the title of Die Nibelungen, but in working it out I finally lost all inclination to elaborate the historical material for a real drama.
In direct connection with this I began to sketch a clear summary of the form which the old original Nibelungen myth had assumed in my mind in its immediate association with the mythological legend of the gods-a form which, though full of detail, was yet much condensed in its leading features. Thanks to this work, I was able to convert the chief part of the material itself into a musical drama. It was only by degrees, however, and after long hesitation that I dared to enter more deeply into my plans for this work; for the thought of the practical realisation of such a work on our stage literally appalled me. I must confess that it required all the despair which I then felt of ever having the chance of doing anything more for our theatre, to give me the necessary courage to begin upon this new work. Until that time I simply allowed myself to drift, while I meditated listlessly upon the possibility of things pursuing their course further under the existing circumstances. In regard to Lohengrin, I had got to that point when I hoped for nothing more than the best possible production of it at the Dresden theatre, and felt that I should have to be satisfied in all respects, and for all time, if I were able to achieve even that. I had duly announced the completion of the score to Herr von Luttichau; but, in consideration of the unfavourable nature of my circumstances at the time, I had left it entirely to him to decide when my work should be produced.
Meanwhile the time arrived when the keeper of the Archives of the Royal Orchestra called to mind that it was just three hundred years since this royal institution had been founded, and that a jubilee would therefore have to be celebrated. To this end a great concert festival was planned, the programme of which was to be made up of the compositions of all the Saxon orchestral conductors that had lived since the institution had been founded. The whole body of musicians, with both their conductors at their head, were first to present their grateful homage to the King in Pillnitz; and on this occasion a musician was, for the first time, to be elevated to the rank of Knight of the Civil Order of Merit of Saxony. This musician was my colleague Reissiger. Until then he had been treated by the court, and by the manager himself, in the most scornful manner possible, but had, owing to his conspicuous loyalty at this critical time, especially to me, found exceptional favour in the eyes of our committees. When he appeared before the public decorated with the wonderful order, he was greeted with great jubilation by the loyal audience that filled the theatre on the evening of the festival concert. His overture to Yelva was also received with a perfect uproar of enthusiastic applause, such as had never fallen to his lot; whereas the finale of the first act from Lohengrin, which was produced as the work of the youngest conductor, was accorded only an indifferent reception. This was all the more strange as I was quite unaccustomed to such coolness in regard to my work on the part of the Dresden public. Following upon the concert, there was a festive supper, and when this was over, as all kinds of speeches were being made, I freely proclaimed to the orchestra, in a loud and decided tone, my views as to what was desirable for their perfection in the future. Hereupon Marschner, who, as a former musical conductor in Dresden, had been invited to the jubilee celebrations, expressed the opinion that I should do myself a great deal of harm by holding too good an opinion of the musicians. He said I ought just to consider how uncultivated these people were with whom I had to deal; he pointed out that they were trained simply for the one instrument they played; and asked me whether I did not think that by discoursing to them on the aspirations of art I would produce not only confusion, but even perhaps bad blood? Far more pleasant to me than these festivities is the remembrance of the quiet memorial ceremony which united us on the morning of the Jubilee Day, with the object of placing wreaths on Weber's grave. As nobody could find a word to utter, and even Marschner was able to give expression only to the very driest and most trivial of speeches about the departed master, I felt it incumbent upon me to say a few heartfelt words concerning the memorial ceremony for which we were gathered together. This brief spell of artistic activity was speedily broken by fresh excitements, which kept pouring in upon us from the political world. The events of October in Vienna awakened our liveliest sympathy, and our walls daily blazed with red and black placards, with summonses to march on Vienna, with the curse of 'Red Monarchy,' as opposed to the hated 'Red Republic,' and with other equally startling matter. Except for those who were best informed as to the course of events-and who certainly did not swarm in our streets-these occurrences aroused great uneasiness everywhere. With the entry of Windischgratz into Vienna, the acquittal of Frobel and the execution of Blum, it seemed as though even Dresden were on the eve of an explosion. A vast demonstration of mourning was organised for Blum, with an endless procession through the streets. At the head marched the ministry, among whom the people were particularly