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Title: Letters of Franz Liszt -- Volume 2
- from Rome to the End
Author: Liszt, Franz
Language: English
As this book started as an ASCII text book there are no pictures available.
*** Start of this LibraryBlog Digital Book "Letters of Franz Liszt -- Volume 2
- from Rome to the End" ***
Letters of Franz Liszt, Volume 2: "From Rome to the End"
by Franz Liszt; letters collected by La Mara and translated by
Constance Bache
CONTENTS
BRIEF BIOGRAPHICAL SKETCH
FRONTISPIECE TO VOLUME II, HONORING LISZT
TABLE OF LETTER CONTENTS
THE LETTERS OF FRANZ LISZT, VOL. 2
INFO ABOUT THIS E-TEXT EDITION
BRIEF BIOGRAPHICAL SKETCH
The Austrio-Hungarian composer Franz Liszt (1811-1886) was a
pianistic miracle. He could play anything on site and composed
over 400 works centered around "his" instrument. Among his key
works are his Hungarian Rhapsodies, his Transcendental Etudes,
his Concert Etudes, his Etudes based on variations of
Paganinini's Violin Caprices and his Sonata, one of the most
important of the nineteenth century. He also wrote thousands of
letters, of which 399 are translated into English in this second
of a 2-volume set of letters (the first volume contains 260
letters).
Those who knew him were struck by his extremely sophisticated
personality. He was surely one of the most civilized people of
the nineteeth century, internalizing within himself a complex
conception of human civility, and attempting to project it in his
music and his communications with people. His life was centered
around people; he knew them, worked with them, remembered them,
thought about them, and wrote about them using an almost poetic
language, while pushing them to reflect the high ideals he
believed in. His personality was the embodiment of a refined,
idealized form of human civility. He was the consummate musical
artist, always looking for ways to communicate a new civilized
idea through music, and to work with other musicians in
organizing concerts and gatherings to perform the music publicly.
He also did as much as he could to promote and compliment those
whose music he believed in.
He was also a superlative musical critic, knowing, with few
mistakes, what music of his day was "artistic" and what was not.
But, although he was clearly a musical genius, he insisted on
projecting a tonal, romantic "beauty" in his music, confining his
music to a narrow range of moral values and ideals. He would have
rejected 20th-century music that entertained cynical notions of
any kind, or notions that obviated the concept of beauty in any
way. There is little of a Prokofiev, Stravinsky, Shostakovich,
Cage, Adams, and certainly none of a Schoenberg, in Liszt's
music. His music has an ideological "ceiling," and that ceiling
is "beauty." It never goes beyond that. And perhaps it was never
as "beautiful" as the music of Mozart, Bach or Beethoven, nor
quite as rational (Are all the emotions in Liszt's music truly
"controlled?"). But it certainly was original and instructive,
and it certainly will linger.
FRONTISPIECE TO VOLUME II, HONORING LISZT
I.
We welcome thee, from southern sunnier clime,
To England's shore,
And stretch glad hands across the lapse of time
To the once more.
II.
Full twice two decades swiftly have rolled by
Since thou wast here;
A meteor flashing through our northern sky
Thou didst appear.
III.
Thy coming now we greet with pleasure keen,
And loyal heart,
Adding tradition of what thou hast been
To what thou art.
IV.
No laurel can we weave into the crown
Long years entwine,
Nor add one honour into the renown
Already thine:
V.
Yet might these roses waft to thee a breath
Of memory,
Recalling thy fair Saint Elizabeth
Of Hungary
VI.
We welcome her, from out those days of old,
In song divine,
But thee we greet a thousand fold,
The song is thine!
--C.B.
[Presumably written by Constance Bache, this trite paean would
likely not have appealed to Liszt, who repeatedly affirmed his
humility.]
TABLE OF LETTER CONTENTS (LETTER NUMBER, FOLLOWED BY ADDRESSEE)
1. Dr. Franz Brendel. December 20th, 1861
2. A. W. Gottschalg in Tieffurt. March 11th, 1862
3. Dr. Franz Brendel. April 12th, 1862
4. Mme. Jessie Laussot in Florence. May 3rd, 1862
5. Dr. Franz Brendel. June 12th, 1862
6. the same. July 12th, 1862
7. the same. August 10th, 1862
8. the same. August 29th, 1862
9. the same. November 8th, 1862
10. A.W. Gottschalg. November 15th, 1862
11. Eduard Liszt. November 19th, 1862
12. Dr. Franz Brendel. December 30th, 1862
13. Breitkopf and Hartel. March 26th, 1863
14. A.W. Gottschalg in Weimar. April 14th, 1863
15. Dr. Franz Brendel. May 8th, 1863
16. Eduard Liszt. May 22nd, 1863
17. Dr. Franz Brendel. June 18th, 1863
18. the same. July 18th, 1863
19. Breitkopf and Hartel. August 28th, 1863
20. Dr. Franz Brendel. September 7th, 1863
21. Dr. Gille in Jena. September 10th, 1863
22. Dr. Franz Brendel. October l0th, 1863
23. Mme. Jessie Laussot. October 15th, 1863
24. Dr. Franz Brendel. November 11th, 1863
25. Breitkopf and Hartel. November 16th, 1863
26. Dr. Franz Brendel. January 22nd, 1864
27. the same. May 28th, 1864
28. Dr. Franz Brendel. June 13th, 1864
29. The Committee of the Society for the Support of Needy
Hungarian Musicians in Pest. June 18th, 1864
30. Eduard Liszt. June 22nd, 1864
31. Dr. Franz Brendel. July 1st, 1864
32. Walter Bache in London. July 2nd, 1864
33. ? August 7th, 1864
34. Eduard Liszt. September 7th, 1864
35. Breitkopf and Hartel. September 14th, 1864.93
36. the same. October 1st, 1864
37. Mme. Jessie Laussot. March 6th, 1865
38. Dr. Franz Brendel. April 3rd, 1865
39. Prince Constantine (Hohenzollern-Hechingen). May 11th, 1865
40. Breitkopf and Hartel. May 27th, 1865
41. Dr. Franz Brendel. July 21st, 1865
42. Abbe Schwendtner. September 20th, 1865
43. Dr. Franz Brendel. September 28th, 1865
44. Eduard Liszt. November 1st, 1865.
45. Dr. Franz Brendel. January 14th, 1866
46. the same. June 19th, 1866
47. the same. October 2nd, 1866
48. Breitkopf and Hartel. October 4th, 1866
49. Dr. Franz Brendel. January 6th, 1867
50. Dr. Cuturi in Pisa. January 22nd, 1867
51. Julius von Beliczay in Vienna. April 29th, 1867
52. Mme. Jessie Laussot. May 24th, 1867
53. Eduard Liszt. June 20th, 1867
54. William Mason. July 8th, 1867
55. E. Repos in Paris. July 12th, 1867
56. Prince Constantine Czartoryski.October 14th, 1867
57. Eduard Liszt. October 16th, 1867
58. the same. October 20th, 1867
59. Peter Cornelius. October 23rd, 1867
60. Eduard von Liszt. November 6th, 1867
61. E. Repos. November 8th, 1867
62. Mme. Jessie Laussot. January 13th, 1868
63. DP. Franz Brendel. January 26th, 1868
64. Walter Bache. January 30th, 1868
65. Dr. Franz Brendel. March 31st, 1868
66. Johann von Herbeck. June 9th, 1868
67. Dr. Franz Brendel. June 17th, 1868
68. E. Repos. July 1st, 1868
69. Carl Riedel in Leipzig. August 12th, 1868
70. E. Repos. August 26th, 1868
71. Dr. Siegmund Lebert in Stuttgart. September 10th, 1868
72. E. Repos. September 19th, 1868
73. C.F. Kahnt. September 20th, 1868
74. E. Repos. September 22nd, 1868
75. Dr. S. Lebert. October 19th, 1869
76. Richard Pohl in Baden-Baden. November 7th, 1868
77. Johann von Herbeck. December 1st, 1868
78. Dr. Siegmund Lebert. December 2nd, 1868
79. Eduard von Liszt. December 6th, 1868
80. Johann von Herbeck. December 29th, 1868
81. Edvard Grieg. December 29th, 1868
82. Carl Bechstein in Berlin. January 19th, 1869
83. Johann von Herbeck. January 27th, 1869
84. E. Repos. March 3rd, 1869
85. Laura Kahrer in Vienna. April 15th, 1868
86. Franz Servais. May 21st, 1869
87. William Mason. May 26th, 1869
88. Heinrich Schulz-Beuthen. June 18th, 1869
89. Franz Servais. July 4th, 1869
90. Mme. Jessie Laussot. July 16th, 1869
91. Camille Saint-Sa2ns. July 19th, 1869
92. the same. August 4th, 1869
93. Mme. Jessie Laussot. October 7th, 1869
94. Dr. Ludwig Nohl. November i7th, 1869 188
95. Princess Wittgenstein. November 27th, 1869
96. Franz Servais. December 20th, 1869
97. Dr. Franz Witt in Ratisbon. Towards end of 1869
98. Dr. Siegmund Lebert. January loth, 1870
99. C.F. Kahnt. February 11th, 1870
100. Dr. Gille. February 26th, 1870
101. Baroness Schwartz in Crete. March 15th, 1870
102. Camille Saint-Saens. May 12th, 1870
103. Johann von Herbeck. June 20th, 1870
104. Sophie Menter. August 11th, 1870
105. the same. August 29th, 1870
106. Kornel von Abranyi in Budapest, November 2nd, 1870
107. Sophie Menter. March 22nd, 1871
108. Edmund von Mihalovich in Budapest. May 29th, 1871
109. Marie Lipsius. July 23rd, 1871
110. Franz Servais. August 25th, 1871
111. Walter Bache. October 25th, 1871
112. Marie Lipsius. October 25th, 1871
113. Breitkopf and Hartel. November 22nd, 1871
114. Mme. Anton Rubinstein. January 9th, 1872
115. Edmund von Mihalovich. April 18th, 1872
116. Johanna Wenzel. June 10th, 1872
117. Wilhelm von Lenz. September 20th, 1872
118. Otto Lessmann. September 26th, 1872
119. Eduard von Liszt. November 6th, 1872
120. Princess Wittgenstein. January 10th, 1873
121. Eduard von Liszt. January 13th, 1873
122. Dr. Emil Thewrewk von Ponor in Budapest. January 14th, 1873
123. Dr. Franz Witt. January 20th, 1873
124. Eduard von Liszt. January 28th, 1873
125. the same. February 10th, 1873
126. the same. March 3rd, 1873
127. Mme. Jessie Laussot. March 30th, 1873
128. Casar Cui. May, 1873
129. Franz Servais. June 5th, 1873
130. Adelheid von Schorn. July 30th, 1873
131. Eduard von Liszt. August 19th, 1873
132. Franz Servais. August 19th, 1873
133. Walter Bache. August 20th, 1873
134. Max Erdmannsdorfer. September 16th, 1873
135. Otto Lessmann. September 24th, 1873
136. Kornel von Abranyi. October ist, 1873
137. Martha Remmert. December 27th, 1873
138. ? 1873
139. Countess Marie Donhoff in Vienna. January, 1874
140. B. Bessel in St. Petersburg. February 2nd, 1874
141. Skiwa in Vienna. March 21st, 1874
142. C. F. Kahnt. March 29th, 1874
143. Dr. Franz Witt. 1874?
144. Carl Riedel. April 17th, 1874
145. Dr. Franz Haberl, 1874?
146. Carl Riedel. May 5th, 1874
147. Princess Julie Waldburg. May 10th, 1874
148. Peter Cornelius. May 16th, 1874
149. A. F. Eggers in Liverpool. June 21st, 1874
150. Walter Bache. June 21st, 1874
151. Dr. Franz Witt. Early Summer, 1874
152. Dr. Franz Haberl. Early Summer, 1874
153. Edmund von Mihalovich. July 30th, 1874
154. Peter Cornelius. August 23rd, 1874
155. Ludwig Bosendorfer in Vienna. August 28th, 1874
156. Adelheid von Schorn. October 12th, 1874
157. Breitkopf and Hartel. November 24th, 1874
158. Count Albert Apponyi in Budapest. December 6th, 1874
159. Edmund von Mihalovich. December 8th, 1874
160. Carl Hoff bauer in Munich. End of 1874
161. Edmund von Mihalovich. December 29th, 1874
162. Carl Hoff bauer. Beginning of 1875
163. Julius Stern. February 4th, 1875
164. Count Albert Apponyi. February 18th, 1875?
165. Johann von Herbeck. March 3rd, 1875
166. Eduard von Liszt. April 22nd, 1875
167. Adelheid von Schorn. May 17th, 1875
168. Eduard von Liszt. July 17th, 1875
169. Louis Kohler. July 27th, 1875
170. Carl Hillebrand in Florence. August 2nd, 1875
171. Adelheid von Schorn. August 7th, 1875
172. Dr. Franz Witt. August or September, 1875
173. Lina Ramann. September 28th, 1875
174. Eduard von Liszt. September 29th, 1875
175. Kornel von Abranyi. October 14th, 1875
176. Walter Bache. October 26th, 1875
177. Eduard von Liszt. October 31st, 1875
178. Mme. Jessie Laussot. November 17th, 1875
179. Eduard von Liszt. November 26th, 1875
180 Hans Schmitt in Vienna. End of 1875
181. Kornel von Abranyi. January 20th, 1876
182. Eduard von Liszt. January 23rd, 1876
183. Dr. Eduard Kulke in Vienna. January 23rd, 1876
184. Marie Lipsius. February 3rd, 1876
185. August von Trefort in Budapest. March 1st, 1876
186. Walter Bache. March 8th, 1876
187. Mme. Jessie Laussot. March 9th, 1876
188. Dr. Leopold Damrosch in New York. April 15th, 1876
189. Friedrich von Bodenstedt. June 8th, 1876
190. B. Bessel. June 20th, 1876
191. Prince Carl Lichnowsky. June 21st, 1876
192. Max Erdmannsdorfer. June 27th, 1876
193. Kornel von Abranyi. August 6th, 1876,
194. Richard Wagner. August, 1876
195. Marie Breidenstein in Erfurt. September 18th, 1876
196. Camille Saint-Saens. October 2nd, 1876
197. L.A. Zellner in Vienna. October 31st, 1876
198. Hans Richter in Vienna. November 10th, 1876
199. Breitkopf and Hartel. November 12th, 1876
200. Constantin Sander in Leipzig. November 15th, 1876
201. Breitkopf and Hartel. November 23rd, 1876
202. Constantin Sander. November 29th, 1876
203. Vera Timanoff. November 29th, 1876
204. Otto Reubke in Halle. November, 1876
205. Marianne Brandt in Berlin. December 3rd, 1876
206. Committee of the Beethoven Monument. December 10th, 1876
207. Eduard von Liszt. January 2nd, 1877
208. Walter Bache. March 9th, 1877
209. Eduard von Liszt. July 3rd, 1877
210. Ludwig Bosendorfer. July 12th, 1877
211. Edmund von Mihalovich. July 20th, 1877
212. Kornel von Abranyi. July 28th, 1877
213. Constantin Sander. September 5th, 1877
214. Adelheid von Schorn. September 15th, 1877
215. Breitkopf and Hartel. September 26th, 1877
216. Frau Ingeborg von Bronsart. October 2lst, 1877
217. Eduard von Liszt. November 23rd, 1877
218. Jules de Zarembski. December 13th, 1877
219. Mme. Jessie Laussot. January 29th, 1878
220. the same. February 3rd, 1878
221. B. Bessel. March 11th, 1878
222. Walter Bache. March 19th, 1878
223. Dr. Ludwig Nohl. March 20th, 1878
224. Dr. Siegmund Lebert. March 27th, 1878
225. Edmund von Mihalovich. April 13th, 1878
226. Kornel von Abranyi. April 14th, 1878
227. Fran Ingeborg von Bronsart. April 20th, 1878
228. Eduard von Liszt. April 26th, 1878
229. Edmund Singer. May 10th, 1878
230. Adolf von Henselt. June 5th, 1878
231. Eduard von Liszt. June 6th, 1878
232. Carl Riedel. June 7th, 1878
233. Vera Timanof£ Summer, 1878
234. Eduard von Liszt. July 6th, 1878
235. Robert Franz. July 12th, 1878
236. Kornel von Abranyi. September 13th, 1878
237. Eduard von Liszt. November 4th, 1878
238. Freiherr Hans von Wolzogen. November 15th, 1878
239. Eduard von Liszt. November 21st, 1878
240. the same. January 22nd, 1879
241. Ludwig Bosendorfer. February 19th, 1879
242. Adolf von Henselt. February, 1879
243. Marie Lipsius. March 2nd, 1879
244. Otto Lessmann. March 23rd, 1879
245. Von Trefort. May 12th, 1879
246. Walter Bache, May 25th, 1879
247. Ludmilla Schestakoff. June 14th, 1878
248. A. Borodin, C. Cui, An. Liadoff, and N. Rimsky-Korsakoff.
June 15th, 1879
249. Josef Bohm. June 22nd, 1879
250. Vera Timanoff. Summer, 1879
251. Adolf von Henselt. July 12th, 1879
252. Dr. Siegmund Lebert. September 25th, 1879
253. Bassani in Venice. October 28th, 1879
254. Anatole Liadoff. December 25th, 1879
255. Fran Reisenauer.Pauly in Rome. January 30th, 1880
256. Carl Klindwo1th. February 16th, 1880
257. Herrmann Scholtz. April 29th, 1880
258. Sophie Menter. May 26th, 1880
259. Jules de Zarembski. June 1st, 1880
260. Bassani. June 4th, 1880
261. Marie Lipsius. June l0th, 1880
262. Kornel von Abranyi. June 20th, 1880
263. Freiherr Hans von Wolzogen. July 28th, 1880
264. Friedrich Hofme1ster. August 17th, 1880
265. Baroness Helene Augusz. September 1st, 1880
266. Mme. Anton Rubinstein. October 24th, 1880
267. Frau Amalie von Fabry in Budapest. November 1st, 1880
268. Frau Anna Benfey-Schuppe. November 11th, 1880
269. Committee of Antwerp Musical Society. November 16th, 1880
270. Sophie Menter. December 2nd, 1880
271. Dr. Friedrich Stade. December 11th, 1880
272. S. Jadassohn. January l0th, 1881
273. Frau Reisenauer-Pauly in Konigsberg. January 29th, 1881
274. Dionys von Pazmandy. February 15th, 1881
275. Fran Colestine Bosendorfer. April 17th, 1881
276. the Committee of the Wagner-Verein. April 25th, 1881
277. Kornel von Abranyi. May 13th, 1881
278. the same. May 22nd, 1881
279. Frau Charlotte Blume-Arends. August 29th, 1881
280. Otto Lessmann. September 8th, 1881
281. Francois Auguste Gevaert in Brussels. September 19th, 1881
282. the same. October 8th, 1881
283. Edmund von Mihalovich. October 8th, 1881
284. Jules de Zarembski. December 4th, 1881
285. Camille Saint-Saens. December 6th, 1881
286. Ludwig Bosendorfer. December 8th, 1881
287. Pauline Viardot-Garcia. December 12th, 1881
288. Mme. Malwine Tardieu in Brussels. January 20th, 1882
289. Alexander Wereschagin. February 5th, 1882
290. Martha Remmert. February 20th, 1882
291. Mme. Malwine Tardieu. April 11th, 1882
292. Franz Servais. April 22nd, 1882
293. Mme. Malwine Tardieu. April 23rd, 1882
294. Otto Lessmann. April 23rd, 1882
295. Frau Charlotte Blume-Arends. April 23rd, 1882
296. Freiherr Hans von Wolzogen. April 25th, 1882
297. Frau Henriette von Liszt. May 11th, 1882
298. Camille Saint-Saens. May 14th, 1882
299. Mme. Malwine Tardieu. June 10th, 1882
300. Committee of Allgemeine Deutsche Musikverein. June, 1882
301. F. von Jagemann at Freiburg in Breisgau. July 6th, 1882
302. Nicolaus Oesterlein in Vienna. July 16th, 1882
303. Kornel von AbrAnyi. July 23rd, 1882
304. Freiherr Hans von Wolzogen. July 27th, 1882
305. Mme. Malwine Tardieu. September 12th, 1882
306. Otto Lessmann. September 16th, 1882
307. the same. September 20th, 1882
308. Frau Charlotte Blume-Arends. September 27th, 1882
309. Otto Lessmann. October 14th, 1882
310. the same. November 4th, 1882
3ll. Mme. Malwine Tardieu. November 6th, 1882
312. Otto Lessmann. November, 1882
313. Adelheid von Schorn. November 20th, 1882
314. Freiherr Hans von Wolzogen. November 24th, 1882
315. Franz Servais. November 26th, 1882
316. Adelheid von Schorn. December 8th, 1882
317. Carl Riedel. December 9th, 1882
318. Arthur Meyer in Paris. January 28th, 1883
319. Albert Fuchs. February 4th, 1883
320. Saissy in Budapest. February 6th, 1883
321. the same. February eth, 1883.
322. Rich and Mason in Toronto. 1883
323. Mme. Marie Jaell. February 12th, 1883
324. Adelheid von Schorn. February 14th, 1883
325. Otto Lessmann. February 18th, 1883
326. Lina Ramann. February 22nd, 1883
327. Mme. Malwine Tardieu. March 6th, 1883
328. Ferdinand Taborszky in Budapest. March 11th, 1883
329. Baroness M. E. Schwartz. March 22nd, 1883
330. Baroness Wrangel in St. Petersburg. May 20th, 1883
33I. Mason and Hamlin in Boston. June 12th, 1883
332. Mme. Malwine Tardieu. December 14th, 1883
333. Cäsar Cui. December 30th, 1883
334. Otto Lessmann. January 10th, 1884
335. Felix Mottl. February 8th, 1884
336. Frau Henriette von Uszt.February 8th, 1884
337. Camille Saint-Satins. April 29th, 1884
338. Otto Lessmann. May 7th, 1884
339. Camille Saint-Saëns. May 18th, 1884
340. Walter Bache, May 23rd, 1884
341. Carl Navratil in Prague. May 30th, 1884
342. Baron Friedrich Podmaniczky in Budapest, 1884
343. Freiherr Hans von Wolzogen. June 18th, 1884
344. Auguste Gotze. June 22nd, 1884
345. Kornei von Abranyi. July 1st, 1884
345A. Mme. Malwine Tardieu. August 9th, 1884
346. Rahter in Hamburg. August 28th, 1884
347. Richard Pohl. September 12th, 1884
348. Sophie Menter. September 13th, 1884
349. Baron Friedrich Podmaniczky. September 2lst, 1884
350. Walter Bache. October 18th, 1884
351. Mili Balakireff in St. Petersburg. October 2lst, 1884
352. Countess Mercy-Argenteau. October 24th, 1884
353. Mme. Malwine Tardieu. December 7th, 1884
354. Freiherr Hans von Wolzogen. December 18th, 1884
355. Camille Saint-Saens. End of 1884 or beginning of 1885
356. Countess Mercy-Argenteau. January 20th, 1885
357. Camille Saint-Saens. January 27th, 1885
358. Mme. Malwine Tardieu. April 6th, 1885
359. Lina Ramann. April 27th, 1885
360. Camille Saint-Saens. May 8th, 1885
361. Alexander Siloti. May, 1885
362. J. P. von Kiraly in Eisenstadt. June 5th, 1885
363. Ferdinand Taborszky. June 8th, 1885
364. Alfred Reisenauer. September 1st, 1885
365. Otto Lessmann. September 5th, 1885
366. Casar Cui. October 18th, 1885
367. Countess Mercy-Argenteau. October 24th, 1885
368. Eduard Reuss in Carlsruhe. November 4th, 1885
369. Breitkopf and Hartel. November, 1885
370. Walter Bache. November 17th, 1885
370A. the same. November 26th, 1885
370B. the Philharmonic Society. November 26th, 1885
371. Countess Mercy-Argenteau. November 2lst, 1885
372. Camille Saint-Sans. November 28th, 1885
373. Eugen d'Albert. December 26th, 1885
374. Sophie Menter. December 30th, 1885
375. Eduard Reuss. January l0th, 1886
376. Walter Bache. February 11th, 1886
377. Countess Mercy- Argenteau. February 17th, 1886
379. Sophie Menter. March 18th, 1886
379. Countess Mercy-Argenteau. April 14th, 1886
380. Alexander Ritter. April 24th, 1886
381. Frau Amalie von Fabry. May 27th, 1886
382. Mme. Malwine Tardieu. May 29th, 1886
383. Eduard Reuss. June 5th, 1886
384. Frau Reuss-Belce. June 5th, 1886
385. Eduard Reuss. June 22nd, 1886
386. Sophie Menter. July 3rd, 1886
Index of Supplemental Letters
387. Freiherr von Spiegel in Weimar. September 30th, 1841
388. Eugenio Gomez in Sevilla. December 27th, 1844
389. Mme.? End of December, 1844
390. Mme.? Beginning of 1845
391. Mme.? in Milan. 1846
392. Frau Charlotte Moscheles (?). June 22nd, 1848
393. Heinrich Wilhelm Ernst. May 30th, 1801
394. Josef Dessauer (?). Beginning of the fifties
395. Testimonial for Joachim Raff. Beginning of the fifties.
396. Dr. Eduard Hanslick in Vienna. January 31st, 1856.
397. Minister von Bach in Vienna. September 18th
398. ? in Leipzig. Spring, 1859
399. Dr. Eduard Hanslick. September 24th, 1859
THE LETTERS OF FRANZ LISZT, VOLUME 2: FROM ROME TO THE END
1. To Dr. Franz Brendel
[Rome,] December 20th, 1861
Dear Friend,
For the New Year I bring you nothing new; my soon ageing
attachment and friendship remain unalterably yours. Let me hope
that it will be granted to me to give you more proof of it from
year to year.
