CHAPTER XXVILudwig and Richard Wagner—The King’s Visit to BayreuthAs long as Richard Wagner had lived in Munich it had only been necessary for him to express a wish with regard to the performance of his works, for the King at once to fulfil it. After his departure he had at first in Hans von Bülow a substitute whom he could safely trust. But when he too left Bavaria the matter grew more difficult. Baron von Perfall became the manager of the Hof Theater. Although he made a positiveculteof Wagner’s works, and during his tenure of the office, which lasted for twenty-five years, performed his operas 742 times, the old order of things was changed during his leadership.On the 25th of June 1868, the day after the dress rehearsal ofDie Meistersinger von Nürnberg, Perfall received a letter from Wagner in which he announced his intention of “retiring from all connection with the Hof Theater.” Almost simultaneously Ludwig and Wagner were seen side by side for the last time in Munich. It was at the first performance of theMeistersinger. The representation was brilliant, Hans von Bülow conducting with energy, and entirelyin the master’s spirit. The King sat in his great box. He caused Wagner to be summoned to it.The composer was enthusiastically recalled after the first act, but did not appear on the stage because he had been unable to find his way thither from the royal box. The performance was proceeded with, and at its conclusion the applause broke forth with redoubled vigour. Wagner, who was sitting by the King’s side, rose and bowed to the public from theKaiserloge, an act which occasioned much annoyance. The unfavourable criticism which his friendship for the poet-musician was always calling forth had an unfortunate influence on Ludwig’s mental condition, as well as greatly wounding his pride.Wagner, who had visited Bayreuth in his youth, had preserved a pleasant impression of this town, situated so far from the noise of industry and the distracting influences of the outer world. Returning thither in 1871, a warm friendship sprang up between him and its inhabitants, who wished to keep him in their midst. The Margrave’s large theatre had for many years been unused. He agreed with the leading men of the town to take this house, although it was hardly suitable for his purpose. The inhabitants now offered him a building site which must in every way have been attractive to him. His scheme of raising a temple of artin the little town amid the Bavarian mountains was received with delight by his adherents and friends, who did all in their power to support the undertaking. Ludwig also stood by his side, a loyal helper, during the struggle which ensued before his theatre was finally complete. The foundation-stone was laid in 1872. The King telegraphed: “From my inmost soul I express to you, my dearest friend, my warmest and sincerest congratulations on the occasion of this day, which is of import to the whole of Germany. Success and blessing accompany the great work! I am to-day more than ever with you in thought.”Richard Wagner’s letters to Emil Heckel give an insight into the immense difficulties which he and his admirers had to overcome. There was in 1873 a money crisis extending over the whole of Germany and Austria. Banks which had promised credit were unable to meet their promises, and this delayed the realisation of his scheme. He had always calculated upon the King’s assistance. On the 16th of January he wrote to Heckel that he had requested “his ever-generous protector” to guarantee a loan, but that the latter, for some reason unknown to him, had refused his assistance.—A German poet had written an eulogistic ode in Ludwig’s honour and had requested Wagner to set it to music, but the latter, unaware that the King knew the poem, had coldlyrefused to do this. Ludwig had been offended. He could not, however, long be angry with his friend; already in February in the same year he gave the desired security. The first “Niebelungen-cycle” was given in Bayreuth from the 13th to the 30th of August 1876. It was repeated three times before an enthusiastic audience, among whom were the Emperor of Germany, the Grand Dukes of Weimar and Baden, the Emperor of Brazil, the Grand Duke Constantine of Russia, and many other royal personages, as well as literary and artistic celebrities from all countries.The King of Bavaria, who was seldom present at anything but separate performances, determined to visit Bayreuth, despite the fact that this would necessitate his appearing in public. He