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Updated: June 17, 2025
In short, everything I learned was calculated to discourage me. I called on Bernhard Marx, who some years ago had shown a kindly interest in my Fliegender Hollander, and was courteously received by him.
I was told in answer to this that my work itself would be better served by a fixed position without arduous duties, as for a whole year since the completion of the Fliegender Hollander I had not, under existing circumstances, found any leisure at all for composition.
The same thing occurred with the 'Spinner's Song, and when I had written out these two pieces, and, on further reflection, could not help admitting that they had really only taken shape in my mind at that moment, I was quite delirious with joy at the discovery. In seven weeks the whole of the music of the Fliegender Hollander, except the orchestration, was finished.
As these people were at my disposal in the early morning and in the evening, I made them learn a selection of pieces from the Fliegender Hollander, Tannhauser, and Lohengrin. I had greater trouble in trying to train them for a chorus, but this too turned out very satisfactorily.
The rehearsing and con-ducting of the Fliegender Hollander were willingly handed over to me, because Reissiger was overwhelmed with work, in consequence of the death of the musical director, Rastrelli. In addition to this I was asked to conduct Weber's Euryanthe, by way of providing a direct proof of my capacity to interpret scores other than my own.
In this way I completed the poem of the Walkure by the end of June. At the same time I wrote the dedication of the score of my Lohengrin to Liszt, as well as a rhymed snub to an unprovoked attack on my Fliegender Hollander in a Swiss newspaper. A very disagreeable incident in connection with Herwegh pursued me to my retreat in the country.
She, being of a more practical turn of mind, used to point out to me the necessity of procuring means for our continued existence in Paris, for which she had thought out all sorts of economies. I, for my part, was sketching out the plan of the poem of my Fliegender Hollander, which I kept steadily before me as a possible means of making a debut in Paris.
It was with a strange, and in its way quite a new, sensation that I bade farewell to this young lady. This was the first time since my meeting with Alwine Frommann and Werder, when the Fliegender Hollander was produced, that I came across this sympathetic tone, which seemed to come like an echo from some old familiar past, but which I never heard close at hand.
While the negotiations over this matter were slowly proceeding, the General Board gave proof in another direction of an almost passionate interest in my talents. They insisted that the first performance of the Fliegender Hollander should on no account be conceded to the Berlin opera, but reserved as an honour for Dresden.
A feeling of indescribable content came over me when the enormous granite walls echoed the hail of the crew as they cast anchor and furled the sails. The sharp rhythm of this call clung to me like an omen of good cheer, and shaped itself presently into the theme of the seamen's song in my Fliegender Hollander.
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