Wagner's Letters

Correspondence by, to, and around Richard Wagner

Wagner’s letters form one of the great documentary records of nineteenth-century artistic life. They reveal the practical, intellectual, emotional, and ideological world behind the works: artistic plans, financial crises, theatrical battles, friendships, quarrels, patronage, exile, revolution, Bayreuth, family life, philosophical reflection, and the shifting circle of figures who helped shape Wagner’s public and private destiny.

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Date	From	To	Place	Words	Subject
July 10, 1856	Richard Wagner	Breitkopf and Härtel	Mornex	640	Writing to Breitkopf and Härtel from Mornex, Wagner argues that the Nibelung works are unprecedented, the fullest work of his life, and impossible to price by ordinary standards or first-performance success. He asks for 2,000 louis d'or to buy a quiet country property near Zurich, warning that without such support he may abandon the Ring and turn instead to a shorter work, Tristan and Isolde, for quicker theatrical income.
July 12, 1856	Richard Wagner	Franz Liszt	Mornex	1,966	Wagner writes from a secluded refuge at Mornex, where he has fled to recover from repeated attacks of erysipelas and to escape the social and musical disturbances that make work impossible for him. He thanks Liszt for the financial help that made the retreat possible, reflects at length on Liszt's orchestral works as a monumental extension of his personal performing genius, and hints at new projects such as Tristan and the Victors while tying all hopes for his amnesty to freer access to Liszt.
July 12, 1856	Richard Wagner	Franz Liszt	Mornex	603	Writing to Liszt from Mornex, Wagner describes fleeing Zurich society for health, suffering repeated attacks of erysipelas, and adopting a strict regime while hoping eventually to resume Siegfried. He responds to Liszt's newly sent scores, especially praising Mazeppa, and mentions future poetic subjects including Tristan and Isolde and Victory while rejecting worldly greatness and national power.
July 16, 1856*	Franz Liszt	Richard Wagner	—	888	Liszt says uncertainty over the Gran journey has delayed definite travel plans, but in any case he longs to be with Wagner soon and hopes to bring the newly completed Dante Symphony as the prelude to their shared feast of Rheingold and Die Walkure. He also speaks cryptically of Wagner's amnesty remaining in suspense, touches on his own happiness and burdens, and sends gossip about criticism, performances, and the possibility that the Princess may accompany him to Zurich.
July 20, 1856	Richard Wagner	Franz Liszt	Mornex	1,147	Wagner replies with delight, saying his cure is chiefly meant to ensure that he will be fully well when Liszt arrives, and adds that he now feels confident his hydropathic treatment will restore him by mid-September. He also says Liszt's symphonic poems have become his sole musical occupation, praises them as a deep and renewing experience, and explains that he may have to place the Ring scores temporarily with Hartel in exchange for enough money to secure the quiet house and garden he needs in order to keep working.
July 20, 1856	Richard Wagner	Franz Liszt	Mornex	566	Writing to Liszt from Mornex, Wagner says Liszt's Symphonic Poems sustain him during his cure and anticipates Liszt's visit with the Dante work. He explains that financial desperation and the need for an isolated house have led him to offer the completed Rheingold and Walküre scores, and the projected remaining Ring works, to Härtel, while also regretting his Saxon pardon petition and hinting at Tristan and The Victors.
July 24, 1856*	Richard Wagner	Franz Liszt	—	111	In this abrupt note Wagner declares that Liszt must obtain an Erard grand piano for him, whether by gift, loan, or sheer persuasive audacity. He insists that an adequate instrument is now indispensable.
July 28, 1856*	Richard Wagner	Franz Liszt	—	55	Wagner announces that he is leaving Mornex and expects to be well again by September 20. He repeats that Madame Erard must send him a grand piano at once, promising to pay in annual installments if necessary.
August 1, 1856	Franz Liszt	Richard Wagner	—	374	Liszt thanks Wagner for sending the Rheingold and Die Walkure scores, says their attraction is irresistible, and reports that he and a visitor are already pounding through Valhalla at the piano in anticipation of the full Zurich reading. He then gives travel plans for Hungary and Vienna, arranges for the Princess to hold the scores until Wagner orders them sent to Hartel, jokes about Wagner buying all Zurich with his manuscripts, and cautiously leaves the Erard question open.
August 1, 1856	Richard Wagner	Mathilde Wesendonck	Zurich	86	No summary available.
August 7, 1856	Richard Wagner	Otto Wesendonck	Mornex	131	Writing to Otto Wesendonck from Mornex, Wagner reports major health improvement under Dr. Vaillant and says he now feels more confident about managing his condition. He asks Wesendonck to keep caring for him because he still has much work to do, naming Tristan and a newly absorbing subject, The Victors.
