In five or six days I shall visit Joachim at Hanover; he was here all last week, and showed me a very remarkable overture.  Joachim is making a considerable step in advance as a composer; and if he goes on like this for a few years, he will do something out of the way.

God bless you, dearest friend, in joy and sorrow!

Write soon to

Your

F. L.

May 20th, 1854.

155.

Dear friend,

In a very few days I shall write to you at length, and at the same time explain to you why this letter is so short.  For the present only this, because it must not be delayed:  Royalties, nothing else.  If these royalties are to be lucrative—­I.E., if my operas are to be given frequently—­the manager must be well and sincerely inclined to the cause.  Therefore we will treat him nobly.  You have written most excellently.

In a few days more from your

R. W.

May 26th, 1854. 156.

Highly esteemed Herr intendant,

By your courteous letter of May 29th, I must perceive that you are not inclined to agree with Wagner’s artistic views which cause and account for my interference in the performance of his works at Berlin.  I sincerely regret that the deplorable circumstances which prevent Wagner from living in Germany are still in existence, and that many things occur thereby which impede the natural progress of the performances of “Tannhauser” and “Lohengrin.”  You, sir, are too well versed and experienced in matters of art to ignore how much the success of important dramatic works depends upon the manner of their performance.  The masterpieces of Gluck, cited in your letter, surely owe, in spite of their great beauties, their permanent effect largely to the particular interest taken in them by Spontini and to his personal influence at Berlin.  In the same manner, the exceptional successes of Spontini’s and Meyerbeer’s own operas were enhanced by the special activity of their composers.  It would lead me too far to discuss further facts which have been proved so often, and I confine myself to telling you candidly that if the management intends to do no more than give Tannhauser or lohengrin just like any other work, it would be almost more advisable to give any other work and to leave those of Wagner alone.

With Capellmeister Dorn I had several conversations about the whole matter some months ago, and I am convinced that he will not consider Wagner’s condition of my undisguised participation in the performance of his works at Berlin to be an unfair demand.  It is of course natural that you, sir, are “not inclined to accept any obligation which would reflect on the dignity and the capability of the institution as well as on the authority of the intendant.”  Such an intention is, indeed, very far from my mind.  You add, sir, “I expect the confidence of the