Since the beginning of October I have remained without news from
Germany. How are my friends Bronsart, Draseke, Damrosch,
Weissheimer? Give them my heartiest greetings, and let me see
some notices of the onward endeavors and experiences of these my
young friends, as also of the doings of the Redactions-Hohle
[Editorial den] and the details of the Euterpe concerts.
Please send the numbers of the paper, from October onwards, to me
at the address of the library Spithover-Monaldini, Piazza di
Spagna, Rome. Address your letter "Herrn Commandeur Liszt," Via
Felice 113. "Signor Commendatore" is my title here; but don't be
afraid that any Don Juan will stab me--still less that on my
return to Germany I shall appear in your Redactions-Hohle as a
guest turned to stone!--
Of myself I have really little to tell you. Although my
acquaintance here is tolerably extensive and of an attractive
kind (if not exactly musical!), I live on the whole more retired
than was possible to me in Germany. The morning hours are devoted
to my work, and often a couple of hours in the evening also. I
hope to have entirely finished the Elizabeth in three months.
Until then I can undertake nothing else, as this work completely
absorbs me. Very soon I will decide whether I come to Germany
next summer or not. Possibly I shall go to Athens in April--
without thereby forgetting the Athens of the elms! .--.
First send me the paper, that I may not run quite wild in musical
matters. At Spithover's, where I regularly read the papers, there
are only the Augsburger Allgemeine, the Berlin Stern-Zeitung
[Doubtless the Kreusseitung], and several French and English
papers, which contain as good as nothing of what I care about in
the domain of music.
Julius Schuberth wrote a most friendly letter to me lately, and
asks me which of Draseke's works I could recommend to him next
for publication. To tell the truth it is very difficult for me in
Rome to put myself in any publisher's shoes, even in so genial a
man's as Julius Schuberth. In spite of this I shall gladly take
an opportunity of answering him, and shall advise him to consult
with Draseke himself as to the most advisable opportunity of
publishing this or that Opus of his, if a doubt should actually
come over our Julius as to whether his publisher's omniscience
were sufficiently enlightened on the matter!--
Remember me most kindly to your wife.
Yours most sincerely,
F. Liszt
Please give my best greetings to Kahnt. Later on I shall beg him
for a copy of my songs for a very charming Roman lady.
2. To A.W. Gottschalg, Cantor and Organist in Tieffurt
["Der legendarische Cantor" [the legendary Cantor] the Master
jokingly named this faithful friend of his. "I value him as a
thoroughly honest, able, earnestly striving and meritorious
comrade in Art, and interest myself in the further progress--
which is his due," wrote Liszt to the late Schuberth. Meanwhile
Gottschalg was long ago advanced to the post of Court organist in
Weimar. He is widely known as the editor of the "Chorgesang"
[chorus singing] and of the "Urania."]
Dear Friend,
Although I cannot think otherwise than that you remain ever
equally true to me, yet the living expression of your kindly
feelings towards me is always a pleasure and a comfort. First of
all then accept my warmest thanks for your two letters, which
bring back to me the best impressions of your morning and evening
visits to me in my blue room on the Altenburg.
It goes without saying that I have no objection to make to the
publication of the Andante from the Berg Symphony in the Jubilee
Album in honor of Johann Schneider. I only beg, dear friend, that
you will look the proof over accurately, and carefully correct
any omissions or mistakes in the manuscript.
I should be very glad if I could send you a new Organ work, but
unfortunately all incentive to that sort of work is wanting to me
here; and until the Tieffurt Cantor makes a pilgrimage to Rome
all my organ wares will certainly remain on the shelf.
Ad vocem of the Tieffurt Cantor, I will tell you that I have been
thinking of him very particularly these last few days, whilst I
was composing St. Francis's Hymn of Praise ("Cantico di San
Francesco"). The song is a development, an offspring as it were,
a blossom of the Chorale "in dulci jubilo," for which of course I
had to employ Organ. But how could I be writing an Organ work
without immediately flying to Tieffurt in imagination?--And lo,
at the entrance to the church our excellent Grosse [The
trombonist of the Weimar orchestra (died 1874), who was so
faithfully devoted to Liszt, and whom the latter remembered in
his will] met me with his trombone, and I recollected an old
promise--namely, to compose a "piece" for his use on Sundays. I
immediately set to work at it, and out of my "Cantico" has now
arisen a Concertante piece for Trombone and Organ. I will send
you the piece as an Easter egg by the middle of April. [Published
by Kahnt in Leipzig] Meanwhile here are the opening chords:--
[Here, Liszt illustrates with a musical score excerpt of the
opening chords of the Concertante, in F major]
and on a lovely evening in May will you play the whole with
Grosse in your church at Tieffurt, and perpetuate me with Organ
and Trombone!--
It has struck me that your name is not mentioned among the
fellow-workers in the Johann Schneider Jubilee Album. If there is
still time and space you might perhaps contribute your
arrangement of the Fugue from the "Dante Symphony" (with the
ending which I composed to it for you). This proposal is open to
amendment, on the supposition that Hartels are willing to agree
to it--and, above all, that it suits you.
.--. N.B.--I beg you most particularly to make no further use of
the two Psalms "By the waters of Babylon," of which you have a
copy, because I have undertaken to make two or three essential
alterations in them, and I wish them only to be made known and
published in their present form. I send the new manuscript at the
same time as the Cantico di San Francesco.
My best greetings to your wife, and rest assured always of my
sincere thanks, and of the complete harmony of my ideas with your
own.
F. Liszt
Rome, March 11th, 1862
When I am sending several manuscripts at Easter, I will write a
couple of letters to Weimar and thank Jungmann [A pupil of
Liszt's in Weimar; died there in September 1892] for his letter.
I feel the want of time almost as much in Rome as in Weimar, and
I have observed a strict Fast in correspondence as a rule, so
that for three months past I have hardly sent as many as three to
four letters to Germany.
Remember me most particularly to Herr Regierungsrath Miller! [A
friend of Liszt's, a multifarious writer on music; died 1876]
3. To Dr. Franz Brendel.
[Autograph in the possession of Herr Alexander Meyer Cohn in
Berlin.]
Dear Friend,
Your friendly letter has again brought me a whiff of German air,
which is all the more welcome to me here as I have not too much
of it. One sees extremely few German papers in Rome--also I read
them very irregularly--and my correspondents from Germany are
limited to two, of whom friend Gottschalg, my legendary Tieffurt
Cantor, is the most zealous. His letters flow from his heart--and
are therefore always welcome to me.
For all of good news that you tell me I give you twofold thanks.
Firstly, because you have for the most part brought it about,
prefaced it, and seen it through. And then, because you tell it
me in so friendly a fashion. Although I have long been prepared
to bear the fiasco of my works quietly and unmoved, yet still it
is pleasant to me to learn that the "Faust" Symphony in Leipzig
did not have such a very bad fate. [In one of the "Euterpe"
concerts, under Bronsart's conducting, at which Schnorr of
Carolsfeld sang the tenor solo.] Do not fail, dear friend, to
give Herr Schnorr my best thanks--and if perchance my songs would
be a little pleasure to him will Kahnt be so good as to send
Schnorr a copy (bound) at my order?
With regard to the Bronsart affair, I sincerely regret that I had
not the opportunity of smoothing matters down sooner. Between
people of one mind dissension and variance should never appear--
much less lead to an outbreak. As you ask me for my opinion, I
openly confess that in the main Bronsart appears to me perfectly
justified in vindicating his choice of new compositions for the
musical directors, in spite of the fact that the two or three
experiments he has made do not show in favor of the principle (as
seen by the consequences). But between ourselves we must not
conceal the fact that a great part of the laxity and corruption
of our musical condition in Germany (as also elsewhere) is to be
attributed to the too great--or too petty--yielding and pliancy
of conductors and music-directors. I well know that the Euterpe
Committee nourishes and cherishes quite another idea than that of
the company X. Y. Z., or of the Court Theater directors A. B. C.
D. Yet the question constantly arises--Shall the cook cook? Shall
the coachman drive?--Ergo let the musician also have his own way.
The harm that may spring from that is not so very terrible.
On the other side, I consider a change of persons in the
management of a new institution is not desirable. In intellectual
movements in particular the leaders of them are especially
recommended to keep themselves conservative as regards their
people. The public requires definiteness before all else--and
just this is endangered by a change of persons. The substitute
for B., whom you mention to me (his name also begins with B.), is
certainly highly to be recommended in all that concerns talent,
position, and I think also worthy character; none the less do I
vote very decidedly that Bronsart be retained--if possible.
I do not need to add, dear friend, that this opinion of mine is a
purely objective one. I have not heard a word from Bronsart since
last September, and, as I said to you before, my musical news
from Germany is limited to two, or at most three letters which
Gottschalg wrote me.
With the wish that all difficulties may be smoothed in the best
way by your intelligent gentleness and forbearance, I remain your
warmly devoted
F. Liszt
[Rome] April 12th, 1862
P.S.--More next time (though little of interest to you, as
absolutely nothing occurs here that could touch you closely).--I
am preparing to stay here for the summer, and somewhat longer.--
In order not to lose the post I only send you today these few
lines.
4. To Madame Jessie Laussot in Florence
[Madame Laussot, an English lady, became later the wife of Dr.
Carl Hillebrand, the celebrated writer. She was the intimate
friend of Liszt, Von Bulow, etc., and is herself a musician of
great repute, to whom many artists of note, Sgambati, Bache,
Buonamici, etc., owe much of the success of their career. She
started a musical society in Florence, the "Societa Cherubini;"
which she conducted for many years, and introduced there much of
the best music of Germany (Liszt's included).]
Your charming lines, Madame, reached me at the beginning of Holy
Week. At that moment one no longer belongs to oneself in Rome;
and I have felt this more than others, for the services and
ceremonies of the Sistine Chapel and of St. Peter's, to which I
attached a special musical interest, have absorbed all my time
during the last fortnight. Pray excuse me therefore for not
having thanked you sooner for your kind remembrance, which
touches me much.
Some one has made a mistake in telling you that I am coming to
Florence. I have no longer any taste for moving about from one
place to another, and, unless something very unforeseen happens,
I shall not stir from here so soon. Rome is a more convenient
place than others for those who ask nothing better than to work
in their own fashion. Now, although I have become very
indifferent as to the fate of what I write, work none the less
continues to be the first need of my nature. I write therefore
simply to write--without any other pretensions or care--and for
this it suits me best to remain in one place.
Will you be so kind, Madame, as to give my very affectionate
respects to Madame Ritter [Mother of Carl Ritter--Wagner's
friend--and of Alexander Ritter, the composer of "Der faule
Hans."], to which please add my best remembrances to her family,
and pray accept also the expression of my very sincere and
affectionate regards.
F. Liszt
May 3rd, 1862 (Via Felice, 113--Rome.)
5. To Dr. Franz Brendel
Rome, June 12th, 1862
Grand, sublime, immeasurably great things have come to pass here
lately. The Episcopate of the whole world assembled here round
the Holy Father, who performed the ceremony of the canonisation
of the Japanese martyrs at Whitsuntide in the presence of more
than 300 bishops, archbishops, patriarchs, and cardinals. I must
abstain, dear friend, from giving you any picture of the
overpowering moment in which the Pope intoned the "Te Deum;" for
in Protestant lands that which I might call the spiritual
illumination is wanting. Let us therefore, without any other
transition, return to our everyday musical matters!
I am convinced that your determination to make a change in the
choice of conductors of the Euterpe has been made only after
mature consideration. .--. In my last letter I pointed out, as
the chief thing, that in concert societies the principle of
stability in the matter of the Musical Direction is the most
important thing, whereby I did not in the least mean to say that
one must on that account agree to extreme consequences--or rather
inconsequences. Well, as your decision is made, any further
discussion is useless. Blassmann [He moved to Dresden some years
later, and there he died.] has now to approve himself, and
actively to fulfil the favorable expectations which his talent
and good name justify. So be it, and as Schuberth says, Punktum
[a full stop.]
As regards the place of meeting for the next Tonkunstler-
Versammlung I am quite of your opinion. First of all I advise you
to consult Bulow. Owing to his long connection with the Court at
Carlsruhe he is best qualified to take the preliminary measures
("to pave the way"!). If the Grand Duke and Grand Duchess take up
the matter favorably, then without doubt all that is requisite
and necessary will be done in the most desirable manner. The most
essential things are
(a) Letting us have the theater free of charge for two to three
evenings--(as at Weimar--would not it perhaps be best to mention
this in the 1st letter?).
(b) Official preparatory measures by the Intendant to ensure the
co-operation of the Carlsruhe orchestra and chorus, also free of
charge.
You will have to consult more fully with Dr. Devrient and
Kalliwoda as to the best time for it. But the thing to be done
before all else is to gain the Grand Duke's interest--and if you
think it would be practicable for me to write a few lines to
H.R.H. later on I will do so with pleasure. I only beg that you
will give me exact particulars of the steps already made and
their results.
For my part I think that to Bulow, a priori, ought to be
entrusted the conducting of the Musical Festival, and this point
should be at once mentioned as settled in the introductory letter
to the Grand Duke. Otherwise Bedow's position in the affair would
not be sufficiently supported.
To sum up briefly: Request Bulow to undertake the conductorship
of the Musical Festival; and address the Grand Duke of Baden,
either by letter or by word of mouth (as opportunity may
warrant), with the request that H.R.H. would graciously support
the proposed Musical Festival of the third Tonkunstler-
Versammlung, by giving it his patronage, as the Grand Duke of
Weimar did last year, etc., etc.
.--. That excellent Pohl has quite forgotten me. I asked him,
through Gottschalg, to send me my Gesam- melte Lieder [complete
songs], the "Dante Symphony" (in score and arrangement for 2
Pianos), the 4-hand Symphonic Poems, and a couple of copies of my
Catalogue (published by Hartel).
I have been waiting in vain for these for two months. A few days
ago I wrote to Frau von Bulow to send Pohl an execution; perhaps
this may help matters at length!
The Berlioz parts have remained at Weimar. Grosse knows about
them--and possibly they have also gone to Pohl with the rest of
the scores. As soon as they are found I shall be happy to make a
present of them to the library of the Musikverein for their use,
as well as the scores, and I authorise you with pleasure, dear
friend, to do the same with the score and parts of the "Gran
Mass."
The newspaper has not reached me from Pohl any more than the
parcel.
Hearty greetings to your wife from yours in all friendship,
F. L.
6. To Dr. Franz Brendel
Dear Friend,
Well, as the parcel has come at last, Pohl shall not be scolded
any more, and his "innocence" shall shine out in full splendor!
.--.
I have just received a few lines from Berlioz; Schuberth, whom I
commissioned, before I left, to send the dedication-copy of the
"Faust" score to Berlioz, has again in his incompetent good
nature forgotten it, and perhaps even from motives of economy has
not had the dedication-plate engraved at all!!--Forgive me, dear
friend, if I trouble you once more with this affair, and beg you
to put an execution on Schuberth in order to force a copy with
the dedication-page from him. The dedication shall be just as
simple as that of the "Dante Symphony," containing only the name
of the dedicatee, as follows,
"To Hector Berlioz."
After this indispensable matter has been arranged I beg that you
will be so kind as to have a tasteful copy, bound in red or dark
green, sent, perhaps through Pohl (?), to Berlioz at Baden (where
he will be at the beginning of August. In case neither Pohl nor
his wife should go to Baden this summer (which however I scarcely
expect will be the case), send the copy to Fraulein Genast (who,
as I learn from the "Zeitschrift" [periodical], is at present in
Carlsruhe) with the request that she will give it to Berlioz.
Is there not any talk of bringing out an arrangement of the
"Faust Symphony" for 2 Pianofortes?--Schuberth is sure to have
far greater things in contemplation, and I almost regret having
incommoded him by giving up the manuscripts!--
Nonetheless, please take him to task about it, or, better, bully
him into action with "Faust-Recht" [Faust rights or Faust
justice.] In truth the final chorus of Part III. of the Faust
tragedy, "faithful to the spirit of Part II. as composed by
Deutobold-Symbolizetti-Allegoriowitsch-Mystifizinsky"--
"Das Abgeschmackteste
Hier ward es geschmeckt,
Das Allvertrackteste
Hier war es bezweckt"
[A parody on the concluding lines of Goethe's Faust. The parody
may be freely translated as follows:--
The most insipid
Here was tasted;
In queerest nonsense
Here all was wasted."]
can often be applied to matters of publishing. And while I am
touching on this, to me, very disagreeable chapter, may I also
take the opportunity of inquiring how long our amiable friend and
patron Julius Schuberth is intending to ignore the 2 Episodes
from Lenau's "Faust" ("Nachtlicher Zug"--and "Mephisto Walzer"),
which I recommended to his good graces more than a year ago, and
gave him in manuscript?
Must the pages perchance become quite mouldy, or will he bring
them out as an oeuvre posthume [posthumous work]? I am tired of
doing silent homage to this noble mode of proceedings, and intend
next time to help the publisher out of all his perplexities
[Untranslatable pun on "Verleger" and "Verlegenheiten."] by
putting the manuscripts back in their place again.--
--
"O Freunde, nicht diese Tone, sondern lasst uns angenchmere
anstimmen!" [A quotation from Schiller's "Ode to joy" in
Beethoven's "Choral Symphony:" "O friends, not tones like these,
but brighter ones let us sing."] (I am perhaps not quoting
exactly, although the sense of the apostrophe remains clearly
present, especially in musical enjoyments and experiences!)
Amongst the "more pleasant" things I at once place much
information given in your letter and the newspaper (which reached
me at the same time in some 16 numbers with Pohl's parcel). My
most earnest wishes are, first and foremost, bound up in the
complete prospering, upspringing, and blossoming of the "grain of
mustard-seed" of our Allgemeine Deutsche Musik-Verein. With God's
help I will also support this in other fashion than mere
"wishes." According to my opinion the third Tonkunstler-
Versammlung will be the chief factor in strengthening and
extending the Allgemeine Deutsche Musik-Verein, which comprises
in itself the entire development and advancement of Art.
Various reasons led me to recommend Carlsruhe to you in my last
letter as the most suitable place for the third Tonkunstler-
Versammlung, that is, supposing that H.R.H. the Grand Duke gives
his countenance to the matter, and grants us favorable conditions
with regard to the disposal of the theater, orchestra, and
chorus. It behoves Bulow, as conductor of the musical
performances, to undertake to "pave the way" towards a favorable
promise on the Grand Duke's side. Within two to three months the
necessary preliminaries can be fixed, and I shall then expect
fuller tidings from you about the further plans and measures.
Without wishing to make any valid objection to Prague--rather
with all due acknowledgment of what Prague has already
accomplished and may still accomplish--yet it seems to me that
the present political relations of the Austrian monarchy would
make it inopportune to hold the Tonkunstler-Versammlung in Prague
just now. On the other hand I am of opinion that a more direct
influence than has yet been possible on South Germany, which is
for the most part in a stagnating condition, would be of service.
Stuttgart in particular, through Pruckner, Singer, Stark, etc.,
might behave at it differently from what it did at a previous
Musical Festival in Carlsruhe!
Dr. Gille's interest in the statutes and deliberations of the
M.V. [Musik-Verein] is very advantageous, as also Pohl's previous
removal to Leipzig. .--. The constant intercourse with you,
together with the Leipzig acids and gases, will be sure to suit
him well.
From Weimar I have received a good deal of news lately from Count
Beust, Dingelstedt, Gille, and Stor. To the latter my answer will
be little satisfactory; but I cannot continue with him on any
other road, and let the overpowering Dominant of his spasmodic
vanity serve as the Fundamental note of our relations.
I am writing to Gille by the next post, and also to Muller, who
rejoiced me lately by his Erinnerungs-Blatt [remembrance] from
Weimar, (in the 8th November issue of the "Zeitschrift," which I
have only now received). Will you, dear friend, when you have an
opportunity, give my best thanks to Kulke for his article upon
Symphony and Symphonic Poem--and also the enclosed lines to
Fraulein Nikolas, from whom I have received a charming little
note?
Already more than 140 pages of the score of my "Elizabeth" are
written out complete (in my own little cramped scrawl). But the
final chorus--about 40 pages--and the piano-arrangement have
still to be done. By the middle of August I shall send the entire
work
to Carl Gotze at Weimar to copy, together with the "Canticus of
St. Francis," which I composed in the spring. ["Cantico del
Sole," for baritone solo, men's chorus, and organ. Kahnt.] It
would certainly be pleasanter for me if I could bring the things
with me--but, between ourselves, I cannot entertain the idea of a
speedy return to Germany. If later there seems a likelihood of a
termination to my stay in Rome, you, dear friend, shall be the
first to hear of it.
With hearty greetings to your wife, I remain
Yours in sincere and friendly attachment,
F. Liszt
Rome, July 12th, 1862
Your little commission about Lowenberg shall be attended to. Let
me soon have news of you and of my intimate friends again. There
is absolutely nothing to tell you from here that could interest
you. In spite of the heat I shall spend the summer months in
Rome.
7. To Dr. Franz Brendel
[Letters 7, 8, 9, 18, and 24 to Brendel have been partially
published in La Mara's "Musikerbriefe" (Letters of Musicians),
Vol. II.]
What a delightful bunch of surprises your letter brings me, dear
friend! So Pohl has really set to work on the Faust brochure--and
Schuberth is actually not going to let the piano-arrangement of
the "Faust Symphony" lie in a box till it is out of date. How
curious it all sounds, just because it is so exactly the right
thing and what I desired!--If you are back in Leipzig please send
me soon a couple of copies of the Faust brochure (those numbers
of the journal containing Pohl's articles have not reached me),
and also send me the 2-pianoforte arrangement of the Faust
Symphony (a few copies when convenient). I have as yet received
nothing of the parcel which Kahnt announced as having sent me
with some of my 4-hand things; and as I have fished out here a
very talented young pianist, Sgambati [A pupil of Liszt's, and
now one of the first pianoforte players and composers of Italy;
has been, since 1871, Professor at the Academia Sta. Cecilia in
Rome] by name, who makes a first-rate partner in duets, and who,
for example, plays the Dante Symphony boldly and correctly, it
would be a pleasure to me to be able to go through the whole
cycle of the Symphonic Poems with him. Will you be so good
therefore, dear friend, as to ask Hartel for the whole lot in the
2-pianoforte arrangement (a double copy of each Symphonic Poem,
for with one copy alone I can do nothing, as I myself can only
play the thing from notes!), and also the 4-hand arrangement,
with the exception of the "Festklange," which Hartels have
already sent me?
Besides these, I expect in the same parcel the Marches which
Schuberth has published (the "Goethe Marsch" and the Duke of
Coburg) and the "Kunstler Festzug" [Artists' procession] (for 4
hands), which I ordered previously.--
The "Legend of St. Elizabeth" is written out to the very last
note of the score; I have now only to finish a part of the piano
arrangement, and the 4-hand arrangement of the Introduction, the
Crusaders' March, and the final procession--which shall be done
by the end of this month at latest. Then I send the whole to
Weimar to be copied, together with a couple of other smaller
manuscripts. What will be its ultimate fate will appear according
as...Meanwhile I will try one or two little excursions into the
country (to Albano, Frascati, Rocca di Papa--and a little farther
still, to the "Macchia serena" near Corneto, where in earlier
times much robbery and violence took place!), and before the end
of September I hope to be able to set steadily to work again, and
to continue my musical deeds of "robbery and murder"! Would that
I only could hear, like you, the Sondershausen orchestra, and
were able to conjure friend Stein and his brave phalanx into the
Colosseum! The locality would assuredly be no less attractive
than the "Loh," [The Sondershausen concerts are, as is well
known, given in the "Lohgarten."] and Berlioz's Harold Symphony,
or Ce que l'on entend sur la montagne [One of Liszt's Symphonic
Poems], would sound there quite "sonderschauslich" [curious]
[Play of words on Sondershausen and "sonderbar" or "sonderlich"].
