My Life by Richard Wagner (ebook reader TXT) 📕

inestimably precious, it mattered greatly to him to keep within reach of it. My friend Apel owned a fine estate on Prussian soil, within but a few hours' distance of Leipzig, and we conceived the wish of seeing Laube hospitably harboured there. My friend, who without infringing the legal stipulations was in a position to give the persecuted man a place of refuge, immediately assented, and with great readiness, to our desire, but confessed to us next day, after having communicated with his family, that he thought he might incur some unpleasantnesses if he entertained Laube. At this the latter smiled, and in a manner I shall never forget, though I have noticed in the course of my life that the expression which I then saw in his face was one which has often flitted over my own features. He took his leave, and in a short time we heard that he had been arrested, owing to having undertaken fresh proceedings against former members of the Burschenschaft (Students' League), and had been lodged in the municipal prison at Berlin. I had thus had two experiences which weighed me down like lead, so I packed my scanty portmanteau, took leave of my mother and sister, and, with a stout heart, started on my career as a conductor.

In order to be able to look upon the little room under Minna's lodging as my new home, I was forced also to make the best of Bethmann's theatrical enterprise. As a matter of fact, a performance of Don Juan was given at once, for the director, who prided himself on being a connoisseur of things artistic, suggested that opera to me as one with which it would be wise for an aspiring young artist, of a good family, to make his debut. Despite the fact that, apart from some of my own instrumental compositions, I had never yet conducted, and least of all in opera, the rehearsal and the performance went off fairly well. Only once or twice did discrepancies appear in the recitative of Donna Anna; yet this did not involve me in any kind of hostility, and when I took my place unabashed and calm for the production of Lumpaci Vagabundus, which I had practised very thoroughly, the people generally seemed to have gained full confidence in the theatre's new acquisition.

The fact that I submitted without bitterness and even with some cheerfulness to this unworthy use of my musical talent, was due less to my taste being at this period, as I called it, in its salad days, than to my intercourse with Minna Planer, who was employed in that magic trifle as the Amorous Fairy. Indeed, in the midst of this dust-cloud of frivolity and vulgarity, she always seemed very much like a fairy, the reasons of whose descent into this giddy whirl, which of a truth seemed neither to carry her away nor even to affect her, remained an absolute mystery. For while I could discover nothing in the opera singers save the familiar stage caricatures and grimaces, this fair actress differed wholly from those about her in her unaffected soberness and dainty modesty, as also in the absence of all theatrical pretence and stiltedness. There was only one young man whom I could place beside Minna on the ground of qualities like those I recognised in her. This fellow was Friedrich Schmitt, who had only just adopted the stage as a career in the hope of making a 'hit' in opera, to which, as the possessor of an excellent tenor voice, he felt himself called. He too differed from the rest of the company, especially in the earnestness which he brought to bear upon his studies and his work in general: the soulful manly pitch of his chest voice, his clear, noble enunciation and intelligent rendering of his words, have always remained as standards in my memory. Owing to the fact that he was wholly devoid of theatrical talent, and acted clumsily and awkwardly, a check was soon put to his progress, but he always remained dear to me as a clever and original man of trustworthy and upright character--my only associate.

But my dealings with my kind housemate soon became a cherished habit, while she returned the ingenuously impetuous advances of the conductor of one-and-twenty with a certain tolerant astonishment which, remote as it was from all coquetry and ulterior motives, soon made familiar and friendly intercourse possible with her. When, one evening, I returned late to my ground-floor room, by climbing through the window, for I had no latch-key, the noise of my entry brought Minna to her window just over mine. Standing on my window ledge I begged her to allow me to bid her good-night once more. She had not the slightest objection to this, but declared it must be done from the window, as she always had her door locked by the people of the house, and nobody could get in that way. She kindly facilitated the handshake by leaning far out of her window, so that I could take her hand as I stood on my ledge. When later on I had an attack of erysipelas, from which I often suffered, and with my face all swollen and frightfully distorted concealed myself from the world in my gloomy room, Minna visited me repeatedly, nursed me, and assured me that my distorted features did not matter in the least. On recovering, I paid her a visit and complained of a rash that had remained round my mouth, and which seemed so unpleasant that I apologised for showing it to her. This also she made light of. Then I inferred she would not give me a kiss, whereupon she at once gave me practical proof that she did not shrink from that either.

