Just then I was prompted to send the venerated philosopher a copy of my Nibelungen poem. To its title I merely added by hand the words, 'With Reverence,' but without writing a single word to Schopenhauer himself.
This I did partly from a feeling of great shyness in addressing him, and partly because I felt that if the perusal of my poem did not enlighten Schopenhauer about the man with whom he was dealing, a letter from me, no matter how explicit, would not help him much. I also renounced by this means the vain wish to be honoured by an autograph letter from his hand. I learned later, however, from Karl Ritter, and also from Dr. Wille, both of whom visited Schopenhauer in Frankfort, that he spoke impressively and favourably of my poetry. In addition to these studies, I continued writing the music to the Walkure. I was living in great retirement at this time, my sole relaxation being to take long walks in the neighbourhood, and, as usual with me when hard at work at my music, I felt the longing to express myself in poetry. This must have been partly due to the serious mood created by Schopenhauer, which was trying to find ecstatic expression. It was some such mood that inspired the conception of a Tristan und Isolde.
Karl Ritter had just laid before me a sketch for the dramatic treatment of this subject (with which I was thoroughly acquainted through my Dresden studies), and had thereby drawn my attention to the material for this poem. I had already expressed my views to my young friend about the faultiness of his sketch. He had, in fact, made a point of giving prominence to the lighter phases of the romance, whereas it was its all-pervading tragedy that impressed me so deeply that I felt convinced it should stand out in bold relief, regardless of minor details. On my return from one of my walks I jotted down the incidents of the three acts in a concise form, with the intention of working them out more elaborately later on. In the last act I introduced an episode, which, however, I did not develop eventually, namely, the visit to Tristan's deathbed by Parsifal during his search for the Holy Grail. The picture of Tristan languishing, yet unable to die of his wound, identified itself in my mind with Amfortas in the Romance of the Grail.
For the moment I forced myself to leave this poem on one side, and to allow nothing to interrupt my great musical work. Meanwhile, through the help of friends, I succeeded in bringing about a satisfactory change in my financial position. My prospects with regard to the German theatres also seemed brighter. Minna had been in Berlin, and through the influence of our old friend, Alwine Frommann, had had an interview with Herr von Hulsen, the manager of the court theatre. After losing two years in fruitless efforts, I at last felt more certain of seeing Tannhauser produced there without further obstacle, as it had become so popular with all the theatres that its failure in Berlin could not injure its reputation; it could only reflect disadvantageously on the Berlin management.
In the beginning of November Minna returned from her journey, and acting on the news she gave me about the production of Tannhauser in Berlin, I allowed matters to take their course, a decision which afterwards caused me great annoyance, as the rendering of my work was simply wretched. I got some compensation, however, in the royalties, which were an important and continuous source of income to me.
The Zurich Musical Society now again enlisted my interest for their winter concerts. I promised to conduct, but only on condition that they would give serious consideration to improving the orchestra. I had already twice proposed the formation of a decent orchestra, and I now sent in a third plan to the committee, in which I described in detail how they might achieve this object at a comparatively slight outlay by cooperation with the theatre. I told them that this winter would be the last time that I should interest myself in their concerts unless they entertained this very reasonable proposition. Apart from this work, I took in hand a quartette society, made up of the soloists of the orchestra, who were anxious to study the right interpretation of the various quartettes I had recommended.
It was a great pleasure to me to see how soon the public patronised the efforts of these artists, who, by the way, thus added a little extra to their incomes for a considerable time. As far as their artistic achievements went, the work was rather slow; the mere fact of their being able to play their respective instruments well did not make them at once understand the art of playing together, for which so much more is needed than mere dynamic proportions and accents, attainable only by the individual development of a higher artistic taste in the treatment of the instrument by its exponent.
I was too ambitious about them, and actually taught them Beethoven's Quartette in C sharp minor, which meant endless trouble and rehearsing. I wrote some analytical annotations for the better appreciation of this extraordinary work, and had them printed on the programme. Whether I made any impression on the audience, or whether they liked the performance, I was never able to find out. When I say that I completed the sketch of the whole of the music to the Walkure by the 30th of December of that year, it will suffice to prove my strenuous and active life at that time, as well as to show that I did not allow any outside distraction to disturb my rigorous plan of work.
In January, 1855, I began the instrumentation of the Walkure, but I was compelled to interrupt it, owing to a promise I made to some of my friends to give them a chance of hearing the overture to Faust, which I had written in Paris fifteen years before. I had another look at this composition, which had been the means of so important a change in my musical ideas. Liszt had produced the work in Weimar a little while before, and had written to me in very favourable terms about it, at the same time expressing his wish that I should rewrite more elaborately some parts that were only faintly indicated. So I immediately set to work to rewrite the overture, conscientiously adopting my clear friend's delicate suggestions, and I finished it as it was afterwards published by Hartel. I taught our orchestra this overture, and did not think the performance at all bad. My wife, however, did not like it; she said it seemed to her 'as if nothing good could be made out of it,' and she begged me not to have it produced in London when I went there that year. At this time I had an extraordinary application, such as I have never received again. In January the London Philharmonic Society wrote asking me if I would be willing to conduct their concerts for the season. I did not answer immediately, as I wanted to obtain some particulars first, and was very much surprised one day to receive a visit from a certain Mr. Anderson, a member of the committee of the celebrated society, who had come to Zurich on purpose to ensure my acceptance.
I was expected to go to London for four months to give eight concerts for the Philharmonic Society, for which I was to receive in all L200. I did not quite know what to do, as, from a business point of view, it was of no advantage to me, and, as far as the conducting went, it was not much in my line, unless I could rely on at least a few high-class artistic productions.
One thing only struck me as favourable, and that was the prospect of again handling a large and excellent orchestra, after having been denied one for so long, while the fact that I had attracted the attention of that remote world of music fascinated me exceedingly. I felt as if fate were calling me, and at last I accepted the invitation of this