I often imagine the orchestra set up there, with the execrated
instruments of percussion in an arcade--our well--wishers Rietz,
Taubert, and other braggarts of criticism close by (or in the
Aquarium!)--the directors of the Deutsche Musik-Verein resting on
the "Pulvinare," and the members all around resting on soft
cushions, and making a show in the reserved seats of the
Subsellia, as senators and ambassadors used to do!--
Tell Stein of this idea, and give him my most friendly thanks for
all the intelligent care and pains that he so very kindly gives
to my excommunicated compositions. As regards the performances of
the Sondershausen orchestra I am quite of your opinion, and I
repeat that they are not only not outdone, but are even not often
equalled in their sustained richness, their judicious and liberal
choice of works, as well as in their precision, drilling, and
refinement.--It is only a shame that no suitable concert-hall has
been built in Sondershausen. The orchestra has long deserved such
an attention; should such a thing ever fall to their lot, pray
urge upon Stein to spread out the Podium of the orchestra as far
as possible, and not to submit to the usual limited space, as
they made the mistake of doing in the Gewandhaus, the Odeonsaal
in Munich, etc., etc., and also, alas, in Lowenberg. The concert-
hall of the Paris Conservatoire offers in this respect the right
proportions, and a good part of the effect produced by the
performances there is to be ascribed to this favorable
condition.--
According to what I hear Bulow is not disposed to mix himself up
in the preliminaries of the next Tonkunstler-Versammlung.
Accordingly some one else must be entrusted with the afore-
mentioned task in Carlsruhe, although Bulow was the best suited
for it. If you do not care to enter at once into direct
communication with Devrient, Pohl would be the best man to
"pioneer" the way. It would not be any particular trouble to him
to go from Baden to Carlsruhe, and to persuade Devrient to favor
the matter. This is before all else needful, for without
Devrient's co-operation nothing of the sort can be undertaken in
Carlsruhe. If the Tonkunstler-Versammlung takes place not out of
the theater season, then one or more theatrical performances can
be given in conjunction with it, especially of Gluck's Operas; as
also an ultra-classical Oratorio of Handel's might well be given
over to the Carlsruhe Vocal Unions. .--.
What "astonishing things" are you planning, dear friend? This
word excites my curiosity; but, on the other hand, I share your
superstition to speak only of actions accomplished ("faits
accomplis"). In Schelle you will gain a really valuable
colleague. Has his "History of the Sistine Chapel" come out yet?
If so, please be so good as to send me the book with the other
musical things.--
My daughter, Frau von Bulow, writes to me that Wagner's new work
"Die Meistersinger" is a marvel, and amongst other things she
says:--
"These 'Meistersinger' are, to Wagner's other conceptions, much
the same as the 'Winter's Tale' is to Shakespeare's other works.
Its phantasy is found in gaiety and drollery, and it has called
up the Nuremberg of the Middle Ages, with its guilds, its poet-
artisans, its pedants, its cavaliers, to draw forth the most
fresh laughter in the midst of the highest, the most ideal,
poetry. Exclusive of its sense and the destination of the work,
one might compare the artistic work of it with that of the
Sacraments-Hauschen of St. Lawrence (at Nuremberg). Equally with
the sculptor, has the composer lighted upon the most graceful,
most fantastic, most pure form,--boldness in perfection; and as
at the bottom of the Sacraments-Hauschen there is Adam Kraft,
holding it up with a grave and collected air, so in the
'Meistersinger' there is Hans Sachs, calm, profound, serene, who
sustains and directs the action," etc.
This description pleased me so much that, when once I was started
on the subject, I could not help sending you the long quotation.
The Bulows, as you know, are with Wagner at Biebrich--at the end
of this month there is to be a performance of "Lohengrin" at
Frankfort under Wagner's direction. There must not fail to be a
full account of this in the Neue Zeitschrift, and for this I
could recommend my daughter as the best person. The letters in
which she has written to me here and there of musical events in
Berlin and elsewhere are really charming, and full of the finest
understanding and striking wit.--
Berlioz was so good as to send me the printed pianoforte edition
of his Opera "Les Troyens." Although for Berlioz's works
pianoforte editions are plainly a deception, yet a cursory
reading through of "Les Troyens" has nevertheless made an
uncommonly powerful impression on me. One cannot deny that there
is enormous power in it, and it certainly is not wanting in
delicacy--I might almost say subtilty--of feeling.
Pohl will let you know about the performance of Berlioz's comic
Opera "Beatrice and Benedict" in Baden, and I venture to say that
this Opera, which demands but little outside aids, and borrows
its subject from a well-known Shakespeare play, will meet with a
favorable reception. Berlin, or any other of the larger theaters
of Germany, would certainly risk nothing of its reputation by
including an Opera of Berlioz in its repertoire. [This took place
a quarter of a century later.] It is no good to try to excuse
oneself, or to make it a reason, by saying that Paris has
committed a similar sin of omission--for things in which other
people fail we should not imitate. Moreover Paris has been for
years past developing a dramatic activity and initiative which
Germany is far from attaining--and if special, regrettable
personal circumstances prevent Berlioz from performing his works
in Paris, the Germans have nothing to do with that.
Hoping soon for news of you (even if not about the "astonishing
things"), I remain, dear friend, with faithful devotion,
F. Liszt
Rome, August 10th, 1862 Via Felice, 113
Who has corrected the proofs of the "Faust Symphony"? Please
impress upon Schuberth not to send out into the world any
unworthy editions of my works. Bulow is so good as to undertake
the final revision, if only Schuberth will take the trouble to
ask him to do so.
8. To Dr. Franz Brendel
Via Felice, 113 [Rome], August 29th [1862]
Dear Friend,
In explanation of the main point of your last letter (which
crossed mine), namely, the question as to where the next
Tonkunstler-Versammlung is to be held, let me add the following
in colloquial form.
I should not, without further proof, exactly like to consider
Carlsruhe as a town altogether unsuitable for the purpose--
although Pohl and Bulow are afraid it is, and have various
reasons for assuming it to be so. As regards Bulow, I have
already asked you not to trouble him with any of the preliminary
details. When the time comes, he is certain to do his part--that
is, more than could be expected or demanded of him. Only he must
not be tormented with secondary considerations, not even where,
owing to his position and antecedents, he is best known (for
instance, in Carlsruhe, as already said). His individuality is
such an exceptional one that its singularities must be allowed
scope. Hence let us meanwhile leave him out of the question, he
being what he is, with this reservation--that he undertakes to
conduct the musical performances--as I hope and trust he will
finally arrange to do. But again as to Carlsruhe, I would propose
that unless you have important, positive objections to the place,
you should write to the Grand Duke yourself and beg him in my
name to take the Musik-Verein under his patronage, etc.--The
worst that could happen to me in return would be to receive a
courteously worded refusal; this, it is true, is not a kind of
thing I cultivate as a rule, but as a favor to such an honorable
association I would gladly face the danger, in the hope that it
might prove of some use and advantage.
Write and tell me, therefore, in what spirit Seifriz has answered
you, and what information Riedel has gathered in Prague. Prague,
for certain (yet rather uncertain?) considerations, is indeed
much to be recommended; only one would need, in some measure, to
have the support of the musical authorities and notabilities of
the place, as well as that of the civic corporation (because of
municipal approbation and human patronage). In short, if the
Tonkunstler-Versammlung were taken up and set in a good light
there by a few active and influential persons, everything else
would be easy to arrange, whereas otherwise all further steps
would be so much trouble thrown away. I cannot altogether agree
with your opinion, dear friend, that "the difficulties would in
no way be greater in Prague than in Leipzig"--you forget that you
yourself, in the capacity of a Leipzig citizen, removed most of
the difficulties by your unswerving perseverance and your
personal influence, whereas in Prague you could act only through
the intervention of others. The question, therefore, is whether
you can confidently reckon upon reliable friends there.
Until I receive further news from you, it seems to me that
Bulow's idea of preferring Lowenberg to all other places is one
very well worth consideration. Our amiable Prince would certainly
not fail to give his earnest support to the Tonkunstler-
Versammlung, and the small miseries of the little town of
Lowenberg might be put up with or put down, for a few days at all
events. Think this plan over again carefully, and do not look at
Lowenberg through the glasses of our excellent friend Frau von
Bonsart!--Of course a date would have to be fixed when the
orchestra is assembled there, and the whole programme arranged
with Seifriz and drawn up with his friendly co-operation. In my
opinion many things might be possible in Lowenberg that could
scarcely be broached elsewhere; and as, in fact, Bulow conceived
the idea I expressly recommend it you as a means for "paving the
way" to a happy issue.--
Together with your last letter I received three of the Faust
essays by Pohl. I shall send him my warm thanks for them by next
post, and shall add, for his bibliographical and statistical
edification, the little remark that Mademoiselle Bertin had an
Italian opera performed in Paris before the Revolution of July,
entitled "Faust" or "Fausto." Before Pohl's articles appear in
pamphlet form I should like to have read them all through--but if
he is in a hurry about them, do not mention this to him; perhaps,
however, if it did not make the pamphlet too thick, it might be
well to include Pohl's essay on the "Dante Symphony" (as it
appeared in Hartel's edition of the score).
In spite of the unsatisfactory performance of the "Dante
Symphony" in Dresden (partly, moreover, the fault of the bad,
incorrectly written orchestral parts, and my careless
conducting), and without regard to the rapture of the spiritual
substance (a matter which the general public tolerates only when
demanded by the higher authority of tradition, and then
immediately gapes at it upside down!)--in spite, therefore, of
this grievous Dresden performance, which brought me only theone
satisfaction of directly setting to work at some not unessential
improvements, simplifications, and eliminations in the score--
that had taken hold of me during the rehearsals and the
performance, and which I felt at once, without troubling myself
about the audience present...--Now, what was I about to say,
after all these parentheses and digressions? Yes, I remember
now:--the "Dante Symphony" is a work that does not need to be
ashamed of its title,--and what you tell me of the impression
produced by the "Bergsymphonie" (in Sondershausen) strengthens me
in my presumption. Hence I should be glad to see the preface by
Pohl printed again, and placed at the end of the "Faust"
pamphlet; for, considering what most people are, they require to
read first, before attaining the capacity for learning,
understanding, feeling, and appreciating.--
The edition of the "Faust Symphony" (arranged for two
pianofortes) is worthy of all praise, and, in the language of
music-sellers, elegant. The printer has done well in so arranging
the type that a number of lines are brought on to one page and a
number of bars on to every line. Schuberth shall ere long receive
a complimentary note from me, together with a few "proof"
indications for the "Faust Symphony." But, in fact, I have come
across only a few and unimportant errors as yet.
The publication of Lenau's two "Faust Episodes" (a point Pohl
touches upon in his essay with fine discrimination) Schuberth
might undertake according as he sees fit. I am pretty well
indifferent as to whether the pianoforte arrangement or the score
appears first; only, the two pieces must appear simultaneously,
the "Nachtlicher Zug" as No. 1 and "Mephisto's Walzer" as No. 2.
There is no thematic connection between the two pieces, it is
true; but nevertheless they belong together, owing to the
contrast of ideas. A "Mephisto" of that species could proceed
only from a poodle of that species!--.--.
With the "Elizabeth" (of which I have now to write only the
pianoforte score, which will take about a fortnight's time) I am
also sending to Weimar the three Psalms in their new definitive
form. It would please me if, some day, a performance of the 13th
Psalm, "How long wilt Thou forget me, O Lord?" could be given.
The tenor part is a very important one;--I have made myself sing
it, and thus had King David's feelings poured into me in flesh
and blood!--
It is to be hoped that Schnorr will be kind enough to adapt
himself to the tenor part (the only solo voice in the Psalm, but
which affects everything, and penetrates and sways chorus and
orchestra). Theodor Formes sang the part very well eight years
ago in Berlin; but that performance at Stern's Concert was to me
only a first trial performance!--
With notes alone nothing can be accomplished; one thirsts for
soul, spirit, and actual life. Ah! composing is a misery, and the
pitiful children of my Muse appear to me often like foundlings in
a hospital, wandering about only as Nos. so and so!--
Please give my best thanks to Schnorr for having so kindly
interested himself in my orphaned "Songs." His better self-
consciousness--the God we carry in our breasts--requite him for
it!--My daughter, Frau von Bulow, writes and tells me marvels
about Schnorr and his wife, and of the performance of "Tristan"
at Wagner's in Biebrich. If only we possessed electric telegraphs
in favor of musical ubiquity! Assuredly I would not make any
misuse of them, and only rarely put myself in correspondence with
the music-mongers; but Tristan and Isolde are my "soul's
longing"!
The French journals contain nothing but praise and exclamations
of delight at the success of "Benedict and Beatrice," Berlioz's
new opera, which was performed in Baden. Pohl is sure to give you
a full report of it. To judge from his essay, the tenor solo at
the end of the "Faust Symphony" caused less offence in Leipzig
(it was the stumbling-block in the Weimar performance, so much so
that influential and well-disposed friends have urgently advised
me to strike out the solo and chorus and to end the Symphony with
the C major common chord of the orchestra). It was really my
intention at first to have the whole "Chorus mysticus" sung
invisibly--which, however, would be possible only at performances
given in theaters, by having the curtain lowered. Besides which,
I felt doubtful whether the sound would not have thus become too
indistinct...
However it may be with this and other things, I will not fail to
exercise patience and goodwill--but neither will I make too great
a demand upon yours. Enough, therefore, for today from your
heartily devoted
F. Liszt
P.S.--N.B.--With the next sending of music please enclose the
choruses from Schumann's "Manfred" (Songs and pianoforte
accompaniment). I shall probably this autumn be engaged with the
same subject, which, in my opinion, Schumann has not exhausted.
9. To Dr. Franz Brendel
Dear Friend,
You will have heard of the grievous shock I received in the
middle of September. [Liszt's eldest daughter, Mme. Blandine
Ollivier, had died.] Shortly afterwards Monsieur Ollivier came to
Rome, and during his stay here, which lasted till the 22nd
October, I could not calculate upon being able to take any
interest in other outward matters. This last week I have had to
spend in bed. Hence my long delay in answering you.
So far as I understand the position of affairs with regard to the
Tonkunstler-Versammlung, it seems difficult to give any definite
advice. The question here is not one of theoretical, but of
absolutely practical considerations, with regard to which
unfortunately my influence is very limited. In my last letter I
believe I told you that I am prepared, in case you decide upon
Prague, to subscribe my name to the petition addressed to the
Austrian ministry in behalf of state support. At the same time I
intimated to you that my cousin Dr. Eduard Liszt would be the
best one to draw up the said petition (in accordance with a draft
sent to him), and in fact might aid the undertaking with good
advice, and otherwise promote its interests. I, on my side, will
not spare myself any trouble in order to obtain from the Austrian
government a favorable result for the objects of the Tonkunstler-
Versammlung. I cannot, of course, guarantee success beforehand;
still I consider it not impossible, and when the time comes I
will communicate all further details to you.
In the first place, however, comes the question whether I can
take any personal part in the meeting of the Tonkunstler-
Versammlung in the year '63? [This meeting did not take place in
1863, but in 1864.] And unfortunately this question I am forced
to answer decidedly in the negative. Owing to its being my custom
not to enlighten others by giving an account of my own affairs, I
avoid, even in this case, entering further into particulars. Of
this much you may meanwhile be assured with tolerable certainty:
I have neither the intention nor the inclination to make any
lengthened stay in Germany. Probably, however, during the course
of next summer I may go to Weimar for perhaps a three weeks'
visit to my gracious Master the Grand Duke. From Weimar I should
go to Leipzig, and then return here by way of Trieste or
Marseilles.
Requests for concert performances of my works under my direction
have been addressed to me from several quarters of late.
Yesterday again I received a letter on this same subject from
London, to which, as in the case of the others, I shall reply
with grateful thanks and excuses.--
I am firmly resolved for some length of time to continue working
on here undisturbed, unremittingly and with an object. After
having, as far as I could, solved the greater part of the
"Symphonic" problem set me in Germany, I mean now to undertake
the "Oratorio" problem (together with some other works connected
with this). The "Legend of Saint Elizabeth," which was altogether
finished a couple of months ago, must not remain an isolated
work, and I must see to it that the society it needs is
forthcoming! To other people this anxiety on my part may appear
trifling, useless, at all events thankless, and but little
profitable; to me it is the one object in art which I have to
strive after, and to which I must sacrifice everything else. At
my age (51 years!) it is advisable to remain at home; what there
is to seek, is to be found within oneself, not without; and, let
me add, I am as much wanting in inclination to wander about as I
am in the necessary means for doing so. But enough of my
insignificant self. Let us pass over at once to the subject of
those two brave fellows who, in your opinion, ought to play a
chief part in the next Tonkunstler-Versammlung: Berlioz--and
Wagner.
To class them together thus seemed strange to me at first,
considering the present state of affairs. And, so far as their
two-headed personality is drawn in, I hold it to be impossible
even. So let us take each apart.
A) Berlioz. Considering what has occurred, and what has appeared
in print, it strikes me as more than doubtful whether Berlioz
would make up his mind to undertake the musical conductorship of
the Tonkunstler-Versammlung, even though Benazet should come
forward en personne as mediator. Besides which his moral
influence at the Festival and the negotiations would be hindering
and disturbing. Hence let us leave Berlioz in Paris or in Baden-
Baden, and be content in being consistent and in giving him a
proof of our admiration by getting up a performance of one of his
larger works. (Perhaps the "Te Deum?"--if I am not mistaken it
lasts a good hour. For Prague this choice would be appropriate--
unless the "Requiem" might be preferred. We might even consider
whether the two might not be given together; this would
abundantly fill one concert. Discuss the requisite means, etc.,
for giving these, with Riedel.)
B) Wagner. What am I to say to you of Wagner? Have you had any
talk with him lately in Leipzig? On what terms are you with him
at present?...Ah, it is a pity that we cannot procure a stream of
gold for him, or have some palaces of gold built for him! What
can he do with admiration, enthusiasm, devotion, and all such
non-essential things?
Nevertheless it is our indebtedness and duty to remain faithful
and devoted to him. The whole German Musik-Verein shall raise up
a brazen wall in his honor!--He is verily worthy of it!
Hence, dear friend, see what can be arranged with Wagner. Since I
left Berlin we have not corresponded. But I am surprised almost
that I did not receive a line from him after Blandine's death!
.--.
Au revoir, therefore, dear friend. In Weimar or in Leipzig only
can I tell you what I may be able to accomplish later. I must,
however, most urgently beg to be exempted from undertaking to
direct the German Musik-Verein for the year '63!--
With cordial and most friendly greetings,
Yours sincerely,
November 8th [1862]
F. Liszt
P.S.--Best thanks for your Sondershausen essays.
10. To A. W. Gottschalg
Dear Friend,
Your kind letter reached me on October 22nd, and this day, which
could not pass without sorrow, has this year been brightened by
many loving and solemn remembrances. Accept my thanks, and
present my best remembrances to all those whose names you
mention, and who have so kindly thought of me. Unfortunately
there is no prospect of my soon being able to celebrate the 22nd
October with Weimar friends; but I may tell you that I intend
paying H.R.H. the Grand Duke a visit during the course of the
summer. And we two shall then also have a bright and happy day in
Tieffurt--and look through a couple of new Organ pieces together.
Grosse must not fail to be there likewise, nor his trombone box,
which I have specially had in my mind ever since the journey to
Paris. [Grosse took his instrument with him on the journey, in
order that it might be at hand in case Liszt should want it.]
Meanwhile, however, tell dear, good Grosse not to be vexed about
the delay in connection with the promised despatch of his
"Sonntags-Posaunenstuck." [Sunday piece for trombone.] It is long
since finished, also some three or four Organ pieces, which, dear
friend, I wrote for you last spring. But the postal arrangements
are so little safe, under present circumstances, that I do not
care to send manuscripts by this means. In despatching parcels to
Vienna or Paris I could, of course, make use of the courtesy of
the embassies; but it is more difficult with Weimar...and so the
parcel with the "Legend of Saint Elizabeth," the three Psalms
instrumented (and essentially remodelled), several Pianoforte and
Organ pieces, together with Grosse's "Sunday-piece," must remain
in my box till some perfectly reliable opportunity presents
itself. If the worst comes to the worst I shall bring the whole
lot myself.
The Schneider-Organ-Album, and the one to appear later--the
Arnstadter-Bach-Organ-Album (which is to contain the magnificent
fugal subject from Bach's Cantata that I arranged for the Organ--
and not without difficulty), I beg you to keep in your library
till my return.
I am very unpleasantly affected by the hyper-mercantile
craftiness of one of my publishers whom you mention in your
letter. It would truly be unjust if you were not to receive the
usual discount, and indeed an exceptional amount, when purchasing
the "Faust Symphony." But who would ever succeed in washing a
negro white? And, in addition, one has generally to put up with
the inky blackness of his bills!--I could tell many a tale of
such doings, and indeed of persons who are afterwards not ashamed
to talk braggingly of their friendship for me! "O friends, not
these tones, rather let us strike up pleasanter ones," sings
Beethoven.
The "Elizabeth," it is to be hoped, contains something of the
sort. At least, as far as possible, I have labored carefully at
the work, and, so to say, lived it through for more than a year.
In No. 3 of the score--the "Crusaders"--you will come across the
old pilgrim song from the days of the Crusades which you had the
kindness to communicate to me. It has rendered me good service
for the second subject of the "Crusaders' March." In the
concluding notice of the score I acknowledge my thanks to you for
it and give the whole song from your copy.
Among the pleasant bits of news (exceptions to the rule!) which
reach me from our quarters is that about the improvement of your
pecuniary position, which is probably accompanied by your
appointment as teacher at the newly established Seminary classes.
In the way of merit you lack nothing, and nothing in zeal and
energetic perseverance. Let me hope, dear friend, that you may
more and more meet with your due reward!
With kindest greetings,
F. Liszt
Rome, November 15th, 1862
11. To Eduard Liszt
Dearest Eduard,
The feeling of our double relationship is to me always an
elevating and comforting one. Truly you abide with me, as I do
with you--cum sanguine, corde et mente.
Accept my thanks for your kind lines, and excuse my not having
written to you long ago. I might indeed have told you many a
thing of more or less interest; but all seemed to me tiresome and
insufficient in writing to you. I needed more than ever, and
above all things, ample time to compose myself, to gather my
thoughts, and to bestir myself. During the first year of my stay
here I secured this. It is to be hoped that you would not be
dissatisfied with the state of mind which my 50th year brought
me; at all events I feel it to be in perfect harmony with the
better, higher aspirations of my childhood, where heaven lies so
near the soul of every one of us and illuminates it! I may also
say that, owing to my possessing a more definite and clearer
consciousness, a state of greater peacefulness has come over me.
Blandine has her place in my heart beside Daniel. Both abide with
me bringing atonement and purification, mediators with the cry of
"Sursum corda!"--When the day comes for Death to approach, he
shall not find me unprepared or faint-hearted. Our faith hopes
for and awaits the deliverance to which it leads us. Yet as long
as we are upon earth we must attend to our daily task. And mine
shall not lie unproductive. However trifling it may seem to
others, to me it is indispensable. My soul's tears must, as it
were, have lacrymatoria made for them; I must set fires alight
for those of my dear ones that are alive, and keep my dear dead
in spiritual and corporeal urns. This is the aim and object of
the Art task to me.
Yon know that I have finished the "Legend of Saint Elizabeth"
(200 pages of score--2 and 1/2 hours' duration in performance).
In addition to this some other compositions have been produced,
such as: the "SunCanticus ("Cantico del Sole") of Saint
Franciscus"--an instrumental Evocatio in the Sistine Chapel-two
Psalms, etc. I trust you may again find us in these, in mind and
feeling.
I am now about to set myself the great task of an Oratorio on
Christ. By the 22nd October, '63, I hope to have solved the
difficulty as far as my weakness and strength will permit.
As you see, dearest Eduard, it is impossible to get out of my
head the idea of writing notes. [Notenkopfe] In spite of all good
precepts and friendly counsellors (who mean it much better by me
than I can ever understand!) I go so far as to maintain that for
several years past and in many yet to come I have not done and
shall not do anything more ingenuous than cheerfully to go on
composing. And what more harmless occupation could there be?
especially as I never force my little works upon any one, nay,
have frequently begged persons to refrain from giving certain too
unconscientious [Play on words "gewissen" and "ungewissenhaft"]
renderings of them,--and that I ask for no further appreciation
or approval than can, in fact, be granted according to taste and
disposition.
