opera of his own composition, for which he offered me the sum of two thousand seven hundred marks (L135). In spite of my position as an outlaw, my noble patron and would-be employer offered to receive me in his castle at Coburg, where, in quiet seclusion with himself and Frau Birchpfeiffer, the writer of the libretto, I might execute the work. Liszt naturally expected nothing more from me than a decent excuse for declining this offer, and suggested my pleading 'bodily and mental depression.' My friend told me afterwards that the Duke had desired my co-operation with him in his score on account of my skilful use of trombones. When he inquired, through Liszt, what my rules for their manipulation were, I replied that before I could write anything for trombones I required first to have some ideas in my head.
On the other hand, however, I felt very much tempted to entertain the Weimar proposal. Still weary from my exhausting labour on Oper und Drama, and worried by many things which had a depressing effect on my spirits, I seated myself for the first time for many months at my Hartel grand-piano, which had been rescued from the Dresden catastrophe, to see whether I could settle down to composing the music for my ponderous heroic drama. In rapid outline I sketched the music for the Song of the Norns, or Daughters of the Rhine, which in this first draft was only roughly suggested. But when I attempted to turn Brunhilda's first address to Siegfried into song my courage failed me completely, for I could not help asking myself whether the singer had yet been born who was capable of vitalising this heroic female figure. The idea of my niece Johanna occurred to me, whom, as a matter of fact, I had already destined for this rule when I was still in Dresden on account of her various personal charms. She had now entered upon the career of prima donna at Hamburg, but, judging from all the reports I had received, and especially from the attitude towards me that she openly adopted in her letters to her family, I could only conclude that my modest hopes of enlisting her talents on my behalf were doomed to disappointment. I was, moreover, confused by the fact that a second Dresden prima donna, Mme. Gentiluomo Spatzer, who had once enraptured Marschner with Donizetti's dithyrambics, kept hovering perpetually before my mind as a possible substitute for Johanna. At last, in a rage, I sprang up from the piano, and swore that I would write nothing more for these silly fastidious schoolgirls. Whenever I saw any likelihood of being again brought into closer contact with the theatre I was filled with an indescribable disgust which, for the time being, I was unable to overcome. It was some little consolation to discover that bodily ill-health might possibly be at the bottom of this mental disorder. During the spring of this year I had been suffering from a curious rash, which spread over my whole body. For this my doctor prescribed a course of sulphur-baths, to be taken regularly every morning. Although the remedy excited my nerves so much that later on I was obliged to adopt radical measures for the restoration of my health, yet in the meantime the regular morning walk to the town and back, surrounded by the fresh green and early spring flowers of May, acted as a cheerful stimulant on my mental condition. I now conceived the idea of the poem of Junger Siegfried, which I proposed to issue as a heroic comedy by way of prelude and complement to the tragedy of Siegfrieds Tod. Carried away by my conception, I tried to persuade myself that this piece would be easier to produce than the other more serious and terrible drama. With this idea in my mind I informed Liszt of my purpose, and offered the Weimar management to compose a score for Junger Siegfried, which as yet was unwritten, in return for which I would definitely accept their proposal to grant me a year's salary of fifteen hundred marks. This they agreed to without delay, and I took up my quarters in the attic-room evacuated the previous year by Karl Ritter, where, with the aid of sulphur and May-blossom, and in the highest spirits, I proposed to complete the poem of Junger Siegfried, as already outlined in my original design.
