score, in each case on delivery of the manuscript—­that is, for the “Rhinegold,” and perhaps for the “Valkyrie” also, now at once.  “Siegfried” will be in their hands by the end of this year.  However, as I remarked before, I must be satisfied even if they give me a little less.  In any case, it will be enough to keep me going for several years; and if I once know what I have, I shall make arrangements accordingly, being resolved, in any case, to leave the management of my income in future to my wife.

I need not tell you that if you come to terms with the Hartels other things ought to be left alone altogether, for I have made up my mind henceforth to preserve my independence as much as possible.

You now have the complete synopsis of my situation; let me commend it to your well-tried sympathy.

I hear with great delight that you are well again.  I have finished the composition of my first act, and, as soon as I have recovered a little strength, hope to score it before leaving my present house.  Of resuming composition proper I cannot think here; I have suffered too much of late by the musical and unmusical noisiness of my lodging.

Tell the dear Child that she will soon receive one of those letters from me which she likes, but not about “Indian poetry” (droll idea!), but about that of which my heart is full, and which I can call by no other name, than “Orpheus.”  But I must wait for a favourable mood.  You may tell the Child, however, that the “white rose” is now red and in full bloom, and that the “slender stem of the lily” looks right robust, and inspires confidence.  The Princess is angry with me—­I feel it—­but I know that I shall conciliate her.  A thousand greetings to her.

Farewell, dearest, dear Orpheus!

Your R. W.

236.

You could not possibly be forgotten, dearest friend, and the next few days will give me an opportunity of looking after your affairs most carefully.  On the 22nd I go to Leipzig to stay there for a whole week.  On Thursday, the 26th, “Les Preludes” and “Mazeppa” will be given at the Gewandhaus for the benefit of the pension fund of the orchestra, and on the 28th I am to conduct a performance of “Tannhauser” in Leipzig for the benefit of Herr Behr (the Landgrave), the Mildes singing Elizabeth and Wolfram respectively.  In the interval I hope I shall succeed in getting a little “Rhine copper” for the “Rhinegold” from the Hartels, and shall write to you at once.

Frau X. is announced to sing Ortrud on the 8th of March.  She is to sing the part twice, and then appear as Antonina in “Belisario.”  If she pleases her engagement is very probable.

I shall write very soon to Herr A., who sent me your letter by way of introduction, and I have in the meantime asked Herr von Beaulieu to let him make his debut as Lohengrin or Tannhauser.

Today, 16th February (the anniversary of the first performance of “Tannhauser,” in the year 1849), we shall have a gala performance of Gluck’s “Armida,” with Frau Koster of Berlin.  A new opera, never yet performed, by a Belgian composer, M. Lassen, “Landgraf Ludwig’s Brautfahrt,” will be put in rehearsal soon.  As far as I am concerned, while