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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Showing all years in February (47 total)

Date	From	To	Place	Words	Subject
February 8, 1835	Richard Wagner	Theodore Apel	Magdeburg	207	Wagner explains that Apel's Columbus must be postponed because the theatre settings will not be ready, and argues that the following Monday is the strongest performance date. He reassures Apel by pointing to the Magdeburg company's recent success with Auber's La Muette de Portici, noting the restored prestige of the opera and Minna's participation in the chorus.
February 1, 1839	Richard Wagner	Johann Hoffmann	Riga	807	Wagner explains to Johann Hoffmann that after Lobmann's dismissal he tried to take over those duties formally in order to improve his poor finances, but Holtei refused and thereby showed that Wagner was not contractually bound to them. Since the work has nevertheless fallen to him, Wagner offers to shoulder nearly all additional theatre duties if Hoffmann will compensate him by remitting his advance.
February 25, 1843	Richard Wagner	Robert Schumann	Dresden	841	Wagner tells Schumann that Dresden's musical taste has moved beyond Bellini and Italian-opera dominance, with audiences increasingly receptive to serious German works despite weak concert institutions. He cites the growing success of The Flying Dutchman, rejects Schumann's suggestion of a Meyerbeer flavor as a damaging misunderstanding, and praises Schumann's quintet while affirming their shared aim of beauty.
February 15, 1844	Richard Wagner	Edward Avenarius	Dresden	207	Wagner tells Avenarius that he is publishing his operas with Meser under favorable terms and wants to protect future French and English copyright. For France, he asks whether Avenarius or another trustworthy Paris contact could act as provisional copyright holder by displaying advance copies of a piano arrangement under a French title on the German publication date.
February 4, 1845	Richard Wagner	Louis Spohr	Dresden	355	Wagner writes reverently to Spohr about arranging the Dresden performance of Spohr's new dramatic work, The Crusades, ideally with the composer present. He uses the occasion to criticize younger German opera composers for chasing cosmopolitan surface appeal through French and Italian mannerisms, and welcomes Spohr's new work as a needed assertion of German artistic seriousness.
February 8, 1849	Richard Wagner	Franz Liszt	Dresden	410	Wagner warmly thanks Liszt for championing his work in Weimar and reflects on the shallow theatrical taste that makes any serious opera difficult to receive fairly. Even so, he trusts Liszt's diligence and goodwill more than outward resources, and he sends his thanks in advance for the forthcoming performance.
February 9, 1849	Franz Liszt	Richard Wagner	—	91	Liszt tells Wagner that the Weimar company is studying Tannhauser with increasing zeal, admiration, and sympathy. He invites Wagner to attend the final rehearsal on February 15 and the performance on February 16, and he thanks him for sending the Faust overture.
February 20, 1849	Richard Wagner	Franz Liszt	Dresden	670	Wagner offers Liszt an effusive thanks for the Weimar production of Tannhauser, praising the devotion and practical labor with which Liszt made the work understood and successful. He adds that this support has personally sustained him at a moment when humiliations in Dresden had nearly driven him to abandon art altogether.
February 25, 1849	Richard Wagner	Franz Liszt	—	362	The writer joins the chorus of admiration for Tannhauser, praising Wagner's work for its emotional depth, poetic beauty, and power over the inner life of its listeners. She also regrets that Wagner could not come to Weimar and asks him to believe in the sincere admiration and devotion felt for him there.
February 25, 1849	Richard Wagner	Cecilie Avenarius	Dresden	159	Wagner sends Cecilie birthday wishes on behalf of himself and Minna, joking that Minna trusts his style while she bakes a cake. He playfully contrasts her successful turn to baking with his own effort to improve his Latin handwriting, presenting both as practical skills for life.
February 26, 1849	Franz Liszt	Richard Wagner	—	526	Liszt responds warmly to Wagner's thanks, declaring himself one of Wagner's most devoted admirers and reporting the strong impression Tannhauser made in Weimar. He also proposes publishing piano arrangements of the overture and the Abendstern scene, asks Wagner how they should be disposed of, and sends cordial greetings to Tichatschek.