August 11, 1856	Richard Wagner	Mathilde Wesendonck	Zurich	414	No summary available.
August 12, 1856	Richard Wagner	Breitkopf and Härtel	Mornex	292	Writing to Breitkopf and Härtel, Wagner welcomes the sympathetic progress of negotiations and turns to the practical question of piano arrangements without words. He explains that earlier Lohengrin arrangements misunderstood his wishes, and proposes scene-based, musically fluent reductions that preserve melodic substance while omitting recitative rhetoric unsuited to the pianist.
August 23, 1856	Richard Wagner	August Rockel	Zurich	778	Writing to August Röckel, Wagner reflects that Schopenhauer has given him concepts matching the artistic intuitions behind The Flying Dutchman, Tannhäuser, Lohengrin, and the Ring, especially the tragic necessity of renunciation and negation of the will. He reinterprets the Nibelung poem as having moved beyond his earlier optimistic intentions toward a deeper recognition of the world's nothingness, while confessing that as an artist he still chases the peace needed simply to work.
August 31, 1856	Richard Wagner	Otto Wesendonck	Paris	165	Writing to Otto Wesendonck, Wagner reports confidential news that the Grand Duke of Weimar may try to draw him to Weimar by offering the quiet dwelling he has long sought, perhaps at the Wartburg or another residence. He weighs this against his attachment to Zurich and its few irreplaceable friends, reflecting that seemingly small practical circumstances can govern the life of an artist.
September 1, 1856	Richard Wagner	Otto Wesendonck	Zurich	366	Writing to Otto Wesendonck, Wagner confesses deep discouragement and resignation, saying he asks the world only for a quiet place and leisure to work but doubts the world has any reason to provide it. He reflects on the flawed history of princely patronage and responds to Wesendonck's offer to act in place of publisher and prince, framing such giving as a morally elevating act for them both.
September 7, 1856	Richard Wagner	Hans von Bülow	Zurich	207	Writing to Hans von Bülow, Wagner introduces the young Bavarian Count du Moulin, whose enthusiasm for music and devotion to Wagner have led him to seek instruction and experience in Berlin. Wagner asks Bülow to advise him, introduce him to Marx in Wagner's name, and later perhaps send him on to Liszt.
September 10, 1856	Richard Wagner	Otto Wesendonck	Zurich	541	Writing to Otto Wesendonck, Wagner thanks him for extraordinary support but doubts that his contradictions and needs can truly be relieved. He says Zurich has become oppressive except for his bond of gratitude and friendship with the Wesendonck household, and weighs whether future financial and practical relief should center on Weimar, on refuge with Wesendonck, or on dividing his year between both.
September 11, 1856*	Richard Wagner	Franz Liszt	—	60	Wagner introduces Herr Zeugherr, an architect acquaintance, as someone searching for a small villa where Wagner can compose. He hopes Liszt's influence may help inspire or advance the search.
September 12, 1856*	Richard Wagner	Franz Liszt	—	85	In this brief domestic note Wagner says that leaving Liszt for the evening was inspired, recommends early sleep for both of them, and proposes fresh work the next day. He plans to study Mephistopheles a little and suggests they might do some Valkyrie work tomorrow.
September 13, 1856*	Richard Wagner	Franz Liszt	—	81	Wagner asks Liszt to believe that he is genuinely ill and needs complete rest for the day so that he may be fit to enjoy him again tomorrow. He describes a heavy catarrh, inflamed throat, and the danger that any excitement could delay recovery.
September 13, 1856*	Richard Wagner	Franz Liszt	—	210	Wagner says his catarrh has developed strongly enough that he hopes it may purge or prevent his usual winter illness if he behaves like a strict patient for a few days. He excuses himself from a visit to Herwegh, gives Liszt a narrow window in which he may come to see him, and says he will try to finish the letter to the Grand Duke while recovering.
September 14, 1856*	Richard Wagner	Franz Liszt	—	580	Wagner writes after Liszt's departure with gratitude, longing, and self-reproach, describing the Munich party as a sermon of repentance and his own return to Zurich as cold, empty, and morally chastening. He reports that he is trying to restore both health and discipline, has arranged his devotional images around his work, and hopes through renewed treatment and labor to become worthy of his friends again.
September 15, 1856*	Richard Wagner	Mathilde Wesendonck	Zurich	135	No summary available.
September 22, 1856	Richard Wagner	Breitkopf and Härtel	Zurich	116	Writing to Breitkopf and Härtel, Wagner asks them to return their copy of the poem The Ring of the Nibelungs. He explains that it is one of the last copies intended for sympathetic readers and does not want it held by parties whose interests might lead them to discourage understanding of the work before publication.
October 15, 1856*	Richard Wagner	Mathilde Wesendonck	Zurich	51	No summary available.
