Dearest Richard,
The London Philharmonic comes in very aptly, and I am delighted. As lately as six months ago people used to shake their heads, and some of them even hissed, at the performance of the Tannhäuser overture, conducted by Costa. Klindworth and Remeny were almost the only ones who had the courage to applaud and to beard the Philistines who had made their nests of old in the Philharmonic. Well, it will now assume a different tone, and you will revivify old England and the Old Philharmonic. I commend to you Klindworth, a Wagnerian de la veille. He is an excellent musician, who formerly acted as conductor at Hanover, and there gave a performance of the Prophet at the Tivoli Theatre, of which the newspapers were full some years ago. He is also a splendid pianist, who studied eighteen months with me at Weymar, and you must allow me to send Klindworth a few lines of introduction to you. As far as I know, there is in London no pianist like him; but, on account of his determined and open sympathy with the so-called "music of the future," he has placed himself in a somewhat awkward position towards the Philistines and handicraftsmen there.
I was present at the first performance of Tannhäuser at Gotha. Capellmeister Lampert had taken much trouble, as had also Beer (Tannhäuser), and the performance was, comparatively speaking, very satisfactory. The musical part is better with us, but it is different with the dresses and scenery, which are much more tasteful at Gotha than at Weymar. I have spoken very strongly on that point here; and as my prayers and admonitions in this respect have so far been of little avail, I am determined not to conduct Tannhäuser and Lohengrin again until the necessary improvements in the scenery have been made. This negative measure, which I had kept in reserve, will probably be effective. In the meantime our opera remains in a stagnant condition. Since the last performance of Tannhäuser (December 10th), I have not been at my desk, neither shall I conduct the festival performance of Belisario on February 16th. Nothing can be done till after the confinement of Frau Milde. Apropos, what do you think of Meffert, the tenor? Would he be any good to us, and how old is he? Write to me about this.
You accuse me in your last letter of rarely giving you an answer. This alludes, I presume, to two things: Berlin and Dresden. Alas! alas! I cannot report from either place what I should wish and, in spite of all, still hope to report. With wranglings and trifles I do not care to trouble you. Stop; one thing I forgot to write to you: your Tristan is a splendid idea; it may become a glorious work. Do not abandon it.
You were quite right in arranging a new score of your Faust overture. If you have succeeded in making the middle part a little more pliable, this work, significant as it was before, must have gained considerably. Be kind enough to have a copy made, and send it me as soon as possible. There will probably be some orchestral concerts here, and I should like to give this overture at the end of February. Hartel is having the scores of Nos. 3 and 4 of my symphonic poems (Les Preludes and Orpheus) engraved. I am as yet uncertain whether I shall publish the nine pieces together or these two numbers (3 and 4) in advance. In any case I shall send you the proofs of Les Preludes and Orpheus before your departure to London, so that my scribbling may amuse you too.
I am sincerely grateful for your friendly proposal of producing something of mine at the Philharmonic, but I think it will be more advisable to leave it till next season (1856). For the present you will have your hands full enough with your own things, and during the first year you ought to play a waiting game. The chief thing for you is to gain firm ground in London, and first of all to impress your conception of Beethoven, Gluck, etc., on the orchestra and the public. At the same time, the people should learn to listen to and understand the Tannhäuser and Faust overtures, and finally to rejoice in and be elevated by the prelude to Lohengrin. Your plan of conducting next year performances of Tannhäuser, Lohengrin, and the Flying Dutchman with efficient artists is very good. We talked about this at Weymar in the year 1849; and, in my opinion, the enterprise can be made to succeed completely. This year must serve you as a preparation; and when you are once accustomed to London air, it may be expected that you will settle there comfortably. Beware of the theatrical speculators, who will be sure to try and make the best of you, and might be dangerous both to your purse and to your position.
Franz Liszt
Source: Project Gutenberg eBook #4234, Correspondence of Wagner and Liszt — Volume 2, No. 172