Most glorious friend,
You have once more given me real, God-sent joy by your dedication of Lohengrin. Accept my most cordial, most fervent thanks in return, and be convinced that it will be the task of my life to be worthy of your friendship. The little that so far I have been able to do for you and through you for the honour of art has chiefly this merit: that it encourages me to do still better and more decisive things for your works in the future.
But what do you mean by occupying yourself with the bad jokes that have been circulating in a few newspapers, and by even accusing me of having been the cause of them? The latter is quite impossible, and H. has probably already told you that the manuscript of Siegfried has not been out of his hands for months. Some time ago I lent it, at your request, to Fräulein Fromann alone, and the reading that took place at Zigesar’s at the beginning of last year for the Hereditary Grand Duke can hardly have given rise to the bad joke in the Kreuzzeitung.
However, that joke is quite harmless and insignificant, and I ask you urgently to ignore this kind of gossip altogether once and for all. What can it matter to you whether people indulge their silliness in connection with you and your works? You have other cats to flog, d'autres chats à fouetter, as the French proverb has it.
Do not therefore hesitate, either on your account or on mine, to publish the Nibelungen tetralogy as soon as it is finished. Hartel spoke to me about your letter in connection with this affair about two months ago, and, in my opinion, you cannot do better than give the poem to the public while you finish the score. As for the definite performance of the three operas, we must have a good talk when the time comes. If in the worst case you are not then back in Germany, and I need not tell you how I wish that this worst case should not happen, I shall stir in every possible way for the production of your work. You may rely on my practical talents for that purpose and have implicit confidence in me. If Weimar should prove too mean and poor, we shall try somewhere else; and even if all our strings snap, which is not to be expected, we may still go on playing if you give me full power to organize an unheard-of music-drama festival, or whatever the thing may be called in any given place, and to launch your Nibelungen there. You finish your score, and in the meantime let Hartel or someone else publish the poem as a forerunner.
How about the performance of Tannhäuser at Berlin? I quite approve of your exceptional demand of 1,000 thalers for the same reasons which induced you to make that demand, and I thank you cordially for the artistic confidence with regard to the preparations which you have placed in me. Although a journey to Berlin in existing circumstances would be somewhat inconvenient, I am quite at your disposal, on the sole condition, which alone would make my journey useful and serviceable to Tannhäuser, that the Royal management asks me to come to Berlin at your desire and to settle with that management and with the other persons concerned the necessary preparations for the best possible success of your work. In any other circumstances I should be in an awkward and useless position at Berlin, without achieving the slightest thing. If you consider the matter, you will certainly agree with me, and see that this is the only way in which I perhaps might be of use to you.
As you know already, the Flying Dutchman is announced for the next birthday of H.I.H. the Grand Duchess: February 16, 1853. Care will be taken that the opera is properly mounted. Zigesar is full of enthusiasm for your genius, and will work with a will. The corrected score has been sent at once to the copyists, and in six weeks the work will be rehearsed comme il faut. The theatrical season begins with Verdi’s Hernani, after which Spohr’s Faust, with new recitatives, will follow soon. By the middle of November I expect Berlioz, whose Cellini (with a considerable cut) must not be shelved, for, in spite of all the stupid things that have been spread about it, Cellini is and remains a remarkable and highly estimable work. I am sure you would like many things in it. Raff has made great changes in the instrumentation and arrangement of his Alfred, and probably the opera in its new form will have better effect even than before, although the first three or four performances were much applauded. Altogether I look upon this opera as the ablest work that has been written by a German composer these ten years. You of course are not included; you stand alone, and can be compared with no one but yourself. I am very glad you have taken this trip. The glaciers are splendid fellows, and in the years of my youth I, too, had struck up a friendship with them. The tour round Mont Blanc I recommend you for next year; I made it partly in the year 1835, but my traveling companion was soon fatigued, and fatigued me still more.
Franz Liszt
Source: Project Gutenberg eBook #3835, Correspondence of Wagner and Liszt — Volume 1, No. 82