overtures, and finally to rejoice in and be elevated by the prelude to “Lohengrin.”  Your plan of conducting next year performances of “Tannhauser,” “Lohengrin,” and the “Flying Dutchman” with efficient artists is very good.  We talked about this at Weymar in the year 1849; and, in my opinion, the enterprise can be made to succeed completely.  This year must serve you as a preparation; and when you are once accustomed to London air, it may be expected that you will settle there comfortably.  Beware of the theatrical speculators, who will be sure to try and make the best of you, and might be dangerous both to your purse and to your position.  Once more, good luck!

Your

F. L.

Weymar, January 25th, 1855.

Best remembrances to your wife.  For the first year she will, I suppose, remain at Zurich.

Do not keep me waiting too long for a letter, and send me your
“Faust.”  The Princess and the Child greet you cordially.

I shall send you in a few days an English translation of your three opera poems in manuscript; it may be of use to you in London.

173.

Herewith, dearest Franz, you receive my remodelled “Faust” overture, which will appear very insignificant to you by the side of your “Faust” symphony.  To me the composition is interesting only on account of the time from which it dates; this reconstruction has again endeared it to me:  and with regard to the latter, I am childish enough to ask you to compare it very carefully with the first version, because I should like you to take cognisance of the effect of my experience and of the more refined feeling I have gained.  In my opinion, new versions of this kind show most distinctly the spirit in which one has learned to work and the coarsenesses which one has cast off.  You will be better pleased with the middle part.  I was of course unable to introduce a new motive, because that would have involved a remodelling of almost the whole work; all I was able to do was to develop the sentiment a little more broadly, in the form of a kind of enlarged cadence.  Gretchen of course could not be introduced, only Faust himself:—­

“ein unbegreiflich holder Drang, trieb mich durch Wald und Wiesen hin,” etc

The copying has unfortunately been done very badly, and probably there are many mistakes in it.

If some one were to pay me well for it, I might still be inclined to publish it.  Will you try the Hartels for me?  A little money would be very welcome in London, so that I might the better be able to save something there.  Please see to this.  All this, however, is only the prelude to your “Faust” symphony, to which I look forward with infinite pleasure.  I have nothing further to tell you, except that I have been fool enough to take more trouble about a performance of “Tannhauser” at the local theatre than had been my intention.  It will take place tomorrow, and, considering the miserable conditions, will turn out fairly well.  But I shall not conduct.  Cordial thanks for your pieces of advice, which have my full approval.  I intend to appear in London only as a conductor, and to be very tough about my compositions.