By Franz & Wagner Richard Liszt, Francis Hueffer
Francis Hueffer (1845-89) was once born and studied track in Germany, yet moved to London in 1869 to pursue a profession as a critic and author on track. He edited the sequence 'The nice Musicians' for Novello and Co., was once song critic of the days, wrote libretti for a few now-forgotten operas, and was once an early suggest and interpreter to the British of Wagner. in addition to writing Wagner in his personal 'Great Musicians' sequence (1881), and Richard Wagner and the song of the longer term (1874), he translated the correspondence of Wagner and Liszt. This interesting two-volume choice, released in 1888, covers the interval 1841-61. Hueffer indications in his preface the significance to Wagner of the encouragement of Liszt - a longtime performer whilst Wagner was once slightly identified and largely ridiculed, a musical mentor, an enthusiastic critic and finally a partner's father.
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I3 activity a new one, which probably is not inferior to the foremost of its predecessors, and in many respects perhaps surpasses them all. Do you suppose I cannot judge of this from a distance ? Hear if I can. No theatre- in the world has so far thought it advisable to perform my opera Tannhduser four years after its production; it was left to you to settle down for a time from your world-wide travels at a small court theatre, and at once to set to work so that your much-tried friend might at last get on a little.
Also do not neglect Janih, who, I feel sure, will give you a helping hand, and whose influence in the press can secure the early performance of the opera. In a word, very dear and very great friend, make yourself possible in possible conditions, and success will assuredly not fail you. Vaez and A. Royer will be of great assistance to you both for the translation and rearrangement of Rienzi and for the design of your new work. Associate and concur with them strictly for the realisation of that plan from which you must not swerve :— 1.
Who the deuce does not conduct operatic rehearsals nowadays ? You were intent not only upon giving the opera, but upon making it understood and received with applause. That meant to throw yourself into the work body and soul, to sacrifice body and soul, to press and exert every fibre of the body, every faculty of the soul, towards the one aim of not only producing your friend's work, but of producing it splendidly and to his advantage. You had to be sure that it would succeed, for only with a view to success had you begun the work; and therein lies the force of your character and of your ability—you have succeeded.