From Pest I have lately received through Baron Pronay, in the
name of the Council of the Conservatoire, an invitation to
establish my domicile there, and to promote the interests of
Hungarian music. Probably you will hear of my excusatory reply.
Between ourselves, and frankly said in plain German, it would be
of no advantage to me again to take up any outward musical
activity (such as my conductorship in Weimar which came to an end
a few years ago, and after September 1861 became a locked door to
me through my Chamberlain's key). But possibly I may later find a
fitting opportunity for composing something for Hungary. After
the precedent of the "Gran Mass" I might, for instance, on some
extraordinary occasion, be entrusted, say, with a "Te Deum" or
something of the kind. I would gladly do my best, and only on
some such terms could I regard my return to Hungary as becoming.
Meanwhile remains quietly in Rome, honestly striving to do his
duty as a Christian and an artist,
Thine from his heart,
F. Liszt
Rome, November 19th (St. Elizabeth's Day), 1862
12. To Dr. Franz Brendel
Dear Friend,
The difficulties and troubles of the musical situation of which
you speak in your last letter but one, I can, unfortunately, only
too well understand. No one is better acquainted with such
matters than I am, and hence no one is better able to appreciate
and recognise the value of your unselfish, persevering work and
efforts, which also show you so sincere in your convictions. And
one of the dark sides in my present position, dear friend, is
that I can be of so little use to you, that I am compelled to
remain in a state of passivity and forbearance that does not at
all agree with me. However, you may rely upon my readiness to
render any assistance wherever I may still be able to help.--In
accordance with your wish I shall take an early opportunity of
writing to Prince H[ohenzollern] concerning the Tonkunstler-
Verein. It is to be hoped that our amiable, noble-minded patron
will show himself no less disposed in our favor than he has done
on former occasions. And you, on your part, do not fail to
discuss with Seifriz by letter the points and modals of the
support expected. It is a pity that Bulow's proposal to hold the
next meeting of the T.K. Verein in Lowenberg has not proved
feasible. Were it likely to be broached again I should not make
any objections to it, because, in fact, the place seems to be
precisely a favorable centre at present. But, as already said, it
is not my place to express any definite opinion on the subject,
and I am entirely satisfied in leaving all that has to be done to
your judgment and foresight.
I am delighted to hear of Bulow's extraordinary success in
Leipzig, and still more so to hear of your renewed and intimate
relations with him. He is the born prototype of progress, and
noble-minded to a degree! Without his active co-operation as
director and standard-bearer a Tonkunstler-Versammlung at the
present time would at least be an anachronism.
From Wagner I lately received a letter in which he informed me of
a performance of his "Tristan" in Vienna towards the end of
January. Afterwards he intends arranging some concerts in Berlin-
-and, it seems, in St. Petersburg also. My endeavors to secure
him comfortable quarters in Weimar seem for the time being to be
useless, because of his dislike to an insignificant appointment,
and the adverse circumstances of life in a small town. Certainly
his project of drawing annually 3,000 thalers (*450 British
pounds sterling*), by some agreement between the Grand Dukes of
Weimar and Baden, is much more to the point. The question is only
whether their Highnesses will consent to it? .--.
With heartiest greetings, most sincerely yours,
F. Liszt
December 30th, 1862
13. To Breitkopf and Hartel
Dear Herr Doctor,
The four scores of the Beethoven Symphonies, of which you advised
me in your friendly letter, reached me yesterday. My eyes are
meanwhile revelling and delighting in all the glories of the
splendid edition, and after Easter I shall set to work. Nothing
shall be wanting on my part, in the way of goodwill and industry,
to fulfil your commission to the best of my power. A pianoforte
arrangement of these creations must, indeed, expect to remain a
very poor and far-off approximation. How instil into the
transitory hammers of the Piano breath and soul, resonance and
power, fulness and inspiration, color and accent?--However I
will, at least, endeavor to overcome the worst difficulties and
to furnish the pianoforte-playing world with as faithful as
possible an illustration of Beethoven's genius.
And I must ask you, dear Herr Doctor, in order that the statement
on all the title pages--"critically revised edition"--may be
complied with, to send me--together with your new edition of the
scores of the "Pastoral," the C minor, and A major Symphonies--a
copy of my own transcriptions of them. Probably I may alter,
simplify, and correct passages--and add some fingerings. The more
intimately acquainted one becomes with Beethoven, the more one
clings to certain singularities and finds that even insignificant
details are not without their value. Mendelssohn, at whose
recommendation you formerly published my pianoforte scores of the
"Pastoral" and C minor Symphonies, took great delight in these
minutiae and niceties!--
With regard to the agreement about the A major Symphony I mean
shortly to write to Carl Haslinger, and expect that he will be
quite willing to meet my wish. [A pianoforte transcription of
this Symphony by Liszt had been published by Haslinger.]
With grateful thanks, dear Herr Doctor, I remain yours in
readiness and sincerity,
F. Liszt
Rome, March 26th, 1863
P.S.--The four Symphonies shall be finished before the end of
summer and sent to Leipzig. If you are satisfied with my work
would you entrust the arrangement of the Overtures to me when I
have finished the Symphonies--provided, of course, that you have
not made any agreement with any one else?
14. To A. W. Gottschalg in Weimar
Dear Friend,
This year my name-day fell in the middle of Easter week, on
Maundy Thursday. Your hearty letter again brought what to me is
the pleasantest news in the world. Thank you for it, and let
those know of it who share your sincere, friendly, and faithful
sentiments! First let me mention Carl Gotze, [A chorister in
Weimar (a favorite copyist of the Master's) became a musical
conductor in Magdeburg and died in 1886.] whose kindly words I
should so gladly like to answer in accordance with his wish, and
then my dear Kammer-virtuoso, Grosse. Grosses trombone no doubt
officiated brilliantly at Bulow's concert and at the performance
of Berlioz's opera! An echo of the former reached me, thanks to
your inspired notice in Brendel's paper, where I accidentally
came across a little remark which you had addressed to one of the
most estimable and graceful of German lady-singers anent my
little-heeded songs. I certainly cannot find fault with you for
showing some interest in the songs and for thus frankly
expressing your opinion. On the contrary, your sympathetic
appreciation is always welcome, amid the direct and indirect
disparagement which falls to my lot. Unfortunately, however, I
must make up my mind that only by way of an exception can I
expect to find friends for my compositions. The blame is mine;
why should one presume to feel independently, and set the
comfortable complacency of other folks at defiance?--Everything
that I have written for several years past shows something of a
pristine delinquency which is as little to be pardoned as I am
unable to alter it. This fault, it is true, is the life-nerve of
my compositions, which, in fact, can only be what they are and
nothing else.--
In the Psalms I have made some important alterations, and shall
shortly send Kahnt the manuscript. A few passages (especially the
verse "Sing us one of the songs of Zion") which had always
appeared awkward to me in the earlier version, I have now managed
to improve. At least they now pretty well satisfy my soul's ear.
The "Christus" Oratorio is progressing but slowly, owing to the
many interruptions which I have to put up with this winter. It is
to be hoped I may obtain some entire months of work during the
summer. I thirst for it.
Of the musical undertakings here you will learn the more
noteworthy events from a paper I sent to Brendel last week.
Further and fuller news about myself is meanwhile uncertain.
Probably I shall in the end not find myself able to do anything
better than to put my whole story in the musical notes that I am
incessantly writing down, but which need not either be printed or
heard.
However that may be, I remain, dear friend, in sincere affection,
yours gratefully and in all friendship,
F. Liszt
Rome, April 14th, 1863
P.S.--The Bach-Album and other music which you say you had to
send me (e.g., your arrangement of the Dante fugue if it has been
printed) please let me have through Kahnt. Enclose also a copy of
the Ave Maria for Organ.
[Figure: Musical Score Excerpt]
15. To Dr. Franz Brendel
Dear friend,
The last months brought so many interruptions in my work that I
still feel quite vexed about it. Easter week I had determined
should, at last, see me regularly at work again; but a variety of
duties and engagements have prevented my accomplishing this. I
must, therefore, to be true to myself and carry out my former
intention, shut myself up entirely. To find myself in a net of
social civilities is vexatious to me; my mental activity requires
absolutely to be free, without which I cannot accomplish
anything.
How things will turn out later about my proposed journey to
Germany I do not yet know. Probably my weary bones will be buried
in Rome. Till then their immovability will serve you better than
my wandering about on railways and steamboats. On the other hand,
there is but little for me to do in Germany. War is at the door;
drums and cannon will come to the fore; God protect the faith of
heroes and give victory to the righteous among humanity! .--.
Where is Wagner, and what about the performances of "Tristan",
the "Nibelungen", and the "Meistersinger" in Weimar or elsewhere?
Tell me of this. I have not written to Weimar for long, and have
also not had any news from there. My only German correspondent
(Frau von Bulow) is suffering from some eye-trouble, which has
interrupted our exchange of letters...so I am absolutely ignorant
of what is going on. The February numbers of the "Neue
Zeitschrft" are the last I have received. Your articles on
Criticism are excellent, and, indeed, nothing else was to be
expected. Give Louis Kohler my most friendly thanks for his kind
perseverance in "paving the way for my scores to receive more
kindly appreciation." The more thankless the task the more
heartily grateful do I feel to my friends.
Most sincerely yours,
F. Liszt
Rome, May 8th, 1863
16. To Eduard Liszt
Dearest Eduard,
Weariness or something of the sort carried my thoughts back to my
"Berceuse." Various other "Berceuses" rose up in my dreams. Do
you care to join my dreams? It shall not cost you any trouble;
without touching the keyboard yourself, you will only need to
rock yourself in the sentiments that hover over them. A really
amiable and variously gifted lady will see to this. She plays the
little piece delightfully, and has promised me to let it exercise
its charms upon you. I shall, therefore, ere long send you a copy
of the new version of the "Berceuse" addressed "to the Princess
Marcelline Czartoryska, Klostergasse 4." [A pupil of Chopin's]
Wend yourway thither--and, in case you do not find the Princess
at home, leave the manuscript with your card. I have already told
her of your contemplated visit, and have spoken of you as my
heart's kinsman and friend. You will find the Princess Cz.
possessed of a rare and fine understanding, the most charming
figure in society, and a kindly and enthusiastic worshipper of
Mozart, Beethoven, and Chopin, and, above all this, the
illuminating faith of the Catholic Church reflected in Polish
blood.
"Patria in Religione et Religio in patria" might be the motto of
Poland. God protect the oppressed!
One other commission for the Princess Cz. please undertake for
me. During her residence here she on several occasions expressed
the wish to become acquainted with some of my compositions (to
which, whether intentionally or not, she had hitherto not paid
much attention). I played with her my arrangement of the
Symphonic Poems for 2 pianofortes--the "Heroide funebre,"
"Tasso," and the "Preludes"--which she received with kindly and
courteous tolerance. Without desiring more--for ample experience
has taught me that my compositions more readily rouse
estrangement than attraction--I should, nevertheless, like the
musical threads of our pleasant relations not to be entirely
dropped, and wish therefore to present her, first of all, with
various pieces of music by way of making amends. In the badly
stocked music shops of Rome I could not find anything suited to
her talent, and promised to ask your help in the matter. I beg
you, therefore, dearest Eduard, to get the following works simply
and neatly bound in one volume (in the following order), and to
present them soon to the Princess Cz.:--
1. "Glanes de Woronice" (Leipzig, Kistner).
2. "Melodies de Chopin", transcrites par Liszt (Berlin,
Schlesinger).
3. "Mazurka" (Senff, Leipzig).
4. "2 Polonaises" (idem).
5. "2 Ballades" (1 and 2. Kistner, Leipzig.)
6. "Consolations" (Hartel, Leipzig).
If the volume is not too thick with the above you might add the
"Valse melancolique" and "Romanesca" (second edition of
Haslinger). Of course let all this, contents and binding, be put
down to my account, and given to the Princess-artist as a present
from me. If the pieces cannot be procured in Vienna, order them
speedily from Leipzig through Haslinger or Spina.
A propos of Spina: has the arrangement for 2 pianofortes of my
orchestral setting of Schubert's magnificent C major "Fantasia"
not yet been published? This delay, or, more properly, this
remissness, is by no means a pleasant matter to me. With all my
heart, thine,
F. Liszt
Rome, May 22nd, 1863
17. To Dr. Franz Brendel
Dear Friend,
I had to remain in bed all last week--and am still pretty weak on
my legs. But there is nothing further wrong: my head is free
again; the rest can be imagined. The day after tomorrow I quit my
rooms in the Via Felice and move to Monte Mario (an hour's
distance from the city). Father Theimer is kind enough to allow
me to occupy his apartments in the almost uninhabited house of
the Oratorian. The view is indescribably grand. I mean now, at
last, to try and lead a natural kind of life. I hope I may
succeed in approaching more closely to my monastico-artistic
ideal...Meanwhile you may laugh at me about it. In my next letter
I will tell you where to address me.
Pastor Landmesser will bring you further news about me to
Leipzig, before the end of July, on his way back to Dantzig. I
shall get him to take you the manuscript of the Psalms (of which
I spoke to you). They are now ready for publication, and will not
disgrace Kahnt's house of business.
The corrected copy of the Faust Symphony, too, I will send you by
this opportunity, for Schuberth.
With regard to performances of my works generally, my disposition
and inclination are more than ever completely in the negative. My
friends, and you more especially, dearest friend, have done their
part in this respect fully and in the kindest manner. It seems to
me now high time that I should be somewhat forgotten, or, at
least, placed very much in the background. My name has been too
frequently spoken of; many have taken umbrage at this, and been
uselessly annoyed at it. While "paving the way for a better
appreciation," it might be advisable to regard my things as a
reserve corps, and to introduce new works by other composers.
This will sufficiently intimate that the "Legend of St.
Elizabeth" may quietly go on slumbering in my paper-box. As may
also the work upon which I am now engaged, and which to my regret
is making but very slow progress, owing to the many interruptions
which perpetually plague me.
Should any one of the programmes be filled with one of my
compositions, it would be best to select one of those already
published, in order that, at all events, the publisher's approval
may, in some measure, be held up to view.
In my opinion you have made a good choice in Porges. The young
man is reliable, intelligent, and capable of inspiration, and
what he may still lack in skilfulness he will easily acquire. The
essential point in a task of this kind is a modest, honest, and
not too dry effort. What I have heard and know of Porges makes me
feel assured that he will best fulfil the various demands made by
the editorial office.
What is one to think of the marvels which Pohl has brought back
from Lowenberg? I haven't sufficient imagination to form any
clear idea about them from the preliminary hints you communicated
to me. Let me have a fuller report, therefore, if you think that,
under certain conditions, I should mix myself up with the matter.
And also tell me frankly, without periphrase, what the Musik-
Verein wishes and expects from the patronage of the Grand Duke of
Weimar?--One ought not to shoot about at random with Royal
Highnesses! It would only lead to a vexatious loss of powder.
How is Kap[ellmeister] Wehner? Is he still in his King's good
graces? [He was in the service of the King of Hanover; and is
long since dead.] Kapellmeister Bernhard Scholz was here last
month--but he did not honor me with a visit.
Today's post has brought me some very friendly lines from my
worthy precentor Gottschalg in Tieffurt. He tells me of a concert
in Denstedt, where several pieces of mine were performed--among
others one of the Psalms (which I shall shortly send to Kahnt by
Landmesser, an essentially improved version); they were sung by
Fraulein Genast. This lady, so Gottschalg writes, is to be
married today. Do you know to whom? I am so entirely cut off from
all my Weimar connection that I had not heard anything about
this. But as I still retain a very friendly recollection of this
excellent lady-exponent of my songs, I beg you, dear friend, to
let me have her new name and to tell me whether her husband
resides in Weimar or elsewhere.
I am perfectly satisfied with my new abode at Monte Mario.--
Pastor Landmesser will give you a description of it--and perhaps
I may find a photograph of the place--if not I shall order one
for you later.
Your sincerely devoted
F. Liszt
Rome, June 18th, 1863
18. To Dr. Franz Brendel
Dear Friend,
You will receive these lines in the lovely Sondershausen Park.
One gladly accustoms oneself to the place, and the admirable
performances of the Loh-concerts--I derive the word from "Lohe"
[flame]--give the atmosphere a certain spiritual stimulus. My
friendly greetings to Stein--and present my warm thanks to the
courageous orchestra, which has not been scandalised by the
"Symphonic Poems"! . . .
The parcel from Kahnt reached me safely a few days after your
letter (of 26th June). Mililotti [Director of the Classical Music
Association in Rome; he had requested Professor Riedel to send
him the programmes of his concerts.] intends writing to Riedel to
thank him for his kindness in forwarding his programmes. When
Mililotti's concerts prove more of a success he may, by way of a
return, send his Roman programmes to Leipzig. But at present the
musical doings here are of but small interest to other countries.
By sending me the score edition of "Mignon" and "Loreley" Kahnt
has given me peculiar pleasure. It seems to me correct, and I am
foolish enough to find the instrumentation pretty. By the way,
other instrumental settings occur to me: those of several of
Schubert's songs ("Erlking," "Gretchen," "The Young Nun," and a
few others) that I wrote for Fraulein Genast. They are not mere
manufactured arrangements, and might not altogether displease
musicians of fine feeling. The manuscript of the scores was left
with Seifriz in Lowenberg. If any publisher should feel inclined
to accept them they are at his disposal. .--.
In answer to an important point in your letter, I quite agree
about presenting the Grand Duke of Weimar with a Report
describing the object and aims of the Allgemeine Deutsche Musik-
Verein. And on this occasion H.R.H. should be respectfully and
graciously invited to address an appeal to his illustrious
relatives to take some interest in the progress and success of
the Association; in plain language, to strengthen his
protectorship by letters of recommendation, or in some other way.
In presenting the Report (which might most appropriately be
undertaken by Pohl and Regierungsrath Muller) the Grand Duke or
His Excellency Count Beust might be addressed directly by word of
mouth, and be distinctly given to understand the desirability of
obtaining the sympathy of the Grand Duchess, the Queen of
Prussia, the King of Holland, T.R.H. the Grand Duchesses Helene
and Marie (of Russia), the Grand Duke Peter of Oldenburg (in St.
Petersburg), the Grand Duke and Grand Duchess of Baden, the
Hereditary Prince of Meiningen, the Dukes of Altenburg and
Coburg, etc. I give these names because, owing to their near
relationship with the Grand Duke and their own personal fondness
for music, they should stand first as patrons and supporters of
the Allgemeine Deutsche Musik-Verein.
Gladly would I have undertaken the duties of diplomatist to the
Association in Weimar, and endeavored to obtain the Grand Duke's
active intervention...But at this distance I cannot, for the time
being, accomplish anything. My gracious Master has no leisure for
lectures on artistic subjects that I might concoct in the Eternal
City; and if I tried to enlighten him in any such way his first
and only word in reply would be "Why does not Liszt come back, in
place of writing such allotria?" [Observations beside the mark.]-
-A short time ago I received from him a very kind, monitory
letter, calling upon me to return to Weimar for the Kunstler-
Versammlung in August. .--. I would advise you to make use of
your stay at Sondershausen by getting an introduction to the
Prince, and by obtaining his support as regards the Musik-Verein.
Discuss this matter with Stein, for he is best able to attend to
it. Possibly a larger performance in the Loh might be got up for
the benefit of the Association. .--.
This letter is so filled up with Royal Highnesses, Majesties, and
illustrious personages, that it offers me a natural transition to
tell you of an extraordinary, nay, incomparable honor I received
last Saturday evening, the 11th of July. His Holiness Pope Pius
IX. visited the Church of the Madonna del Rosario, and hallowed
my apartments with his presence. After having given His Holiness
a small proof of my skill on the harmonium and on my work-a-day
pianino, he addressed a few very significant words to me in the
most gracious manner possible, admonishing me to strive after
heavenly things in things earthly, and by means of my harmonies
that reverberated and then passed away to prepare myself for
those harmonies that would reverberate everlastingly.--His
Holiness remained a short half-hour; Monsign. de Merode and
Hohenlohe were among his suite--and the day before yesterday I
was granted an audience in the Vatican (the first since I came
here), and the Pope presented me with a beautiful cameo of the
Madonna.--
I must add one other princely personage to this letter, and with
this I am obliged to close. A visit at this very moment is
announced from the Principe della Rocca, who has driven up with
his photographic apparatus. You shall, therefore, ere long have a
little picture of the Madonna del Rosario which, since the Pope's
visit here, has been the talk of Rome.
A thousand hearty greetings.
F. L.
July 18th, 1863
19. To Breitkopf and Hartel.
Rome, August 28th, 1863
My Dear Sir,
The work that you were good enough to entrust to me is almost
finished, and by the same post you will receive the Piano score
of 8 Symphonies of Beethoven, whilst awaiting the 9th, which I
propose to send you with the proofs of the preceding ones. Nos.
1, 2, 3, 4, and 8 are bound in one volume; there is only the
"Funeral March" from the "Eroica Symphony" wanting, which is
published in the Beethoven-Album by Mechetti, Vienna. I shall
require to see this arrangement again (which you will oblige me
by sending with the next proofs), for probably I shall make
numerous corrections and modifications in it, as I have done in
the Symphonies in C minor, in A, and the "Pastoral," which were
edited some twenty years ago. The copies of these are returned to
you today with a great many alterations, errata and addenda,
inasmuch as--in order to satisfy my own criticism--I have been
obliged to apply to them the torture of red pencil and gum, and
to submit them to a very considerable alteration.
Whilst initiating myself further in the genius of Beethoven, I
trust I have also made some little progress in the manner of
adapting his inspirations to the piano, as far as this instrument
admits of it; and I have tried not to neglect to take into
account the relative facility of execution while maintaining an
exact fidelity to the original. Such as this arrangement of
Beethoven's Symphonies actually is, the pupils of the first class
in the Conservatoires will be able to play them off fairly well
on reading them at sight, save and except that they will succeed
better in them by working at them, which is always advisable.
What study is deserving of more care and assiduity than that of
these chefs d'oeuvre? The more one gives oneself to them the more
one will profit by them, firstly in relation to the sense and
aesthetic intelligence, and then also in relation to the
technical skill and the attaining of perfection in virtuosity--of
which one should only despise the bad use that is sometimes made.
By the title of Pianoforte score (which must be kept, and
translated into German by Clavier-Partitur or Pianoforte-
Partitur?) I wish to indicate my intention of associating the
spirit of the performer with the orchestral effects, and to
render apparent, in the narrow limits of the piano, sonorous
sounds and different nuances. With this in view I have frequently
noted down the names of the instruments: oboe, clarinet, kettle-
drums, etc., as well as the contrasts of strings and wind
instruments. It would certainly be highly ridiculous to pretend
that these designations suffice to transplant the magic of the
orchestra to the piano; nevertheless I don't consider them
superfluous. Apart from some little use they have as instruction,
pianists of some intelligence may make them a help in
accentuating and grouping the subjects, bringing out the chief
ones, keeping the secondary ones in the background, and--in a
word--regulating themselves by the standard of the orchestra.
In order to be perfectly satisfied with regard to my work allow
me, my dear sir, to beg you to let Mr. Ferdinand David and
Monsieur Moscheles see it before it is printed. The minute
familiarity they have acquired with the Symphonies of Beethoven
will show them in a moment any errors, oversights, faults and
misdeeds of which I, very unwittingly, may have been guilty. Will
you please assure them that any information from them in these
respects will be most valuable to me, and that I shall not fail
to profit by it for the honor of your edition. In particular I
should like to know from Mr. David whether the N.B. placed on
page 78 of the manuscript (Finale of the 8th Symphony--"the
execution of the principal figure, etc.") is authorised,--and I
should be very grateful to him for any other particulars he is
kind enough to give me. As to Mr. Moscheles, I hope he will not
disapprove of my having followed his example in putting a profuse
fingering for the greater ease of the mass of performers; but
perhaps he would be so kind as to suggest a better fingering
himself, and to let me know his observations upon such and such
an artifice of "piano arrangement" of which he is a consummate
master. There is only one point on which I would venture even to
an act of rebellion--it is that of the pedals, a bass [base]
passion of which I cannot correct myself, no matter how annoying
the reproaches it may draw upon me!--["Even if one may
presuppose," he writes on another occasion (27th August, 1861) to
Breitkopf and Hartel, "a correct use of the pedal on the part of
piano-players, I am nevertheless, through manifold unpleasant
experiences to my ears, brought back to giving the most minute
indications of it."]
If, as I venture to flatter myself, my arrangement of the
Symphonies satisfies you, I should be tempted to propose to you,
for next year, a similar work on the Quartets, those magnificent
jewels in Beethoven's crown which the piano-playing public has
not yet appropriated in a measure suitable to its musical
culture.
But I really fear to exhaust your patience by giving you proofs
of mine...consider therefore this project of the Quartets as not
having been proposed if it seems to you inopportune, and pray
accept, my dear sir, the expression of my very sincere and
devoted sentiments.
