My Life by Richard Wagner (ebook reader TXT) 📕

all that had emanated from my pen. It had been received with great applause on the occasion of its performance in the theatre at Magdeburg, with the assistance of the valiant trumpeters from the Prussian garrison. I gave Habeneck the score and parts, and was able to report to our committee at home that I had now one enterprise on foot.

I gave up the attempt to try and see Scribe on the mere ground of our having had some correspondence, for my friends had made it clear to me, in the light of their own experience, that it was out of the question to expect this exceptionally busy author to occupy himself seriously with a young and unknown musician. Anders was able to introduce me to another acquaintance, however, a certain M. Dumersan. This grey-haired gentleman had written some hundred vaudeville pieces, and would have been glad to see one of them performed as an opera on a larger scale before his death. He had no idea of standing on his dignity as an author, and was quite willing to undertake the translation of an existing libretto into French verse. We therefore entrusted him with the writing of my Liebesverbot, with a view to a performance at the Theatre de la Renaissance, as it was then called. (It was the third existing theatre for lyric drama, the performances being given in the new Salle Ventadour, which had been rebuilt after its destruction by fire.) On the understanding that it was to be a literal translation, he at once turned the three numbers of my opera, for which I hoped to secure a hearing, into neat French verse. Besides this, he asked me to compose a chorus for a vaudeville entitled La Descente de la Courtille, which was to be played at the Varietes during the carnival.

This was a second opening. My friends now strongly advised me to write something small in the way of songs, which I could offer to popular singers for concert purposes. Both Lehrs and Anders produced words for these. Anders brought a very innocent Dors, mon enfant, written by a young poet of his acquaintance; this was the first thing I composed to a French text. It was so successful that, when I had tried it over softly several times on the piano, my wife, who was in bed, called out to me that it was heavenly for sending one to sleep. I also set L'Attente from Hugo's Orientales, and Ronsard's song, Mignonne, to music. I have no reason to be ashamed of these small pieces, which I published subsequently as a musical supplement to Europa (Lewald's publication) in 1841.

I next stumbled on the idea of writing a grand bass aria with a chorus, for Lablache to introduce into his part of Orovist in Bellini's Norma. Lehrs had to hunt up an Italian political refugee to get the text out of him. This was done, and I produced an effective composition a la Bellini (which still exists among my manuscripts), and went off at once to offer it to Lablache.

The friendly Moor, who received me in the great singer's anteroom, insisted upon admitting me straight into his master's presence without announcing me. As I had anticipated some difficulty in getting near such a celebrity, I had written my request, as I thought this would be simpler than explaining verbally.

The black servant's pleasant manner made me feel very uncomfortable; I entrusted my score and letter to him to give to Lablache, without taking any notice of his kindly astonishment at my refusal of his repeated invitation to go into his master's room and have an interview, and I left the house hurriedly, intending to call for my answer in a few days. When I came back Lablache received me most kindly, and assured me that my aria was excellent, though it was impossible to introduce it into Bellini's opera after the latter had already been performed so very often. My relapse into the domain of Bellini's style, of which I had been guilty through the writing of this aria, was therefore useless to me, and I soon became convinced of the fruitlessness of my efforts in that direction. I saw that I should need personal introductions to various singers in order to ensure the production of one of my other compositions.

When Meyerbeer at last arrived in Paris, therefore, I was delighted. He was not in the least astonished at the lack of success of his letters of introduction; on the contrary, he made use of this opportunity to impress upon me how difficult it was to get on in Paris, and how necessary it was for me to look out for less pretentious work. With this object he introduced me to Maurice Schlesinger, and leaving me at the mercy of that monstrous person, went back to Germany.