I must now give some account of the cordial relations which, ever since my departure from Dresden, I had maintained with Theodor Uhlig, the young musician of the Dresden orchestra, which I have already described, and which by this time had developed into a genuinely productive association. His independent and indeed somewhat uncultivated disposition had been moulded into a warm, almost boundless devotion to myself, inspired both by sympathy for my fate and a thorough understanding of my works. He also had been among the number of those who had visited Weimar to hear my Lohengrin, and had sent me a very detailed account of the performance. As Hartel, the music-dealer in Leipzig, had willingly agreed to my request to publish Lohengrin on condition that I should not demand any share in the profits, I entrusted Uhlig with the preparation of the pianoforte arrangement. But it was more the theoretical questions discussed in my works that formed the chief link that bound us together by a serious correspondence. The characteristic which especially touched me about this man, whom from his training I could regard merely as an instrumentalist, was that he had grasped with clear understanding and perfect agreement those very tendencies of mine which many musicians of apparently wider culture than his own regarded with almost despairing horror, as being dangerous to the orthodox practice of their art. He forthwith acquired the literary facility necessary for the expression of his agreement with my views, and gave tangible proof of this in a lengthy treatise on 'Instrumental Music,' which appeared in Kolatschek's German monthly journal. He also sent to me another strictly theoretical work on the 'Structure of Musical Theme and Phrase.' In this he showed the originality of his ideas about Mozart's and Beethoven's methods, to an extent which was only equalled by the thoroughness with which he had mastered the question, especially where he discussed their highly characteristic differences. This clear and exhaustive treatise appeared to me admirably adapted to form the basis for a new theory of the higher art of musical phrasing, whereby Beethoven's most obscure construction might be explained, and elaborated into a comprehensible system that would allow of further application. These treatises attracted the attention of Franz Brendel, the astute publisher of the Neue Zeitschrift fur Musik, to their brilliant young author. He was invited by Brendel to join the staff of his paper, and soon succeeded in changing his chief's previous attitude of indecision. As Brendel's aims were on the whole perfectly honourable and serious, he was quickly and definitely led to adopt those views which from this time began to make a stir in the musical world under the title of the 'New Tendency.' I thereupon felt impelled to contribute an epoch-making article to his paper on these lines. I had noticed for some time that such ill-sounding catch-phrases as 'Jewish ornamental flourishes' (Melismas), 'Synagogue Music,' and the like were being bandied about without any rhyme or reason beyond that of giving expression to meaningless irritation. The question thus raised regarding the significance of the modern Jew in music stimulated me to make a closer examination of Jewish influence and the characteristics peculiar to it. This I did in a lengthy treatise on 'Judaism in Music.' Although I did not wish to hide my identity, as its author, from all inquiries, yet I considered it advisable to adopt a pseudonym, lest my very seriously intended effort should be degraded to a purely personal matter, and its real importance be thereby vitiated. The stir, nay, the genuine consternation, created by this article defies comparison with any other similar publication. The unparalleled animosity with which, even up to the present day, I have been pursued by the entire press of Europe can only be understood by those who have taken an account of this article and of the dreadful commotion which it caused at the time of its publication. It must also be remembered that almost all the newspapers of Europe are in the hands of Jews. Apart from these facts, it would be impossible to understand the unqualified bitterness of this lasting persecution, which cannot be adequately explained on the mere ground of a theoretical or practical dislike for my opinions or artistic works. The first outcome of the article was a storm which broke over poor Brendel, who was entirely innocent, and, indeed, hardly conscious of his offence. This erelong developed into a savage persecution which aimed at nothing less than his ruin. Another immediate result was that the few friends whom Liszt had induced to declare themselves in my favour forthwith took refuge in a discreet silence. As it soon seemed advisable, in the interests of their own productions, to give direct evidence of their estrangement from me, most of them passed over to the ranks of my enemies. But Uhlig clung to me all the more closely on this account. He strengthened Brendel's weaker will to endurance, and kept helping him with contributions for his paper, some of them profound and others witty and very much to the point. He fixed his eye more particularly on one of my chief antagonists, a man named Bischoff, whom Hiller had discovered in Cologne, and who first invented for me and my friends the title of Zukunftsmusiker ('Musicians of the Future'). With him he entered into a prolonged and somewhat diverting controversy. The foundation had now been laid for the problem of the so-called Zukunftsmusik ('Music of the Future'), which was to become a European scandal, in spite of the fact that Liszt quickly