F. Liszt
(Monte Mario, Madonna del Rosario)
P.S.--As it has been impossible for me to hunt out here a copyist
who will fulfil the conditions that may reasonably be exacted
(the one whom I employed pretty much last year divides his time
between the prison and the public-house!), I am compelled to send
you the manuscript such as it is, with many apologies for its
badly written appearance. To make a fair copy of it someone with
plenty of experience is needed; and I can safely recommend you
such an one in Mr. Carl Gotze ("Member or Vice-director of the
theater chorus") at Weimar. He is accustomed of old to my
writing, and would make the copy of the Symphonies with
intelligence and care.
N.B.--A copy of the Orchestral Score of the Symphonies will be a
great help to the work of the copyist of my manuscript, for
exactness in nuances, division of parts and indication of the
instruments.
In any case it will be necessary for me to revise the final
proofs. .--.
Let me add, in conclusion, that I shall be glad to receive, with
the proofs or even sooner, a copy of my "Etudes d'execution
transcendante," and also those "d'apres Paganini" (Breitkopf and
Hartel edition), which I have promised to give to an excellent
pianist here, Mr. Sgambati, who is most capable of playing them
well in public;--and, besides these, a copy of my "Ave Maria"
(for chorus with Organ accompaniment) which is shortly to be
performed here.
20. To Dr. Franz Brendel
Dear Friend,
This morning I sent off manuscripts and corrections to Hartel and
Schuberth--and thus had to write the word Leipzig several times.
It struck me as a reproach as regards yourself, and I mean
forthwith to get rid of it. You shall not hear of me through
others without having the trouble of reading my own bad
handwriting yourself. I have not, however, anything very special
to relate. The summer has passed quietly and I have not wandered
abroad much; have, in fact, been pretty constantly sitting at my
work. My abode continues to suit me more and more, so I intend to
spend the winter here. You no doubt received with my last letter
the photograph of the "Madonna del Rosario." Unfortunately I
cannot send you a picture of the grand, truly sublime view that
can be enjoyed from every window. So you must imagine it to
embrace all Rome, the wondrous Canmpagna, and all the past and
present glories of the district.
For some time past I have had no other news of you than your
excellent articles on "artistic individuality," etc., in which,
among many other right and fine observations, I was specially
pleased with the axiom: "The artistic temperament, when genuine,
corrects itself in consequence of the change of contrasts." May
it prove so in my case;--this much is certain,--that in the
tiresome business of self-correction few have to labor as I have,
as the process of my mental development, if not checked, is at
all events rendered peculiarly difficult by a variety of
coincidences and contingencies. A clever man, some twenty years
ago, made the not inapplicable remark to me: "You have in reality
three individuals to deal with in yourself, and they all run one
against the other; the sociable salon-individual, the virtuoso
and the thoughtfully-creative composer. If you manage one of them
properly, you may congratulate yourself."--Vedremo! [We shall
see!]
Weitzmann's "Carnival in Rome towards the Middle of the
Seventeenth Century," I read with great pleasure in the "Neue
Zeitschrift." It is a pleasant, lively sketch, spiced with
learning but without pedantic lead. Did a very remarkable
"History of the Pianoforte," etc., by the same author, appear in
your paper? Frau von Bulow wrote to me lately that Hans is busy
with some essays for the N. Z. Probably he is writing a review of
Weitzmann's "History of the Pianoforte," which would be most
appropriate; if this is not the case I would advise you to get
one of your staff to undertake the work and to give several
quotations from it. The confounded pianoforte has its
unmistakable significance, were it only because of the general
abuse to which it is put!--In honor of Hartel's edition of
Beethoven I have been occupying myself again with studies and
experiments in pianoforte pieces. The arrangements of the 8
Beethoven Symphonies which I am about to send to Leipzig are, I
trust, successful. They cost me more trouble, in attempts of
various sorts, in corrections, eliminations and additions, than I
had anticipated. As we grow old we deliberate more and are less
readily satisfied...
To Schuberth I have sent the corrections of the 2-pianoforte
arrangement of the "Faust Symphony," together with a pretty,
tuneful arrangement of the "Preludes" by Herr Klauser (of New
York), and was thus induced to play the hackneyed piece through
again, to touch up the closing movement and give it new
figuration. In the hands of a skilful player it will prove
brilliantly effective.
But enough of all this pianoforte stuff! I feel forced to set to
work again in blackening score-sheets--and first of all the
"Christus Oratorio" shall be proceeded with.--Write and tell me
whether Kahnt is publishing the two Psalms which Pastor
Landmesser took him, and advise him to request Herr von Bulow to
revise the last proofs. There is nothing more vexatious to me
than careless editions, full of errors, such as Schuberth would
like to have if one gave free reins to his good nature! From the
Committee of the Association for the Completion of Cologne
Cathedral I have received an invitation to the Festival arranged
for the 14th and 15th October. The letter reminds me, in the most
courteous terms, that in the year '42 I had the honor of being a
member of the Council. I had not forgotten this peculiar
distinction; but the worthy gentlemen seem absolutely not to have
considered how my activity could now appropriately be of service,
and they wisely guard against mentioning any of my ecclesiastical
compositions, although it might have occurred to them that I
could manage something in that species of music. However, the
worthy Committee find the old story of the "period of my
brilliancy," and the "bewitching strains I drew from the keys,"
etc., more voluble and convenient. Besides which some small sum
would have to be forthcoming were I to agree in considering
myself what the good folks would like to consider me. Fortunately
the determination of my work does not lie in their hands, and on
account of this very evident conviction I answered their
communication most courteously, modestly referring to my present
occupation in Rome, and enclosing an extract from one of the
Hymns of St. Ambrosius, from the Liturgy of the "Three Holy
Kings," an incident intimately connected with Cologne Cathedral.
At the same time I feel satisfied that I have not shown any
intention to give annoyance, and declared myself as perfectly
content to fulfil my duties as an honorary member of the Council,
in quietude, by composing a work specially for the Cathedral
(which I shall not fail to do), but without laying the slightest
claim to the sympathy--much less to the patronage--of the worthy
gentlemen of Cologne.--I flatter myself that I am not in the bad
graces of the Three Holy Kings, consequently do not need to
trouble myself about the rest of the Cologne folk!
Now my Leipzig parcels can be despatched with an easy mind.
With heartiest greetings,
Yours devotedly,
F. Liszt
September 7th, 1863
Monte Mario (Madonna del Rosario)
P.S.--Sgambati, an excellent Roman pianist, wishes to study my A
major Concerto. Schott has as yet omitted to send me the
complimentary-copy of this piece, to which I am entitled, so I
beg you to enclose in Kahnt's next sending a duplicate copy
(arranged for 2 pianofortes, as there can be no thought of an
orchestral performance of it here). From Hartel I have also
ordered for Sgambati and Bach [This is no doubt meant for Bache.]
my Etudes, the Paganini ones, and my "Ave Maria" (chorus-score
and voice parts, for a performance at the Classical Concerts
conducted by Mililotti). It would be advisable, owing to the
expense of forwarding music, to send the things all in one
parcel; please be kind enough to suggest this to Hartel, and to
get the 3 opus from him, and I do not wish to have to wait beyond
the end of October for them. Gottschalg will soon have some copy
to send me which might come at the same time.
21. To Justizrath Dr. Gille of Jena
Dear friend,
I trust you will forgive my long silence. I could not excuse
myself in any other way than by a worse lamentation about the
variety of circumstances, moods and occupations that have more
and more encouraged my habitual dislike to letter-writing. Unless
some definite object demands it of me, I do not write to any one
in Germany, with the exception of Bulow, my cousin Eduard in
Vienna, and Brendel, to whom I am very grateful for the kindness
with which he looks after the more important details connected
with my musical affairs. As regards my Weimar friends, my
inclination to communicate with them is spoilt by my imagining
that they would as gladly see me among them as I should feel at
home among them. And as I cannot write to them and say: "I am
coming to remain with you," I get more and more silent.
My stay in Rome is not an accidental one; it denotes, as it were,
the third part--(probably the close) of my life, which is often
troubled, but ever industrious and striving upwards. Hence I
require ample time to bring various long works and myself to a
good ending. This requisite I find in my retirement here, which
will probably become even more emphatic; and my present monastic
abode provides me not only with the most glorious view over all
Rome, the Campagna and the mountains, but also what I had longed
for; quiet from without and peacefulness.--Enclosed is a
photograph of the "Madonna del Rosario," as an illustration to
the notices that have lately appeared in the newspapers in
connection with the Holy Father's visit here.
Your friendly lines came strangely in conjunction with the
"Dettingen Te Deum" to which you refer, and which I was playing
through at the very moment your letter was handed to me. A very
amiable English lady delighted me a little while ago by
presenting me with the praiseworthy London edition-"Novello's
Centenary Edition"--of the Oratorios of Handel, Haydn,
Mendelssohn, etc. (and all sold at from 1 to 3 shillings each);
these works are always welcome society to me. The number
containing the "Dettingen Te Deum" also contains the "Coronation
Anthem" (composed in 1741). "Zadok the priest, and Nathan the
prophet, anointed Solomon King." [This sentence is written in
English by Liszt.]
The commencement is wonderfully grand and powerful, like the
Bible itself.--
However notwithstanding all my admiration for Handel, my
preference for Bach still holds good, and when I have edified
myself sufficiently with Handel's common chords, I long for the
precious dissonances of the Passion, the B minor Mass, and other
of Bach's polyphonic wares.
Remember me kindly to your wife, and with heartiest greetings to
M. Gille, junior, I am Your sincerely attached
F. Liszt
Rome, September 10th [1863]
(Monte Mario, Madonna Del Rosario.)
Do not omit in your next letter to tell me something about your
musical Jubilee in Jena.
22. To Dr. Franz Brendel
Dear Friend,
I am deep in my work. The more we sow a field the more it
spreads. One would need to live to the age of a Methuselah to
accomplish anything plentiful!
Your letters, unlike so many others, are always so welcome, and I
thank you most sincerely for all the goodness, kindness, honesty
and warmth of feeling that the continuance of our friendship
brings with it. For even though you may not always be able to
communicate pleasant or enjoyable news, still things disagreeable
I can tolerate more readily from you, because of your ever
moderate and characteristically steadfast interpretation. The
experience you had lately to make with Y.Z. I regret sincerely,
and would gladly make you some compensation for a loss that is as
unexpected as it is unfortunate. But I am sorry to say I do not
know of any one who would exactly suit you. There is truly a
great dearth of men [Menschen] in this world! When they are put
to the test they prove themselves useless. My ten years' service
in Weimar gave me abundant proof of this!
Probably you will just have to drag on with your contributors,
till we finally get into smoother water again. It is more than
three months since I received any numbers of the Neue Zeitschr.;
do not forget to enclose the numbers in the next sending
(together with the music I want from Hartel), and address always
to "Madonna del Rosario (of which a photograph herewith), Monte
Mario--Rome."
Kahnt's willingness to publish the score of the two Psalms is
very flattering to me. He shall have the manuscript soon, and I
should like to enclose the instrumentation of the Songs from
Wilhelm Tell. Should a convenient opportunity occur some kindly-
disposed singer might be found to bring them into notice (perhaps
Schnorr?). The instrumental-fabric is not plain or ordinary, and
enhances the effect of the vocal part. My critical ex-colleague
Stor praised it formerly when performed at one of the Court-
Concerts at which Caspari sang the songs,--and since then I have
added some dainty little bits. One must praise oneself,
especially when others too often fail in doing so!--
With regard to the Tonkunstler-Versammlung, it seems to me that
the choice of Leipzig is most advantageous for the purpose at
present, and I would advise you to adhere to this. In the course
of the winter we will have an "exchange of thoughts" ("un echange
d'idees," as Prince Gortschakoff is ever saying) about the
programme and arrangements, and this will assuredly lead to more
harmonious results than the Russian notes. Fortunately we do not
need to quarrel about the extent of the treaties of 1815!
Hearty greetings from your sincerely devoted
F. Liszt
October 10th, 1863
P.S.--About six weeks ago there appeared in the Leipzig
"Illustrirte Zeitung" a biographical notice of F. Liszt, together
with a portrait. Let me have the number, and tell me who wrote
the article.
.--. Has anything new in the way of scores or pianoforte pieces
been published that is likely to interest me? Here people speak
of Mendelssohn and even Weber as novelties!
23. To Madame Jessie Laussot
Herewith, dear Madame, are a few lines that I beg you to forward
to Madame Ritter (mere), as I do not know where to address to
her. [She had lost her daughter Emilie, the sister of Carl and
Alexander Ritter.]
The melancholy familiarity with death that I have perforce
acquired during these latter years does not in the least weaken
the grief which we feel when our dear ones leave this earth. If
at the sight of the opening graves I thrust back despair and
blasphemy, it is that I may weep more freely, and that neither
life nor death shall be able to separate me from the communion of
love.--
She whom we are mourning was especially dear to me. Her bodily
weakness had perfected the intuitive faculties in her. She took
her revenge inwardly and lived in the beyond...At our first
meeting I thought I should meet her again. It was at Zurich at
Wagner's, whose powerful and splendid genius she so deeply felt.
During several weeks she always took my arm to go into the salle
a manger at the hour of dinner and supper,--and she spread a
singular charm of amenity, of sweet and conciliatory affection in
that home to which a certain exquisite degree of intimacy was
wanting. She possessed in a rare degree the secret of making her
presence agreeable and harmonious. Everything in her, even to her
very silence, was comprehensive, for she seemed to understand, or
rather to determine the thoughts which words render in only an
unformed manner, and worked them out in her noble heart.
May her soul live for ever in the fulness of the light and peace
of God!--
Very cordially yours,
F. Liszt
October 15th, 1863
(Madonna Del Rosario, Monte Mario.)
Pray excuse my delay in these few lines. It was only yesterday
that I learned your address through Mr. Sgambati.
24. To Dr. Franz Brendel
Dear Friend,
Kahnt's last sending that reached me last week brought me much
that I found pleasant and encouraging in the numbers of the Neue
Zeitschrift. I could verily not have imagined that so mild and
kindly a ray of light could have been shed over my compositions
discussed there, as is given under cipher 8. Let me know who
writes under cipher 8--I promise not to divulge the secret--and
meanwhile present my as yet unknown reviewer with my sincerest
thanks for his appreciation of my nature, which he manifests in
so kind and sympathetic a manner in his commentary to the
"Seligkeiten" [Beatitudes] and the instrumentation of "Mignon's
Song." [The review was written by Heinrich Porges.] He has formed
the most correct estimate of my endeavors by pointing to the
result, namely, to throw life into the truly Catholic, universal
and immortal spirit--hence to develop it--and to raise the
"culture that has been handed down to us from the remote Middle
Ages, out of the heavy atmosphere of the monasteries and, as it
were, to weave it into the life-giving ether of the free spirit
pervading the universe."
I also perfectly agree with the extremely applicable close of the
same article: "Our age has not yielded its right to feel itself
connected with the Infinite," and I intend to set to work in
earnest to comply, as far as possible, with the kindly
expectations of my reviewer. His reference to my Psalms leads me
to wish that I might soon see the four Psalms published in score
(they are very diverse, both as regards feeling and musical
form). Kahnt's willingness to publish them is, therefore, welcome
news to me, and I beg he will give me a proof of his goodwill by
kindly having them ready for next Easter's sale.
He can settle everything about the form and equipment "al suo
commodo" (as people say here).
Still the Psalms should be published in the same form, and should
Kahnt decide upon retaining the form of the Prometheus score (as
he writes to me) I shall be quite content and satisfied. The day
after tomorrow I shall send him the instrumentation of the 23rd
and 137th Psalms together with the score of the 13th. The latter
is one of those I have worked out most fully, and contains two
fugue movements and a couple of passages which were written with
tears of blood. Were any one of my more recent works likely to be
performed at a concert with orchestra and chorus, I would
recommend this Psalm. Its poetic subject welled up plenteously
out of my soul; and besides I feel as if the musical form did not
roam about beyond the given tradition. It requires a lyrical
tenor; while singing he must be able to pray, to sigh and lament,
to become exalted, pacified and biblically inspired.--Orchestra
and chorus, too, have great demands made upon them. Superficial
or ordinarily careful study would not suffice...
Pardon me, dear friend, for having troubled you to such an extent
with marginal comments to my manuscripts. I will only add that I
should be glad to see the short Choral Psalm for men's voices
("The Heavens declare the glory of God") printed in time for the
Easter's sale, in score-form from the copy I left Kahnt before I
went away;--and now to return to the Articles in the Neue
Zeitschrift, I feel specially grateful, in the first place, for
the communications concerning the Hungarian orchestra in Breslau.
To hear again of my Ex-Chamber-Virtuoso Josy in so friendly a way
pleased me extremely, and I beg you to send my sincerest thanks
to the author of the article for having so carefully studied my
Rhapsodies and the less well-known book (not to speak of the
erroneous interpretation it has had to endure at other hands!) on
"Hungarian Gipsy Music"; at the same time will you beg him to
accept the enclosed photograph of my humble self, in return for
the one he gave Josy?
[An extremely musical gipsy boy of this name was presented to
Liszt in Paris in 1844 by Count Sandor Teleki. Liszt's endeavors
to train the boy as an artist failed, however, owing to the
impossibility of accustoming the child of nature to engage in
earnest study, as Liszt himself relates in "Die Zigeuner und ihre
Musik in Ungarn" [The Gipsies and their Music in Hungary] (Ges.
Schriften, Bd, vi.)]
In your next let me have some account of the position and work of
this worthy Breslau correspondent, for I have not before met with
anything from his pen in the Neue Zeitschrift. I herewith send
you a second photograph of my present abode, "Madonna del
Rosario," as the first one went astray, but to prevent a like
accident in the post I shall register this letter.
Bulow's searches into and out of the subject are splendid, and
his farewell words in memory of Fischl show the noblest beat of
heart. When are the articles on Offenbach, etc., from the same
intellectual region, to appear?...I am curious also to see what
news there will be of the Berlin Orchestral concerts, instituted
and conducted by Bulow.
You mention cursorily some new programme-form concerning which
"you rather flatter yourself." Tell me more about this and send
me a few of the programmes.
From Pohl I lately received a very cordial letter which I
answered forthwith. His Vorschlag zur Gute, etc., in the N. Z. I
have not yet read, and this is the case with many other articles
in the last numbers, which, however, I mean ere long to overtake.
In spite of my retirement and seclusion I am still very much
disturbed by visitors, duties of politeness, musical proteges--
and wearisome, mostly useless correspondence and obligations.
Among other things the St. Petersburg Philharmonic Society has
invited me, during the Lent season, to direct two of their
concerts, giving performances of my own compositions. The letter
certainly reads somewhat more rationally than that of the Cologne
Cathedral Committee (of which, I told you); but the good folks
can nevertheless not refrain from referring to the trash about
"my former triumphs, unrivalled mastery as a pianist," etc., and
this is utterly sickening to me--like so much stale, lukewarm
champagne. Committee gentlemen and others should verily feel
somewhat ashamed of their inane platitudes, in thus unwarrantably
speaking to my discredit by reminding me of a standpoint I
occupied years ago and have long since passed.--Only one Musical
Association can boast of forming an honorable exception to this
since my departure from Germany, namely the Society "Zelus pro
Domo Dei," in Amsterdam, which, in consequence of the approval
and performance of my Gran Mass last week, has conferred on me
their diploma by appointing me an honorary member, in addition to
a very kind letter written in a becoming tone.
The diploma is headed: "Roomsch Catholiek Kerkmusiek Collegie,"
and the Society was founded in 1691.
For your wife's amusement and as a piece of French reading I send
a copy of my answers to the letters from St. Petersburg and
Amsterdam. When you have read them please send both copies to my
daughter in Berlin, as an addition to her small collection of my
miscellaneous correspondence.
Most cordial greetings.--Yours in all friendship,
F. Liszt
November 11th, 1863
25. To Breitkopf And Hartel
Dear Sirs,
.--. Pray present my kindest thanks to Conzertmeister David for
his consent to the N.B. in the Finale of the 8th Symphony. The
method of execution, as indicated, was the one important question
to me; by the satisfactory solution of this I am now perfectly
content, and it is pleasant to me, therefore, to be able to agree
to your wish to undertake the publication of the 9 piano-scores
forthwith, without asking advice elsewhere. My former request on
this subject was meant only to serve as a proof of my sincerest
conscientiousness; as soon as you consider it superfluous let it
be so.
Your letter also settles the copyist-difficulty. Still,
notwithstanding all the model-works that issue from the House of
Breitkopf and Hartel, I could scarcely expect that the printers
would worry over my bad musical writing, that is rendered even
more indistinct by my numerous erasures and corrections--and for
this reason I recommended Herr Carl Gotze of Weimar by way of
help; he is very quick at deciphering my untidy manuscripts. But
of the best copyists it may be said "Better none," to use
Beethoven's words in pronouncing his verdict upon Malzel's
metronome.
Permit me therefore, dear sirs, to reduce all these preliminaries
and details to the simplest form, by giving you absolute power
concerning the publication of the 9 Symphonies--provided that the
last proofs are sent to me for revision.
While awaiting the Beethoven scores (Quartets, Egmont, and
"Christ on the Mount of Olives") I send you my best thanks in
advance, and shall hope to send you later a specimen of my small
savoir-faire in the matter of Quartet arrangements to look at. If
it should meet with your approval I would gladly, next summer,
proceed in working out a former pet idea of mine; to make
pianoforte transcriptions of Beethoven's Quartets "for the home
circle," and, as it were, to make them a link in the Master's
catena aurea, between his Sonatas and Symphonies.--No
considerations in the way of honorarium need form any hindrance
to this project, especially as in such matters not the smallest
difficulty has ever arisen in our relations with one another,
which have now lasted over 20 years. Besides, the way and manner
you accept my proposal offers the best prospect for its
realisation, to our mutual satisfaction in tempore opportuno.
.--. I beg you, dear sirs, to accept my sincere thanks as well as
the assurance of my respectful attachment.
F. Liszt
Rome, November 16th, 1863
(Monte Mario, Madonna Del Rosario.)
26. To Dr. Franz Brendel
Dear Friend,
By way of excusing my delay in writing I must tell you at once of
an indisposition, which during Christmas week prevented my
undertaking any other occupation or amusement than that of
keeping in bed. For several weeks after that there were other
things, entirely unconnected with musical doings and affairs,
which, however, urgently demanded attention. Your admirable New
Year's letter I received yesterday. It perfectly confirms my
opinion of the state of affairs (as became clear to me long
since), and my agreement with you as regards our "Debit and
Credit." The latter, unfortunately, does not show the right
equilibrium--but must be made to do so. In the first place three
points have to be secured; and to save useless explanations
between us, I shall describe these in geographical style, under
the names of Weimar, Lowenberg, Carlsruhe. They at present
embrace and solve all the essential questions: division of work,
appointment of suitable persons, procuring adequate means, active
organisation of the Musik-Verein, etc., etc. And, granted that
you are not deceiving yourself about my very limited influence,
my personal presence and intervention would seem indispensable.
Still I will not conceal the fact that it is, at least,
inconvenient for me to leave Rome even for a short time, and
people should not object to my finding more satisfaction in my
retirement here than in the barren unpleasantries of a so-called
"circle of activity." But if, as you assure me, the question
affects the good cause, and I could really be of service to a few
dear friends,--well in that case every other consideration shall
give way and my willingness be put to the proof. Although it will
be very difficult for me to make up my mind to start, I will
towards the beginning of June have my passport vise'd for
Carlsruhe, in order that I may attend the Musical Festival there,
provided that Bulow conducts. In the intervals between the
rehearsals and performances we should discuss with active friends
the Whys and Wherefores connected with the Musik-Verein which,
first of all, requires to be placed on a firm footing. And so far
as I can assist in doing this (especially by advocating its cause
with our patron and the Hohenzollern princes) it certainly shall
be done.
Pohl seems to have put on wrong spectacles if he reads in my
letter that I have no greater wish than to return to unique
Germany! People may think about it what they please; the positive
truth is that I do not bother myself about fools of any species,
whether German, French, English, Russian or Italian, but am
peacefully industrious in my seclusion here. "Let me rest, let me
dream," not indeed beneath blossoming almond trees, as Hoffmann
sings, [A song which Liszt set to music] but comforted and at
peace under the protection of the Madonna del Rosario who has
provided me with this cell. My German friends would certainly be
acting much more reasonably were they to come and visit me here,
instead of tempting me abroad. However you may assure the rest of
my acquaintances that I will not inconvenience them with my
presence for any length of time, and that my interference at the
Musical Festival in Carlsruhe is only a temporary one and
altogether harmless. By the middle of July, at latest, I intend
to be back here again, or earlier if possible.
