seniority, and declared that, in accordance with my sworn oath to the King, I held it my paramount duty to consider the maintenance of the artistic interests of the institution before everything else. I then found to my great astonishment, though it was foolish of me to be surprised, that the whole of the orchestra turned upon me as one man, and when the occasion arose for a discussion between Lipinsky and myself as to his own numerous grievances, he actually accused me of having threatened, by my remarks in the contrabassist case, to undermine the well-established rights of the members of the orchestra, whose welfare it was my duty to protect. Luttichau, who was on the point of absenting himself from Dresden for some time, was extremely uneasy, as Reissiger was away on his holiday, at leaving musical affairs in such a dangerous state of unrest. The deceit and impudence of which I had been the victim was a revelation to me, and I gathered from this experience the calm sense necessary to set the harassed director at ease by the most conclusive assurances that I understood the people with whom I had to deal, and would act accordingly. I faithfully kept my word, and never again came into collision either with Lipinsky or any other member of the orchestra. On the contrary, all the musicians were soon so firmly attached to me that I could always pride myself on their devotion.

From that day forward, however, one thing at least was certain, namely, that I should not die as conductor at Dresden. My post and my work at Dresden thenceforward became a burden, of which the occasionally excellent results of my efforts made me all the more sensible.

My position at Dresden, however, brought me one friend whose intimate relations with me long survived our artistic collaboration in Dresden. A musical director was assigned to each conductor; he had to be a musician of repute, a hard worker, adaptable, and, above all, a Catholic, for the two conductors were Protestants, a cause of much annoyance to the clergy of the Catholic cathedral, numerous positions in which had to be filled from the orchestra. August Rockel, a nephew of Hummel, who sent in his application for this position from Weimar, furnished evidence of his suitability under all these heads. He belonged to an old Bavarian family; his father was a singer, and had sung the part of Florestan at the time of the first production of Beethoven's Fidelio, and had himself remained on terms on close intimacy with the Master, many details about whose life have been preserved through his care. His subsequent position as a teacher of singing led him to take up theatrical management, and he introduced German opera to the Parisians with so much success, that the credit for the popularity of Fidelio and Der Freischutz with French audiences, to whom these works were quite unknown, must be awarded to his admirable enterprise, which was also responsible for Schroder-Devrient's debut in Paris. August Rockel, his son, who was still a young man, by helping his father in these and similar undertakings, had gained practical experience as a musician. As his father's business had for some time even extended to England, August had won practical knowledge of all sorts by contact with many men and things, and in addition had learned French and English. But music had remained his chosen vocation, and his great natural talent justified the highest hopes of success. He was an excellent pianist, read scores with the utmost ease, possessed an exceptionally fine ear, and had indeed every qualification for a practical musician. As a composer he was actuated, not so much by a strong impulse to create, as the desire to show what he was capable of; the success at which he aimed was to gain the reputation of a clever operatic composer rather than recognition as a distinguished musician, and he hoped to obtain his end by the production of popular works. Actuated by this modest ambition he had completed an opera, Farinelli, for which he had also written the libretto, with no other aspiration than that of attaining the same reputation as his brother-in-law Lortzing.

He brought this score to me, and begged me--it was his first visit before he had heard one of my operas in Dresden--to play him something from Rienzi and the Fliegender Hollander. His frank, agreeable personality induced me to try and meet his wishes as far as I could; and I am convinced that I soon made such a great and unexpectedly powerful impression on him that from that moment he determined not to bother me further with the score of his opera. It was not until we had become more intimate and had discovered mutual personal interests, that the desire of turning his work to account induced him to ask me to show my practical friendship by turning my attention to his score. I made various suggestions as to how it might be improved, but he was soon so hopelessly disgusted with his own work that he put it absolutely aside, and never again felt seriously moved to undertake a similar task. On making a closer acquaintance with my completed operas and plans for new works, he declared to me that he felt it his vocation to play the part of spectator, to be my faithful helper and the interpreter of my new ideas, and, as far as in him lay, to remove entirely, and at all events to relieve me as far as possible from, all the unpleasantnesses of my official position and of my dealings with the outside world. He wished, he said, to avoid placing himself in the ridiculous position of composing operas of his own while living on terms of close friendship with me.

