My dearest friend,
Can we not do business together?
You know that I have so far been unable to ask anything more of Härtels for the publication of my Nibelungs than a declaration of their willingness to assume responsibility for producing the edition, together with the offer to share with me any profits that may result from its sale. Six months ago I enquired whether the Grand Duke of Weimar was interested in acquiring the publishing rights of my scores: he was to pay the same for each of the scores as Härtels had agreed to pay me for Tristan and, in return, he, for his part, would acquire my rights to a financial share in the edition. In response to this enquiry, I received a carping and evasive reply (which Liszt attributed to Dingelstedt’s influence), and so I let the matter rest.
However, the possibility of being paid a fee for these scores is now of such pressing importance, and my inclination to complete the whole work now depends so much upon my receiving the encouragement to do so in the form of some outside interest in this work that, in my present mood of cheerful confidence, the thought has occurred to me to address to you today the same offer that Weimar has rejected.
Let me begin by mentioning briefly all that can be said in favour of such an arrangement - quite apart from the friendly relations between us without which the deal could not of course be brought about. As soon as the performance has taken place and the possibility has emerged that the work will be taken up elsewhere, Härtels would not hesitate for a moment to offer me the fee I have demanded for its publication. But I cannot expect them, purely as businessmen, to regard all the difficulties which stand in the way of a successful outcome to this venture, as having already been surmounted. None the less, I know for certain that I shall surmount them all, and the forthcoming production of Tristan is the first step in that direction. My attitude towards this work shall be exactly the same as towards all my other works: I shall do all I can to ensure the success of the first performance, but after that I shall trouble myself no further with it, but abandon it to other theatres in the confident expectation that they will begin with the most popular pieces, such as young Siegfried, and gradually prepare all the others, a process in which they will be helped by their intensely national subject-matter. Quite apart from this later increase in popularity, however, I cannot think of a first performance as being in any way possible except in circumstances that attract the eyes and interest of the entire world to this work such that its success and, consequently, the sale of the edition will bear no relation to anything previously seen in this field.
Since, moreover, I have paid only scant attention to the present age in writing this work, but am appealing rather to the next generation and to posterity (and certainly with more justification than anyone before me), it follows that, if I had children and were additionally able to afford it, I should certainly not part with this work except on condition that I received a share in its proceeds. Thus, if I surrender my rights to a third party who has not only the means to afford to await a gradual and perhaps long-delayed success but also heirs who might benefit from that success, I believe I may enter into an acceptable relationship with the intended third party. I can of course draw the other person’s attention to the chances of long-term profits offered by his ownership of such works; within the last few days I have come across confirmation of this in the fact that the fortune which Schiller left to his heirs consisted solely in the continuing profits from his own works, which even today still provide his successors with a handsome income.
- These are the considerations which persuade me, in the case of my present offer to you, to emphasize the beneficial nature of this proffered sale, even if it be one that becomes profitable only with the passage of time. If you accept my proposal, I shall enjoy the satisfaction of knowing that I have made you an honest offer, however unfavourable the circumstances may initially seem, and, even as I lie dying, I shall be conscious of the fact that, although it may not be the case by then, the capital that you have invested will return to you or your family not only with interest but also, perhaps, with a corresponding profit.
None the less, I can speak here only of my own personal satisfaction. The fact that, for your own part, quite different motives must be involved in persuading you to agree to such a hazardous transaction is something that I understand better than anyone need tell me; and here I hope it will be sufficient for me to assure you that I should have no difficulty in valuing your acceptance at its true worth. - The favourable outcome of your agreeing to this proposal would be most heartening for me. I should then find myself in a position that would encourage me in my future work, a position I believed (in silent despair - as you can well imagine!) I had to work to achieve for myself by means of the American adventure we discussed, - in other words: I could set aside all forthcoming theatre receipts for some time to come and thus know that my future was progressively assured in advance. But the most cheering aspect of this whole affair would be to know that this pleasure would derive directly from a work to which I could now devote myself uninterruptedly and undistractedly. No other course could offer me this same benefit, especially now that I am firmly resolved to accept no further resources other than those that result from my own labours, just as I have no longer been accepting the Ritters’ annuity for some time now (I mention this only in passing), in spite of the most moving protests on the part of my noble friends.
If you wished to accept my offer, I should insist upon a legally binding deed of sale, somewhat along the lines of the accompanying draft. In fixing the price of each score, I have referred to what I am receiving from Härtels for Tristan. They are paying me 200 louis d’or for the score now, and have assigned to me a share in the proceeds of up to an additional 100 louis d’or, so that, bearing in mind the fact that I am surrendering my copyright in perpetuity, I would stipulate 300 louis d’or, or rather 6000 francs, for each score. Accordingly, you would have to pay me 12,000 fr. immediately for the two completed works, 1., the Rhinegold. 2., the Valkyrie, a further 6000 fr. on completion of “Young Siegfried”, and a similar amount on completion of the last of the 4 pieces. - Moreover, once your copyright had been established, the finished scores would be handed over to Härtels as soon as possible (say, after the appearance of Tristan), so that the task of engraving and publishing them can then be taken in hand. As you know, I set great store by this edition, and the fact that it will take such a long time is yet another reason why your acceptance of my offer would be so welcome to me, since I should otherwise consider it necessary to hesitate before handing over the scores to Härtels. It goes without saying that I shall assume responsibility, in your name, for whatever steps need to be taken with the publishers in this respect. —
Let me know what you think of this proposal, which I refuse to regard on this occasion as a request or favour.
When I consider the sacrifices you have already made in order to encourage me and my works, I believe I am right in thinking that it is not expecting too much either of your means or of your kindness towards me. The only thing that makes me hesitate is the fact that, as a result of your earlier sacrifices, you have already acquired a right to my works: and this - I really cannot deny, but would have to throw myself on your mercy.
I look forward to your early reply and assure you, whatever happens, of my most sincere and appreciative thanks.
Yours,
Richard Wagner.
Draft.
1. Herr Rich. Wagner hereby surrenders to Herr Otto Wesendonck in perpetuity the copyright of the stage festival play: the Ring of the Nibelung, written and composed by the first-named party and consisting of the following four pieces 1., The Rhinegold. 2., The Valkyrie. 3., The Young Siegfried. 4., Siegfried’s Death, such that Herr Ot. Wes., his heirs and other assignees shall be granted all fees and profits in perpetuity which shall accrue to the author under the terms of an agreement to be signed with the publishers of the said works for the publication and reproduction of the same whether engraved or printed.
The author himself shall retain only such revenues as shall result from public performances of the said works.
2. In return for the surrender of the copyright, Herr O.W. shall pay to R.W. the sum of 24,000 fr., in instalments of 6000 fr. for each completed 4th part of the total work.
Separate receipts for the payments received are attached.
Source: Selected Letters of Richard Wagner, trans. and ed. Stewart Spencer and Barry Millington (W. W. Norton & Company, 1988), No. 245