The Pro memoria of the A. D. Musik-Verein, addressed to the Grand
Duke, together with the protocol of the audience on the 17th of
November, I received through Gille. My thanks and reply I shall
send shortly. Likewise also the programme of a very exceptional
solemnity which takes place on the 5th February, and which is
already engaging my attention in a variety of ways.
In all friendliness,
Your cordially devoted
F. Liszt
January 22nd, 1864
To Kahnt my best thanks for having sent the last parcel of music
correctly. Postage and dues cost over 13 Prussian thalers. By the
way, do not offend me any longer by franking your letters. I on
my part frank my letters only when I send you a letter-parcel
containing copies, etc.
Last postscript. .--. Do me the one other favor of seeing that my
enclosed answer safely reaches Herr B. I do not know his address-
-and, although we may have met in Weimar, as he once wrote to me,
I have scarcely any recollection of the fact.
Do not be vexed at the apparent presumption and vain-glory of
this last communication for today...My modesty will sufficiently
come to my rescue to prevent my putting too many feathers in my
cap! [The German proverb of which Liszt makes use is "allzugrosse
Rosinen im Kopfe tragen." Besides, thank God, I am too honest and
truth-loving to fall a victim to vanity.
27. To Dr. Franz Brendel
Dear Friend,
Excuse an intermezzo on music-publishers today. I have received
from Julius Schuberth and from Peters' Bureau de Musique
contradictory letters about some right or unrighteous edition of
my arrangement of Beethoven's "Septet". Schuberth's communication
is many-sided, the other very one-sided, but neither of them
enlightens me in the least, for it is a question of long since,
and I scarcely remember where and for whom I arranged the
"Septet", now more than 20 years ago. And although Schuberth has
given me but little cause to be satisfied with his editions,
still I should not wish to do him any injury by this piece of
business, [An untranslatable pun on the words Handel and Handel]
and hence I have not sent him any reply. For the same reason I
shall leave Peters' communication unanswered, and must get you,
dear friend, to make these two gentlemen understand that I cannot
mix myself up with any of their disputes as publishers. And in
order that you may obtain an insight into the matter I send you,
herewith, Peters' letter, with regard to which I can only say
that I have no recollection of having made a duet arrangement of
Beethoven's "Septet"...Yet this is precisely what I do not wish
to say. Let the two gentlemen settle the matter amicably between
themselves and ignore my existence altogether.
As Bulow is happily back, the programmes of the Carlsruhe Musical
Festival will now soon be finally drawn up. Remenyi, who has
played here some half-dozen times in the Teatro Argentina with
extraordinary success, has a decided inclination to appear at the
Musical Festival; I told him, however, that Conzertmeister Singer
had probably already been engaged. Should Singer not be able to
come, I would recommend Remenyi with absolute confidence. Of all
the violinists I know, I could scarcely name three who could
equal him as regards effect. Tell Bulow of Remenyi's friendly
offer, and let me know at your convenience whether it is
accepted.--
As soon as I hear more definitely about the programme I shall
answer Gille's friendly note. Meanwhile (after 4 months'
incessant interruptions) I have again set to work, and cannot now
leave it till the time comes for my journey.
What a royal and marvellous act is Ludwig of Bavaria's letter to
Wagner! It ought verily to be engraved in the Walhalla in letters
of gold. Oh that some other Princes would adopt a similar
style!--
In all friendship, yours sincerely,
F. Liszt
Rome, May 28th, 1864
28. To Dr. Franz Brendel.
Dear Friend,
Shortly after sending off my letter anent the Peters-Schuberth
squabble, I received the programme-sketch of your last letter but
one. Exceedingly important and indispensable are the Wagner-
numbers. Let me hope he has already given you a favorable reply.
Bulow will be the best one to arrange things and to conduct. I
wrote to him the day before yesterday to advise him again to be
strictly moderate with regard to the number of my compositions.
The half of what is given in your sketch of the programme would
be amply sufficient. People do not want to hear so much of my
things, and I do not care to force them upon them...On this
occasion, especially, my wish is only to see some of my friends
again--in no way to seek appreciative approval from the public.
Such misleading abuses have long since and entirely ceased for
me. Hence, dear friend, do not have me playing the braggart on
your programme! If a place is to be retained for Remenyi he will
fill it brilliantly. For both as a soloist and a quartet player
his accomplishments are extraordinary.
You ask me about "definite news of my journey." As already said,
I am determined to attend the Tonkunstler-Versamammlung, and
afterwards to go to Weimar for a few days. My departure from here
depends upon the date of the Carlsruhe concerts. I shall arrange
to be there a few days previously, and shall ask Bulow to secure
apartments for me. A variety of considerations (among which are
economical ones too) compel me not to extend my absence from Rome
beyond a month, and before returning I am in duty bound to pay my
mother a visit in Paris. Hence I shall have but little time for
strolls on the banks of the Ilm or elsewhere...But let me hope
that my journey will not prove pure idling, and I shall do my
best "to pave the way" to meeting all your wishes in as
satisfactory a manner as possible. Further details on this
subject I shall give you by word of mouth towards the end of
August. All mere reports about my remaining in Germany for some
length of time I beg of you to contradict most emphatically. Some
newspapers seem anxious that it should be known that I am about
to settle in Hungary. There is nothing whatever in this report
beyond the anticipated order for my composing a second "Gran
Mass", and perhaps publishing an Hungarian translation of the
"Elizabeth." These two tasks may, during the course of next year,
lead to my revisiting Hungary (?).
Kindly present my excuses to Riedel, who wishes me to attend his
concert in the St. Thomas Church (at the beginning of July). I am
delighted that the "Seligkeiten" find a place in his programme,
and I am sincerely grateful to H. von Milde for having
contributed so much to their success by his fine interpretation
and inspired delivery. Whether the Psalm ("By the waters of
Babylon") is not somewhat too low for Frau v. Milde's voice, I
should not like to say. I remember, however, that she sang it on
one occasion at the Altenburg gloriously. Of course I can
consider it only a very flattering mark of attention and
amiability on the part of Frau von Milde to venture anywhere to
introduce any one of my compositions under her vocal protection,
but especially in Leipzig.
With hearty thanks and kindest greetings yours,
F. Liszt
Rome, June 13th, 1864
29. To the Committee of the Society for the Support of Needy
Hungarian Musicians in Pest.
Gentlemen,
You are good enough to invite me in a very flattering manner to
take part in the Association that you are starting, with the
object of helping needy and infirm musicians in Hungary. Every
tie which unites me to our noble country is dear to me. I
cordially accept to be entirely yours, and am pleased to hope
that the esteem in which you are held, added to your intelligent
solicitude for this good work, will secure it speedily and
lastingly excellent results.
The good that you propose to realise is not liable to
controversy, but is so plainly evident that you will receive on
all sides nothing but approbation, encouragement, help and
support. Nevertheless, as you do me the honor to ask my explicit
opinion with regard to the statutes of your Society, I will
venture to observe that it seems to me desirable not to limit
oneself exclusively and for ever to helping sick and infirm
musicians--and their needy heirs. Those who are in health, when
they are at the same time well-deserving, have a claim also on
your sympathy...Without enlarging on this point here, I only
recommend to your attention, gentlemen, the statutes (published
at Leipzig) of the Association which was formed at Weimar in
August 1861, under the name of "Allgemeiner Deutscher Musik-
Verein," in which the needs of music and of musicians of our day
have been taken into consideration simultaneously.
If I had not the sad honor of being poor I should hasten to put a
considerable sum at your disposal. Pray pardon me, then, the
moderate offering of a hundred florins which you will shortly
receive (through my cousin Dr. Eduard Liszt, of Vienna), and I
beg you to accept, gentlemen, the assurance of my sincere desire
to render in future the best service to your work, as also the
expression of my very distinguished and devoted sentiments.
F. Liszt
Rome, June 18th, 1864 (Madonna Del Rosario)
30. To Eduard Liszt
Very dear Eduard,
Assuredly I have not been "complaining" of you to Count
Gallenberg nor to anybody else in the world. Quite the contrary,
and on every occasion I boast of my beloved cousin, and am happy
and proud of his loyal, delicate and noble friendship, which is
one of the sweetest kindnesses of Providence to me.
Nevertheless I am much obliged to Count Gallenberg for having
somewhat driven you to write to me, extra, so good and tender a
letter, for which I thank you from my heart and soul.
The electoral circular you added to it gives me real
satisfaction, and I am pleased at the public evidence that has
been attained of your "honorableness, firmness of character and
great capability." It seems to me that it was not possible, under
the actual circumstances, to have obtained a more complete
success in the competition with Schuselka; [Eduard Liszt was at
that time standing against Schuselka as a andidate for the
Reichstag (Parliament), but without success.] but I hope that
your turn will come soon. The waiting is painful for you, without
doubt, and is also too prolonged as regards your deserts...still
one must be resigned to it, and that as simply as possible, by
abstaining from useless words and taking useless steps. To be
ever deserving, though only occasionally obtaining--much or
little--is still the wisest thing to do in this world, where "he
who endures little will not endure long!"--
.-. Shall I see you at Carlsruhe at the end of August? I hope so
most truly. Before returning here (at the beginning of October) I
shall spend a few days with my mother in Paris. You will not be
vexed with me for beginning with her first, and for postponing
till another year my transient visit to you at Vienna, which I
accept in the same manner as you offer it, and for which the
occasion will be found when I return to Hungary, supposing that
they are inclined (as appears likely) to give me an order similar
to that of the "Graner Messe." Otherwise, and unless there be any
determining circumstance for me, I am resolved not to tire people
with my presence, as also to withdraw myself from the idle
fatigue that people cause me. Thank God I have something to work
at without disturbing myself at my work further than is necessary
for the good conscience I hope always to keep. For this Rome is
peculiarly adapted to me, and I shall not go away for the
smallest thing without well knowing what it is for.
I send herewith my answer to the Committee of the Association in
aid of poor musicians in Hungary, [See the foregoing letter of
18th June.] to which I beg the Princess to authorise you to add
the sum of 200 florins. Let them be sent at once to the
Committee, begging for an acknowledgment, which you will send to
me.
Remenyi will come and see you shortly. He has spent nearly two
months here, and has been heard very often at the Argentina
Theater with extraordinary success. I have invited him to come to
Carlsruhe, as I am persuaded that he will succeed no less well
there than in Rome. Meanwhile I beg you to give him a cordial
reception.
Yours ever affectionately,
F. Liszt
June 22nd, 1864 [Rome]
Greetings and love to your dear ones.
It goes without saying also that I think most affectionately of
Cornelius and Tausig, which you will tell them.
31. To Dr. Franz Brendel
Dear Friend,
.--. I can assure you of Remenyi's co-operation. By the middle of
July I expect a letter from him with his fuller address. It will
be superfluous to mention him in the preliminary programme of the
concert-performances. But what about Wagner?--Frau von Bulow
sends me very sad news of him...If he definitely refuses to
attend the Tonkunstler-Vers. all we can do is to obtain his
consent to give the extracts--previously enumerated in the
programme--from his "Meistersanger" and other of his works
(together with the scores and voice parts). In my opinion these
pieces are indispensable for the principal day of the Carlsruhe
programme. It would be best if Bulow alone brought the matter to
the desired issue. It seems to me impossible that Wagner could
give him and all of us the pain of an absolute refusal! At all
events everything must be done to avoid such a misfortune--nay, I
may even say, such a scandal.
For the future, dear friend, you shall be totally relieved of the
trouble of sending me these detailed communications. Frau von
Bulow is going to report to me of the further progress of the
preliminary arrangements concerning the Tonk.-Vers.; you yourself
have more than enough to do with writing, negotiating, deciding,
preparing, weighing to and fro, and in thinking things out, etc.,
etc.
It is settled, therefore, that I am coming, and you will have to
look after me during my couple of weeks' stay in Germany, as it
is mainly your fault that I am coming. Between ourselves I may
tell you that, had it not been for your pressing letters, I
should probably have confined myself to giving the Bulows a
rendez-vous in Marseilles, and to paying my mother a few days'
visit in Paris. Of other roads there are extremely few for me
nowadays--and those that I have still to tread are not to be
found in journeys, but only indeed at my quiet writing-table!
With hearty greetings and in all friendship, yours,
F. Liszt
July 1st, 1864
Yesterday I received a friendly letter from Seroff. Could not
some fragment from his "Judith" be fitted into your Carlsruhe
programme?
32. To Walter Bache in London
[The addressee (1842-1888), a pupil of Liszt's, settled in London
as teacher, pianist and conductor, devoted his whole life there
to making Liszt's music known in England. His annual Recitals and
Orchestral concerts were devoted mainly to this object.]
I reply to your letter, dear Mr. Bache, by assuring you once more
of my very sincere and affec-* *tionate interest. You will never
find me wanting or behindhand when it is a question of proving
this to you; be very sure of that.
The good news you give me of Madame Laussot is very welcome to
me. I hope she will give me the pleasure of coming again to Rome,
for I see no chance of my coming to Florence. Towards the middle
of August I shall start for Carlsruhe, where I have promised to
be present at the third Tonkunstler-Versammlung. Thence I shall
go to Weimar, and shall take Paris on the way in order to see my
mother again before returning here at the beginning of October.
Please tell Madame Laussot that she would wrong me if she did not
count me amongst her most truly affectionate and devoted
adherents. I especially preserve a grateful remembrance of her in
connection with the "Ideale," and all that attaches to it. She is
of the very small number of noble and intelligent exceptions in
the too great number of my friends and acquaintances. I was
speaking to this purpose the day before yesterday to a young
person of Grecian origin who lives in Florence at the Count de
Sartiges' house (and who frequents Madame Laussot's concerts).
The Athenian plays the piano marvellously and charmingly.
You will bring me Ehlert's Scherzo with other of his
compositions.
Meanwhile I commission you to give my best compliments to Ehlert.
A thousand cordial and affectionate things, and a revoir next
winter.
July 2nd, 1864, Madonna del Rosario
F. Liszt
Thanks for the triple photograph, [Probably of Mme. Laussot,
Pinelli and Bache, who were taken together.] which is thrice
welcome.
33. To ?
[Autograph letter (without address) in the possession of Monsieur
Etienne Charavay in Paris. The letter appears to be addressed to
a friend in Vienna.]
Dear Friend,
The parcel of music you kindly announce has not yet come; but I
will not delay in sending you my thanks, as I am about to leave
here for six or seven weeks.
The day after tomorrow I travel to Carlsruhe to attend the
Tonkunstler-Versammlung, the concerts there (conducted by Bulow)
being given between August 22nd and 26th. Thence I go to Weimar
on a visit. By the end of September I shall be with my dear
mother in Paris, and back here by the middle of October. You must
not be surprised if in newspaper-fashion I leave it undecided
whether or not I change my abode and remain in Rome for ever.
The words for ever remind me of the 22nd Psalm (according to the
usual Protestant numbering the 23rd) which, in reality, I
composed for a tenor, whereas the 137th is meant for a mezzo-
soprano (Fraulein Genast, now married to Herr Merian, in Basle).
I am therefore surprised that you should have proposed the latter
Psalm and not the 22nd for Herr Erl, and I fear the effect of it
will not be good sung by a tenor. The violin accompaniment which
on several occasions is in unison, as well as the concluding
chorus, "Jerusalem, Jerusalem," are written exclusively for
women's (or boys') voices, and thus demand a female soloist.
Besides which it seems to me that the sentiment and spiritual
tonality of the Psalm do not move in the masculinum. Israelitish
gentlemen must not be called upon to sigh, to dream and to
abandon themselves to their grief in any such way.
I shall be much pleased to become fully acquainted with the new
works by Kremser, Hasel and Ziehrer, which you promise me, on my
return.
Meanwhile with best thanks and kind greetings, yours in all
friendship,
F. Liszt
Rome, August 7th, 1864 (Madonna del Rosario)
34. To Eduard Liszt
Weimar, September 7th, 1864 (In the blue room of the Altenburg)
It grieved me to have to do without your presence at the
Tonkunstler-Versammlung in Carlsruhe, dearest Eduard. Your
letter, however, speaks of your having made some advance in your
career, and this greatly delights me. I hope you will soon have
more definite news to communicate to me on the subject. You know
that to see you prosperous is one of the satisfactions I most
desire in life!--
As regards the Tonkunstler-Versammlung you will find a kindly and
satisfactory resume of the proceedings in the supplement of the
Allgemeine Augsburger Zeitung--3lst August, 1st to 3rd September.
Bulow was unfortunately prevented by serious illness from
conducting. From a personal as well as an artistic point of view
I felt his absence very keenly--however no complaint whatever can
be made about the performance, and the reception accorded by the
audience, especially to my Psalms, was extremely favorable. I
assuredly never expected to meet with such sympathetic
appreciation, after my experiences of former years. Friend Lowy
had, on this occasion, no reason to hide himself in a seat at the
back! In the Chamber-music soirees three of my Songs ("Es muss
ein Wunderbares sein," "Ich liebe Dich," and "Mignon") were sung
by Herr and Frau Hauser, and an encore was demanded. Remenyi
played magnificently, and Fraulein Topp [Alida Topp, a pupil of
Liszt's.] is a marvel.
At the conclusion of the Tonkunstler-Versammlung I started early
on Sunday morning for Munich with Cosima (who remained with me
the whole week of the concerts). Hans was confined to bed at the
Bairischer Hof; his nervous rheumatic complaint has now settled
in his left arm, which he will probably be unable to move for
several weeks to come. In addition to the physical pain he
suffers most grievously from this enforced state of inactivity.
To endure things patiently is to some natures an absolute
impossibility. He travelled back to Berlin, ill as he was, last
Saturday, accompanied by his wife, and I have promised to go and
spend a couple of days with him after my visit to Prince
Hohenzollern in Lowenberg, where I go in a day or so.
Of Wagner's wondrous fortune you are sure to have heard. No such
star has ever before beamed upon a tone-or a word-poet. N.B.--
H.M. the King of Bavaria addresses his communication, "To the
Word-and Tone-Poet, Richard Wagner." More by-and-by about this
remarkable affair of Wagner's. I saw him in Munich on several
occasions, and spent one day alone with him in his villa on the
Starnberger See.
I have been here since the day before yesterday. .--.
Continue to love me--as I do you.
With all my heart your
F. Liszt
Address me to Weimar (at the Altenburg). I must return here from
Lowenberg (between the 15th and 8th September) in order to await
the Grand Duke at the Wartburg.
35. To Breitkopf and Hartel
Dear Herr Doctor,
Together with the corrected proofs of the Pastoral and the C
minor Symphonies (in which I found one or two errors) I sent you
(from Weimar) my pianoforte arrangement of the 3rd instrumental
movements of the 9th Symphony. After various endeavors one way
and another, I became inevitably and distinctly convinced of the
impossibility of making any pianoforte arrangement of the 4th
movement for two hands, that could in any way be even
approximately effective or satisfactory. I trust you will not
bear me any ill-will for failing in this, and that you will
consider my work with the Beethoven Symphonies as concluded with
the 3rd movement of the 9th, for it was not a part of my task to
provide a simple pianoforte score of this overwhelming 4th
movement for the use of chorus directors. Arrangements of this
kind have already been made, and I maintain that I am not able to
furnish a better or a more satisfactory one for helpless
pianofortes and pianists, and believe that there is no one
nowadays who could manage it.
In my edition of the 9th Symphony for two pianos, prepared for
Schott, the possibility was offered to me of reducing the most
essential parts of the orchestra-polyphony to ten fingers, and of
handing over the chorus part to the second piano. But to screw
both parts, the instrumental and vocal, into two hands cannot be
done either "a peu pres or a beaucoup pres!"
In case other proofs of the remaining Beethoven Symphonies are
ready, you might send me them to Weimar before Tuesday, 20th
September. I should be glad at the same time to receive the
splendid 6 Mottets of Bach in eight-voice parts (among which is
"Sing unto the Lord a new song"). I am all the more in need of
reading such works, as I am at present unable to hear a
performance of them.
Next week I shall again spend a few days in Weimar (or
Wilhelmsthal); thence I go to pay my mother a visit in Paris, and
by 18th October, at latest, I shall be back in Rome.
Yours respectfully and sincerely,
F. Liszt
Schloss Lowenberg, September 14th, 1864
I requested Herr Kahnt to return to you with my best thanks the
copy of the Symphonic Poems which was kindly forwarded to me in
Carlsruhe.
36. To Breitkopf and Hartel
Dear Herr Stadtrath, [Town Councillor]
In compliance with the wish you so kindly express, I will again
make an attempt to "adapt" the 4th movement of the 9th Symphony
to the piano, and soon after my return to Rome will set to work
upon the required tentative. Let us hope that the variation of
the proverb: "Tant va la cruche a l'eau qu'a la fin...elle
s'emplit"--may prove true. [So often goes the pitcher to the
water that at last it is filled.]
While talking of various readings allow me to draw your attention
to an exceptionally valuable collection. A very carefully and
well-trained musician with whom I have been acquainted for many
years past--Herr Franz Kroll (in Berlin)--has, with industrious
and unceasing perseverance, been collecting, copying and
arranging for publication the noteworthy various readings of
Bach's manuscripts of the "Wohltemperiertes Clavier." [The well-
tempered Piano] Last week he showed me several of them, and I
became convinced of the substantial interest of the collection
and encouraged friend Kroll to send you a full account of them.
In now enclosing his letter to you--written at my instigation--I
take upon myself, with pleasure and the fullest conviction, the
musical duty of advocating the publication of these various Bach
readings, and of heartily recommending Kroll's work as an
essentially useful, complementary addition to your admirable
edition of the "Bach-Gesellschaft" [The Bach Society].
Pray accept, dear Herr Stadtrath, the assurance of my sincere
esteem and devotion.
F. Liszt
Wilhelmsthal, October 1st, 1864
37. To Madame Jessie Laussot
You will be good enough to excuse me, dear Madame, for having
delayed replying to your kind letter. Amongst your many rare
qualities there is one that I particularly admire; it is the
prowess of your musical sympathies. Nevertheless I must scruple
to expose you to too harsh trials, and, knowing by experience
with how little favor my works meet, I have been obliged to force
a sort of systematic heedlessness on to myself with regard to
them, and a resigned passiveness. Thus during the years of my
foreign activity in Germany I constantly observed the rule of
never asking any one whatsoever to have any of my works
performed; more than that, I plainly dissuaded many persons from
doing so who showed some intention of this kind--and I shall do
the same elsewhere. There is neither modesty nor pride in this,
as it seems to me, for I simply take into consideration this
fact--that Mr. Litz [Liszt quotes the very common misspelling of
his name which has frequently been seen since he was "le petit
Litz" in Paris.] is, as it were, always welcome when he appears
at the Piano (--especially since he has made a profession of the
contrary--) but that it is not permitted to him to have anything
to do with thinking and writing according to his own fancy. The
result is that, for some fifteen years, so-called friends, as
well as indifferent and ill-disposed people on all sides, sing,
enough to split your head, to this unhappy Mr. Litz, who has
nothing to do with it, "Be a pianist, and nothing but that. How
is it possible not to be a pianist when, etc., etc."
Possibly they are right--but it would be too much to expect me to
sign my own condemnation. Far from that, I confess that
contradiction ends by tempting me seriously, and that I am
resolved to pursue it to the end, without any illusion or
approbation whatever. Only at certain moments I fancy that that
judicious maxim of Champfort is somewhat applicable to me
"Celebrity is the punishment of talent and the chastisement of
merit."
Our friend Sgambati is happily in a fair way to incur this
punishment and chastisement--and certainly with very good reason.
He has done wonders this winter at his four concerts, which have
had a success both of fashion and of real good taste. I, for my
part, have gained a thorough affection for Sgambati, and the
remarkable development of his talent of so fine and noble a
quality interests me keenly.
A thousand very cordially affectionate and devoted things.
F. Liszt
Rome, March 6th, 1865
38. To Dr. Franz Brendel
Dear Friend,
While awaiting from you definite word about the next Tonkunstler-
Versammlung in Dessau, let me, meanwhile, thank you for your last
communication. The main interest of the musical performances is,
of course, on this occasion centred in Riedel and his Verein. In
the programme-sketch I notice my Psalm 137 at the very beginning.
What lady takes the solo?--mind and soul are indispensable in it.
Bronsart wrote to me at the beginning of March that he
entertained the idea of a concert-tour to the Russian provinces
on the Baltic. I should be glad to hear that the Euterpe squabble
and quarrel in connection with the T.K.V. in Dessau were at an
end, and that Bronsart was to undertake the conductorship.
As a supplement to this I send you herewith the programme of the
concert held in the hall of the Capitol, where for some years
past no special festivities have been given, and probably never
anything of this kind before. For the first time the different
orchestras in Rome (the Sistine, St. Peter's, Lateran and
Liberian) all united to give a performance which upon the whole
may be said to have been as successful as it was well received.