October 27, 1856	Richard Wagner	Anton Pusinelli	Zurich	172	Writing to Anton Pusinelli, Wagner thanks him emotionally for self-sacrificing friendship and hopes future improvement in his fortunes will let him repay the kindness. He says Liszt wants to stage Rienzi at Weimar, and although he fears the early work may confuse perceptions of him, consideration for Pusinelli leads him to withdraw his objections as Dutchman and perhaps Rienzi gain wider favor.
November 1, 1856	Richard Wagner	Karl Klindworth	Zurich	139	Writing to Klindworth, Wagner says Liszt has studied and played through Klindworth's arrangements with great interest and is making small corrections while awaiting the promised third act. Wagner reports improved health after three convivial weeks with Liszt and promises to send remaining Rheingold sketches with the first act of Siegfried during the winter.
November 15, 1856*	Richard Wagner	Mathilde Wesendonck	Zurich	41	No summary available.
November 29, 1856	Richard Wagner	Hans von Bülow	Zurich	252	Writing to Hans von Bülow after Liszt's six-week visit, Wagner describes both the richness and strain of the encounter, including illness and Princess Caroline's exhausting intensity, and welcomes the return of quiet for work. He praises Liszt's new compositions, especially Orpheus as a uniquely perfect masterpiece and Les Préludes as beautiful, bold, and noble despite reservations about its main motives.
November 30, 1856	Richard Wagner	Julie Ritter	Zurich	442	Writing to Julie Ritter, Wagner says he feels essentially dead to the world and wants only undisturbed leisure for artistic work, even after Liszt's recent visit left him both stimulated and exhausted. He laments tension between Liszt and Karl Ritter, affirms Karl's growing importance to him, and asks Emilie for news of Jessie Laussot, whose attempt at independence may allow renewed sympathy after their earlier estrangement.
November 30, 1856	Richard Wagner	Otto Wesendonck	Zurich	252	Writing to Otto Wesendonck, Wagner reports that Liszt judged their St. Gall concert a success and praises Orpheus as an incomparable tone poem, though the public preferred and encored Les Préludes. He says conducting the Eroica exhausted rather than delighted him, but Liszt's visit strengthened their friendship and Princess Caroline's kindness helped him moderate his excitable temper.
December 6, 1856	Richard Wagner	Franz Liszt	Zurich	301	Wagner forwards a letter from Wesendonck's household, asks after Liszt and the Princess, and reports that he is nearing the end of the first scene of a new work whose real inner meaning only becomes clear to him in composition. He says his deepest wish is to come to Liszt soon, asks again for news of the chances, and flatters Liszt as perhaps the greatest musician of all time while begging for more scores.
December 6, 1856	Richard Wagner	Franz Liszt	Zurich	92	Writing to Liszt, Wagner says his strongest wish is to see him soon because he lacks music and feels only Liszt can truly provide it. He contrasts his own poor performing with Liszt as the greatest pianist of all time and tells Marie that he has brought his biography up to December 1, 1856.
December 12, 1856	Franz Liszt	Richard Wagner	Munich	825	Liszt reports from Munich on a benefit performance of Tannhauser, praising some features of Lachner's care and the orchestral winds while criticizing the general dramatic feeling, several singers, and the public's lukewarm, merely observant character. He adds further notes on Munich musical life, Kaulbach, and the lingering uncertainty around Lohengrin there, giving Wagner a full artistic and social picture of the city.
December 16, 1856	Richard Wagner	Franz Liszt	Zurich	985	Wagner tells Liszt with unusual directness that Liszt's friendship is the central fact of his life and that only periodic living near him can supply the artistic stimulus without which his own musical powers become heavy and infertile. He urgently asks for definite news about Weimar, describes the practical conditions under which he could live there quietly, weighs pension and publishing possibilities, and says that more depends on Liszt's decision and success than Liszt perhaps imagines.
December 16, 1856	Richard Wagner	Franz Liszt	Zurich	751	Writing to Liszt, Wagner calls Liszt's friendship the most significant event of his life and proposes visiting Altenburg or Weimar quietly, avoiding public appearances but perhaps reading his poems at court with Liszt playing excerpts. He also explains that a rupture with Karl Ritter threatens his support, urges progress with Härtel or possible Weimar backing for The Nibelungs, and says failure may force him to set the Ring aside for the more marketable Tristan.
December 22, 1856	Richard Wagner	Otto Wesendonck	Zurich	60	Writing to Otto Wesendonck, Wagner says his mood has moved beyond Siegfried and can no longer fit the work's emotional world, which now seems stale and superficial to him. He also stresses the loneliness of his present life and the leaden heaviness of his health.
