Dear Uhlig,
Yesterday I received the book: "Three Opera Poems." The preface had to some extent slipped from my memory, and I formally devoured it in the very neat, noble (and marvellously correct!) edition. Heaven knows how it is with others, but this preface has deeply interested me; I say this fearlessly. This was really the most important message which I had to deliver, for it was absolutely necessary to complete Oper und Drama. Surely I now have the right to think I have done enough with my pen! What can I still say if now my friends do not clearly understand, and why should I now still worry myself if my friends still keep dust in their eyes! I am now — with regard to what is done — perfectly satisfied with myself, for certainly I have left nothing undone in order to make myself intelligible. Anything further is simply the business of those who take an interest in me!
Unfortunately, I have forgotten to order a copy of this book for our good R. in W. Could not K. remedy my fault, and get a copy, which you in your turn might send off to W.?
Well, I have now read through the letter to Liszt on the Goethe foundation. I look upon the publication of this letter as by no means unimportant, only I cannot for the life of me see why it should be in the Neue Zeitschrift für Musik! I feel fresh sympathy for Brendel since he defended me against the Grenzboten, and if I am doing him service, and obliging him by giving this letter for his paper, he might show his gratitude by having it also printed separately, as a small pamphlet (and not a shabby-looking one); he might send this out from the publishing-house of his paper and advertise it, so that it might come before those for whom the letter is specially intended — and these are certainly not the musicians, at any rate not exclusively.
On the occasion of the pianoforte score, I have again looked a little at the music of Lohengrin. Would it not interest you, since you always write things of the kind, to discuss the thematic web, and show how the path I have struck out must lead to ever-fresh developments of form? Amongst other things, this came into my mind in the first scene of the second act. Just at the beginning of the second scene of this act — when Elsa steps on to the balcony — it struck me how in the prelude for wind instruments, in the 7th, 8th, and 9th bars, where Elsa appears by night, a theme is heard for the first time which, later on, when Elsa advances towards the church, in bright daylight and full splendour, is presented in complete development, broad and bright. Thereupon it became evident to me that my themes always originate coherently, and with the character of plastic phenomena. Perhaps you can express this better than I.
Have you heard nothing of late about E. D. — whether he reads my writings, and what impression they make on him? I confess that I often think of him quite unawares, and I would much like to know how far a man of this sort remains behind through lack of inward energy and genuine courage, and how far, on the other side, he is to be brought forward through his good intelligence and honourable will. Can I not write to him? I should be exceedingly glad — at least it would interest me — were he to write to me (besides, he really owes me a letter). How could you get at him? In any case, I should like him to have read the "Preface to Three Opera Poems" before he wrote.
January 1st. I kept back this letter until I got news from you again: this has happened to-day. I first answer some of your questions.
Send me at once the pianoforte scores of Rienzi and Tannhäuser (at my expense, of course), and do the same with the full scores. So far as the Lohengrin score is concerned, I feel almost inclined to stop the copying altogether — especially as Wölfel is so much behind. Of what good is this copy, as it will never be wanted? And by the time it is wanted, the engraved copies will be also ready. However one may regret what has already been written, a part of this useless labour will cost less than the whole. I shall take out of it only what is necessary for my concert; the rest may be destroyed. I am ever annoyed that I gave the order for the sake of the Brussels windbags, and caused unnecessary expense. Wölfel might, therefore, still copy me quickly the first scene of the third act with the orchestral introduction; then send me this, the great Prelude, and the great scene for male chorus from the second act, so that I may arrange all for the concert. He can at the same time prepare the Tannhäuser score for me. Be good enough to give me a detailed account of the expenses.
You are always writing to me about "the" critic of the Gegenwart; but I do not know what you mean. I have read nothing of his; where shall I find anything?
Brendel has written to me; his letter and his latest explanations in a specimen-sheet have somewhat disposed me in his favour. His recent fervour, nay, enthusiasm, rejoices me. Now I will again write a letter for his paper; perhaps I may still be of use to it, and contribute in a decisive manner towards making it more useful than it can possibly be under present circumstances. The letter concerning the Goethe foundation can appear later on, because I wish first to widen the tendency of the paper, so that this very letter will then appear in it as something intelligible and suitable. But after that, no one will catch me at such a thing again.
Let me soon know what effect my "Preface" is making; and try and get it well known!
Yesterday we had St. Sylvester with present-making; with that our Christmas festival has come to an end. I was able, in fairly good humour, to see the new year in. How are you at home? All the youngsters well? You write nothing to me about your leave of absence!
I shall not get any real rest until I commence my great work; I don't care for anything else. I must positively prey once more upon myself. Only I shall take care that this does not interfere with my spring cure.
What do the R.'s think of me? Have they not had enough of me?
Farewell, good, dear friend! Remain true to me, and let me even to-day assure you that you are a great, great blessing to me! Minna sends heartiest greetings!
Your
R. W.
The silver plate has delighted my wife in a fabulous manner; she sends no end of thanks to the R.'s.
I think I shall have the parts for my concert copied in Dresden; in this place there is not one trustworthy copyist, and besides, they are much dearer than at Dresden. But do send the Lohengrin things, for I must first arrange them.
Source: Richard Wagner's Letters to His Dresden Friends, Theodor Uhlig, Wilhelm Fischer, and Ferdinand Heine, trans. J. S. Shedlock (Scribner & Welford, 1890), No. 51