[Here, Wagner illustrates with a 2-bar musical example.]

where you have forgotten to mark the tempo as piu moderato, that is almost twice as slow as before, and in the G major passage (before the ensemble in B major), which, in my opinion, was also taken too fast, the rhythmical climax of the second part of the finale being considerably impaired thereby.

The chorus had studied its part well, but it is much too weak for Berlin, and in proportion to the vastness of the opera house, scarcely more efficient than ours, which always gives me great dissatisfaction.  The stringed instruments, also, are not sufficiently numerous, and should, like the chorus, be increased by a good third.  For a large place like this eight to ten double basses, and fifteen to twenty first violins, etc., would certainly not be too many at important performances.  On the other hand, the scenery and mounting of “Tannhauser” left nothing to be desired, and I can assure you that never and nowhere have I seen anything so splendid and admirable.  Gropius and Herr von Hulsen have really done something extraordinary and most tasteful.  You have heard, no doubt, that his Majesty the King had ordered the decorations of the second act to be faithfully reproduced after the designs for the restoration of the Wartburg, and that he had sent Gropius to Eisenach for the purpose.  The aspect of the hall with all the historic banners, and the costumes taken from old pictures, as well as the court ceremonial during the reception of the guests by the Landgrave, gave me incredible pleasure, as did also the arrangement of the huntsmen with their horns on the hill, the gradual filling up of the valley by the gathering of the hunt (four horses and a falcon bringing up the rear) in the finale of the first act; and, finally, the fifteen trumpets in the march of the second act

[Musical notation]

which blew their flourish from the gallery of the hall in a bold and defiant manner.

I only hope, dearest Richard, that you will hear and see all this before very long, and when I pay you a visit in the course of the summer, we shall have some more talk about it.

Your last letter was very sad and bitter.  Your illness must have put you out still more, and, unfortunately, your friends can do little to relieve you.  If the consciousness of the most sincere and cordial comprehension of, and sympathy with, your sufferings can be of any comfort to you, you may rely upon me in fullest measure, for I do not believe that there are many people in this universe who have inspired another being with such real and continual sympathy as you have me.

As soon as you are well again go to work and finish your “Valkyrie.”  The first two acts I returned to you.  You must sing them to me at Zurich.