[...] Yesterday I dispatched to you the finished sketch for a great comic opera. You will see the kind of thing it is and will no doubt agree that I am right in forecasting it as one of my most original and popular works. I had been saving up this cheerful piece of work for a long time. I believed I should have to wait till I was older, because I did not think myself capable of attaining the right mood for the work in my present harried existence. However, the hardships of this present stage of my human and artistic careers have suddenly recalled this darling project, and working it out is the only thing which can help me to recover from the strain of the endless difficulties of my position. As you are to give me your unreserved support, I will explain the position to you with the utmost frankness.
Having been for two years almost entirely without any pecuniary reward or equivalent for the extraordinary sacrifices which my recent difficult time in Paris exacted from me, I was obliged, in looking forward to a first performance of Tristan and Isolde in the course of October, to take into particular account the expected honorarium of 5000 francs. This alone, however, was insufficient aid in view of the burdensome commitments incurred in the period of which I have spoken, and I had to look to the sale of the score this winter to a number of first-class theatres, consequent upon a success in Vienna, to meet my needs in some slight degree. Well, all this has come to nothing. I can no longer count on Ander. Morini has not proved the singer I need for my opera. We are now trying to settle for the succeeding winter with Tichatschek, who is delighted with Tristan, and accordingly I see a whole year before me in which I can do nothing towards getting my recent works performed. The management here offered me a payment on account of my honorarium. I believe I acted wisely in refusing it (your welcome advance enabled me to do so), as I was and am thereby in a position vigorously to refute a calumny which has been spread abroad, accusing me of taking forfeit money from the management in respect of Tristan. [...]
When I saw before me the prospect of a year wasted in every respect, I asked myself what I should do next. [...]
Then suddenly my wonderful Mastersingers cropped up, and all in a moment I felt once more master of my fate. [...] Although I have in view a rapid circulation through all the theatres, I do not, of course, in the least intend to offer unworthy work. The subject permits me to write clear, transparent yet pithy music in the gayest colours. A glance at the sketch will show you that my own characteristic note, even the tenderly sentimental, will be struck here round and full. In short, I think I can count, particularly at the moment, on having struck the most characteristic chord of German life, in such a way, moreover, that its originality will appeal to foreigners as well. For instance, I remember hearing the director of the Grand Opera at Paris [Royer], as he looked with me through the extremely quaint German costumes of the fifteenth and sixteenth centuries, sigh and say, "Ah, if only you could give us an opera in this costume! Unfortunately I can never make use of it!" (This by the way!)
With regard to the working out of my scheme, let me tell you the following: Before this month is over I shall retire completely from the world for a year and shall very likely accept Prince Metternich's offer of a small apartment overlooking the garden in his quiet Embassy hotel in Paris. By October 1st, 1862, the opera must be sent to all the German theatres and, I hope, be performed at all before December. There is a great demand for a new opera of my composition—only the difficulties—real or imaginary—of my recent completed works scare people away.
I should like to conclude a formal contract with you, putting myself unreservedly in your hands. In it I would undertake to deliver the finished poem on January 1st, 1862, the first act of the score on the last day of March, the second on the last day of June, the third on the last day of September. [...]
I should like Herr Marpurg of Mainz to be commissioned to do the pianoforte arrangements. He would work on each instalment of the full score as it was delivered, so that the pianoforte arrangement could be published simultaneously with the full score.
The prospect of being exclusively occupied in this way on a single continuous task, which will radically distract and cheer me, is the only thing that can make the next year of my life seem not only bearable but actually delightful, otherwise I should languish wretchedly.
This, however, is possible only if you have full confidence in me and share my confidence in my own powers. On these conditions only can the undertaking commend itself to you, and on my part, I can only proceed if I can feel that for the moment I am relieved of all material cares and restrictions, my needs fully supplied for my year of work, and my livelihood secured at least for the period immediately following its completion. [...]
[...] Let me tell you that I shall visit you in Mainz within the week. It is to be hoped we shall arrange all necessary matters then by word of mouth. [...]
For the rest, for me to gain time now is to gain everything. In strict confidence I may tell you that, as soon as there is no special need for me to press things, and particularly when I am able to leave the financial interest almost entirely out of the game, I have a very secure prospect of receiving certain most important commissions from the Prussian Court, which will serve as the foundation for the production of my Nibelung dramas there. It almost rests with myself now, whether I receive an invitation to perform The Rhinegold in Berlin next winter. Here in Vienna next winter—in addition to Tristan (Tichatschek), Beck will make an excellent Hans Sachs.
I am considering holding the first performance of The Mastersingers in Munich about the middle of November. My capacity to make the best of my artistic plans with independent authority rests [...] on avoidance of pressure in regard to pecuniary interests where I have to co-operate in person. You cannot believe how much you have helped me by making this possible for me just recently here [...] On the other hand, however, I have no means, no salary, am thrown back on my work, have made the greatest sacrifices in recent years, and at this very moment should be unable to stir from the spot if—the "Mastersingers" and friend Schott did not help me! [...]
Source: Letters of Richard Wagner, Vol. 2, selected and ed. Wilhelm Altmann, trans. M. M. Bozman (J. M. Dent & Sons, 1927), No. 504