drove direct from Chiemsee to his hunting-box outside the town. Only Wagner was there to receive him. He met his old friend with warmth, and bade him seat himself beside him in the carriage. Although he made a detour each evening in order to avoid the crowd, he was, both inside and outside the theatre, the object of enthusiastic ovations. He endeavoured to avoid them, but again and again had to come to the front of his box and bow his acknowledgments. He looked ill and depressed. Wagner was the only person with whom he conversed, but he paid no visit to his private residence, and he left Bayreuthunattended and as quietly as he had come.The German, French, and English press took up a cool attitude with regard to the festival. It could not be denied that it had been great and successful, but it was said that the “Ring” was long. The performances showed a deficit of 16,000 marks.The poet-musician was in the greatest straits for money. His friends advised him again to address himself to the King. It was his opinion, however, that he had already taken greater advantage of his protector’s generosity than he ought to have done. As he saw no other way of paying his debts, he sold the “Ring,” on which he had worked for nearly thirty years, and which the theatre at Bayreuth had been built for, to a theatre agent. Hard as the sale must have been to him, it helped him over his difficulties. The “Ring” made a triumphal progress across the chief stages of Germany. Divergent art tendencies were agreed in admiration of his work, and his name shone with greater lustre than before. Since that time enthusiastic hosts of listeners have made pilgrimages from all parts of Europe and America to the little town, to do homage to the great poet-composer and his works.With the lapse of years Ludwig’s admiration for his person had somewhat cooled, and during the visits to Bayreuth no trace had been visibleof his earlier enthusiastic attachment. But if the friendship no longer had the warmth of youth it was by no means dead. In the year 1879 Wagner wrote to Emil Heckel of a “kind letter which the King had sent him.” The master’s works had taken deep root in the King’s mind. In 1881 he became the patron of the Bayreuth festival. He ordered that the orchestra and chorus of the Hof Theater should be for two months in the year at the disposal of Richard Wagner. In 1882, whenParsifalwas given for the first time, he expressed a wish for a private performance at which he could be present unnoticed. He changed his mind, however, at the last moment, perhaps because the German Crown Prince was to be among the audience. Some time afterwardsParsifalwas played in Munich, with the assistance of the same artists who had sung at Bayreuth. After the first rehearsals of this opera had taken place Wagner wrote a treatise in letter form on his person and works, which he sent to Ludwig. It began with the following words:—“I will not write another note. My work is complete! I have successfully and victoriously accomplished my mission, despite the hostile onrush of a world of opponents.” This was one of the last letters from the composer-poet to this King, who had been to him more than a friend.The poet-musician used every year to visitMunich, where his protector received him with unchanged kindness. In 1882 he came thither for the last time. He requested as usual an audience of the King, but Ludwig begged to be excused from receiving him, as he was indisposed. On the 13th of February, 1883, Richard Wagner died at Venice. Five thousand telegrams were sent to all parts of the world to announce the ill tidings. One of the first came to Ludwig. He violently reproached himself for not having received him. One of his aides-de-camp went on his behalf to Venice to lay a wreath of Alpine roses on the composer’s coffin. A special train brought the deceased, his widow, and a number of friends to Bayreuth. At the frontier the King’s secretary was waiting to accompany the coffin and show the last honour to the poet-musician.Music, which before had been Ludwig’s greatest joy, was from this time forth not permitted at any of his castles, because it so painfully reminded him of the friend of his youth. All the pianos on which he had played were draped with crape. The dead man’s works still had such an effect on him that after every performance ofParsifalhe caused a Mass to be said in his castle. And after the King’s death, busts, portraits, and other mementos of Richard Wagner were found everywhere in his favourite rooms.
