Dearest Franz,

I have just had a letter from Munich telling me that they have given up “Rienzi” owing to religious scruples.  I want money, much money, in order to get honestly through my difficult position, and am looking out everywhere for a little business.  I have just offered my “Lohengrin” to the Cassel management.  If you can help me there, do so.

I should not like myself to write to Coburg, where I have been neglected in a surprising manner.  Do you know of a channel through means of which you could bring it about that they should buy “Lohengrin” and the “Dutchman” as well?  Think of this and help me in the old way.

A thousand greetings from your

R. W.

274.

Dearest Richard,

R.’s telegram of October 21st was received with joyful acclamation, and your letter, which arrived on the same evening, was the most welcome birthday present on account of the calm, conciliatory mood which I felt in it.  May you soon resume your work joyfully!  I hope you are getting on with “Tristan”, of which as yet I do not know a single note.  In accordance with your last letter, I have asked the Hartels to lend me the score for a few days when the engraver does not want it any longer.

Your hints as to the performances of “Lohengrin”, “The Flying Dutchman”, and “Rienzi” in Cassel, Gotha, and other cities will not be neglected, and I need not assure you again that I shall do all in my power.  First of all you will receive a letter concerning “Rienzi” from my chief and friend Dingelstedt.  The opera is to be given here in January.  Be kind enough to reply to Dingelstedt’s letter with some politeness, and do not be annoyed at my making this remark.  I wish very much to incline Dingelstedt a little more favourably towards the performance of your works and to co-operate with him in perfect sympathy.  That co-operation is of importance to me not only as regards “Tristan”, which will meet with no difficulty, and, as I hope and longingly wish, will open your return to Germany, but chiefly with a view to the performance of the “Nibelungen,” which is our ultimate goal.  The honorarium of 25 louis d’or which our theatrical exchequer can offer you is very small, but I advise you to accept it, and take it upon myself to get you a small douceur from the Grand Duke’s privy purse later on.

I should like to have Tichatschek for the first two performances of “Rienzi”, although that would increase the expense considerably.  But I have a great liking for him, and wish to get him some distinction from the Grand Duke on that occasion.