Last Sunday we gave “Komala” by Sobolewski.  I do not know whether you have seen a small pamphlet “Opera, not Drama,” which he published last year as an introduction to his opera.  The following beautiful comparison occurs in it:  “The words are the hard, transparent pieces of incense, the melody is the beautiful scent which emerges from the thick clouds of smoke, when the incense has been lit.”  In many other things I cannot agree with him, especially not as regards the marks of punctuation, by means of which he tries to distinguish himself from you, when at the end of the pamphlet he exclaims:  “Wagner says, opera not,—­drama; I say opera, not drama.”  His “Komala” is better than his comma, and his practice much better than his theory.  There is much in it that would please you, and has undoubtedly been originated by “Lohengrin.”  Sobolewski wrote “Komala” at first in three acts, and had it done in that form at Bremen.  Afterwards, in honour of operatic theory, and probably persuaded by the critics who thirst for contrasts and operatic tunes, he added two acts more, in which he introduced vocal pieces de salon, reminding one of the Queen in the “Huguenots”, and the inevitable drinking chorus.  By his desire I preserved the five acts at the first performance, but at the second I omitted the two additional ones without any consideration, or rather, for very good considerations, and shall even take the liberty of altering his finale, which has been fashioned after your finale of the second act of “Tannhauser” ("nach Rom"), and after the last act of “Iphigenia in Aulis.”  In that manner the work will appear in its only true form, and may keep its place as a fine musical cloud-and-mist picture in perfect accord with Ossian’s poem.  For your private benefit I send you a few motives from “Komala”, which I copied for you.

About the middle of November we shall perform here a comic opera, “The Barber of Baghdad,” founded on a tale from the “Arabian Nights,” words and music by Cornelius.  The music is full of wit and humour, and moves with remarkable self-possession in the aristrocratic region of art.  I expect a very good result.  “Rienzi” will be taken in hand immediately afterwards.

Excuse me for having delayed writing to you so long.  I am up to the ears in all manner of business and correspondence, and have not had a free hour since my return.  Please do not retaliate, and let me have good news of you soon.

Your

F. Liszt.

November 5th, 1858.

Kindly give the enclosed few lines to Ritter.  The additions to the “Dante” symphony and to the Gran Mass will be ready before Christmas, and I shall send you both together.

275.

Venice, November 21st, 1858.

My dear Franz,