CHAPTER XXVILudwig and Richard Wagner—The King’s Visit to BayreuthAs long as Richard Wagner had lived in Munich it had only been necessary for him to express a wish with regard to the performance of his works, for the King at once to fulfil it. After his departure he had at first in Hans von Bülow a substitute whom he could safely trust. But when he too left Bavaria the matter grew more difficult. Baron von Perfall became the manager of the Hof Theater. Although he made a positiveculteof Wagner’s works, and during his tenure of the office, which lasted for twenty-five years, performed his operas 742 times, the old order of things was changed during his leadership.On the 25th of June 1868, the day after the dress rehearsal ofDie Meistersinger von Nürnberg, Perfall received a letter from Wagner in which he announced his intention of “retiring from all connection with the Hof Theater.” Almost simultaneously Ludwig and Wagner were seen side by side for the last time in Munich. It was at the first performance of theMeistersinger. The representation was brilliant, Hans von Bülow conducting with energy, and entirelyin the master’s spirit. The King sat in his great box. He caused Wagner to be summoned to it.The composer was enthusiastically recalled after the first act, but did not appear on the stage because he had been unable to find his way thither from the royal box. The performance was proceeded with, and at its conclusion the applause broke forth with redoubled vigour. Wagner, who was sitting by the King’s side, rose and bowed to the public from theKaiserloge, an act which occasioned much annoyance. The unfavourable criticism which his friendship for the poet-musician was always calling forth had an unfortunate influence on Ludwig’s mental condition, as well as greatly wounding his pride.Wagner, who had visited Bayreuth in his youth, had preserved a pleasant impression of this town, situated so far from the noise of industry and the distracting influences of the outer world. Returning thither in 1871, a warm friendship sprang up between him and its inhabitants, who wished to keep him in their midst. The Margrave’s large theatre had for many years been unused. He agreed with the leading men of the town to take this house, although it was hardly suitable for his purpose. The inhabitants now offered him a building site which must in every way have been attractive to him. His scheme of raising a temple of artin the little town amid the Bavarian mountains was received with delight by his adherents and friends, who did all in their power to support the undertaking. Ludwig also stood by his side, a loyal helper, during the struggle which ensued before his theatre was finally complete. The foundation-stone was laid in 1872. The King telegraphed: “From my inmost soul I express to you, my dearest friend, my warmest and sincerest congratulations on the occasion of this day, which is of import to the whole of Germany. Success and blessing accompany the great work! I am to-day more than ever with you in thought.”Richard Wagner’s letters to Emil Heckel give an insight into the immense difficulties which he and his admirers had to overcome. There was in 1873 a money crisis extending over the whole of Germany and Austria. Banks which had promised credit were unable to meet their promises, and this delayed the realisation of his scheme. He had always calculated upon the King’s assistance. On the 16th of January he wrote to Heckel that he had requested “his ever-generous protector” to guarantee a loan, but that the latter, for some reason unknown to him, had refused his assistance.—A German poet had written an eulogistic ode in Ludwig’s honour and had requested Wagner to set it to music, but the latter, unaware that the King knew the poem, had coldlyrefused to do this. Ludwig had been offended. He could not, however, long be angry with his friend; already in February in the same year he gave the desired security. The first “Niebelungen-cycle” was given in Bayreuth from the 13th to the 30th of August 1876. It was repeated three times before an enthusiastic audience, among whom were the Emperor of Germany, the Grand Dukes of Weimar and Baden, the Emperor of Brazil, the Grand Duke Constantine of Russia, and many other royal personages, as well as literary and artistic celebrities from all countries.The King of Bavaria, who was seldom present at anything but separate performances, determined to visit Bayreuth, despite the fact that this would necessitate his appearing in public. He drove direct from Chiemsee to his hunting-box outside the town. Only Wagner was there to receive him. He met his old friend with warmth, and bade him seat himself beside him in the carriage. Although he made a detour each evening in order to avoid the crowd, he was, both inside and outside the theatre, the object of enthusiastic ovations. He endeavoured to avoid them, but again and again had to come to the front of his box and bow his acknowledgments. He looked ill and depressed. Wagner was the only person with whom he conversed, but he paid no visit to his private residence, and he left Bayreuthunattended and as quietly as he had come.The German, French, and English press took up a cool attitude with regard to the festival. It could not be denied that it had been great and successful, but it was said that the “Ring” was long. The performances showed a deficit of 16,000 marks.The poet-musician was in the greatest straits for money. His friends advised him again to address himself to the King. It was his opinion, however, that he had already taken greater advantage of his protector’s generosity than he ought to have done. As he saw no other way of paying his debts, he sold the “Ring,” on which he had worked for nearly thirty years, and which the theatre at Bayreuth had been built for, to a theatre agent. Hard as the sale must have been to him, it helped him over his difficulties. The “Ring” made a triumphal progress across the chief stages of Germany. Divergent art tendencies were agreed