I am rather late in thanking you for your reply, dear Master, but am glad to say that before it arrived I had already written to Rietz, taking the same line as you, though I expressed myself more wildly.
I hear through Heine in Zürich that you are feeling well morally and physically. (I can almost say the same of myself, thanks to the most varied gifts of fortune.) A further proof lies in the “Recollections of Rossini,” which I distribute broadcast among choirs, orchestras, music-school teachers, and so on. All this encourages me to put you in touch with what goes on here, as if you were not yet “dead”! And you must not mind if a few uninteresting trifles creep in among the rest.
Iphigenia, which we rehearsed most thoroughly (Hallwachs did his part splendidly too), has been several times postponed, first because Agamemnon (“Minderkann”) had been too lazy to unlearn, and secondly because of the gastrically feverish Clytemnestra (Diez). It is definitely to be given on Friday, however, and the Sunday after we have Goethe’s Tauris (see Perfall). The Dutchman with Fräulein Gungl as Senta (photograph enclosed) is fixed for next Sunday, December 26.
You must not suppose from the fact that we are giving Fidelio (newly rehearsed) today that I am allowing a theoretical indifference to your clearly expressed views on this work to me to amount to practical opposition on my part. Not that, but simply because it was unavoidable. A week ago Perfall had to repeat Gounod’s Faust in order to make a little money, as the Cabinet has irresponsibly cut down his spending powers. On this account, then, Faust, of which a short account later. Iphigenia being out of the question, Fidelio was the best possible choice, as Frau Richter (who has now definitely entered upon her teaching duties at the music school) sings the name-part and by her practical achievements at rehearsals has given us a foretaste of her professional authority. The performance was a model one throughout, and the public more spontaneously moved perhaps than under Lachner’s command performance. I am now really established. The Bach suite and Mozart symphony were revised by me down to the tiniest details of light and shade.
Richter is working as vigorously as ever. He becomes more popular and respected every day. We often dine together at the “Orlando di Lasso.”
Grandauer has brought out a new art-paper with Grosse: Propyläen, which is to appear from January 1, 1869, as supplement to a new official rag, the Bayrische Landeszeitung. Tone good.
Perfall is occasionally too chicken-livered; also uncertain in health, of course. But the official board still thrives by God’s grace and I continue to “clothe” it and keep it in a good temper.
Liszt is passing through Augsburg in the beginning of next year, when I am to see him.
My speech (see enclosure) to the orchestra at the rehearsal on Monday (the day after Faust, conducted of course by Mayer) was to this effect:
“Gentlemen, we have to fight against a common foe: the indifference and listlessness of the public. If we devote all our powers to the defeat of this enemy we shall be serving at once the ideal interests of our noble art and the practical interests of ourselves as artists. It is only by perfect performances of classical works of art that we can achieve this. True, the achievement of our aim seems hardly realizable when we see that such styleless bastard productions as the opera Faust by the semi-Frenchman Gounod can still evoke storms of enthusiasm. These depressing experiences must not, however, mislead us or cause us to shrink from our task. It rests with us to raise the better-informed, nobler-minded minority of the public little by little to a majority. Like the Danish knight in Gluck’s Armida, let us appear before our public armed with Gottfried’s glittering shield, on which the names of our German tone-heroes are emblazoned; let us lead this public into the light and seek to free it from the shackles of the corrupt-smelling opera-Armida. Let us work, let us act with all our heart; we shall then conquer the hearts of the listeners.”
Before this I had explained the significance of my program and proved that it was in no sense exhausting for either performers or listeners. And I was grandement justified by its success.
Dräseke is still here, still somewhat unaccustomed to his deafness and correspondingly depressed. Shall be glad when he leaves. Herewith a letter from Hermann Levi (Heymann?), which shows that the Meistersinger is being taken seriously at Karlsruhe. Bronsart on the other hand is obliged to put on Mignon. As for the Dutchman, there is no question about its success in Berlin. I have made inquiries right and left.
Not a word from H.M.
My time is up, hence this abrupt close.
PS. One thing more: do not be offended at my having given Richter for a Christmas present the seal you gave me with your bust on it. I have had engraved on it the words: “Honour your German Meister.” Seems to me I am setting a good example!
Source: Letters of Hans von Bülow to Richard Wagner, Cosima Wagner, His Daughter Daniela, Luise von Bülow, Karl Klindworth, Carl Bechstein, ed. Richard Count Du Moulin Eckart, trans. Hannah Waller, ed. Scott Goddard (Alfred A. Knopf, 1931), No. 291