understanding, I soon learned that he had won himself a reputation as a most influential and much-dreaded critic. I appreciated this better later on when advances were made to me from high quarters to use my influence with Seroff to assuage the bitterness of his persecution of Anton Rubinstein, who just at that time was being somewhat offensively patronised. On my mentioning the matter to him, he explained his reasons for believing Rubinstein's influence in Russia to be pernicious, whereupon I begged him, for my sake at least, to hold his hand a little, as I did not wish, during my brief stay in St. Petersburg, to pose as Rubinstein's rival. To this he replied with all the violence of a sickly man, 'I hate him, and cannot make any concessions.' With me, on the contrary, he entered into the most intimate understanding, as he had so perfect an appreciation of me and my art that our intercourse became almost one of mere pleasantry, for on all serious points we were in entire agreement. Nothing could equal the care with which he sought to help me at every opportunity. He provided the necessary translation into Russian, both of the songs contained in the selections taken from my operas and of my explanatory programme for the concerts. He also displayed the utmost judgment in choosing the most suitable singers for me, and for this he appeared to find abundant recompense in attending the rehearsals and performances. His radiant face beamed everywhere upon me with encouragement and fresh inspiration. I was eminently satisfied with the orchestra which I managed to gather around me in the large and handsome hall of the Society of Nobles. It contained one hundred and twenty picked players from the Imperial orchestras, who were for the most part excellent musicians, usually employed in accompanying Italian opera and ballets. They now seemed delighted to be allowed to breathe more freely in thus occupying themselves with nobler music under a method of conducting which I had made peculiarly my own.
After the great success of my first concert advances were made to me from those circles to which, as I could very well understand, I had been secretly but influentially recommended by Mme. Kalergis. With great circumspection my unseen protectress had prepared the way for my presentation to the Grand Duchess Helene. I was instructed, in the first place, to make use of a recommendation from Standhartner to Dr. Arneth, the Grand Duchess's private physician, whom he had known in Vienna, in order through him to be introduced to Fraulein von Rhaden, her most confidential lady-in-waiting. I should have been well content with the acquaintance of this lady alone, for in her I learned to know a woman of wide culture, great intelligence, and noble bearing, whose ever- growing interest in me I perceived to be mingled with a certain timidity, apparently concerned chiefly with the Grand Duchess. She gave me the impression that she felt something more important ought to happen for me than, from the spirit and character of her mistress, she could expect. I was, however, not taken to pay my respects to the Grand Duchess at once, but received first of all an invitation to an evening party in the apartments of the lady-in- waiting, at which, among others, the Grand Duchess herself was to be present. Here Anton Rubinstein did the musical honours, and after the hostess had introduced me to him, she ventured to present me to the Grand Duchess herself. The ceremony went off fairly well, and, as a result, I shortly afterwards received a direct invitation to a friendly evening tea-party at the Grand Duchess's house. Here, in addition to Fraulein von Rhaden, I met the lady next to her in rank, Fraulein von Stahl, as well as a genial old gentleman, who was introduced to me as General von Brebern, for many years one of the Grand Duchess's closest friends. Fraulein von Rhaden appeared to have made extraordinary efforts on my behalf, which for the present resulted in the Grand Duchess expressing a wish that I should make her better acquainted with the text of my Nibelungen Ring. As I had no copy of the work with me, although Weber of Leipzig ought by this time to have finished printing it, they insisted that I should at once telegraph to him in Leipzig to send the finished sheets with the utmost despatch to the Grand Duchess's address. Meanwhile my patrons had to be content with hearing me read the Meistersinger. To this reading the Grand Duchess Marie was also induced to come-a very stately and still beautiful daughter of the Tsar Nicholas, who was notorious for the passion she had shown throughout her life. As to the impression made upon this lady by my poem, Fraulein von Rhaden only told me that she had been seriously alarmed lest Hans Sachs might end by marrying Eva.
In the course of a few days the loose proof-sheets of my Nibelungen work duly arrived, and the Grand Duchess's intimates met at four tea-parties to hear me read it, and listened with sympathetic attention. General von Brebern was present at them all, but only, as Fraulein von Rhaden said, 'to blush like the rose' in profoundest slumber, a habit which always afforded a subject for merriment to Fraulein von Stahl, a very lively and beautiful woman, when each night I accompanied the two court ladies from the spacious salons along endless corridors and staircases to their distant apartments.