This was all done with a friendly serenity and composure that had something almost motherly about it, and it was free from all suggestion of frivolity or of heartlessness. In a few weeks the company had to leave Lauchstadt to proceed to Rudolstadt and fulfil a special engagement there. I was particularly anxious to make this journey, which in those days was an arduous undertaking, in Minna's company, and if only I had succeeded in getting my well-earned salary duly paid by Bethmann, nothing would have hindered the fulfilment of my wish. But in this matter I encountered exceptional difficulties, which in the course of eventful years grew in chronic fashion into the strangest of ailments. Even at Lauchstadt I had discovered that there was only one man who drew his salary in full, namely the bass Kneisel, whom I had seen smoking his pipe beside the couch of the director's lame wife. I was assured that if I cared greatly about getting some of my wages from time to time, I could obtain this favour only by paying court to Mme. Bethmann. This time I preferred once more to appeal to my family for help, and therefore travelled to Rudolstadt through Leipzig, where, to the sad astonishment of my mother, I had to replenish my coffer with the necessary supplies. On the way to Leipzig I had travelled with Apel through his estate, he having fetched me from Lauchstadt for the purpose. His arrival was fixed in my memory by a noisy banquet which my wealthy friend gave at the hotel in my honour. It was on this occasion that I and one of the other guests succeeded in completely destroying a huge, massively built Dutch-tile stove, such as we had in our room at the inn. Next morning none of us could understand how it had happened.

It was on this journey to Rudolstadt that I first passed through Weimar, where on a rainy day I strolled with curiosity, but without emotion, towards Goethe's house. I had pictured something rather different, and thought I should experience livelier impressions from the active theatre life of Rudolstadt, to which I felt strongly attracted. In spite of the fact that I was not to be conductor myself, this post having been entrusted to the leader of the royal orchestra, who had been specially engaged for our performances, yet I was so fully occupied with rehearsals for the many operas and musical comedies required to regale the frivolous public of the principality that I found no leisure for excursions into the charming regions of this little land. In addition to these severe and ill-paid labours, two passions held me chained during the six weeks of my stay in Rudolstadt. These were, first, a longing to write the libretto of Liebesverbot; and secondly, my growing attachment to Minna. It is true, I sketched out a musical composition about this time, a symphony in E major, whose first movement (3/4 time) I completed as a separate piece. As regards style and design, this work was suggested by Beethoven's Seventh and Eighth Symphonies, and, so far as I can remember, I should have had no need to be ashamed of it, had I been able to complete it, or keep the part I had actually finished. But I had already begun at this time to form the opinion that, to produce anything fresh and truly noteworthy in the realm of symphony, and according to Beethoven's methods, was an impossibility. Whereas opera, to which I felt inwardly drawn, though I had no real example I wished to copy, presented itself to my mind in varied and alluring shapes as a most fascinating form of art. Thus, amid manifold and passionate agitations, and in the few leisure hours which were left to me, I completed the greater part of my operatic poem, taking infinitely more pains, both as regards words and versification, than with the text of my earlier Feen. Moreover, I found myself possessed of incomparably greater assurance in the arrangement and partial invention of situations than when writing that earlier work.

On the other hand, I now began for the first time to experience the cares and worries of a lover's jealousy. A change, to me inexplicable, manifested itself in Minna's hitherto unaffected and gentle manner towards me. It appears that my artless solicitations for her favour, by which at that time I meant nothing serious, and in which a man of the world would merely have seen the exuberance of a youthful and easily satisfied infatuation, had given rise to certain remarks and comments upon the popular actress. I was astonished to learn, first from her reserved manner, and later from her own lips, that she felt compelled to inquire into the seriousness of my intentions, and to consider their consequences. She was at that time, as I had already discovered, on very intimate terms with a young nobleman, whose acquaintance I first made in Lauchstadt, where he used to visit her. I had already realised on that occasion that he was unfeignedly and cordially attached to her; in fact, in the circle of her friends she was regarded as engaged to Herr von O., although it was obvious that marriage was out of the question, as the young lover was quite without means, and owing to the high standing of his family it was essential that he should sacrifice himself to a marriage of convenience, both on account of his social position and of the career which he would have to adopt. During this stay at Rudolstadt Minna appears to have gathered certain information on this point which troubled and depressed her, thus rendering her more inclined to treat my impetuous attempts at courtship with cool reserve.

After mature deliberation I recognised that, in any case, Young Europe, Ardinghello, and Liebesverbot could not be produced at Rudolstadt; but it was a very different matter for the Fee Amorosa, with its merry theatrical mood, and an Ehrlicher Burger Kind to seek a decent livelihood. Therefore, greatly discouraged, I proceeded to accentuate the more extravagant situations of my