It would seem that the rumours of war are to be traced to the desire for a fall in the market on the part of the proprietors of the “Tagblatt” (Vienna). Herr Jauner remains silent. R. holds the third rehearsal with Herr Unger and is satisfied with him.
In the afternoon a walk with R. In the evening he reads to me a report from America, which says that Hans has played with unheard-of mastery, yet through his personal manner has alienated the public, so that the attendance was moderate. In tears and sorrow I passed this evening and the first part of the night, with supplications to God! —
We also lay our magnificent “Don Quixote” to rest and take our leave of him! Such a work cannot be analysed; it is like witnessing a tragedy! —
Herr Fiege reports by postcard the great success of the sixth performance of “Tristan”; no work of R.’s, he says, has pleased Berlin so much—which I attribute to the fact that he himself supervised the performance.
A strange letter from Herr Krolop,[1] if only the role of Sieglinde had been assigned three months earlier! … — — — From the abyss I cry unto Thee, my God! The mournful melody answers me, and the whole of life shines desolate before me, like the sea before the poor Tristan. — — —
The sketches of Beethoven interest and occupy us greatly; it is most remarkable how he sought what he had inwardly heard, and at last laboriously rediscovered it. What guides him in this? No conscious design, an instinct.
[1] Franz Krolop (1839-1897), singer, at the Berlin Court Opera since 1873.
Revised English translation by Jo Cousins [© Jo Cousins | WAGNER Salon]