glad to see Ilerr von der Pfordten taking a sympathetic share in the ceremony, as he had already become an object of suspicion to them. From that day gloomy forebodings of disaster grew ever more prevalent on every side. People even went so far as to say, with little attempt at circumlocution, that the execution of Blum had been an act of friendship on the part of the Archduchess Sophia to her sister, the Queen of Saxony, for during his agitation in Leipzig the man had made himself both hated and feared. Troops of Viennese fugitives, disguised as members of the student bands, began to arrive in Dresden, and made a formidable addition to its population, which from this time forth paraded the streets with ever-increasing confidence. One day, as I was on iny way to the theatre to conduct a performance of Rienzi, the choir-master informed me that several foreign gentlemen had been asking for me. Thereupon half a dozen persons presented themselves, greeted me as a brother democrat, and begged me to procure them free entrance tickets. Among them I recognised a former dabbler in literature, a man named Hafner, a little hunchback, in a Calabrian hat cocked at a terrific angle, to whom I had been introduced by Uhl on the occasion of my visit to the Vienna political club. Great as was my embarrassment at this visit, which evidently astonished our musicians, I felt in no wise compelled to make any compromising admission, but quietly went to the booking-office, took six tickets and handed them to my strange visitors, who parted from me before all the world with much hearty shaking of hands. Whether this evening call improved my position as musical conductor in Dresden in the minds of the theatrical officials and others, may well be doubted; but, at all events, on no occasion was I so frantically called for after every act as at this particular performance of Rienzi.
Indeed, at this time I seemed to have won over to my side a party of almost passionate adherents among the theatre-going public, in opposition to the clique which had shown such marked coldness on the occasion of the gala concert already mentioned. It mattered not whether Tannhauser or Rienzi were being played, I was always greeted with special applause; and although the political tendencies of this party may have given our management some cause for alarm, yet it forced them to regard me with a certain amount of awe. One day Luttichau proposed to have my Lohengrin performed at an early date. I explained my reasons for not having offered it to him before, but declared myself ready to further his wishes, as I considered the opera company was now sufficiently powerful. The son of my old friend, F. Heine, had just returned from Paris, where he had been sent by the Dresden management to study scene-painting under the artists Desplechin and Dieterle. By way of testing his powers, with a view to an engagement at the Dresden Royal Theatre, the task of preparing suitable scenery for this opera was entrusted to him. He had already asked permission to do this for Lohengrin at the instigation of Luttichau, who wished to call attention to my latest work. Consequently, when I gave my consent, young Heine's wish was granted.
I regarded this turn of events with no little satisfaction, believing that in the study of this particular work I should find a wholesome and effective diversion from all the excitement and confusion of recent events. My horror, therefore, was all the greater, when young Wilhelm Heine one day came to my room with the news that the scenery for Lohengrin had been suddenly countermanded, and instructions given him to prepare for another opera. I did not make any remark, nor ask the reason for this singular behaviour. The assurances which Luttichan afterwards made to my wife-if they were really true-made me regret having laid the chief blame for this mortification at his door, and having thereby irrevocably alienated my sympathy from him. When she asked him about this many years later, he assured her that he had found the court vehemently hostile to me, and that his well- meant attempts to produce my work had met with insuperable obstacles.
However that may have been, the bitterness I now experienced wrought a decisive effect upon my feelings. Not only did I relinquish all hope of a reconciliation with the theatre authorities by a splendid production of my Lohengrin, but I determined to turn my back for ever on the theatre, and to make no further attempt to meddle with its concerns. By this act I expressed not merely my utter indifference as to whether I kept my position as musical conductor or no, but my artistic ambitions also entirely cut me off from all possibility of ever cultivating modern theatrical conditions again.
I at once proceeded to execute my long-cherished plans for Siegfried's Tod, which I had been half afraid of before. In this work I no longer gave a thought to the Dresden or any other court theatre in the world; my sole preoccupation was to produce something that should free me, once and for all, from this irrational subservience. As I could get nothing more from Rockel in this connection, I now corresponded exclusively with Eduard Devrient on matters connected with the theatre and dramatic art. When, on the completion of my poem, I read it to him, he listened with amazement, and at once realised the fact that such a production would be an absolute drug in the