in admiration of his work, and his name shone with greater lustre than before. Since that time enthusiastic hosts of listeners have made pilgrimages from all parts of Europe and America to the little town, to do homage to the great poet-composer and his works.With the lapse of years Ludwig’s admiration for his person had somewhat cooled, and during the visits to Bayreuth no trace had been visibleof his earlier enthusiastic attachment. But if the friendship no longer had the warmth of youth it was by no means dead. In the year 1879 Wagner wrote to Emil Heckel of a “kind letter which the King had sent him.” The master’s works had taken deep root in the King’s mind. In 1881 he became the patron of the Bayreuth festival. He ordered that the orchestra and chorus of the Hof Theater should be for two months in the year at the disposal of Richard Wagner. In 1882, whenParsifalwas given for the first time, he expressed a wish for a private performance at which he could be present unnoticed. He changed his mind, however, at the last moment, perhaps because the German Crown Prince was to be among the audience. Some time afterwardsParsifalwas played in Munich, with the assistance of the same artists who had sung at Bayreuth. After the first rehearsals of this opera had taken place Wagner wrote a treatise in letter form on his person and works, which he sent to Ludwig. It began with the following words:—“I will not write another note. My work is complete! I have successfully and victoriously accomplished my mission, despite the hostile onrush of a world of opponents.” This was one of the last letters from the composer-poet to this King, who had been to him more than a friend.The poet-musician used every year to visitMunich, where his protector received him with unchanged kindness. In 1882 he came thither for the last time. He requested as usual an audience of the King, but Ludwig begged to be excused from receiving him, as he was indisposed. On the 13th of February, 1883, Richard Wagner died at Venice. Five thousand telegrams were sent to all parts of the world to announce the ill tidings. One of the first came to Ludwig. He violently reproached himself for not having received him. One of his aides-de-camp went on his behalf to Venice to lay a wreath of Alpine roses on the composer’s coffin. A special train brought the deceased, his widow, and a number of friends to Bayreuth. At the frontier the King’s secretary was waiting to accompany the coffin and show the last honour to the poet-musician.Music, which before had been Ludwig’s greatest joy, was from this time forth not permitted at any of his castles, because it so painfully reminded him of the friend of his youth. All the pianos on which he had played were draped with crape. The dead man’s works still had such an effect on him that after every performance ofParsifalhe caused a Mass to be said in his castle. And after the King’s death, busts, portraits, and other mementos of Richard Wagner were found everywhere in his favourite rooms.
CHAPTER XXVILudwig and Richard Wagner—The King’s Visit to Bayreuth
As long as Richard Wagner had lived in Munich it had only been necessary for him to express a wish with regard to the performance of his works, for the King at once to fulfil it. After his departure he had at first in Hans von Bülow a substitute whom he could safely trust. But when he too left Bavaria the matter grew more difficult. Baron von Perfall became the manager of the Hof Theater. Although he made a positiveculteof Wagner’s works, and during his tenure of the office, which lasted for twenty-five years, performed his operas 742 times, the old order of things was changed during his leadership.On the 25th of June 1868, the day after the dress rehearsal ofDie Meistersinger von Nürnberg, Perfall received a letter from Wagner in which he announced his intention of “retiring from all connection with the Hof Theater.” Almost simultaneously Ludwig and Wagner were seen side by side for the last time in Munich. It was at the first performance of theMeistersinger. The representation was brilliant, Hans von Bülow conducting with energy, and entirelyin the master’s spirit. The King sat in his great box. He caused Wagner to be summoned to it.The composer was enthusiastically recalled after the first act, but did not appear on the stage because he had been unable to find his way thither from the royal box. The performance was proceeded with, and at its conclusion the applause broke forth with redoubled vigour. Wagner, who was sitting by the King’s side, rose and bowed to the public from theKaiserloge, an act which occasioned much annoyance. The unfavourable criticism which his friendship for the poet-musician was always calling forth had an unfortunate influence on Ludwig’s mental condition, as well as greatly wounding his pride.Wagner, who had visited Bayreuth in his youth, had preserved a pleasant impression of this town, situated so far from the noise of industry and the distracting influences of the outer world. Returning thither in 1871, a warm friendship sprang up between him and its inhabitants, who wished to keep him in their midst. The Margrave’s large theatre had for many years been unused. He agreed with the leading men of the town to take this house, although it was hardly suitable for his purpose. The inhabitants now offered him a building site which must in every way have been attractive to him. His scheme of raising a temple of artin the little town amid the Bavarian mountains was received with delight by his adherents and friends, who did all in their power to support the undertaking. Ludwig also stood by his side, a loyal helper, during the struggle which ensued before his theatre was finally complete. The foundation-stone was laid in 1872. The King telegraphed: “From my inmost soul I express to you, my dearest friend, my warmest and sincerest congratulations on the occasion of this day, which is of import to the whole of Germany. Success and blessing accompany the great work! I am to-day more than ever with you in thought.”Richard Wagner’s letters to Emil Heckel give an insight into the immense difficulties which he and his admirers had to overcome. There was in 1873 a money crisis extending over the whole of Germany and Austria. Banks which had promised credit were unable to meet their promises, and this delayed the realisation of his scheme. He had always calculated upon the King’s assistance. On the 16th of January he wrote to Heckel that he had requested “his ever-generous protector” to guarantee a loan, but that the latter, for some reason unknown to him, had refused his assistance.