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Updated: June 27, 2025
The knowledge I thus acquired of this work, under such favourable circumstances, pleased me so much, that I made a fresh attempt to approach the composer with sincere and friendly motives; but a remarkable conversation which I had with him on the evening of this performance quickly and strangely repelled my impulse. After the oratorio Reissiger was to produce Beethoven's Eighth Symphony.
SOON after this had happened with Reissiger, the very same thing took place with the same movement of the Eighth Symphony at Leipzig. He did not keep his word and offered a queer excuse: he laughed, and confessed that he had been disturbed with all manner of administrative business, and had only remembered his promise after the piece had begun; naturally he could not then alter the tempo, etc.
Wagner was quite brutally reminded that the mighty Weber had been compelled to do so; and he was told he must do so. He point-blank refused; sent the Lüttichau man a long explanation which, I dare say, was never read of why he couldn't accept such terms; spoke of the necessity of getting some sort of order and discipline into an orchestra which Reissiger had allowed to go to pieces, etc., etc.
To this he gladly agreed, and I therefore set aside for versification, as a suitable text for Reissiger, my Hohe Braut, founded on Konig's romance, which I had once before submitted to Scribe. I promised to bring Reissiger a page of verse for every piano rehearsal, and this I faithfully did until the whole book was done.
"Are you not conducting the opera to-night?" asked Wagner possibly in a fit of consternation, thinking it might be his night. "Have had it," Reissiger replied; "how's that for smart conducting?" As long as they got through, Reissiger was content. Not so Wagner.
Luttichau, who was on the point of absenting himself from Dresden for some time, was extremely uneasy, as Reissiger was away on his holiday, at leaving musical affairs in such a dangerous state of unrest.
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