The concert was proposed to the Holy Father, and approved of by
him. Owing to the exceptional character of the undertaking,
which, like that of last year, was made to fit in with the plan
of the detailed arrangements--(some ladies belonging to the
aristocracy, and commissionaires distributed the tickets which
were sold at a minimum, no advertising, etc.), I determined to
give my co-operation. I played the "Cantique" (the last number of
the "Harmonies poetiques et religieuses" published by Kistner),
and, as there was no end to the applause, I added my
transcription of Rossini's "Charite" (published by Schott).
Everybody in Rome with any claim to culture was present, and the
hall was more than full.
With friendliest greetings, your sincerely devoted
F. Liszt
April 3rd, 1865
P.S.--Please get Kahnt to inquire of Hartel as soon as possible,
how far the printing of my arrangement of the Beethoven
Symphonies has progressed, and whether I may rely upon his
sending--during Easter week as already settled--the orchestral
parts (autographed) of several of my Symphonic Poems,--more
especially of the Dante Symphony? It is possible that the Dante
Symphony may be performed here towards the end of April. But you
shall have further news of me before that.
Bote and Bock will shortly publish a very simple Hymn of mine
(for pianoforte) entitled "The Pope's Hymn."
39. To Prince Constantine of Hohenzollern-Hechingen
Monseigneur,
Your Highness will understand that it is a necessity of my heart
to speak to you of a very happy juncture that assures me
henceforth, in full degree, the stability of feeling and of
conduct to which I aspired. It seems to me that I should be
guilty of ingratitude and wanting in respect to the condescending
friendship with which you are good enough to honor me, did I not
let you know of the determination I have taken. On Tuesday the
25th April, the festival of St. Mark the Evangelist, I entered
into the ecclesiastical state on receiving minor orders in the
chapel of H.S.H. Monseigneur Hohenlohe at the Vatican. Convinced
as I was that this act would strengthen me in the right road, I
accomplished it without effort, in all simplicity and uprightness
of intention. Moreover it agrees with the antecedents of my
youth, as well as with the development that my work of musical
composition has taken during these last four years,--a work which
I propose to pursue with fresh vigor, as I consider it the least
defective form of my nature.--
To speak familiarly; if "the cloak does not make the monk" it
also does not prevent him from being one; and, in certain cases,
when the monk is already formed within, why not appropriate the
outer garment of one?--
But I am forgetting that I do not in the least intend to become a
monk, in the severe sense of the word. For this I have no
vocation, and it is enough for me to belong to the hierarchy of
the Church to such a degree as the minor orders allow me to do.
It is therefore not the frock, but the cassock that I have
donned. And on this subject Your Highness will pardon me the
small vanity of mentioning to you that they pay me the compliment
of saying that I wear my cassock as though I had worn it all my
life.
I am now living at the Vatican with Monseigneur Hohenlohe, whose
apartment is on the same floor as the Stanze of Raphael. My
lodging is not at all like a prison cell, and the kind
hospitality that Monseigneur H. shows me exempts me from all
painful constraints. So I shall leave it but rarely and for a
short time only, as removals and especially journeys have become
very burdensome to me for many reasons...It is better to work in
peace at home than to go abroad into the world,--except in
important cases. One of these is awaiting me in the month of
August, and I shall fulfil my promise of going to Pest at the
time of the celebration of the musical fetes that are being got
up for the 25th anniversary of the establishment of the
Conservatoire. My Oratorio of "Saint Elizabeth" and the Symphony
of the "Divina Commedia" form part of the programme.
Next year, if Your Highness still thinks of realising your noble
project of a musical congress at Lowenberg, I should be very
happy to take part in it, and place myself entirely at your
orders and service.
Permit me, Monseigneur, to express anew to you my most grateful
thanks for the evidences of sympathy you have so generously
accorded to myself and to my works; and graciously accept the
homage of unchanging sentiments of most respectful devotion with
which I have the honor to be
Your Highness's most humble and affectionate servant,
F. Liszt
Vatican, May 11th, 1865
40. To Breitkopf and Hartel
Dear Herr Doctor,
My old musical weaknesses have not left me! The weakest and worst
thing about them is perhaps that I never cease composing; but
such wondrous things go wandering about in my head that I cannot
help putting them down on paper. And I have wanted to hear
something about the fate of the manuscripts I sent you for
printing. Have the pianoforte scores of the Beethoven Symphonies
been published? How has the printing of the Concerto for 2 pianos
(in E minor) [Concerto pathetique] progressed? Would you kindly
let me have a few copies soon?
With regard to the autographed orchestral parts of my "Symphonic
Poems," I should be glad if they could be out by the end of July.
Probably at the beginning of August I go to Pest, where several
of my compositions (more especially the "Dante Symphony") are to
be performed in connection with the festivities at the
Conservatoire. If the parts should be ready, please, dear Herr
Doctor, forward them to me to Pest. At present I do not require
them here; but should the "Preludes" be ready you would greatly
oblige me by sending all the orchestral parts, with four copies
of the quartet, if possible by the beginning of next month, to
Dr. R. Pohl (571, Hirschgasse, Baden-Baden). I have been asked
for the loan of them for some festival in Baden conducted by
Monsieur Reyer.
Pray kindly excuse all the trouble I am giving you, and receive
the expression of my most sincere esteem.
F. Liszt
The Vatican, May 27th, 1865
41. To Dr. Franz Brendel
Dear Friend,
Your favorable accounts of the Tonkunstler-Versammlung in Dessau
delighted me greatly. Owing to the crooked way in which my works
have been listened to in past years, I have felt oppressed; and
in order that my freedom in my work might remain unaffected, I
was obliged wholly to disregard their outward success. Hence my
absolute distrust of performances of my own compositions, and
this was not to be accounted for by any exaggerated modesty on my
part. As to the "Battle of the Huns" I was specially doubtful;
the Christian significance of Kaulbach's picture--as represented
in the "Chorale"--seemed to me a stumbling-block in the way of
favorable criticism. Kaulbach had indeed suggested this
interpretation by having thrown a special light upon the
cross...yet there are neither mendicant friars nor bishops in the
picture...and, besides, at the time of the "Battle of the Huns"
the organ was not yet invented! This last sweeping argument was
triumphantly hurled at me in Weimar by the infallible censors.
Since then I have hesitated to allow the work to be performed,
and have remained satisfied with sending Kaulbach the arrangement
for 2 pianofortes. And in that form it was executed [Executirt.]
in his salon, whereupon, of course, there were loud lamentations
about my squandering my time upon such an abominable jumble of
sounds, when I might be charming people in a more agreeable
fashion with my piano-playing!...So if the Dessau Meeting really
derived some pleasure from the "Battle of the Huns" I feel richly
rewarded for my small amount of suffering.
I beg you to present my best thanks to Fraulein Wigand. [Emilie
Wigand, studied under Prof. Gotze in Leipzig.] It is a good deed
of hers to have obtained willing ears for my Psalm--and if I am
in Germany again next year I shall want to hear it.
I will with pleasure take Weitzmann's place as examiner of the
manuscripts sent in. Send them to me in parcel form to Rome; I
promise to look through them quickly and to let you have my good
or bad opinion of them. For such work I am always inclined, and
am, perhaps, not an awkward hand at it.
.--. From the Committee in Pest I have not had any news for some
time past. I shall, however, hold myself in readiness to start
from here by the beginning of August. Meanwhile let nothing be
sent to me to Rome. As soon as I know anything definite about my
stay in Hungary I will let you know.
With all friendly greetings to your wife, I am your sincerely
attached
F. Liszt
July 21st (Villa d'Este-Tivoli), 1865
Any probable performance of the "Elizabeth" in Coburg we can
discuss later. I should consider it advisable to have my name but
little mentioned in the programme of the next Meeting of the
Tonkunstler-Versammlung. As regards a larger work (one to occupy
a whole concert) it would be well for Gille to leave the choice
of it to the Duke. The local taste would be a very important
point in the matter, and, for my own part, I know only too well
that people do not want to know or to hear too much of me--in
Coburg as well as in many other places!--
42. To Abbe Schwendtner in Buda-Pest
[Autograph in the possession of Frl. Therese v. Lavner in Pest.--
Liszt became acquainted with the Abbe in 1865, and frequently
enjoyed his hospitality when visiting Pest, up to the time when
he himself became connected with the Musik-Academie there.]
Right Reverend Sir and Friend,
Having returned to my abode here, I cannot refrain from again
thanking you most heartily for all the goodness and kindness you
showed me in so unusually abundant a measure, during my stay in
the town-vicarage of Pest. The five weeks I spent there in the
pleasantest way--owing to your considerate care and attention--
will remain an unextinguishable point of light in my life. You
admonish, and at the same time encourage and strengthen me, to
carry out further the artistic task that is set me. In the hope
that your Reverence will in the future continue to show me the
sympathy so kindly and generously expressed, I pray you to
implore God's blessing to keep me ever a good child of the State
and Church.
May I add another request? On the 22nd October (my birthday) for
some years past a Mass has been read in the Franciscan Church in
Pest, and at the words: "Memento Domini" I [am] held in
remembrance...I would ask your Reverence to remember my wish that
this may be done also on the same day in the parish church.
In sincere veneration and gratitude, I remain cordially and
faithfully
Your Reverence's devoted
F. Liszt
The Vatican, September 20th, 1865
My respectful compliments to the amiable lady president of the
morning coffee--Fraulein Resi [A niece of the Abbe's.]--who
conducts and beautifies the real Magyar hospitality at the
Vicarage in an incomparably graceful manner. I shall take the
liberty one day of sending Fraulein Resi a few Roman trifles.
Bulow has undertaken to send you the medallion of my humble self,
a masterly piece of work by Rietschel. As you will know,
Rietschel is the sculptor who made the Lessing statue in
Brunswick, the Goethe and Schiller group in Weimar, etc.--
43. To Dr. Franz Brendel
Dear Friend,
Accept my best thanks for having admitted into your Neue
Zeitschrift Bulow's account of the Musical Festival in Pest.
These three articles are a masterly piece of work, and, as your
paper has for several years past followed the difficult process
of my development as a composer in so kind and careful a manner,
I wished specially that the very successful performances of the
"Elizabeth" and of the "Dante Symphony" in Pest should receive
confirmation in the Neue Zeitschrift.
With regard to the "Elizabeth" I have received offers from Vienna
and a few other places; but it is in no way my intention to wage
war in a hurry with this work. I shall, therefore, decline the
invitations with thanks, and await an opportunity more convenient
to myself for the next performance. Whether this may be at the
Tonkunstler-Versammlung in Coburg I do not know, and, frankly
said, this will depend upon the Duke's bon plaisir. [It was not
performed at a Tonkunstler-Versammlung in Coburg.] For my own
part I am in no great hurry, as I have heard enough of the work
in Pest, and found no alterations to make in it. Then also there
is no hurry with regard to its publication, and my reply a short
time ago to a willing publisher (who, curiously enough, offered
me a respectable honorarium for it!) was, that only by next
summer could I decide whether to have it published or not.
Gille has the kind intention of arranging a performance of the
"Elizabeth" in Jena as soon as possible. I don't want to enter
into a fuller correspondence with him on the subject; but please
tell him, in all friendliness, that I regret to be obliged
somewhat to check his admirable zeal. Apart from certain
considerations of propriety (which I will never disregard in the
slightest degree) there is an irremovable difficulty in the
matter of the performance itself. It cannot be given in Jena
without the co-operation of the Weimar performers. And why plague
our dear and excellent Weimar singers and artists, and how--with
their many theatrical engagements--could they find the necessary
time for studying the parts, for rehearsals?--etc., etc.--
Hence let us give a simple no as regards Jena, and put a sign of
interrogation? nay, even two or more??? as regards the
Tonkunstler-Versammlung in Coburg, for (as I told you in my last
letter but one) we shall there have entirely to submit to the
Duke's opinion concerning the larger (or longer) work which is to
fill the first day's programme.
(N.B.--"Elizabeth" lasts about three hours, including the
intervals. Bulow's conductorship would be indispensable.)
For ten days past I have again been back in the Vatican, and
think of remaining here over the winter. At the present moment I
am engaged in arranging the Pope's Hymnus, published last month
by Bote and Bock for pianoforte as a solo and in duet-form, for
chorus (with Italian words). I think something of this piece, for
which Kaulbach has made a splendid drawing. If it is performed
here you shall hear about it. As soon as possible I mean to set
to work with my "Christus Oratorio." Unfortunately I have had to
set it aside for a year, as the "Vocal Mass" and other smaller
works prevented my doing anything to it. I shall require from six
to eight months before I get the "Christus" finished, for I am
scarcely half-way through yet.
My health is good, and I can unconcernedly allow people the
pleasure of referring to me as "physically broken down" and a
"decayed wreck" (as I have been described in the Augsburger
Allgemeine Zeitung).
One favor do me at once, dear friend. Request Kahnt to purchase
for me the steel-plates (or woodcuts) of Schwind's "Elisabeth-
Galerie" in the Wartburg, published in Leipzig by Weigel or
Brockhaus, and let them be sent safely, quickly and correctly,
addressed to "Herr Baron Anton von Augusz--Szegzard" (Tolnaer
Comitat--Hungary). If I am not mistaken, the drawings are
published in two parts. The first part contains the pictures of
St. Elisabeth's arrival at the Wartburg, the miracle of Roses--up
to her death. The second part gives the medallions depicting her
works of charity. I wish to send the complete "Elisabeth-Galerie"
to Baron Augusz. The price is not high, and the money shall be
refunded to Kahnt as soon as I get the bill.
By the way Kahnt would be doing me a favor by presenting
"Remenyi," through Roszavogli (Pest), with a copy of Pflughaupt's
arrangement for pianoforte and violin of my "Cantique d'amour"
and "Ave Maria"--and by granting my humble self a copy also, at
his convenience. Remenyi will be glad to play the pieces with
Plotenyi and thus make them known, and I would get Sgambati and
Pinelli [A Roman violin virtuoso (born 1843), was appointed in
1872 Director of the "Societa musicale romana," in Rome.] to do
the same here.
With hearty greetings to your wife,
Your unchangeably sincere and devoted
F. Liszt
The Vatican, September 28th, 1865
Let me know of the despatch of the "Elisabeth-Galerie," and also
send me a few copies of Bulow's three articles.
Why have my organ-pieces (from Korner, Erfurt) not yet reached
me? Please remind Kahnt or Gottschalg of this.
44. To Eduard Liszt
Dearest Eduard,
My heartiest thanks to you for remembering the 22nd October. The
day was celebrated quietly and happily like last year in my
former residence (Madonna del Rosario)--and you were present with
me in my inmost heart.
Before I received your lines I had already answered Dunkl's and
Herbeck's letters relating to the "Elizabeth" Oratorio. You know
how much against my wish it is to put this work into circulation.
And, however flattering it may be to me (perhorrescised
composer!) to receive offers from various places about it, still
I think it advisable to avoid precipitancy, and not to expose my
friends so soon again to unpleasantnesses such as my earlier
works brought upon them. Lowy's empty stalls (with the Preludes)
are significant...and, considering the various kinds of abuse
which my works have had to endure, silence would seem to be most
becoming.
Therefore be good enough, dearest Eduard, to tell those kindly
disposed "Musical Friends," emphatically that I cannot make up my
mind to the proposed performance of the "Elizabeth," and beg them
to pardon this small-mindedness in me. Besides the score is no
longer at my disposal, as I have sent it to Bulow, who requires
it for a performance desired by H.M. the King, for which I have
already invited Herbeck. Bulow is giving some concerts this month
and next in Berlin, Dresden, Prague, etc. Hence he cannot begin
rehearsing the Elizabeth till later. Of the Munich performance
you shall hear details when the time comes.
With regard to your communication to the Princess, I assure you
again that as soon as and as often as it is possible for me to do
you a service, as certainly shall it be done.
Kindest greetings to your wife from
Your truly devoted
F. Liszt
[Rome,] November 1st, 1865.
45. To Dr. Franz Brendel
Dear friend,
My answer to you has been delayed in order that I might at the
same time tell you of a variety of things.
A) At the beginning of March I intend going to Paris. The Gran
Mass is to be given on March 15th in the Church of St. Eustache
at the anniversary "de l'oeuvre des ecoles" to which the Maire of
the 2nd Arrondissement, M. Dufour, sent me an official invitation
the other day.
B) The report spread in various newspapers about the Hungarian
Coronation-Mass which I am to compose, is for the present only
officiously correct. Probably it may become true shortly. [This
did occur, as is well known.]
C) At the opening of the Dante Gallery here at the end of the
month my "Dante Symphony" is to be performed. I enclose the
article from the Osservatore Romano in which this extraordinary
event is discussed in detail--also another number of the same
paper containing a short notice on the "Stabat mater speciosa" (a
very simple chorus from my "Christus Oratorio"), that was sung
last Thursday in the Franciscan Church Ara Coeli (on the
Capitol).
D) I am quite determined to attend the Tonkunstler-Versammlung in
Coburg, and expect to hear from you shortly more about it. It is
to be hoped that Bulow will conduct. If there should be any
thought of giving the "Elizabeth," Bulow will be indispensable.--
As regards the Elizabeth, pray make my best excuses to Kahnt. I
did not reply to his friendly request, because I have made up my
mind not to have this work published meanwhile, and hold fast to
this negative determination. Do not let Kahnt take this ill of
me, and let him be assured of my sincere willingness to meet his
wishes in all other matters.
.--. I am in want of a great many things, but most of all in want
of more time!
With friendliest greetings, sincerely and devotedly yours,
F. Liszt
The Vatican, January 14th, 1866
46. To Dr. Franz Brendel
Dear Friend,
So there is to be no Tonkunstler-Versammlung this year; in place
of it war-cries, and symphonies of bayonets and cannon! Here,
probably, we shall remain in peaceful quietude under the
protection of France.--As regards my humble self, I mean to try,
during the second half of this 66th year, to overtake what I was
compelled to neglect during the first half of it. My "Christus
Oratorio" shall be finished by Christmas.--Prince Hohenlohe, with
whom I have been residing since April 1865, has been made
Cardinal and shortly leaves the Vatican. Last Sunday I returned
to my old quarters at Monte Mario, Madonna del Rosaraio, where I
am as comfortable as possible. Next year I think of going to
Germany, first to Munich. As you know, the King of Bavaria has
conferred upon me the title of Knight of the Grand Cross of the
Order of St. Michael. And the Emperor Maximilian that of the
Guadeloup order.--
My stay in Paris will not prove unfruitful. People may say of it
what they like.--I must mention to you the name of Camille Saint-
Saens in Paris, as specially deserving of notice in the Neue
Zeitschrft as a distinguished artist, virtuoso and composer. Last
year he was in Leipzig, so he told me, and played his Concerto at
the Gewandhaus there. But people could not make anything out of
him, and in dignified ignorance allowed him to pass. Langhans [A
Berlin musical composer and critic who died in 1892.] sees him
frequently and could give you fuller information about him for
the Zeitschrift.
Give Kahnt my grateful thanks for carefully carrying out the
orders from Paris. I mean to wait another year before publishing
the "Elizabeth." I also want several illustrations for it, for,
as the work is dedicated to the King of Bavaria, I wish it to
present the choicest and noblest appearance.
If Kahnt should be disposed to take it next year, I shall be glad
to come to some arrangement with him about it. Still I am
determined not to have the "Elizabeth" published till then; to
several publishers who have offered to undertake the publication
I have already replied,--may every kind of printing long be held
at a distance from this score.--
Allow me to recommend to your friendly interest a few other
things I have at heart.
Ask Kahnt, in my name, not to be sparing in supplying Bulow with
copies of the Liszt-compositions he has published. I should more
especially like my Quartets for male voices circulated, and a few
complimentary copies from Kahnt would be useful in this respect.
No fear need be entertained of Bulow's making indiscreet demands,
and one may confidently grant him all he wishes.
.--. Hartel will shortly be sending me some music. Please enclose
the last numbers of the Neue Zeitschrft in the parcel in order
that my ignorance on matters musical may be relieved.
In sincere attachment I remain in unalterable friendship,
Yours,
F. Liszt
Rome, June 19th, 1866
The score of the Gran Mass presumably reached Riedel safely (6
weeks ago). The vocal parts I have meanwhile left with
Giacomelli. Later an edition of the choral and orchestral parts
will become a necessity.
47. To Dr. Franz Brendel
Dear Friend,
Your last letter but one, the registered one, has reached me
safely. As it contained more in the way of answers than was
wanted I hesitated to write to you. As already said, I have made
up my mind to wait another year before publishing the
"Elizabeth." In the first place it is necessary that I should
correct the frequent errors in the copy of the score--a piece of
work that will take a couple of weeks.--Then, before its
appearance, I should like an opportunity of quietly hearing the
work once in Germany, and this perhaps might occur next year.
Meanwhile give Kahnt my best thanks for his ready consent, of
which, however, I cannot make use till later, provided that an
honorarium of a couple of thousand francs (which has been offered
me elsewhere) does not frighten him. .--. So far as one can plan
a journey nowadays, I intend to be in Germany again for a few
weeks during the summer of 1867.--Tomorrow I shall write to Dr.
Hartel and tell him that you have kindly expressed yourself ready
to discuss with him the small matter about the Draseke brochure.
It would please me greatly to hear that some amicable arrangement
had been made.
With regard to the publications of the Allgemeine Deutsche
Musikverein, I would vote for the Overture by Seifriz. Likewise
for the continuation of the Chamber music performances in
Leipzig--and, of course, for the compensation from the Society's
purse due to you.
Stade's article on the "Faust Symphony" I have not yet received.
My last number of the Zeitschrift is that of July 6th. I am glad
that Stade does not disapprove of these Faust-things.--
Schondorf's Polonaise, Impromptu, etc., which Kahnt has sent me,
I have read through with pleasure and interest. With the next
sending to Rome please enclose the "Petrus" Oratorio by Meinardus
(the pianoforte score). In case the pianoforte score has not
appeared, then let me have the full score. And together with the
"Petrus" Oratorio please also send me the fragment of the
"Christus" Oratorio by Mendelssohn (published by Hartel).
My "Christus" Oratorio has, at last, since yesterday got so far
finished that I have now only got the revising, the copying and
the pianoforte score to do. Altogether it contains 12 musical
numbers (of which the "Seligkeiten" and the "Pater Noster" have
been published by Kahnt), and takes about three hours to perform.
I have composed the work throughout to the Latin text from the
Scriptures and the Liturgy. After a time I shall ask Riedel for
his assistance and advice with regard to the German wording.
Please give Alex Ritter my cordial thanks for his Amsterdam
report.
I cannot, at present, promise you any literary contributions for
the proposed Annual of the D. M. If the instrumental Introduction
to the "Elizabeth" (for piano-forte) would suit you I would
gladly place it at your disposal, reserving the copyright for the
subsequent publisher of the score, that is, his right to publish
the same Introduction again.
As far as I can foresee I shall remain here the whole winter. My
address is simply: To Commandeur Abbe Liszt--Rome.
Fuller performances of the Beethoven Symphonies and of the Dante
Symphony are to be given next Advent in the Dante Gallery.
Sgambati is to conduct them, and I have promised to attend the
rehearsals.
Heugel of Paris (Director of the Menestrel) is shortly to publish
a new edition of my Franciscus-legends.
With friendliest greetings, your attached
F. Liszt
October 2nd, 1866
48. To Breitkopf and Hartel
Much Esteemed Herr Doctor,
It is very mortifying to me to have to confess that I have most
awkwardly come to a standstill with the transcription of the
Beethoven Quartets. After several attempts the result was either
absolutely unplayable--or insipid stuff. Nevertheless I shall not
give up my project, and shall make another trial to solve this
problem of pianoforte arrangement. If I succeed I will at once
inform you of my "Heureka." [Discovery (from a Greek word).-
TRANS.] Meanwhile I am occupied exclusively with the "Christus
Oratorio," which has, at last, advanced so far that all I have
now to do is to put the marks of expression in the score and the
pianoforte score.
Pray kindly excuse me if a small piece of vanity leads me to
address you with a wish. My "Symphonic Poems" have, as you know,
had a regular deluge of halberds hurled at them by the critics.
After all these murderous and deadly blows that have been aimed
at them, it would be very gratifying to me if the analyses of
these "Symphonic Poems" in which, a few years ago, Felix Draseke
discussed them severally in the Anregungen [Notices] could now be
published by you all together in the form of a brochure, for they
are written with a thorough knowledge of the subject, yet in a
kindly spirit.
On this account I begged Dr. Brendel to discuss the matter with
you, and now take the liberty of addressing you personally on the
subject of my wish.