February 8, 1850	Richard Wagner	Theodore Uhlig	Paris	357	From Paris, Wagner tells Uhlig about planned writings, including an article on Art and Climate and a possible self-issued series called Papers on Art and Life, while reflecting that The Wibelungs would have suited a review better than a brochure. He also explains the likely basis of a rumor involving the king: after hearing a false report that Heubner had been sentenced to death, he wrote Frau von Lüttichau urging royal clemency and even friendship toward Heubner.
February 24, 1850	Richard Wagner	Theodore Uhlig	Paris	806	Wagner corrects any impression that Zurich caused his loneliness by naming the young Swiss friends and supporters whose generosity and radical or artistic sympathy sustained his family, then contrasts them with Paris, where he finds artists compromised and society absorbed in business. He reports seeing Meyerbeer's Le Prophète, diagnosing his own troubles as partly nervous, telling Liszt he will not write a Paris opera, and turning instead toward German works and writings such as The Work of Art of the Future, Wieland, Siegfried, and Achilleus.
February 2, 1851	Richard Wagner	Hermann Brockhaus	Zurich	288	Wagner tells Hermann Brockhaus that Switzerland in 1849 brought unprecedented happiness because he cut the knot of his Dresden life and reconciled himself inwardly, ending the hypocrisy and sterility of his official post. He says his best work will earn love rather than money, trusts that love will sustain him, and asks Heinrich to keep a transferred library intact as a pledge rather than repayment for a loan.
February 18, 1851	Richard Wagner	Franz Liszt	Zurich	386	Feeling lonely and neglected, Wagner asks whether Liszt or their friends are angry with him, tries to clear up a misunderstanding about an article on Lohengrin, and asks for any news from Brussels, though he has little hope there. He reports that Opera and Drama is finished but still lacks a publisher, that he will next prepare his three romantic opera poems and then begin composing Siegfried in the spring, and he closes in a despondent mood about his isolated life.
February 15, 1852	Richard Wagner	Hans von Bülow	Zurich	382	Wagner rebukes Hans von Bülow over architecture, arguing that the plastic arts arise from architecture because human need for dwelling generates artistic form and calls on sculpture and painting to humanize it. He denies any autonomous architectural artwork apart from ordinary or poetic need, tracing temples and churches to real historical necessities and claiming that the modern successor to such collective need is the theatre.
February 11, 1853	Richard Wagner	Franz Liszt	Zurich	1,770	Wagner sends Liszt a privately printed, luxurious edition of the completed Ring poem to distribute among a small circle of friends and patrons, reserving special copies for Liszt, the Grand Duchess, and the Princess of Prussia, and he says he will never again write poetry because he now longs only to set this final poetic work to music. At the same time he confesses that he cannot begin the music before somehow hearing Lohengrin, asks Liszt to explore whether a temporary, court-sponsored visit to Weimar might be safely arranged despite Saxon prosecution, and pours out bitter disappointment over the wider theatrical world, his failing health, and the deep isolation from which only Liszt's friendship still seems to sustain him.
February 18, 1853	Franz Liszt	Richard Wagner	Weimar	479	Liszt reports that the first Weimar performance of The Flying Dutchman was warmly and sympathetically received, with especially successful performances from the two Mildes and an overture so effective that even a court-festival audience broke custom to applaud. He sends Wagner the score honorarium, notes the distinguished princely audience, asks what titles should be given to his piano arrangements from Tannhauser and Lohengrin, and asks Wagner to leave any possible Coburg-Gotha business in Liszt's hands for now.
February 19, 1853	Richard Wagner	Franz Liszt	—	165	Wagner tells Liszt that Prague has suddenly forbidden a planned performance of Tannhauser after it had already passed censorship, and he suspects some personal stupidity lies behind the reversal. He asks Liszt to consider whom he might approach, especially in Vienna, so that some influential person may help get the absurd prohibition withdrawn.
