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Updated: June 13, 2025
De Haan, who was busy directing the clerks to write out ten thousand wrappers for the first number, and who had never heard of Raphael before, held a whispered confabulation with Gradkoski and Schlesinger and in a few moments Raphael was rescued from obscurity and appointed to the editorship of the Flag of Judah at a salary of nothing a year.
I have now, counting those you have, six manuscripts; the devil take them if they get them for nothing. Pleyel did not do me any service with his offers, for he thereby made Schlesinger indifferent about me.
Some characteristics of his harmony and instrumentation will most conveniently be considered later. For the present I wish to draw my reader's attention rather to Wagner the musico-dramatist than to Wagner the technical musician. When Wagner left Paris on the proceeds of some work for Schlesinger which still remained to be done, he had learnt three lessons.
A thousand compliments to Madame. I embrace your dear children. A thousand compliments from Madame Sand. I send you also a receipt for Schlesinger which you will give up to him for the money only. Once more, do not be vexed if he makes any difficulties. I embrace you. August 30, 1845. Give the manuscripts only at the moment of payment.
As I did not hear from M. Pillet for quite a long time, I now began to work diligently at my composition of Rienzi, though, to my great distress, I had often to interrupt this task in order to undertake certain pot-boiling hack-work for Schlesinger. As my contributions to the Gazette Musicale proved so unremunerative, Schlesinger one day ordered me to work out a method for the Cornet a pistons.
For instance, he cannot expect that I should give him twelve Etudes or a new Methode de Piano for 300 francs. In one word, for Paris I give these five compositions for 2,000 francs. If he does not care for them, so much the better. I say it entre nous for Schlesinger will most willingly buy them. But I should not like him to take me for a man who does not keep his word in an agreement.
When I was in the midst of this work, however, to my great relief and to my poor wife's consternation, Schlesinger told me that M. Schlitz, the first cornet player in Paris, who had looked my 'Etudes' through, preparatory to their being engraved, had declared that I knew absolutely nothing about the instrument, and had generally adopted keys that were too high, which Parisians would never be able to use.
"Certainly there must be a sub-editor," cried Pinchas eagerly. "Very well, then," said De Haan, struck with a sudden thought. "It is true Mr. Leon cannot do all the work. I know a young fellow who'll be just the very thing. He'll come for a pound a week." "But I'll come for a pound a week," said Ebenezer. "Yes, but you won't get it," said Schlesinger impatiently.
I accepted his invitation, and sat down with him to a somewhat luxurious meal; my conversation seemed to appeal to him, but friends came in, and at last Schlesinger among the number, who burst into a fury at not finding him at work on the proofs he regarded as so important. Halevy, however, remained quite unmoved.
M. Max Schlesinger, author of "The War in Hungary, in 1848-9," a work which, from what we read of it in the foreign journals, is much the most striking and attractive of all that have appeared upon its subject in English, is described in the Athenæum, as by birth a Hungarian, by the accidents of fortune a German.
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