“Tannhaeuser” was now complete, and during the following summer, at Marienbad, sketches for “Lohengrin” and “Die Meistersinger” were made.  During the winter, the book being made he began on the music of “Lohengrin.”  In March of the exciting year 1848, the music of “Lohengrin” was finished.  There was a wide difference in style between that work and “Tannhaeuser.”  And already the composer had in mind a new work to be called “The Death of Siegfried.”  He wrote to Franz Liszt, with whom he now began to correspond, that within six months he would send him the book of the new work complete.  As he worked at the drama, however, it began to spread out before him in a way that he could not condense into one opera, or even two; and thus-it finally grew into the four operas of the “Ring of the Nibelungen.”

It must not be imagined that Wagner had learned the lesson of carefulness in money matters, or that, with partial success he always had plenty for his needs.  He had expensive tastes, loved fine clothing and beautiful surroundings.  Much money, too, was needed to produce new works; so that in reality, the composer was always in debt.  The many letters which passed between Wagner and Liszt, which fill two large volumes, show how Liszt clearly recognized the brilliant genius of his friend, and stood ready to help him over financial difficulties, and how Wagner came to lean more and more on Liszt’s generosity.

Just what part Wagner played in the revolution of 1848 is not quite clear.  He wrote several articles which were radical protests for freedom of thought.  At all events he learned it would be better for him to leave Dresden in time.  In fact he remained in exile from his country for over eleven years.

Wagner fled to Switzerland, leaving Minna still in Dresden, though in due time he succeeded in scraping together funds for her to follow him to Zurich.  He was full of plans for composing “Siegfried,” while she continually urged him to write pleasing operas that Paris would like.  Wagner believed the world should take care of him while he was composing his great works, whereas Minna saw this course meant living on the charity of friends, and at this she rebelled.  But Wagner grew discouraged over these petty trials, and for five years creative work was at a standstill.

How to meet daily necessities was the all absorbing question.  A kind friend, who greatly admired his music, Otto Wesendonck, made it possible for him to rent, at a low price, a pretty chalet near Lake Zurich, and there he and Minna lived in retirement, and here he wrote many articles explaining his theories.