—A German poet had written an eulogistic ode in Ludwig’s honour and had requested Wagner to set it to music, but the latter, unaware that the King knew the poem, had coldlyrefused to do this. Ludwig had been offended. He could not, however, long be angry with his friend; already in February in the same year he gave the desired security. The first “Niebelungen-cycle” was given in Bayreuth from the 13th to the 30th of August 1876. It was repeated three times before an enthusiastic audience, among whom were the Emperor of Germany, the Grand Dukes of Weimar and Baden, the Emperor of Brazil, the Grand Duke Constantine of Russia, and many other royal personages, as well as literary and artistic celebrities from all countries.The King of Bavaria, who was seldom present at anything but separate performances, determined to visit Bayreuth, despite the fact that this would necessitate his appearing in public. He drove direct from Chiemsee to his hunting-box outside the town. Only Wagner was there to receive him. He met his old friend with warmth, and bade him seat himself beside him in the carriage. Although he made a detour each evening in order to avoid the crowd, he was, both inside and outside the theatre, the object of enthusiastic ovations. He endeavoured to avoid them, but again and again had to come to the front of his box and bow his acknowledgments. He looked ill and depressed. Wagner was the only person with whom he conversed, but he paid no visit to his private residence, and he left Bayreuthunattended and as quietly as he had come.The German, French, and English press took up a cool attitude with regard to the festival. It could not be denied that it had been great and successful, but it was said that the “Ring” was long. The performances showed a deficit of 16,000 marks.The poet-musician was in the greatest straits for money. His friends advised him again to address himself to the King. It was his opinion, however, that he had already taken greater advantage of his protector’s generosity than he ought to have done. As he saw no other way of paying his debts, he sold the “Ring,” on which he had worked for nearly thirty years, and which the theatre at Bayreuth had been built for, to a theatre agent. Hard as the sale must have been to him, it helped him over his difficulties. The “Ring” made a triumphal progress across the chief stages of Germany. Divergent art tendencies were agreed in admiration of his work, and his name shone with greater lustre than before. Since that time enthusiastic hosts of listeners have made pilgrimages from all parts of Europe and America to the little town, to do homage to the great poet-composer and his works.With the lapse of years Ludwig’s admiration for his person had somewhat cooled, and during the visits to Bayreuth no trace had been visibleof his earlier enthusiastic attachment. But if the friendship no longer had the warmth of youth it was by no means dead. In the year 1879 Wagner wrote to Emil Heckel of a “kind letter which the King had sent him.” The master’s works had taken deep root in the King’s mind. In 1881 he became the patron of the Bayreuth festival. He ordered that the orchestra and chorus of the Hof Theater should be for two months in the year at the disposal of Richard Wagner. In 1882, whenParsifalwas given for the first time, he expressed a wish for a private performance at which he could be present unnoticed. He changed his mind, however, at the last moment, perhaps because the German Crown Prince was to be among the audience. Some time afterwardsParsifalwas played in Munich, with the assistance of the same artists who had sung at Bayreuth. After the first rehearsals of this opera had taken place Wagner wrote a treatise in letter form on his person and works, which he sent to Ludwig. It began with the following words:—“I will not write another note. My work is complete! I have successfully and victoriously accomplished my mission, despite the hostile onrush of a world of opponents.” This was one of the last letters from the composer-poet to this King, who had been to him more than a friend.The poet-musician used every year to visitMunich, where his protector received him with unchanged kindness. In 1882 he came thither for the last time. He requested as usual an audience of the King, but Ludwig begged to be excused from receiving him, as he was indisposed. On the 13th of February, 1883, Richard Wagner died at Venice. Five thousand telegrams were sent to all parts of the world to announce the ill tidings. One of the first came to Ludwig. He violently reproached himself for not having received him. One of his aides-de-camp went on his behalf to Venice to lay a wreath of Alpine roses on the composer’s coffin. A special train brought the deceased, his widow, and a number of friends to Bayreuth. At the frontier the King’s secretary was waiting to accompany the coffin and show the last honour to the poet-musician.Music, which before had been Ludwig’s greatest joy, was from this time forth not permitted at any of his castles, because it so painfully reminded him of the friend of his youth. All the pianos on which he had played were draped with crape. The dead man’s works still had such an effect on him that after every performance ofParsifalhe caused a Mass to be said in his castle. And after the King’s death, busts, portraits, and other mementos of Richard Wagner were found everywhere in his favourite rooms.