December 24, 1856*	Richard Wagner	Franz Liszt	—	140	Wagner asks Liszt to obtain some kind of safe-conduct from the Prince of Prussia against mistreatment or imprisonment if Swiss political troubles should lead to Prussian occupation. He says the best solution would still be a prompt move to Weimar, but fears that none of the complications of his situation will be spared him.
December 24, 1856	Richard Wagner	Julie Hitter	Zurich	915	Writing to Julie Ritter after his break with Karl, Wagner denies any long-standing animosity on his part and says he had shown unusual patience toward Karl's offenses and peculiarities. He then argues that the rupture makes it impossible to keep accepting the Ritter family's annual subsidy without feeling reproached, despite his boundless gratitude for support he says saved both his life and his art.
January 1, 1857	Franz Liszt	Richard Wagner	—	451	Liszt, himself ill again, sends New Year greetings and says that the hope of serving Wagner and perhaps living with him soon remains one of the few cheerful elements in his life. He reports that the Grand Duke still thinks nothing can yet be done, says he has written to the Prince of Prussia on Wagner's behalf, advises against further humiliating petitions for the moment, and adds some Weimar performance news before returning to his longing for work and reunion.
January 6, 1857	Richard Wagner	Franz Liszt	Zurich	327	Writing to Liszt, Wagner explains that he has definitively renounced the Ritter family income after breaking with Karl Ritter, leaving him suddenly short of 1,500 francs needed for New Year bills and debt repayment. He therefore turns to Liszt's authority in the stalled Härtel negotiations over The Nibelungs, hoping for an immediate advance while noting that Saxony will grant amnesty only when it chooses.
January 25, 1857	Richard Wagner	Albert Niemann	Zurich	205	Writing to Albert Niemann, Wagner says reports of the singer make him hope he has found the long-sought performer for Siegfried, a crucial role in the work still under composition. He projects readiness for performance by summer 1859 if illness does not interrupt him and urges Niemann to preserve his voice and strength for the demanding artistic task ahead.
January 27, 1857	Franz Liszt	Richard Wagner	—	1,007	This composite entry gathers Wagner's urgent financial and personal appeals: he presses Liszt to resolve the Hartel negotiations or secure a definite Weimar subsidy, because he has now lost the annual allowance from the R. family and can no longer live in uncertainty. He also asks Liszt to help a promising young tenor make his debut at Weimar, reports renewed headaches and collapse after sketching the first act of Siegfried, and says that only Liszt remains his true comfort.
January 27, 1857	Richard Wagner	Franz Liszt	—	621	Wagner explains that Wesendonck has finally bought the little country house and will lease it to him, making it all the more important that he establish an independent income for the next few years, ideally through the sale of the Ring to Hartel on terms of roughly one thousand thalers per score. He says he has finished the first act of Siegfried, hopes soon to orchestrate it, and sends affectionate, symbolic messages through Liszt to the Princess and her daughter.
January 27, 1857	Richard Wagner	Franz Liszt	Zurich	165	Writing to Liszt, Wagner reports that after finishing the rough draft of Siegfried Act I he has been unable to compose because agonizing headaches drive him from work. He contrasts the relative ease of Das Rheingold with the strain of Die Walküre and fears that forcing Siegfried through his exhausted nervous system may finally break him.
January 31, 1857	Richard Wagner	Otto Wesendonck	Zurich	194	Writing to Otto Wesendonck, Wagner says Wesendonck's confidential news interrupted him while composing Siegfried's smithy music, but gladly sacrifices the day because it promises future days of freer work. He responds with intense gratitude, saying the gift matters less as property than as proof of friendship and care that suddenly lifts his burdens.
February 8, 1857	Richard Wagner	Franz Liszt	Zurich	208	Writing to Liszt, Wagner explains that Wesendonck has bought the desired property and offered him a perpetual lease, but that creditor risks and delicate personal circumstances make him unwilling to move in unless he can be financially independent of Wesendonck. He adds that Siegfried Act I is composed and ready for orchestration after rest, but that disturbances in his current house make further composition there impossible.
February 9, 1857	Richard Wagner	Hans von Bülow	Zurich	345	Writing to Hans von Bülow, Wagner worries about casting Brünnhilde for a possible Nibelung performance and asks Bülow to diplomatically explore whether his niece Johanna, despite family estrangement, might still take the role around summer 1859 at Weimar. He also mentions Niemann for Siegfried, Tichatschek for Siegmund or Loge, the lack of a Wotan, completion of Siegfried Act I, and his continuing ill health.
February 16, 1857	Franz Liszt	Richard Wagner	Weimar	336	Liszt tells Wagner that he is about to spend a week in Leipzig and will use the trip to pursue the Hartel matter and try to secure some Rhine gold for Rheingold. He also reports local performances, possible debut opportunities for the singer Wagner recommended, and the completion of more symphonic poems, all while saying that his mind remains fixed above all on the Ring.
No letters found.

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