At Berlin, where I stayed three weeks, I attended a few pianoforte rehearsals of “Tannhauser,” by invitation of Messrs. von Hulsen and Dorn, and if the first performance is not delayed after January 6th to 8th (for when it is announced), I shall be able to send you a report of it as an eye and ear witness.  Johanna will sing and act Elizabeth beautifully, and Formes is studying his part most conscientiously.  Dorn has already had a number of pianoforte and string rehearsals, and makes it a point of honour to produce the work as correctly and brilliantly as possible.

No doubt “Tannhauser” will become a “draw” at Berlin, which is the chief thing, even for the composer, and I hope that the critical treatment which I received at the hands of the critics will redound to the credit of “Tannhauser,” and that the infallible impression of your work on the public will not be impaired by carping notices.  I shall write to you about this at great length.

The day after tomorrow, Boxing-day, we shall have “Tannhauser” here, which retains its position as a “draw,” a distinction which it shares at Weymar, with “Lohengrin” and “The Flying Dutchman.”

Next spring “Lohengrin” is to be mounted again here.  Up to the present we still want an Ortrud, and, unfortunately, cannot get a good one from elsewhere.  The Leipzig one would, for example, be quite useless, and the voice of Frau Knopp is still much impaired by her late illness.

I am looking forward to “Lohengrin,” that wonderful work, which, to me, is the highest and most perfect thing in art—­until your “Nibelungen” is finished.

At Berlin, at Count Redern’s, I heard a few pieces from “Lohengrin” splendidly executed by several regimental bands, and was reminded of our pompous entry into the “Drei Konige” of Basle:  Our new Weymar Union has adopted the entry of the trumpets

[Musical notation]

as its “Hoch,” and I wish we could sing it to you in chorus soon.

Of my concert affairs, etc., I have nothing to tell you.  When I come to you I shall bring some of my scores with me.  The rest will not interest us much.  With similar compositions, the only question is, what is in them?  The publication I shall delay a few months (although six numbers are already engraved), for the reason that some of my excellent friends (an expression which Kaulbach is fond of using for people who do not like him) had the excellent intention of producing these things at once by way of a Warning example.  That amiable intention I want to forestall by a few performances under my own direction during the winter.

Try to get better again soon, and remember kindly

Your faithful

F. Liszt.

December 24th, 1855.

Best remembrances to Ritter.

207.

Dear Franz,

I am again, or rather still, unwell and incapable of anything.  I was just going to write something in the album, so that the Child might have it for the new year.  But it will not do; my head is too confused and heavy.  I write to you only to tell you so; a real letter I could not accomplish.  Apart from this I have nothing to tell you; I mean that I have no materials.