February 20, 1853	Franz Liszt	Richard Wagner	Weimar	611	Liszt praises the Nibelungen poem as perhaps the most incredible thing Wagner has yet done, confirms that he has distributed the special copies as requested, and asks for a few more. He says he is still working cautiously but actively on the possibility of Wagner's return, believes Wagner handled the Berlin matter rightly by leaving it entirely to Liszt, and offers at once to intervene in the Prague prohibition once Wagner provides fuller details and the manager's letter.
February 28, 1853	Richard Wagner	Franz Liszt	Zurich	103	Wagner anxiously asks Liszt to confirm whether the parcel of Ring copies sent on February 11 ever reached him. He had hoped it would arrive before the 16th and is distressed that Liszt's last letter made no mention of it, since that has spoiled a particular pleasure for him.
February 3, 1854	Richard Wagner	Hans von Bülow	Zurich	250	Wagner tells Hans von Bülow that only the promise of making music still holds back his growing desire for death, since he wants to show music beyond what Bülow may imagine. He also reports that Härtel will publish Lohengrin piano pieces only anonymously, fearing amateurs will avoid anything bearing a virtuoso's name, and asks Bülow to prepare them soon with assurance of payment.
February 7, 1854	Richard Wagner	Franz Liszt	Zurich	118	Wagner asks why Liszt's Kunstler chorus and the Faust Symphony have not yet arrived and reports that he is now scoring Das Rheingold in full because the opening could not be sketched clearly. He thanks the Princess for her kindness, says he is indifferent to how matters may turn out, and asks Liszt for a sympathetic reply as a sign of friendship.
February 7, 1854	Richard Wagner	Franz Liszt	Zurich	57	Wagner tells Liszt that he is scoring Das Rheingold directly with full orchestration because he could not clearly sketch the prelude, the Depths of the Rhine, in outline. He notes that this approach will slow completion and that his head is somewhat confused.
February 21, 1854	Franz Liszt	Richard Wagner	Weimar	527	Liszt sends Wagner his Kunstler chorus, speaks affectionately of finishing the Faust Symphony, and asks to see the completed score of Das Rheingold as soon as Wagner can spare it. He says he is quietly pursuing Wagner's financial interests, asks for exact information about his debts and income, hints at a possible Berlin opportunity, and advises calm about the Leipzig Lohengrin affair.
February 1, 1855*	Richard Wagner	Franz Liszt	—	568	Wagner sends Liszt the revised Faust Overture, asks him to compare it carefully with the earlier version, and hopes Hartel might purchase it for publication because he needs extra money before and during his London stay. He also reports on a local Tannhauser performance, says the first act of Die Walkure is nearly finished, clarifies that his deeper complaint was about unanswered inner questions rather than Berlin politics, and asks for introductions and practical help for his London lodging and piano.
February 9, 1855	Richard Wagner	Franz Liszt	—	244	Wagner asks Liszt to secure an introduction from the Weimar court, ideally through the Grand Duke, to smooth over passport and visa difficulties that still obstruct his travel through France. He plans to visit the French interior minister in Paris himself and stresses that the matter is urgent because he intends to leave within a fortnight.
February 16, 1855	Franz Liszt	Richard Wagner	Weimar	358	Liszt tells Wagner that the Grand Duke is ill and that the passport matter cannot be settled instantly, but he promises to pursue it and hopes to send favorable news soon. He also reports on Berlioz's visit and current Weimar musical affairs, notes growing success for Lohengrin elsewhere, asks after progress on Die Walkure, and promises to forward the Rheingold score for copying.
February 16, 1855	Franz Liszt	Richard Wagner	Weimar	76	Liszt introduces Carl Klindworth to Wagner as a devoted admirer and highly capable pianist and musician who had studied with him in Weimar and is now living in London. He warmly commends Klindworth to Wagner's protection and confidence.
