Richard WAGNER is looking for his musical manuscript of La Sarrazine.

Richard WAGNER (1813.1883).

Autograph letter signed to Richard Gohl.

Two pages in-8° in German. Autograph envelope.

Lucerne, March 10, 1869.

“I just learned that one of my old lyrical sketches, “La Sarrazine” would have fallen into your hands one day. »

Wagner searches for his musical manuscript of La Sarrazine sketched in 1849 and promises his friend the next reading of his new writings including the very controversial essay: Judaism in Music.

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" Dear friend ! First of all, my best thanks for the few kind news that I owe you. Today, another request!

I just learned that one of my old lyrical sketches, “La Sarrazine” would have fallen into your hands one day, but that in the end, it would have been kept by Rudolph Wehner in Dresden, who later died. I am very keen to get at least one copy back, because I am thinking of a collective edition of my writings. Couldn't you inquire with Wehner's heirs about the fate of this manuscript to – I repeat – obtain at least the desired copy? Unfortunately, I am once again realizing the extent to which my friends lacked respect for the manuscripts that were lent to them or given to them as souvenirs.

Today I am sending you my latest published brochure “Judaism in music”. In a few days should follow “Mr. Eduard Devrient and his style” from “Wilhelm Drach” : I think you will be amused by this. Be well, write me your exact address and always cherish your Richard Wagner. Lucerne, March 10, 1869.”

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La Sarrazine (Die Sarazenin WWV66), the Wagnerian historical musical drama based on the history of the Hohenstaufen was sketched in 1849, and remained unfinished. Wagner wrote in My Life : “I established the plan of a long poem in five acts, which had to adapt perfectly to a musical illustration. I had adorned my subject with picturesque scenes and complicated situations.”

Judaism in Music was initially published on September 3, 1850, under a pseudonym, in the Neue Zeitschrift für Musik. Wagner sharply attacks the Jewish community and more particularly the composers Giacomo Meyerbeer and Felix Mendelssohn. The work was republished in an expanded version under his name in 1869, as evidenced by this letter. This essay is now considered one of the great milestones in the history of German anti-Semitism.

Wagner once again took refuge behind the pseudonym Wilhem Drach for the publication of his pamphlet M. Eduard Devrient and his style fiercely attacking the German opera singer.

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Original version: Lieber Freund! All the same, we have the best possible results for the most common items in the world, but they are all verdanke. Hehe wieder eine Bitte! Ich erfahre soeben, dass ein alter Opernentwurf von mir, “die Sarazenin” auch einmal in Ihre Hände gerathen seie, zuletzt aber von dem folgt verstorbenen Rudolph Wehner in Dresden verwahrt worden sein soll. Mir liegt viel daran, ihn – wenigstens in Copie – wieder zu haben, da ich an eine Herausgabe meiner gesammelten Schriften denke. Könnten Sie nun nicht bei den Erben Wehner's diesem Manuscript nachforschen lassen, um – wie gesagt – mir wenigstens die gewünschte Copie davon zu verschaffen. Leider ersehe ich auch bei diegenheit, wie äusserst geringschätzig meine Freunde mit den von mir Ihnen geliehenen, oder zum Andenken geschenkten Manuscripten ungegangen sind! Heute geht an Sie ebenfalls meine neueste Brochüre “das Judenthum in der Musik” ab. In wenigen Tagen soll “Herr Edvard Derient und sein Styl” von “Wilhelm Drach” folgen: ich denke Ihnen Spass damit zu machen. Leben Sie wohl, schreiben Sie mir Ihre genaue Address, und behalten Sie lieb Ihren Richard Wagner. Luzern, 10. March 1869.