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Nothing appears more adapted to the achievement of this purpose than the sale of my "Nibelungen" to Hartel, whom I have asked to settle with me according to his own judgment. It is most important to me that this should come to pass, and I hope, in any case, that if Hartel accepts the offer I shall receive all that is required.
Thereupon Hartel answered that I was to read his counter offer, made, in a sealed letter which he enclosed, only on condition that I at once agreed to waive my own demands entirely, as he did not think the work I proposed to write was one which could be produced without difficulties.
Altogether I am very sorry that I ever had the poem printed; it is not to be pulled about like this; it still is mine. Have you received any communication as to "Lohengrin" at Leipzig? Hartel has left me without an answer for ever so long. I hope I shall hear soon how the matter stands. Farewell; ah, farewell. How I envy you your whole existence.
Hartel spoke to me about your letter in connection with this affair about two months ago; and, in my opinion, you cannot do better than give the poem to the public while you finish the score. As to the definite performance of the three operas we must have a good talk when the time comes. You may rely on my practical talents for that purpose and have implicit confidence in me.
According to Breitkopf & Hartel the bass octaves are E both times. Mikuli gives G sharp the first time instead of E; Klindworth, G sharp the second time; Riemann, E, and also Kullak. The G sharp seems more various. In the thirteenth prelude, F sharp major, here is lovely atmosphere, pure and peaceful. The composer has found mental rest.
However, I am getting better, and hope to be able to walk and work again next week. Farewell, and be pressed to my heart a thousand times. Your Hartel has sent me a divine Christmas present. All the children in the world cannot be so delighted with their trees and the golden apples and splendid gifts suspended thereon as I, in my own person, am with your unique "Tristan."
These, in the end, I tried to work out correctly with all the materials of an architect's draughtsman. I had risen to this bold idea after negotiations on which I entered about that time with Hartel, the music publishers at Leipzig, for the sale of my Nibelungen compositions.
Inspired by his love for Mathilde Wesendonck, Wagner wrote the opera and succeeded in selling the score to Breitkopf & Hartel for the equivalent of $800. Then began the hunt for a theatre in which to give the first representation.
In such circumstances, my only hope is the speedy success of the Hartel affair in connection with the "Nibelungen," which had been broken off. In accordance with your kind offer, I gave you unlimited power with regard to it. But now you are again tied to your bed, and cannot, in any case for the present, pay the visit to Leipzig which would be necessary for the settlement of such an affair.
I should prefer to apply to Messrs. Hartel in this matter because they would be the most respectable purchasers; because they are the publishers of the score and pianoforte arrangements, and are therefore interested in the success of the whole; and because this would at last give me an opportunity of coming to terms with them as to a proper honorarium for the copyright of "Lohengrin." If Messrs.
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