with which Truinet proceeded from one change to another in order to satisfy my requirements, even with regard to the musical fitness of the version, won my sympathy for this last collaborator.  From this time forward we had to keep Lindau away from the slightest interference in this new modelling of the ‘book.’  He had been recognised as quite incompetent.  Roche, on the other hand, was retained, in so far as his work served as a basis for the new versification.  As it was difficult for him to leave his custom office, he was excused from troubling about the remaining part of the work, as Truinet was quite free and could keep in daily touch with me.  I now saw that Truinet’s law degree was merely ornamental, and that he never had any thought of conducting a case.  His chief interests lay in the administration of the Grand Opera, to which he was attached as keeper of the archives.  First with one collaborator and then with another he had also worked at little plays for the vaudeville and theatres of a lower order, and even for the Bouffes Parisiens; but he was ashamed of these productions and always knew how to evade talking about this sphere of activity.  I was greatly obliged to him for the final arrangement of a text to my Tannhauser which could be sung and which was regarded on all sides as ‘acceptable.’  But I cannot remember ever having been attracted by anything poetic or even aesthetic in his nature.  His value, however, as an experienced, warm-hearted, staunchly devoted friend at all times, especially in periods of the greatest distress, made itself more and more clearly felt.  I can hardly remember ever meeting a man of such sound judgment on the most difficult points, or one so actively ready when occasion arose to uphold the view I advocated.

We had first of all to join forces in promoting an entirely new piece of work.  In obedience to a need I had always felt, I had seized the occasion of this carefully prepared production of Tannhauser to expand and considerably fill out the first Venus scene.  For this purpose I wrote the text in loosely constructed German verses, so as to leave the translator quite free to work them out in a suitable French form:  people told me that Truinet’s verses were not at all bad; and with these as a basis I composed the extra music for the scene, and only fitted a German text to it afterwards.  My annoying discussions with the management on the subject of a big ballet had determined me to make extensive additions to the scene of the ‘Venusberg.’  I thought that this would give the staff of the ballet a choreographic task of so magnificent a character that there would no longer be any occasion to grumble at me for my obstinacy in this matter.  The musical composition of the two scenes occupied most of my time during the month of September, and at the same time I began the pianoforte rehearsals of Tannhauser in the foyer of the Grand Opera.

The company, part of which had been freshly engaged for this purpose, were now assembled, and I was interested in learning the way in which a new work is studied at the French Opera.