Nevertheless, I tried to urge him to turn his own talent to account, and to this end called his attention to several plots which I wished him to work out. Among these was the idea contained in a small French drama entitled Cromwell's Daughter, which was subsequently used as the subject for a sentimental pastoral romance, and for the elaboration of which I presented him with an exhaustive plan.

But in the end all my efforts remained fruitless, and it became evident that his productive talent was feeble. This perhaps arose partly from his extremely needy and trying domestic circumstances, which were such that the poor fellow wore himself out to support his wife and numerous growing children. Indeed, he claimed my help and sympathy in quite another fashion than by arousing my interest in his artistic development. He was unusually clear-headed, and possessed a rare capacity for teaching and educating himself in every branch of knowledge and experience; he was, moreover, so genuinely true and good-hearted that he soon became my intimate friend and comrade. He was, and continued to be, the only person who really appreciated the singular nature of my position towards the surrounding world, and with whom I could fully and sincerely discuss the cares and sorrows arising therefrom. What dreadful trials and experiences, what painful anxieties our common fate was to bring upon us, will soon be seen.

The earlier period of my establishment in Dresden brought me also another devoted and lifelong friend, though his qualities were such that he exerted a less decisive influence upon my career. This was a young physician, named Anton Pusinelli, who lived near me. He seized the occasion of a serenade sung in honour of my thirtieth birthday by the Dresden Glee Club to express to me personally his hearty and sincere attachment. We soon entered upon a quiet friendship from which we derived a mutual benefit. He became my attentive family doctor, and during my residence in Dresden, marked as it was by accumulating difficulties, he had abundant opportunities of helping me. His financial position was very good, and his ready self-sacrifice enabled him to give me substantial succour and bound me to him by many heartfelt obligations.

A further development of my association with Dresden buddy was provided by the kindly advances of Chamberlain von Konneritz's family. His wife, Marie von Konneritz (nee Fink), was a friend of Countess Ida Hahn-Hahn, and expressed her appreciation of my success as a composer with great warmth, I might almost say, with enthusiasm. I was often invited to their house, and seemed likely, through this family, to be brought into touch with the higher aristocracy of Dresden. I merely succeeded in touching the fringe, however, as we really had nothing in common. True, I here made the acquaintance of Countess Rossi, the famous Sontag, by whom, to my genuine astonishment, I was most heartily greeted, and I thereby obtained the right of afterwards approaching her in Berlin with a certain degree of familiarity. The curious way in which I was disillusioned about this lady on that occasion will be related in due course. I would only mention here that, through my earlier experiences of the world, I had become fairly impervious to deception, and my desire for closer acquaintance with these circles speedily gave way to a complete hopelessness and an entire lack of ease in their sphere of life.

Although the Konneritz couple remained friendly during the whole of my prolonged sojourn in Dresden, yet the connection had not the least influence either upon my development or my position. Only once, on the occasion of a quarrel between Luttichau and myself, the former observed that Frau von Konneritz, by her unmeasured praises, had turned my head and made me forget my position towards him. But in making this taunt he forgot that, if any woman in the higher ranks of Dresden society had exerted a real and invigorating influence upon my inward pride, that woman was his own wife, Ida von Luttichau (nee von Knobelsdorf).

The power which this cultured, gentle, and distinguished lady exercised over my life was of a kind I now experienced for the first time, and might have become of great importance had I been favoured with more frequent and intimate intercourse. But it was less her position as wife of the general director than her constant ill-health and my own peculiar unwillingness to appear obtrusive, that hindered our meeting, except at rare intervals. My recollections of her merge somewhat, in my memory, with those of my own sister Rosalie. I remember the tender ambition which inspired me to win the encouraging sympathy of this sensitive woman, who was painfully wasting away amid the coarsest surroundings. My earliest hope for the fulfilment of this ambition arose from her appreciation of my Fliegender Hollander, in spite of the fact that, following close upon Rienzi, it had so puzzled the Dresden public. In this way she was the first, so to speak, who swam against the tide and met me upon my new path. So deeply was I touched by this conquest that, when I afterwards published the opera, I dedicated it to