My Life. Volume 2. Рихард ВагнерЧитать онлайн книгу.
amiable-looking Englishman, Mr. Anderson, who, fully satisfied with the result of his mission, immediately left for England wrapped in a big fur coat, whose real owner I only got to know later on. Before following him to England, I had to free myself from a calamity which I had brought upon myself through being too kind-hearted. The managing director of the Zurich theatre for that year, an obtrusive and over-zealous person, had at last made me accede to his wish to produce Tannhauser, on the plea that as this work was now performed at every opera house, it would be a very bad thing for the Zurich theatre if it were the only one to be deprived of the privilege, merely because I happened to live in the town. Besides this, my wife interfered in the matter, and the singers who played Tannhauser and Wolfram at once put themselves under her wing. She really succeeded, too, in working on my humanitarian feelings with regard to one of her proteges, a poor tenor who had been badly bullied by the conductor till then. I took these people through their parts a few times, and in consequence found myself obliged to attend the stage rehearsals to superintend their performances. What it all came to in the end was that I was driven to interfere again and again, until I found myself at the conductor's desk, and eventually conducted the first performance myself. I have a particularly vivid recollection of the singer who played Elizabeth on that occasion. She had originally taken soubrette parts, and went through her role in white kid gloves, dangling a fan. This time I had really had enough of such concessions, and when at the close the audience called me before the curtain, I stood there and told my friends with great frankness that this was the last time they would get me to do anything of the sort. I advised them in future to look to the state of their theatre, as they had just had a most convincing proof of its faulty construction—at which they were all much astonished. I made a similar announcement to the 'Musikgesellschaft,' where I also conducted once more—really for the last time—before my departure. Unfortunately, they put down my protests to my sense of humour, and were not in the least spurred to exert themselves, with the result that I had to be very stern and almost rude the following winter, to deter them, once and for all, from making further demands upon me. I thus left my former patrons in Zurich somewhat nonplussed when I started for London on 26th February.
I travelled through Paris and spent some days there, during which time I saw only Kietz and his friend Lindemann (whom he regarded as a quack doctor). Arriving in London on 2nd March I first went to see Ferdinand Prager. In his youth he had been a friend of the Rockel brothers, who had given me a very favourable account of him. He proved to be an unusually good-natured fellow, though of an excitability insufficiently balanced by his standard of culture. After spending the first night at his home, I installed myself the following day with his help in a house in Portland Terrace, in the neighbourhood of Regent's Park, of which I had agreeable recollections from former visits. I promised myself a pleasant stay there in the coming spring, if only on account of its close proximity to that part of the park where beautiful copper beeches over-shadowed the path. But though I spent four months in London, it seemed to me that spring never came, the foggy climate so overclouded all the impressions I received. Prager was only too eager to escort me when I went to pay the customary visits, including one to Costa. I was thus introduced to the director of the Italian Opera, who was at the same time the real leader of music in London; for he was also director of the Sacred-Music Society, which gave almost regular weekly performances of Handel and Mendelssohn.
