made, and send it me AS SOON AS POSSIBLE. There will probably be
some orchestral concerts here, and I should like to give this
overture at the end of February.

Hartel is having the scores of Nos. 3 and 4 of my symphonic poems
("Les Preludes" and "Orpheus") engraved. I am as yet uncertain
whether I shall publish the nine pieces together or these two
numbers (3 and 4) in advance. In any case I shall send you the
proofs of "Les Preludes" and "Orpheus" before your departure to
London, so that my scribbling may amuse you too. I am sincerely
grateful for your friendly proposal of producing something of
mine at the Philharmonic, but I think it will be more advisable
to leave it till next season (1856). For the present you will
have your hands full enough with your own things, and during the
first year you ought to play a waiting game. The chief thing for
you is to gain firm ground in London, and first of all to impress
your conception of Beethoven, Gluck, etc., on the orchestra and
the public. At the same time, the people should learn to listen
to and understand the "Tannhauser" and "Faust" overtures, and
finally to rejoice in and be elevated by the prelude to
"Lohengrin." Your plan of conducting next year performances of
"Tannhauser," "Lohengrin," and the "Flying Dutchman" with
efficient artists is very good. We talked about this at Weymar in
the year 1849; and, in my opinion, the enterprise can be made to
succeed completely. This year must serve you as a preparation;
and when you are once accustomed to London air, it may be
expected that you will settle there comfortably. Beware of the
theatrical speculators, who will be sure to try and make the best
of you, and might be dangerous both to your purse and to your
position. Once more, good luck!