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Updated: July 9, 2025
The letter on p. 227 is most characteristic of a German. Siegfried's Death did not explain enough, so an explanation had to be offered; that explanation needed explaining, so a second explanation was made; this left matters in as unsatisfactory a state as ever, so, finally, the first opera of the four, the Rhinegold, was written and with that Wagner mercifully stopped.
When you have had enough of "Rhinegold," send it to Chorusmaster Fischer at Dresden, instructing him in my name to give it to the copyist Wolfel, so that he may finish the copy which he has begun. Your cheering words about the "Rhinegold" were splendid, and it has really turned out well. I hope there will be enough counterpoint in it to please Raff. My anxiety as to this troubles me very much.
On my return from Hungary in September, I shall bring you the mass and my symphonic bubbles and troubles, half of which will by that time be in print. If my scores should bore you, that will not prevent me from deriving sweetest enjoyment from your creations, and you must not refuse me the favour of singing the whole "Rhinegold" and "Valkyrie" to me.
You will not be allowed to see the "Rhinegold" till it has been completed in this worthy fashion, and that can only be done in certain idle hours of the long winter evenings. At present I have no time for it. I must begin the composition of the "Valkyrie," which I feel joyfully in every limb. Greet the Princess and the Child with the full power of greeting.
I append the programs in the order they were given: STORY PROGRAM Irish Folk-tales. 2. Stories from Scandinavian Myths. 3. The Rhinegold Stories. 4. German Folk-tales. 5. Arthurian Tales. 6. Stories of Charlemagne and Frederick Barbarossa. 7. Tales of American Indians. 8. Negro Tales. 9. Stories of the Carnegie Heroes. 10. Kipling Captains Courageous, Jungle Stories. 11.
In one respect the change is not so marked as that between the Rhinegold and the Valkyrie; in the first there is little of the passion, strength, grip and breadth of the others. While composing the Rhinegold his powers were developing at a prodigious rate, and had the Rhinegold been a better subject for the purpose they might have reached maturity while writing it.
We can follow the Valkyrie, Siegfried and the Dusk of the Gods quite well without it. Still, it is a part of Wagner's scheme, and for many a long year will be enjoyed for its power and beauty, a power and beauty that seem small only in comparison with the greater operas. The Rhinegold suffers from a plethora of undeveloped themes, some of which are treated at length as the Ring proceeds.
I call this a duty which you have towards me. The only thing I want is money; that at least one ought to be able to get. Love I abandon, and art! Well, the "Rhinegold" is ready, readier than I ever thought it would be. I went to this music with so much faith, so much joy; and with a true fury of despair I continued, and have at last finished it. Alas! the need of gold held me too in its net.
Between the years 1852 and 1856 the composer wrote the music of the "Rhinegold" and the whole of "The Valkyrie;" and then, as he says himself, wishing to keep up his active connection with the stage, he interrupted the progress of the main scheme, and wrote "Tristan and Isolde," which occupied him from 1856 to 1859. During its composition, however, he did not entirely forsake the trilogy.
Difficult as I find it to part with your "Rhinegold," I promise to send the score to Fischer in a few days. He can send me the pianoforte arrangement later on. My best remembrances to your wife. I shall soon write again, and also hope to hear from you. Most thine own, F. LISZT. WEYMAR, February 16th, 1855.
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