Prager also took me to see his friend Sainton, the leader of the London orchestra. After giving me a very hearty reception he told me the remarkable history of my invitation to London. Sainton, a southern Frenchman from Toulouse, of naive and fiery temperament, was living with a full-blooded German musician from Hamburg, named Luders, the son of a bandsman, of a brusque but friendly disposition. I was much affected when I heard, later on, of the incident which had made these two men inseparable friends. Sainton had been making a concert tour by way of St. Petersburg, and found himself stranded at Helsingfors in Finland, unable to get any further, pursued as he was by the demon of ill-luck. At this moment the curious figure of the modest Hamburg bandsman's son had accosted him on the staircase of the hotel, asking whether he would be inclined to accept his offer of friendship and take half of his available cash, as he (Luders) had of course noticed the awkwardness of the other's position. From that moment the two became inseparable friends, made concert tours in Sweden and Denmark, found their way back in the strangest fashion to Havre, Paris, and Toulouse, by way of Hamburg, and finally settled down in London—Sainton to take an important post in the orchestra, while Luders got along as best he could by the drudgery of giving lessons. Now I found them living together in a pretty house like a married couple, each tenderly concerned for his friend's welfare. Luders had read my essays on art, and my Oper und Drama in particular moved him to exclaim, 'Donnerwetter, there's something in that!' Sainton pricked up his ears at this, and when the conductor of the Philharmonic concerts (the great Mr. Costa himself), for some unknown reason, quarrelled with the society before the season began and refused to conduct their concerts any longer, Sainton, to whom Mr. Anderson, the treasurer, had gone for advice in this awkward predicament, recommended them, at Luders' instigation, to engage me. I now heard that they had not acted upon this suggestion at once. Only when Sainton happened to remark casually that he had seen me conduct in Dresden did Mr. Anderson decide to make the journey to Zurich to see me (in the fur coat lent by Sainton for the purpose), as a result of which visit I was now here. I soon discovered, too, that Sainton had in this case acted with the rashness characteristic of his nation. It had never occurred to Costa that he would be taken seriously in his statement to the Philharmonic Society, and he was thoroughly disgusted at my appointment. As he was at the head of the same orchestra which was at my disposal for the Philharmonic concerts, he was able to foster an attitude of hostility to the undertakings for which I was responsible, and even my friend Sainton had to suffer from his animosity without actually realising the source of the annoyance.
As time went on I saw this more plainly, while there was abundant material for unpleasantness of every description in other quarters. In the first place Mr. Davison, the musical critic of the Times, adopted a most hostile attitude, and it was from this that I first realised, clearly and definitely, the effect of my essay entitled 'Judaism in Music.' Prager had further informed me that Davison's extremely powerful position on the Times had accustomed him to expect every one who came to England on business connected with music to propitiate him by all sorts of delicate attentions. Jenny Lind was one whose submission to these pretensions did much to ensure her popular success; whereas Sontag considered that her rank as Countess Rossi elevated her above such considerations. As I had been completely absorbed in the delight of handling a good, full orchestra, with which I hoped to give some fine performances, it was a great blow to learn that I had no control whatever over the number of rehearsals I thought necessary for the concerts. For each concert, which included two symphonies and several minor pieces as well, the society's economical arrangements allowed me only one rehearsal. Still I went on hoping that the impression produced by the performances I conducted might even here justify the demand for a special effort. It proved absolutely impossible, however, to depart in any way from the beaten track, and, realising this, I at once felt that the fulfilment of the task I had undertaken was a terrible burden. At the first concert we played Beethoven's Eroica, and my success as a conductor seemed so marked that the committee of the society were evidently prepared to make a special effort for the second. They demanded selections from my own compositions as well as Beethoven's Ninth Symphony, and conceded me two rehearsals as an exceptional favour. This concert went off quite passably. I had drawn up an explanatory programme for my Lohengrin Overture, but the words 'Holy Grail' and 'God' were struck out with great solemnity, as that sort of thing was not allowed at secular concerts. I had to content myself with the chorus from the Italian Opera for the symphony, besides putting up with a baritone whose English phlegm and Italian training drove me to despair at the rehearsal. All I understood of the English version of the text was, 'Hail thee joy' for Freudeschoner Gotterfunken. The Philharmonic Society appeared to have staked everything on the success of this concert, which, in fact, left nothing to be desired. They were accordingly horrified when the Times reporter fell on this performance, too, with furious contempt and disparagement. They appealed to Prager to persuade me to offer Mr. Davison some attentions, or at least to agree to meet that gentleman and be properly introduced to him at a banquet to be arranged by Mr. Anderson. But Prager now knew me well enough to dash their hopes of obtaining any concession of that sort from me. The banquet fell through, and, as I saw later, the society began from that time forward to regret