R. much plagued by his composition; yet we celebrate little Eva’s day in all cheerfulness. In the afternoon R. takes up several works by Handel and is astonished at their banality—no depth at all, no Christianity, mere Jehovah-service. The only thing that remains to him as truly grand in memory is the “Ode for St. Cecilia’s Day”. — R. persists in saying that he himself is no musician! —
A letter from Countess Danckelmann makes us sad; the lady wishes to know whether she should bring her cook with her, and inquires about the lodgings here! Are we not, in this respect, heading toward a complete catastrophe, even should everything else succeed? …
Revised English translation by Jo Cousins [© Jo Cousins | WAGNER Salon]
Further Documents:
Frankfurter Zeitung und Handeslblatt February 17th, 1876:
“Little Chronicle
Richard Wagner arrived in Berlin on the 25th to conduct rehearsals for “Tristan und Isolde.” …
The financial statement of the board of directors of the “Richard Wagner Theater” shows income of 306,000 florins by the end of the year, including 240,000 florins for patronage certificates, 46,000 florins in voluntary contributions, and 11,000 florins from the Berlin Wagner Societies. Expenditures amounted to 290,000 florins: of this, 22,000 florins were for rehearsals, 223,000 florins for construction, 5,000 florins for costumes, and 13,000 florins for inventory. At the end of December, there was still a surplus of 15,000 florins, and this sum has already been increased by the numerous patronage certificates sold since then.”