My Life by Richard Wagner (ebook reader TXT) 📕

to enter. Imagine, therefore, our astonishment when we found the master, who had already been informed of the news in a letter from Devrient, in the very brightest spirits.

He told us that he had to leave immediately for Paris, and that from there he was to travel to Rome, the Holy Father having commanded him to come in order to receive the title of 'Count of San Andrea.' Then he showed us a second document, in which the King of Denmark was supposed to have raised him to the Danish nobility. This meant, however, only that the title of 'Ritter' of the 'Elephanten-Order' had been conferred upon him; and although this was indeed a high honour, in speaking about it he only mentioned the word 'Ritter' without referring to the particular order, because this seemed to him too ordinary for a person of his dignity. He was, however, childishly pleased over the affair, and felt that he had been miraculously rescued from the narrow sphere of his Dresden Vestalin production to find himself suddenly transported into regions of glory, from which he looked down upon the distressing 'opera' world with sublime self- content.

Meanwhile Rockel and I silently thanked the Holy Father and the King of Denmark from the bottom of our hearts. We bode an affectionate farewell to the strange master, and to cheer him I promised him seriously to think over his friendly advice with regard to my career as a composer of opera.

Later on I heard what Spontini had said about me, on hearing that I had fled from Dresden for political reasons, and had sought refuge in Switzerland. He thought that this was in consequence of my share in a plot of high treason against the King of Saxony, whom he looked upon as my benefactor, because I had been nominated conductor of the royal orchestra, and he expressed his opinion about me by ejaculating in tones of the deepest anguish: 'Quelle ingratitude!'

From Berlioz, who was at Spontini's deathbed until the end, I heard that the master had struggled most determinedly against death, and had cried repeatedly, 'Je ne veux pas mourir, je ne veux pas mourir!' When Berlioz tried to comfort him by saying, 'Comment pouvez-vous penser mourir vous, mon maitre, qui etes immortel!' Spontini retorted angrily, 'Ne faites pas de mauvaises plaisanteries!' In spite of all the extraordinary experiences I had had with him, the news of his death, which I received in Zurich, touched me very deeply. Later on I expressed my feelings towards him, and my opinion of him as an artist, in a somewhat condensed form in the Eidgenossischen Zeitung, and in this article the quality I extolled more particularly in him was that, unlike Meyerbeer, who was then the rage, and the very aged Rossini, he believed absolutely in himself and his art. All the same, and somewhat to my disgust, I could not but see that this belief in himself had deteriorated into a veritable superstition.

I do not remember in those days having gone deeply into my feelings about Spontini's exceedingly strange individuality, nor do I recollect having troubled to discover how far they were consistent with the high opinion I formed of him after I had got to know him more intimately. Obviously I had only seen the caricature of the man, although the tendency towards such plainly overweening self-confidence may, at all events, have manifested itself earlier in life. At the same time, one could trace in all this the influence of the decay of the musical and dramatic life of the period, which Spontini, situated as he was in Berlin, was well able to witness. The surprising fact that he saw his chief merit in unessential details showed plainly that his judgment had become childish; in my opinion this did not detract from the great value of his works, however much he might exaggerate their value. In a sense I could justify his boundless self-confidence, which was principally the outcome of the comparison between himself and the great composers who were now replacing him; for in my heart of hearts I shared the contempt which he felt for these artists, although I did not dare to say so openly. And thus it came about that, in spite of his many somewhat absurd idiosyncrasies, I learned during this meeting at Dresden to feel a deep sympathy for this man, the like of whom I was never again to meet.

My next experiences of important musical celebrities of this age were of quite a different character. Amongst the more distinguished of these was Heinrich Marschner, who, as a very young man, had been nominated musical director of the Dresden orchestra by Weber. After Weber's death he seemed to have hoped that he would take his place entirely, and it was due less to the fact that his talent was still unknown, than to his repellent manner, that he was disappointed in his expectations. His wife, however, suddenly came into some money, and this windfall enabled him to devote all his energies to his work as composer of operas, without being obliged to fill any fixed post.

During the wild days of my youth Marschner lived in Leipzig, where his operas Der Vampir and Templer und Judin saw their first appearance. My sister Rosalie had once taken me to him in order to hear his opinion about me. He did not treat me uncivilly, but my visit led to nothing. I was also present at the first night of his opera Des Falkner's Braut, which however was not a success. Then he went to Hanover. His opera Hans Heiling, which was originally produced in Berlin, I heard for the first time in Wurzburg; it showed vacillation in its tendency, and a decrease in constructive power. After that he produced several other operas, such as Das Schloss am Aetna and Der Babu, which never became popular. He was always neglected by the management at Dresden, as though they bore him some grudge, and only his Templer was played at all often. My colleague, Reissiger, had to conduct this opera, and as in his absence I always had to take his place, it also fell to my lot on one occasion to direct a performance of this work.