As long as Richard Wagner had lived in Munich it had only been necessary for him to express a wish with regard to the performance of his works, for the King at once to fulfil it. After his departure he had at first in Hans von Bülow a substitute whom he could safely trust. But when he too left Bavaria the matter grew more difficult. Baron von Perfall became the manager of the Hof Theater. Although he made a positiveculteof Wagner’s works, and during his tenure of the office, which lasted for twenty-five years, performed his operas 742 times, the old order of things was changed during his leadership.
On the 25th of June 1868, the day after the dress rehearsal ofDie Meistersinger von Nürnberg, Perfall received a letter from Wagner in which he announced his intention of “retiring from all connection with the Hof Theater.” Almost simultaneously Ludwig and Wagner were seen side by side for the last time in Munich. It was at the first performance of theMeistersinger. The representation was brilliant, Hans von Bülow conducting with energy, and entirelyin the master’s spirit. The King sat in his great box. He caused Wagner to be summoned to it.
The composer was enthusiastically recalled after the first act, but did not appear on the stage because he had been unable to find his way thither from the royal box. The performance was proceeded with, and at its conclusion the applause broke forth with redoubled vigour. Wagner, who was sitting by the King’s side, rose and bowed to the public from theKaiserloge, an act which occasioned much annoyance. The unfavourable criticism which his friendship for the poet-musician was always calling forth had an unfortunate influence on Ludwig’s mental condition, as well as greatly wounding his pride.
Wagner, who had visited Bayreuth in his youth, had preserved a pleasant impression of this town, situated so far from the noise of industry and the distracting influences of the outer world. Returning thither in 1871, a warm friendship sprang up between him and its inhabitants, who wished to keep him in their midst. The Margrave’s large theatre had for many years been unused. He agreed with the leading men of the town to take this house, although it was hardly suitable for his purpose. The inhabitants now offered him a building site which must in every way have been attractive to him. His scheme of raising a temple of artin the little town amid the Bavarian mountains was received with delight by his adherents and friends, who did all in their power to support the undertaking. Ludwig also stood by his side, a loyal helper, during the struggle which ensued before his theatre was finally complete. The foundation-stone was laid in 1872. The King telegraphed: “From my inmost soul I express to you, my dearest friend, my warmest and sincerest congratulations on the occasion of this day, which is of import to the whole of Germany. Success and blessing accompany the great work! I am to-day more than ever with you in thought.”
Richard Wagner’s letters to Emil Heckel give an insight into the immense difficulties which he and his admirers had to overcome. There was in 1873 a money crisis extending over the whole of Germany and Austria. Banks which had promised credit were unable to meet their promises, and this delayed the realisation of his scheme. He had always calculated upon the King’s assistance. On the 16th of January he wrote to Heckel that he had requested “his ever-generous protector” to guarantee a loan, but that the latter, for some reason unknown to him, had refused his assistance.—A German poet had written an eulogistic ode in Ludwig’s honour and had requested Wagner to set it to music, but the latter, unaware that the King knew the poem, had coldlyrefused to do this. Ludwig had been offended. He could not, however, long be angry with his friend; already in February in the same year he gave the desired security. The first “Niebelungen-cycle” was given in Bayreuth from the 13th to the 30th of August 1876. It was repeated three times before an enthusiastic audience, among whom were the Emperor of Germany, the Grand Dukes of Weimar and Baden, the Emperor of Brazil, the Grand Duke Constantine of Russia, and many other royal personages, as well as literary and artistic celebrities from all countries.
