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

less thoroughly, but only with the object of making the existing version produce the effect I desired. It was not till the end of the year that I was able to finish this tremendous task, and I had to postpone the completion of the third act of Lohengrin, which I had already begun, until the New Year.

The first thing to claim my attention at the beginning of the year (1847) was the production of Iphigenia. I had to act as stage manager in this case, and was even obliged to help the scene-painters and the mechanicians over the smallest details. Owing to the fact that the scenes in this opera were generally strung together somewhat clumsily and without any apparent connection, it was necessary to recast them completely, in order so to animate the representation as to give to the dramatic action the life it lacked. A good deal of this faultiness of construction seemed to me due to the many conventional practices which were prevalent at the Paris Opera in Gluck's time. Mitterwurzer was the only actor in the, whole cast who gave me any pleasure. In the role of Agamemnon he showed a thorough grasp of that character, and carried out my instructions and suggestions to the letter, so that he succeeded in giving a really splendid and intelligent rendering of the part. The success of the whole performance was far beyond my expectations, and even the directors were so surprised at the exceptional enthusiasm aroused by one of Gluck's operas, that for the second performance they, on their own initiative, had my name put on the programme as 'Reviser.' This at once drew the attention of the critics to this work, and for once they almost did me justice; my treatment of the overture, the only part of the opera which these gentlemen heard rendered in the usual trivial way, was the only thing that they could find fault with. I have discussed and given an accurate account of all that relates to this in a special article on 'Gluck's Overture to Iphigenia in Aulis' and I only wish to add here that the musician who made such strange comments on this occasion was Ferdinand Hiller.

As in former years, the winter meetings of the various artistic elements in Dresden which Hiller had inaugurated, continued to take place; but they now assumed more the character of 'salons' in Hiller's own house, and it seemed to me intended solely for the purpose of laying the foundations for a general recognition of Hiller's artistic greatness. He had already founded, among the more wealthy patrons of art, the chief of whom was the banker Kaskel, a society for running subscription concerts. As it was impossible for the royal orchestra to be placed at his disposal for this purpose, he had to content himself with members of the town and military bands for his orchestra, and it cannot be denied that, thanks to his perseverance, he attained a praiseworthy result. As he produced many compositions which were still unknown in Dresden, especially from the domain of more modern music, I was often tempted to go to his concerts. His chief bait to the general public, however, seemed to lie in the fact that he presented unknown singers (among whom, unfortunately, Jenny Lind was not to be found) and virtuosos, one of which, Joachim, who was then very young, I became acquainted with.

Hiller's treatment of those works with which I was already well acquainted, showed what his musical power was really worth. The careless and indifferent manner in which he interpreted a Triple Concerto by Sebastian Bach positively astounded me. In the tempo di minuetto of the Eighth Symphony of Beethoven, I found that Hiller's rendering was even more astonishing than Reissiger's and Mendelssohn's. I promised to be present at the performance of this symphony if I could rely on his giving a correct rendering of the tempo of the third phrase, which was generally so painfully distorted, He assured me that he thoroughly agreed with me about it, and my disappointment at the performance was all the greater when I found the well-known waltz measure adopted again. When I called him to account about it he excused himself with a smile, saying that he had been seized with a fit of temporary abstraction just at the beginning of the phrase in question, which had made him forget his promise. For inaugurating these concerts, which, as a matter of fact, only lasted for two seasons, Hiller was given a banquet, which I also had much pleasure in attending.

People in these circles were surprised at that time to hear me speak, often with great animation, about Greek literature and history, but never about music. In the course of my reading, which I zealously pursued, and which drew me away from my professional activities to retirement and solitude, I was at that time impelled by my spiritual needs to turn my attention once more to a systematic study of this all-important source of culture, with the object of filling the perceptible gap between my boyhood's knowledge of the eternal elements of human culture and the neglect of this field of learning due to the life I had been obliged to lead. In order to approach the real goal of my desires--the study of Old and Middle High German--in the right frame of mind, I began again from the beginning with Greek antiquity, and was now filled with such overwhelming enthusiasm for this subject that, whenever I entered into conversation, and by hook or by crook had managed to get it round to this theme, I could only speak in terms of the strongest emotion. I occasionally met some one who seemed to listen to what I had to say; on the whole, however, people preferred to talk to me only about the theatre because, since my production of Gluck's Iphigenia, they thought themselves justified in thinking I was an authority on this subject. I received special recognition from a man to whom I quite rightly gave the credit of being at least as well versed as myself in the matter. This was Eduard Devrient, who had been forced at that time to resign his position as stage manager-in-chief owing to a plot against him on the part of the actors, headed by his own brother Emil. We were brought into closer sympathy by our conversations in connection with this, which led him into dissertations on the triviality and thorough hopelessness of our whole theatrical life, especially under the ruining influence of ignorant court managers, which could never be overcome.