February 16, 1855	Richard Wagner	Franz Liszt	Zurich	357	Wagner sends Liszt the revised Faust Overture, asking him to compare it closely with the original because the changes reveal Wagner's acquired refinement and discarded crudities, especially in the broadened middle section while remaining focused on Faust alone. He wonders whether Härtel might publish it for needed travel money before London, and reports that Act I of Die Walküre is nearly scored and surpasses anything he has done before.
February 28, 1855*	Richard Wagner	Franz Liszt	—	24	In this short note Wagner urgently reminds Liszt to send the requested letter to Erard concerning a piano for his London rooms. He promises to write more after the concert.
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.
February 2, 1858	Richard Wagner	Mathilde Wesendonck	Zurich	51	No summary available.
February 5, 1858*	Richard Wagner	Mathilde Wesendonck	Zurich	31	No summary available.
February 8, 1858	Richard Wagner	Princess Marie Wittgenstein	Zurich	1,387	Writing to Princess Marie Wittgenstein, Wagner says Paris left him unexpectedly reassured through sympathetic French contacts, Ollivier's help, the Hérold and Erard families, a promised Erard grand piano, and signs of renewed interest in Tannhäuser. He contrasts Liszt's inspiring, formative influence and their rare friendship with Berlioz's loveless, self-deluding artistic nature, while also reflecting on Calderón, Spanish honor, Catholicism, and his own unitive artistic power.
February 10, 1858	Richard Wagner	Hans von Bülow	Zurich	480	Writing to Hans von Bülow, Wagner warmly describes Blandine and Ollivier, says his Paris affairs are well handled, and celebrates obtaining an Erard grand piano. He longs for intelligent visitors, denounces Berlioz's operatic libretto and Dorn's Nibelung music, worries that Johanna Wagner's association with such work clouds his Brünnhilde hopes, and admits uneasy jealousy over Cosima's interest in Herwegh.
February 20, 1858*	Richard Wagner	Mathilde Wesendonck	Zurich	85	No summary available.
February 17, 1859	Franz Liszt	Richard Wagner	Weimar	348	Liszt gratefully accepts Wagner's conciliatory greeting and says he had already mentioned Wagner's pension proposal in the proper quarter before being asked to keep it quiet, but met with several objections and can hope at best only for some smaller financial help later. He urges Wagner to believe how painful it is to bring such disappointing news, suggests Paris as the most practical large city if Germany remains closed to him, and hopes that Carlsruhe and the coming summer may finally lead to better fortunes and a reunion.
February 22, 1859	Richard Wagner	Franz Liszt	Venice	185	Wagner sends an immediate note of thanks, saying Liszt's letter has already calmed the convulsive excitement under which he had been suffering and left him ready to reflect more honestly on himself. He promises a fuller answer the next day, begs Liszt not to send money for the moment, and asks instead for musical works such as Ideals and, when ready, the Dante Symphony.
February 22, 1859	Richard Wagner	Mathilde Wesendonck	Venice	820	No summary available.
February 23, 1859	Richard Wagner	Franz Liszt	Venice	2,383	Wagner sends Liszt a long, calmer confession in which he admits his recent violence, says Liszt's rebuke did him good, and then lays out the concrete political steps he is taking to clarify once and for all whether Saxony will ever permit his return or whether he must seek special protection elsewhere through princes such as the Grand Duke of Baden. He also reports more hopeful news about a possible secret personal appearance for Tristan at Carlsruhe, asks Liszt to help suppress press rumors about it, reflects on abandoning immediate Nibelungen publication hopes, leans increasingly toward Paris if Germany stays closed, and ends by saying that more frequent personal life with Liszt is the one real benefit that still makes amnesty worth sacrificing for.
February 12, 1861	Richard Wagner	Mathilde Wesendonck	Paris	1,585	No summary available.
February 3, 1862	Richard Wagner	Mathilde Wesendonck	Paris	421	No summary available.
February 13, 1862	Richard Wagner	Mathilde Wesendonck	Biebrich	138	No summary available.
February 16, 1862	Richard Wagner	Mathilde Wesendonck	Biebrich	177	No summary available.
No letters found.