The King of Bavaria, who was seldom present at anything but separate performances, determined to visit Bayreuth, despite the fact that this would necessitate his appearing in public. He drove direct from Chiemsee to his hunting-box outside the town. Only Wagner was there to receive him. He met his old friend with warmth, and bade him seat himself beside him in the carriage. Although he made a detour each evening in order to avoid the crowd, he was, both inside and outside the theatre, the object of enthusiastic ovations. He endeavoured to avoid them, but again and again had to come to the front of his box and bow his acknowledgments. He looked ill and depressed. Wagner was the only person with whom he conversed, but he paid no visit to his private residence, and he left Bayreuthunattended and as quietly as he had come.
The German, French, and English press took up a cool attitude with regard to the festival. It could not be denied that it had been great and successful, but it was said that the “Ring” was long. The performances showed a deficit of 16,000 marks.
The poet-musician was in the greatest straits for money. His friends advised him again to address himself to the King. It was his opinion, however, that he had already taken greater advantage of his protector’s generosity than he ought to have done. As he saw no other way of paying his debts, he sold the “Ring,” on which he had worked for nearly thirty years, and which the theatre at Bayreuth had been built for, to a theatre agent. Hard as the sale must have been to him, it helped him over his difficulties. The “Ring” made a triumphal progress across the chief stages of Germany. Divergent art tendencies were agreed in admiration of his work, and his name shone with greater lustre than before. Since that time enthusiastic hosts of listeners have made pilgrimages from all parts of Europe and America to the little town, to do homage to the great poet-composer and his works.
With the lapse of years Ludwig’s admiration for his person had somewhat cooled, and during the visits to Bayreuth no trace had been visibleof his earlier enthusiastic attachment. But if the friendship no longer had the warmth of youth it was by no means dead. In the year 1879 Wagner wrote to Emil Heckel of a “kind letter which the King had sent him.” The master’s works had taken deep root in the King’s mind. In 1881 he became the patron of the Bayreuth festival. He ordered that the orchestra and chorus of the Hof Theater should be for two months in the year at the disposal of Richard Wagner. In 1882, whenParsifalwas given for the first time, he expressed a wish for a private performance at which he could be present unnoticed. He changed his mind, however, at the last moment, perhaps because the German Crown Prince was to be among the audience. Some time afterwardsParsifalwas played in Munich, with the assistance of the same artists who had sung at Bayreuth. After the first rehearsals of this opera had taken place Wagner wrote a treatise in letter form on his person and works, which he sent to Ludwig. It began with the following words:—
“I will not write another note. My work is complete! I have successfully and victoriously accomplished my mission, despite the hostile onrush of a world of opponents.” This was one of the last letters from the composer-poet to this King, who had been to him more than a friend.
The poet-musician used every year to visitMunich, where his protector received him with unchanged kindness. In 1882 he came thither for the last time. He requested as usual an audience of the King, but Ludwig begged to be excused from receiving him, as he was indisposed. On the 13th of February, 1883, Richard Wagner died at Venice. Five thousand telegrams were sent to all parts of the world to announce the ill tidings. One of the first came to Ludwig. He violently reproached himself for not having received him. One of his aides-de-camp went on his behalf to Venice to lay a wreath of Alpine roses on the composer’s coffin. A special train brought the deceased, his widow, and a number of friends to Bayreuth. At the frontier the King’s secretary was waiting to accompany the coffin and show the last honour to the poet-musician.
Music, which before had been Ludwig’s greatest joy, was from this time forth not permitted at any of his castles, because it so painfully reminded him of the friend of his youth. All the pianos on which he had played were draped with crape. The dead man’s works still had such an effect on him that after every performance ofParsifalhe caused a Mass to be said in his castle. And after the King’s death, busts, portraits, and other mementos of Richard Wagner were found everywhere in his favourite rooms.