We were also drawn together by his intelligent understanding of the part I had played in the production of Iphigenia, which he compared with the Berlin production of the same piece, that had been utterly condemned by him. He was for a long time the only man with whom I could discuss, seriously and in detail, the real needs of the theatre and the means by which its defects might be remedied. Owing to his longer and more specialised experience, there was much he could tell me and make clear to me; in particular he helped me successfully to overcome the idea that mere literary excellence is enough for the theatre, and confirmed my conviction that the path to true prosperity lay only with the stage itself and with the actors of the drama.

From this time forward, till I left Dresden, my intercourse with Eduard Devrient grew more and more friendly, though his dry nature and obvious limitations as an actor had attracted me but little before. His highly meritorious work, Die Geschichte der deutschen Schauspielkunst ('History of German Dramatic Art'), which he finished and published about that time, threw a fresh and instructive light on many problems which exercised my mind, and helped me to master them for the first time.

At last I managed once more to resume my task of composing the third act of Lohengrin, which had been interrupted in the middle of the Bridal Scene, and I finished it by the end of the winter. After the repetition, by special request, of the Ninth Symphony at the concert on Palm Sunday had revived me, I tried to find comfort and refreshment for the further progress of my new work by changing my abode, this time without asking permission. The old Marcolini palace, with a very large garden laid out partly in the French style, was situated in an outlying and thinly populated suburb of Dresden.

It had been sold to the town council, and a part of it was to be let. The sculptor, Hanel, whom I had known for a long time, and who had given me as a mark of friendship an ornament in the shape of a perfect plaster cast of one of the bas-reliefs from Beethoven's monument representing the Ninth Symphony, had taken the large rooms on the ground floor of a side-wing of this palace for his dwelling and studio. At Easter I moved into the spacious apartments, above him, the rent of which was extremely low, and found that the large garden planted with glorious trees, which was placed at my disposal, and the pleasant stillness of the whole place, not only provided mental food for the weary artist, but at the same time, by lessening my expenses, improved my straitened finances. We soon settled down quite comfortably in the long row of pleasant rooms without having incurred any unnecessary expense, as Minna was very practical in her arrangements. The only real inconvenience which in the course of time I found our new home possessed, was its inordinate distance from the theatre. This was a great trial to me after fatiguing rehearsals and tiring performances, as the expense of a cab was a serious consideration. But we were favoured by an exceptionally fine summer, which put me in a happy frame of mind, and soon helped to overcome every inconvenience.

At this time I insisted with the utmost firmness on refraining from taking any further share in the management of the theatre, and I had most cogent reasons to bring forth in defence of my conduct. All my endeavours to set in order the wilful chaos which prevailed in the use of the costly artistic materials at the disposal of this royal institution were repeatedly thwarted, merely because I wished to introduce some method into the arrangements. In a carefully written pamphlet which, in addition to my other work, I had compiled during the past winter, I had drawn up a plan for the reorganisation of the orchestra, and had shown how we might increase the productive power of our artistic capital by making a more methodical use of the royal funds intended for its maintenance, and showing greater discretion regarding salaries. This increase in the productive power would raise the artistic spirit as well as improve the economic position of the members of the orchestra, for I should have liked them at the same time to form an independent concert society. In such a capacity it would have been their task to present to the people of Dresden, in the best possible way, a kind of music which they had hitherto hardly had the opportunity of enjoying at all. It would have been possible for such a union, which, as I pointed out, had so many external circumstances in its favour, to provide Dresden with a suitable concert-hall. I hear, however, that such a place is wanting to this day.

With this object in view I entered into close communication with architects and builders, and the plans were completed, according to which the scandalous buildings facing a wing of the renowned prison opposite the Ostra Allee, and consisting of a shed for the members of the theatre and a public wash-house, were to be pulled down and replaced by