explosion of Wagner—Would cancel his engagement rather than conduct Kapellmeister music—Wagner’s objection acceded to—Visit to Sainton and Costa—Wagner refuses to call on any critics or pay any other visits of etiquette—At dinner—Wagner dainty—Quick though moderate eater—His workroom—Self-denial not his characteristic—His intrepidity borders close upon the reckless—Introduction to the Philharmonic orchestra—Briefly addresses them—Diplomatic, but his will law—The concert—Programme—His conducting—The “Times” abuses him—After the concert, at Wagner’s rooms—His playing the piano—His singing like the barking or howling of a Newfoundland dog—Well pleased with his first introduction to an English audience—His volubility—Abuse of fashion and white kid gloves for a conductor—The second concert—“Lohengrin” prelude, overture to “Der Freischütz,” “Ninth Symphony”—Overture encored—Wagner objects to encores, but enthusiasm of audience demands the repetition—“Lohengrin” prelude a surprise, as Wagner’s music had been described “noise and fury”

218 CHAPTER CHAPTER XIX. 1855. Continued.

The “Ninth Symphony” rehearsed—Surprise of the orchestra—Guildhall, Fafner, and Falsolt—The mint and his projected theatre—Daily promenade of Richard Wagner with dog to Regent’s Park to feed the ducks—Wagner and the introduction of the animal kingdom upon the stage—Unlimited means the key to his passion for realism—Unlimited means the dream of his life—The third concert; “Euryanthe”—Wagner’s habit of snuff-taking while at the piano—His smoking—His irritability—Love for silks and velvets partly due to physical causes—Anger at shams—“Punch” on Wagner—Fourth concert; Wagner insists on leaving England next morning and breaking his engagement—Dissuaded—Fifth concert; success of the “Tannhäuser” overture—Wagner’s forty-second birthday; violet velvet dressing-gown—Signs himself “Conductor of the Philharmonic omnibus,” in allusion to the “full” programmes—Cyprian Potter—The Queen, Prince Consort, and Richard Wagner—Repetition of “Tannhäuser” overture—Berlioz and Wagner—The press and anonymous articles—Anxiety of Wagner to serve Berlioz—The last concert and departure from London, 26th June—A few quotations from the contemporary press

241 CHAPTER CHAPTER XX. 1855-1856.

Letters of Wagner—In Paris—Home at Zurich—Domestic pets—“Cries constantly” at the death of “Peps”—Buries the dog—Minna ill—Wagner on a sick-bed—His acquaintance with the French language—The French of Berlioz and Wagner compared—Letter in French from Wagner—He is “more luxurious than Sardanapalus and all the old Roman emperors”—His frame of mind during the composition of the Walküre—Study of Schopenhauer and request for London snuff

268 CHAPTER CHAPTER XXI. ZURICH, 1856.

A picture of Minna—Wagner an early riser—His acquaintance with Schopenhauer—Wagner a pessimist?—The first promptings of “Tristan and Isolde”—How did Richard Wagner compose?—The manner of Beethoven, Haydn, and Wagner compared—Wagner’s thumping—Admits he is not at his best when improvising—Schaffhausen—The lions—Wagner’s extravagance—Duke of Coburg’s offer—The Wesendoncks

288 CHAPTER CHAPTER XXII. 1857-1861.

His health “shattered”—Goes to Venice—Returns to Paris—Resides in Octave Feuillet’s house—The strong opposition of the press—The origin of the performance of “Tannhäuser”—The story of the cabal and disaster

300 CHAPTER CHAPTER XXIII. LETTERS FROM 1861-1865.

Letters from Wagner

309 CHAPTER CHAPTER XXIV. 1865-1883.

Munich—Wagner in low spirits—His relations with the young king of Bavaria—His house—Fearlessness of speech—Presence of mind—Intrigues against him—Leaves for Geneva—Return to Munich—Treatment of the king—Approaching change in Wagner’s life—Madame von Bülow—Wagner’s second marriage—Letters from him—Under a new light—His love for home—“Siegfried”—Lucerne—Wagner at home—Peace—His autobiography—His opinion of Liszt—The end—Wagner’s work and character

317

WAGNER AS I KNEW HIM.

CHAPTER I.

1813-1821.

SELDOM has the proverb “The child is father to the man” been more completely verified in the life of any prominent brain-worker than in that of Richard Wagner. The serious thinker of threescore, with his soul deep in his work, is the developed school-boy of thirteen lauded by his masters for unusual application and earnestness. All his defects and virtues, his affections and antipathies, can be traced to their original sources in his childhood. No great individuality was ever less influenced by misfortune or success in after-life than Wagner. The mission he felt within him and which he resolutely set