This was during the time that I worked at my Tannhauser. I remember that, although I had often conducted this opera before in Magdeburg, on this occasion the wild nature of the instrumentation and its lack of mastership affected me to such an extent that it literally made me ill, and as soon as he returned, therefore, I implored Reissiger at any cost to resume the leadership. On the other hand, immediately after my nomination I had started on the production of Hans Heiling, but merely for the sake of the artistic honour. The insufficient distribution of the parts, however, a difficulty which in those days could not be overcome, made a complete success impossible. In any case, though, the whole spirit of the work seemed to be terribly old- fashioned.

I now heard that Marschner had finished another opera called Adolph von Nassau, and in a criticism of this work, of the genuineness of which I was unable to judge, particular stress was laid upon the 'patriotic and noble German atmosphere' of this new creation. I did my best to make the Dresden theatre take the initiative, and to urge Luttichau to secure this opera before it was produced elsewhere. Marschner, who did not seem to have been treated with particular consideration by the Hanoverian opera authorities, accepted the invitation with great joy, sent his score, and declared himself willing to come to Dresden for the first performance. Luttichau, however, was not anxious to see him take his place at the head of the orchestra; while I, also, was of the opinion that the too frequent appearance of outside conductors, even if it were for the purpose of conducting their own works, would not only lead to confusion, but might also fail to be as amusing and instructive as Spontini's visit had proved to be. It was therefore decided that I should conduct the new opera myself. And how I lived to regret it!

The score arrived: to a weak plot by Karl Golmick the composer of the Templer had written such superficial music, that the principal effect lay in a drinking song for a quartette, in which the German Rhine and German wine played the usual stereotyped part peculiar to such male quartettes. I lost all courage; but we had to go on with it now, and all I could do was to try, by maintaining a grave bearing, to make the singers take an interest in their task; this, however, was not easy. To Tichatschek and Mitterwurzer were assigned the two principal male parts; being both eminently musical, they sang everything at first sight, and after each number looked up at me as if to say, 'What do you think of it all?' I maintained that it was good German music; they must not allow themselves to get confused. But all they did was to stare at each other in amazement, not knowing what to make of me. Nevertheless, in the end they could not stand it any longer, and when they saw that I still retained my gravity, they burst into loud laughter, in which I could not help joining.

I now had to take them into my confidence, and make them promise to follow my lead and pretend to be serious, for it was impossible to give up the opera at this stage. A Viennese 'colorature' singer of the latest style--Madame Spatser Gentiluomo--who came to us from Hanover, and on whose services Marschner greatly relied, was rather taken with her part chiefly because it gave her the chance of showing 'brilliancy.' And, indeed, there was a finale in which my 'German master' had actually tried to steal a march on Donizetti. The Princess had been poisoned by a golden rose, a present from the wicked Bishop of Mainz, and had become delirious. Adolph von Nassau, with the knights of the German empire, swears vengeance, and, accompanied by the chorus, pours out his feelings in a stretta of such incredible vulgarity and amateurishness that Donizetti would have thrown it at the head of any of his pupils who had dared to compose such a thing. Marschner now arrived for the dress rehearsal; he was very pleased, and, without compelling me to falsehood, he gave me sufficient opportunities for exercising my powers in the art of concealing my real thoughts. At all events I must have succeeded fairly well, for he had every reason to think himself considerately and kindly treated by me.

During the performance the public behaved very much as the singers had done at the rehearsals. We had brought a still-born child into the world. But Marschner was comforted by the fact that his drinking quartette was encored. This was reminiscent of one of Becker's songs: Sie sollen ihn nicht haben, den freien deutschen Rhein ('They shall not have it, our free German Rhine'). After the performance the composer was my guest at a supper party at which, I am sorry to say, the singers, who had had enough of it, would not attend. Herr Ferdinand Hiller had the presence of mind to insist, in his toast to Marschner, that 'whatever one might say, all stress must be laid on the GERMAN master and GERMAN art.' Strangely enough, Marschner himself contradicted him by saying that there was something wrong with German operatic compositions, and that one ought to consider the singers and how to write more brilliantly for their voices than he had succeeded in doing up to the present.

Highly gifted as Marschner was, there can be no doubt that the decline of his genius was due partly to