The only other person in the great world whom I learned to know here was Count Wilohorsky, who occupied a high position of trust at the Imperial court, and was chiefly esteemed as a patron of music, and considered himself a distinguished violoncello-player. The old gentleman appeared well disposed towards me, and altogether satisfied with my musical performances. Indeed, he assured me that he had first learned to understand Beethoven's Eighth Symphony (in F major) through my interpretation. He also considered that he had fully grasped my overture to the Meistersinger, and said the Grand Duchess Marie was affected because she had found this piece incomprehensible, but had expressed herself enraptured by the overture to Tristan, which he himself only managed to understand by the exertion of all his musical knowledge. When I told Seroff of this, he exclaimed enthusiastically, 'Ah, that beast of a Count! That woman knows what love is!'
The Count arranged a splendid dinner in my honour, at which both Anton Rubinstein and Mme. Abaza were present. As I begged Rubinstein to play something after dinner, Mme. Abaza insisted on singing his Persian songs, which seemed greatly to annoy the composer, as he knew very well that he had produced much finer work. Nevertheless both the composition and its execution gave me a very favourable opinion of the talents of both artists. Through this singer, who had originally had a professional engagement in the Grand Duchess's household, and was now married to a wealthy and cultured Russian gentleman of rank, I obtained an entry into the house of M. Abaza, who received me with great ceremony. About the same time a certain Baron Vittinghof had also made himself known to me as an enthusiastic lover of music, and honoured me with an invitation to his house, where I met once more with Ingeborg Stark, the beautiful Swedish pianist and composer of sonatas, whom I had formerly known in Paris. She amazed me by the impertinent outburst of laughter with which she accompanied the performance of one of the Baron's compositions. On the other hand, she assumed a more serious air when she informed me that she was engaged to Hans von Bronsart.
Rubinstein, with whom I exchanged friendly visits, behaved very creditably, although, as I had expected, he felt himself somewhat injured by me. He told me that he was thinking of resigning his position in St. Petersburg, as it had been made difficult by Seroff's antagonism. It was also thought advisable to introduce me to the commercial circles of St. Petersburg, with a view to my coming benefit concert, and a visit was consequently arranged to a concert in the hall of the Merchants' Guild. Here I was met on the staircase by a drunken Russian, who announced himself as the conductor. With a small selection of Imperial musicians and others, he conducted the overtures of Rossini's Tell and Weber's Oberon, in which the kettledrums were replaced by a small military drum, which produced a wonderful effect, especially in the lovely transfiguration part of the Oberon Overture.
Although I was admirably equipped for my own concerts as far as the orchestra was concerned, yet I had much trouble in procuring the requisite singers. The soprano was very passably represented by Mlle. Bianchi; but for the tenor parts I had to make shift with a M. Setoff, who, although possessing plenty of courage, had very little voice. But he managed to help me through the 'Schmiede-Lieder' in Siegfried, for his presence at least gave an appearance of song, while the orchestra alone undertookthe effective reality. On the conclusion of my two concerts for the Philharmonic Society, I set seriously to work on my own concert, which was to be held in the Imperial Opera House, in the material arrangements for which I was helped by a retired musician. This man often spent hours with Seroff in my well-heated rooms without laying aside his enormous fur coat, and as his incapacity gave us a great deal of trouble, we agreed that he was like 'the sheep in wolf's clothing.' The concert, however, succeeded beyond all my expectations, and I do not think I was ever so enthusiastically received by any audience as on this occasion. Indeed, their greeting when I first appeared was so loudly prolonged that I felt quite touched, a rare occurrence with me. To this wild abandonment on the part of the audience the ardent devotion of my orchestra naturally contributed, as my one hundred and twenty musicians renewed the frantic acclamations again and again, a procedure which appeared to be quite novel in St. Petersburg. From some of them I heard such exclamations as, 'We must admit we have never known what music is till now.'
Conductor Schuberth, who, with a certain amount of condescension, had helped me with advice on business matters, now utilised this favourable turn of affairs to ask for my co-operation at a concert to be given shortly for his own benefit. Although I was fully aware that by this means he reckoned on conjuring a handsome profit out of my pocket into his own, yet on the advice of my friends I thought it best to comply with his request, albeit much against the grain. So a week later I repeated the most popular items of my programme before an equally numerous