At first Schlesinger did not know what to do with me; the acquaintances I made through him (of whom the chief was the violinist Panofka) led to nothing, and I therefore returned to my advisory board at home, through whose influence I had recently received an order to compose the music to the Two Grenadiers, by Heine, translated by a Parisian professor. I wrote this song for baritone, and was very pleased with the result; on Ander's advice I now tried to find singers for my new compositions. Mme. Pauline Viardot, on whom I first called, went through my songs with me. She was very amiable, and praised them, but did not see why SHE should sing them. I went through the same experience with a Mme. Widmann, a grand contralto, who sang my Dors, mon enfant with great feeling; all the same she had no further use for my composition. A certain M. Dupont, third tenor at the grand opera, tried my setting of the Ronsard poem, but declared that the language in which it was written was no longer palatable to the Paris public. M. Geraldy, a favourite concert singer and teacher, who allowed me to call and see him frequently, told me that the Two Grenadiers was impossible, for the simple reason that the accompaniment at the end of the song, which I had modelled upon the Marseillaise, could only be sung in the streets of Paris to the accompaniment of cannons and gunshots. Habeneck was the only person who fulfilled his promise to conduct my Columbus Overture at one of the rehearsals for the benefit of Anders and myself. As, however, there was no question of producing this work even at one of the celebrated Conservatoire concerts, I saw clearly that the old gentleman was only moved by kindness and a desire to encourage me. It could not lead to anything further, and I myself was convinced that this extremely superficial work of my young days could only give the orchestra a wrong impression of my talents. However, these rehearsals, to my surprise, made such an unexpected impression on me in other ways that they exercised a decisive influence in the crisis of my artistic development. This was due to the fact that I listened repeatedly to Beethoven's Ninth Symphony, which, by dint of untiring practice, received such a marvellous interpretation at the hands of this celebrated orchestra, that the picture I had had of it in my mind in the enthusiastic days of my youth now stood before me almost tangibly in brilliant colours, undimmed, as though it had never been effaced by the Leipzig orchestra who had slaughtered it under Pohlenz's baton. Where formerly I had only seen mystic constellations and weird shapes without meaning, I now found, flowing from innumerable sources, a stream of the most touching and heavenly melodies which delighted my heart.

The whole of that period of the deterioration of my musical tastes which dated, practically speaking, from those selfsame confusing ideas about Beethoven, and which had grown so much worse through my acquaintance with that dreadful theatre--all these wrong views now sank down as if into an abyss of shame and remorse.

This inner change had been gradually prepared by many painful experiences during the last few years. I owed the recovery of my old vigour and spirits to the deep impression the rendering of the Ninth Symphony had made on me when performed in a way I had never dreamed of. This important event in my life can only be compared to the upheaval caused within me when, as a youth of sixteen, I saw Schroder-Devrient act in Fidelio.

The direct result of this was my intense longing to compose something that would give me a similar feeling of satisfaction, and this desire grew in proportion to my anxiety about my unfortunate position in Paris, which made me almost despair of success.

In this mood I sketched an overture to Faust which, according to my original scheme, was only to form the first part of a whole Faust Symphony, as I had already got the 'Gretchen' idea in my head for the second movement. This is the same composition that I rewrote in several parts fifteen years later; I had forgotten all about it, and I owed its reconstruction to the advice of Liszt, who gave me many valuable hints. This composition has been performed many times under the title of eine Faust-ouverture, and has met with great appreciation. At the time of which I am speaking, I hoped that the Conservatoire orchestra would have been willing to give the work a hearing, but I was told they thought they had done enough for me, and hoped to be rid of me for some time.

Having failed everywhere, I now turned to Meyerbeer for more introductions, especially to singers. I was very much surprised when, in consequence of my request, Meyerbeer introduced me to a certain M. Gouin, a post-office official, and Meyerbeer's sole agent in Paris, whom he instructed to do his utmost for me. Meyerbeer specially wished me to know M. Antenor Joly, director of the Theatre de la Renaissance, the musical theatre already mentioned. M. Gouin, with almost suspicious levity, promised me to produce my opera Liebesverbot, which now only required translation. There was a question of having a few numbers of my opera sung to the committee of the theatre at a special audience. When I suggested that some of the singers of this very theatre should undertake to sing three of the numbers which had been already translated by Dumersan, I was refused on the plea that all these artists were far too busy. But Gouin saw a way out of the difficulty; on the authority of Maitre Meyerbeer, he won over to our cause several singers who were under an obligation to Meyerbeer: Mme. Dorus-Gras, a real primadonna of the Grand Opera, Mme. Widmann and M. Dupont (the two last-named had previously refused to help me) now promised to sing for me at this audience.

This much, then, did I achieve in six months. It was now nearly Easter of the year 1840. Encouraged by Gouin's negotiations, which seemed to spell hope, I made up my mind to move from the obscure Quartier des Innocents to a part of Paris nearer to the musical centre; and in this I was encouraged by Lehrs' foolhardy advice.

What this change meant to me, my readers will learn when they hear under what circumstances we had dragged on our existence during our stay in Paris.

Although we were living in the cheapest possible way, dining at a very small restaurant for a franc a head, it was impossible to prevent the rest of our money from melting away. Our friend Moller had given us to understand that we could ask him if we were in need, as he would put aside for us the first money that came in from any successful business transaction.