With much esteem, yours sincerely,
F. Liszt
Rome, October 4th, 1866
Will you kindly send Cantor Gottschalg in Tieffurt a good copy of
my pianoforte scores of the nine Beethoven Symphonies? 49. To Dr.
Franz Brendel
Dear Friend,
My heartfelt sympathy in the grievous loss which you have
sustained. [On November 15th, 1866, Dr. Brendel lost his wife,
Elizabeth nee Trautmann (born in St. Petersburg 1814). She was a
pianist and a pupil of Field and Berger. Dr. Brendel survived her
only two years.] It is an immeasurable sorrow on which one can
only be silent!--
Let us pass over to the business part of your letter. Our Grand
Duke informs me that there is to be a Wartburg Festival this
summer (a Jubilee in celebration of the 800th year of the
Wartburg's existence). And for this fete he wishes a performance
of the "Elizabeth-Legend" under my personal direction. I have
agreed to this, for, as the occasion is an exceptional one, I too
am enabled to make an exception to meet his commands. Now as the
Duke is Patron of the Tonkunstler-Verein, it seems to me
appropriate that this year's T. K. Versammlung should be brought
into some connection with the Wartburg Jubilee. Think the matter
over and discuss it with Gille. The date of the Wartb. Festival
has not been announced to me, and will probably not be settled
till later. As for myself I could not promise to remain more than
one month in Germany. Hence it would be agreeable to me
personally if the T. K. Versammlung were not kept apart from the
Wartburg Jubilee, and were arranged for about the same date; I
could then attend both. In case Bulow cannot undertake to act as
conductor, those to be mentioned as substitutes would be, no
doubt, Seifriz, Riedel, Damrosch, Lassen.-- Seifriz's hesitation
with regard to the publication of his Overture I consider to be
scrupulous beyond measure, and am of the opinion that he should
not hold to it any longer. Gille's circular (of December 9th) I,
of course, agree with, only the compensation of 50 thalers [about
71 British pounds sterling, 0s., 0d.] is somewhat too modest. I
should like to see an 0 added to the 50.--
The full score and pianoforte score of the "Elizabeth" contain a
mass of errors. The revising will take me a couple of weeks. At
the beginning of February I will send you the manuscript for
Kahnt's disposal, that is, if he is willing to comply with my
conditions about the publication (which I will write out
carefully for you). You know that I should have preferred to
postpone the publication of the "Elizabeth" for some time longer-
-still I understand Kahnt's difference of opinion, and desire to
prove myself willing, provided that you approve of my
willingness.
.--. Kindly, when you have an opportunity, remind Hartel about
sending the dedication-copy of my pianoforte scores of the
Beethoven Symphonies to Bulow. The copy ought to be properly
bound (in three volumes--3 Symphonies in every volume), and
addressed to Bulow, Johanniss-Vorstadt 31, Basel.
With sincere thanks and hearty good wishes for the year 1867, I
remain in unchanging friendship, yours,
F. Liszt
Rome, January 6th, 1867
The Neue Zeitschrift has not come for more than six months.
50. To Doctor Cuturi, Pisa
[From a rough copy of Liszt's in possession of Herr Alexander
Ritter in Munich]
Sir,
I am told that you would be good enough to take into
consideration my recommendation of Mr. Alexander Ritter. I hasten
therefore to assure you of the sincere esteem in which I hold his
remarkable talent as a violinist and his capability as an
orchestral conductor. His very extensive musical knowledge, his
frequent and close connection with virtuosi and celebrated
composers, and his practical experience of the best-known works
and orchestras qualify him in a high degree for the post that
would be offered to him at Pisa. The best judges discern in Mr.
Ritter not merely a brilliant virtuoso, able to obtain everywhere
applause and approbation, but also--which is more rare--a
consummate musician, endowed with the most noble feeling for Art,
and possessing the most perfect understanding of the works of the
great masters.
Besides this, sir, I am sure that you will find much pleasure in
your personal relations with him. All who know him bear testimony
to his honorable character as well as to his gentlemanly manners;
and I will merely add that amongst all my German friends there
are few of whom I preserve so affectionate a remembrance.
Pray accept, Monsieur le Docteur, the expression of my esteem and
distinguished consideration.
F. Liszt
Rome, January 22nd, 1867
51. To Julius von Beliczay in Vienna
[Hungarian composer, living in Budapest since 1871]
Dear Sir,
Accept my sincere thanks for your very friendly letter and for
the dedication of the Beethoven Cadenza. It sounds well and is
pleasant to play. Of course somewhat more might have been made of
the thing, and a different key taken at the outset than C minor.
But it is easier for me to play the critic than to do things
myself, and so today I will merely thank you and assure you of my
interest in your efforts and your success.
Very truly yours,
F. Liszt
Rome, April 29th, 1867
52. To Madame Jessie Laussot
Dear Madame,
I cannot tell you how your generosity of mind and heart touches
me. The favorable reception you have obtained at Florence for the
"Beatitudes" and the "Pater noster" is a link the more in the
chain of my musical obligations to you, dear and valliant
Maestra. Will you kindly convey my best thanks to your co-
operators. .--.
As a slight musical indication observe that in the "Pater noster"
I simply modulate and develop somewhat,--in the somewhat confined
limits of a sentiment of trusting and pious submission,--the
Gregorian intonation as sung in all our churches--
[Figure: Musical score excerpt setting the words "Pater noster
qui es in coelis"]
following the traditional intonations for each verse. This
framework was naturally adapted to the arranging of my Oratorio--
"Christ",--in which I employed two or three other intonations of
the plain-song, without considering myself guilty of a theft by
such a use.
You know that the rehearsals of the "Christ" have begun. With the
help of our dear and admirable Sgambati it will be able to be
given here at the end of June. I shall invite you to come and
hear it, and shall send you shortly the programme of the whole
work, which is going to be published previously.
But since you interest yourself with so rare a zeal in my poor
works and in making them known, I am tempted to propose to you
the 23rd and 137th Psalms for your Florence programmes. The
latter has been sung here this winter with some success. It is
not very troublesome to study; provided that the singer
understands what she has to say the rest goes of itself. The
accompaniment is limited to four instruments,--Harp, Violin,
Harmonium and Piano; and, as in the Magnificat of the Dante
Symphony, the chorus is written for Soprano and Alto voices
(without Tenors or Basses). The text is excessively simple, and
is reduced to the one word, Jerusalem!
Perhaps you may also meet with a kind soul who is willing to
translate into Italian the Chorus of Reapers ("Schnitterchor")
from the Prometheus, which could be performed quite simply with
piano accompaniment.
I will permit myself to send you the two Psalms next week by Mrs.
Pearsoll (of New York), to whom I have sung your praises, a
matter in which I yield to no one. Happily the opportunity for
practising this recurs often: Mme. d'Usedom (whom I met the other
evening at Bn. Arnim's) will speak to you of it. .--.
As soon as I receive positive tidings about the coronation at
Pest you shall know. I shall certainly not stir from Rome this
time without coming to spend some hours with you at Florence.
Continue your friendship to me, and believe in mine, very cordial
and grateful.
F. Liszt
Rome, May 24th, 1867
The success of Bronsart's Trio delights me. You will give him
great pleasure if you will write him a couple of lines, which you
must address simply "H. v. B. Intendant des Hoftheaters.
Hannover." Tell him about Sgambati and his Trio at Rome and
Florence. I, on my side, will write to Bronsart as soon as my
summer plans are fixed.
53. To Eduard Liszt
Very dear Eduard,
You know that the Coronation Mass has met with the most kind
reception. [At its performance at Ofen (Budapest)] None of my
works up to the present time had been so favorably accepted. I
have begged Franz Doppler in particular to let you know about it,
knowing that you would like to hear me praised, even with some
exaggeration, by a friend as competent as he is affectionate.
Since the performance of the "Gran Mass" Doppler has always shown
the kindest feelings towards me. Tell him that I am very
sincerely grateful to him. I am anxious to thank Schelle [Musical
critic of the Vienna Presse, since dead] for his excellent
article in the Presse, and send you herewith a few lines which
you will be good enough to give him...
The rehearsals of my Oratorio "Le Christ" are progressing. It
will probably be performed in the early part of July, and I will
have the programme sent to you.
Towards the end of July I shall go to Weimar. The "Wartburg
Festival" is fixed for the 28th August. On that day the Elisabeth
will be heard in the hall of the Minnesingers. A fortnight before
that the concerts of the Tonkunstler-Versammlung will take place
at Meiningen. Possibly you may be able to come and look me up in
the course of this same month of August.
Yours ever from heart and soul,
F. Liszt
Rome, June 20th, 1867
54. To William Mason in New York
Dear Mr. Mason,
Your kind letter gives me a very cordial pleasure, and I beg you
to be assured of the continuance of my very affectionate
feelings. I frequently hear your success in America spoken of.
You deserve it, and I rejoice to know that your talent is justly
appreciated and applauded. Your compositions have not yet reached
me, but I am fully disposed to give them a good reception. In
about a fortnight I shall start for Weimar. The Tonkunstler-
Versammlung is to take place at Meiningen this year from the 22nd
to the 25th August. I shall be present at it, as also at the
Jubilee Festival at the Wartburg, at which my Oratorio "Saint
Elizabeth" will be performed on the 28th August. Perhaps I shall
meet there Mr. Theodore Thomas and Mr. S.B. Mills, of whom you
speak. I have heard the highest praises of the capability of Mr.
Thomas, whom I have to thank particularly for the interest he
takes in my Symphonic Poems. Artists who are willing to take the
trouble to understand and to interpret my works cut themselves
off from the generality of their fraternity. I, more than any
one, have to thank them for this, therefore I shall not fail to
show my thanks to Messrs. Thomas and Mills when I have the
pleasure of making their acquaintance.
The news which reaches me from time to time about musical matters
in America is generally favorable to the cause of the progress of
contemporaneous Art which I hold it an honor to serve and to
sustain. It seems that, among you, the cavillings and blunders
and stupidities of a criticism adulterated by ignorance, envy and
venality exercise less influence than in the old continent. I
congratulate you on this, and give you my best wishes that you
may happily pursue this noble careerof an artist,--with work,
perseverance, resignation, modesty, and the imperturbable faith
in the Ideal, such as was indicated to you at Weimar, dear Mr.
Mason, by your very sincerely affectionate and attached
F. Liszt
Rome, July 8th, 1867
55. To E. Repos, director of the "Revue de Musique sacree" in
Paris
[Autograph of all the letters to Repos in the possession of Herr
Dr. Oscar von Hase in Leipzig.]
Dear sir,
I am very much obliged to you for the kind feelings you express
to me, and beg to assure you of my desire to correspond to them.
By your activity and the character of your publications our
interests are naturally similar; I will take care to make them as
agreeable as possible to you.
The day after tomorrow I will send you four or five small pages
which, if I mistake not, will suit you,--and which may be
propagated. It is a simple and easy version for Organ of the hymn
"Tu es Petrus," lately performed here on the eighteen-hundredth
anniversary of St. Peter. I hope you will find an organist in
Paris who is willing to appropriate this piece and by his talent
to make it worth hearing.
As I am anxious that your edition should be perfectly correct I
beg that you will send me the proofs. Address them to me, from
the loth to the 30th August, at Weimar, Grand Duke of Saxe-
Weimar, Germany. The performance of my Oratorio "Saint
Elizabeth," at the jubilee Festival of the Wartburg on the 28th
August, calls me into those parts of Thuringia which "Saint
Elizabeth" has illustrated.
I shall start from here in about a week. Will you therefore defer
what you are so kindly intending to send me until my return to
Rome (end of October)? Accept, dear sir, my best thanks, together
with the assurance of my very distinguished and devoted
sentiments.
F. Liszt
Rome, July 12th, 1867
Here, as in Germany, my name is enough without any more detailed
address.
56. To Prince Constantine Czartoryski
[From a rough copy in Liszt's own handwriting enclosed in the
following letter. The addressee, President of the Society of the
Friends of Music, died in 1891 in Vienna, where he was Vice-
President of the Herrenhaus.]
My Prince,
The two letters which you have done me the honor to address to me
at Rome and Munich have reached me at the same time. I cannot but
feel myself highly flattered at your kind proposition with regard
to the performance of my Oratorio "Saint Elizabeth" at one of the
concerts of the musical society over which you preside. The great
renown of these concerts, the rare capability of their conductor
Mr. Herbeck, the talent of the artists who take part in them, and
the care that is taken to maintain the traditions of the musical
glory of Vienna, make it very desirable for every serious
composer to take a place in their programme. Thus I am most
sincerely grateful to you, my Prince, for procuring me this
honor, which however, much to my regret, I should not be able to
accept without some delay.
It would be wearisome to enter into many details; one fact alone
will suffice: the score of the "Elizabeth" is to be sent back to
be engraved, and I promised the editor not to let it go anywhere
else before its publication. Besides this the voice and
orchestral parts which were used at the Wartburg are no longer
available.
Kindly pardon me therefore that I cannot in this matter satisfy
your favorable intentions as I should like. "What is deferred is
not lost," says a proverb to which I prefer to attach myself
today, while begging you to accept, my Prince, the expression of
the sentiments of high esteem and consideration with which I have
the honor to be
Your Highness's very humble and devoted servant,
F. Liszt
Munich, October 14th, 1867
57. To Eduard Liszt
Dearest Eduard,
My hearty thanks to you for your letter. It almost made me
determine to send Prince Czartoryski an answer in the
affirmative; but when I came to think the matter over more fully
it did not seem suitable, considering my peculiar position.
Enclosed is a copy of my letter to Czartoryski; I hope you may
not disapprove of it; let me give you a few more reasons.
1st. I really cannot at present send off the only existing copy
of the score of the "Elizabeth", for it is required for printing.
Nor should I care to have the orchestra and chorus parts from
Munich used, and this I wrote to Prince Cz. It was for this very
same reason that I declined offers respecting performances of the
"Elizabeth" from Dusseldorf, Leipzig, Dresden, etc.
2nd. I do not share your rosy hopes of this work proving a
success in towns where my earlier works not only met with little
appreciation, but even received unseemly rebuffs. In Vienna,
Leipzig, Berlin and even larger cities, the hisses of half a
dozen stupid boys or evil-disposed persons were always sufficient
to delude the public, and to frustrate the best intentions of my
somewhat disheartened friends. In the newspaper criticisms these
hissing critics are sure to find numerous supporters and pleasant
re-echoes as long as the one object of the majority of my judges
of this species is to get me out of their way. The improvement,
which is said of late to have shown itself in regard to my
position, may be interpreted somewhat thus: "For years in his
Symphonic Poems, his Masses, Pianoforte works, Songs, etc., Liszt
has written mere bewildering and objectionable stuff; in his
"Elizabeth" he appears to have acted somewhat more rationally--
still, etc., etc."--Now as I am in no way inclined to cry peccavi
for all my compositions, or to assume that the castigations they
received were just and justifiable, I do not consider it
advisable to subscribe to the supposed extenuating circumstances
of the "Elizabeth". I well know the proverb: "Non enim qui se
ipsum commendat, ille probatus est," and do not think I am
sinning against it. However it is possible that my resolute
friends may, in the end, be right in asserting that my things are
not so bad as they are made out to be!--Meanwhile what I have to
do is to go on working quietly and undismayed, without in the
smallest degree urging the performance of my works-nay in
restraining some friendly disposed conductors from undertaking
them.
3rd. After having two years ago excused myself to Herbeck about
allowing a performance of the "Elizabeth" in Vienna, I cannot now
immediately accept the friendly offer of Prince Czartoryski. It
might be somewhat different had Herbeck attended the Wartburg
performance, as I invited him to do through Schelle. But much as
I appreciate and admire Herbeck's talent as a conductor, still I
cannot know in advance whether he likes my work or not, or how
far he agrees with my intentions. At all events I should have to
come to some personal understanding with him on the subject
before a performance is given in Vienna, just because this is a
matter of importance to me, and the performance ought not to be a
dementi of the preceding ones. It is much more to my advantage
not to have my works performed at all, than to allow them to be
performed in a half-and-half or unsatisfactory manner.--I may say
quite frankly that it would certainly be very agreeable to me to
stand in a somewhat better light in Vienna as a composer than I
have hitherto done. But the time has not come for that--and if it
should ever come, half a dozen of my compositions, for instance
the 13th Psalm, the Faust and Dante Symphonies, some of the
Symphonic Poems, and even, horribile dictu! the Prometheus
Chorus, would have to be introduced to the public in proper
style. Three concerts would be necessary for this, and would have
to be announced beforehand, arranged and rehearsed, and there the
"Elizabeth" might also then find a place among them. Herbeck
would be an excellent one to arrange and conduct these concerts,
provided he were not too much afraid of the obligations due to
criticism. My personal position will not permit of my taking any
part in them as a conductor; nevertheless I should not care to be
altogether idle on the occasion, and hence should like, first of
all, to have a careful discussion with Herbeck about various
points that must absolutely be given thus and in no other way. It
was in this sense that I wrote to Czartoryski that: "Ce qui est
differe nest pas perdu" ("Aufgeschoben ist nicht aufgehoben")
["Put off is not given up."]--and so I may possibly come to
Vienna--in the winter of '69.
First of all, however, I need several quiet months in Rome in
order again to take up the work that has been interrupted for so
long. The Bulows have persuaded me to spend my birthday with
them. The Munich Musik-Schule is in full activity and seems as if
it were likely to outstrip the other Conservatoires. Bulow is
assuredly justified in saying, "Go and do likewise"!--
Before the end of the month I shall be back in Rome. All hearty
good wishes to you and yours, from your faithfully attached,
F. Liszt
Munich, October 16th, 1867
P.S.--Before long you will receive a visit from August Rockel.
This name will probably call up to your imagination--as it has
done in many other cases--an ultra-revolutionary agitator; in
place of which you will find a gentle, refined, kindly and
excellent man. I should like you to cultivate his acquaintance,
and can cordially recommend him to you. His daughter (at the Burg
Theater) you are sure to know--and you will also know of his old
friendship with Wagner and Bulow. It was not till I came here
that I became acquainted with Rockel and learned to value him.
Have you read in the Augsburger Allgem. Zeitung the extremely
kind notice of my stay in Stuttgart? Best thanks also for sending
me your article on the "Wanderer."
58. To Eduard von Liszt
Dearest Eduard,
By some mistake I did not receive your letter of the 16th till
today. From my last you will have clearly seen that I do not wish
any further performance of the "Elizabeth" before the score is
published. As I told you, I have declined the offers from
Dusseldorf, Dresden and other towns. Even as regards Leipzig,
where I am under special obligations to Riedel (for he has on
several occasions got his Society to give excellent performances
of the "Gran Mass," the "Prometheus" choruses, the "Seligkeiten,"
etc.), I shall endeavor to defer the promised performance of the
"Elizabeth." The matter would be one of special importance to me
as regards Vienna,--and for this very reason I am anxious not to
be in too great a hurry. Hence I most gratefully accept your
mediation with Prince Czartoryski. Be my kind mediator and point
out to him my peculiar position, so that there may not be any
sort of vexation--and let the "Elizabeth" remain unperformed. I
think I have clearly stated my reasons for this passive, or, if
you prefer it, this expectative mode of action.
It would interest me to know how the "Coronation Mass" was
performed and received in Vienna. Ask Herbeck in my name not to
drag the tempi; the "Gloria," more especially, must be taken the
more rapidly as it proceeds--the time to be beaten throughout
alla breve. Send me word about this to Rome.
To please the Bulows I shall remain here till October 24th,--and
be back in Rome, at latest, on the 30th.
If Bulow goes on working here for a couple of years, Munich will
become the musical capital of Germany. In addition to my interest
in all musical matters here, my stay has offered many other
points of interest and pleasure by my intercourse with Kaulbach,
Liebig, Heyse, Geibel, Redwitz, etc.--
Cordially yours,
F. Liszt
Munich, October 20th, 1867
Enclosed is a tolerably good photograph of my humble self.
59. To Peter Cornelius in Munich
Dearest Cornelius,
I am grieved not to have met you yesterday, so as to have thanked
you at once for the indescribable pleasure your poem gave me. The
little interpreter Lulu [Daniela, the eldest daughter of H. v.
Bulow, now married to Prof. Dr. Thode] recited it twice admirably
without the smallest error or stumbling. I most sincerely wish
that all your works may find such interpreters as Lulu, so fully
able to grasp your sentiments that your audience has nothing to
do but to weep--as was our feeling yesterday with Cosima, when we
both wept like children!
With all my heart, your
F. Liszt
Wednesday, October 23rd, 1867 [Munich]
60. To Eduard von Liszt
Dearest Eduard,
The enclosed letter from Chordirector Kumenecker [The Director of
the Altlerchenfelder Kirchenmusik-Verein, in Vienna, had
requested Liszt to grant him permission to give a performance of
the "Coronation Mass."] I received only on my return to Rome
(November 6th). Be so good as to pay the writer of it a visit in
my name, and ask him kindly to excuse my not complying with his
request. Also tell him that I have not got either the chorus or
the orchestral parts of the "Coronation Mass." The only existing
copies are those belonging to the Court orchestra of Vienna;
hence these parts would have either to be obtained or to be
copied if a performance of the work is to be given elsewhere, and
this I should not care either to advise or disadvise.
The Mass fulfilled its object in Pest on the Coronation Day. If
it should be given on any future occasion, I would recommend the
conductor to take the tempi solemnly always, but never dragging,
and to beat the time throughout alla Breve. And the "Gloria,"
more especially towards the middle and before the commencement of
the "Agnus Dei" up to the Prestissimo, must be worked up
brilliantly and majestically. Whether and when the "Coronation
Mass" is to appear in print I do not know. Dunkl (Roszavoglyi) in
Pest had intended to publish it, but the honorarium of 100 ducats
seems to make him hesitate, and I will not accept any smaller
sum. Two movements from it (the "Offertorium" and "Benedictus") I
have transcribed for the piano, and these may be bought
separately, which will be an advantage to the publisher. And the
pianoforte arrangements for one or two performers are to appear
simultaneously with the score.--It is of no importance to me to
have the work published immediately. If you should meet Carl
Haslinger and have an opportunity, ask him whether he would risk
100 ducats upon it. As he has already published a number of
Masses, this one might suit him as well. If not, it is all the
same to me. Only I cannot make any alteration about the
honorarium I have now fixed upon. [The "Coronation Mass," like
the "Gran Mass," was published by Schuberth, Leipzig.]
Yours,
F. Liszt
Rome, November 6th, 1867
61. To E. Repos
Dear Sir,
Pray excuse me for replying so late to your kind and cordial
letter. Various matters detained me in Germany longer than I
expected, and I have only been back three days at my house at
"Santa Francesca Romana," where I shall spend the winter. Your
publications will be excellent company to me here. I accept with
gratitude the Gradual and Vesperal [Gradual--a portion of the
Mass. Vesperal--book of evening prayer] (in--12) that you are
kind enough to offer me, and beg you to let me have them shortly.
What can I on my side send you that will be agreeable to you?
Something will be found, I hope, for I sincerely desire to
satisfy you.
It seems to me that it would not be of any use for you to
undertake to publish now one or two large works of my
composition. In order to be somewhat accredited, they must first
of all be performed and heard, not en passant, but seriously and
several times. For this I have no support in France, and should
even expose myself to unpleasant dispositions and interpretations
if I in the least endeavored to bring myself forward there. It is
only in Germany, Hungary, and Holland that, in spite of frequent
and lively opposition, my name as a composer has acquired a
certain weight. In those countries they continue performing my
music by inclination, curiosity, and interest, without my asking
anybody to do so. You have probably heard of the favorable
reception that the "Legend of St. Elizabeth" met with at the
Festival of the Wartburg at the end of August. For two years past
this work has been performed several times at Pest, Prague,
Munich, and I have recently been asked for it from Vienna,
Dresden, Leipzig, Aix-la-Chapelle, etc., but as the score has to
be sent to be engraved I have not been able to lend it further. I
shall give myself the pleasure of sending you a copy towards
Easter.-It is also in Germany (probably at Munich) that my
Oratorio "Le Christ" will be first given: now, as it is important
to me that the first complete performance (for the one in Rome on
the occasion of the centenary of St. Peter was only a tentative
and partial one) should be as satisfactory as possible, I must be
present at it. Consequently it will not take place till the
winter of '69--if I am still in this world then,--it being my
intention not to leave Rome for a year.
Pardon me these details, dear sir. As the cordiality of your
letter assures me that we shall have long business relations with
one another, it is better to put you at once in possession of the
facts of my musical situation. It prescribes to me duties
attached to many restrictions which my ecclesiastical capacity
increases still more. "Providemus enim bona non solum coram Deo
sed etiam coram hominibus."--
To return to your publications. Palestrina, Lassus, the masters
of the 16th and 17th centuries, are your models par excellence.
You have plenty of work for years to come to edit their admirable
works, and to put yourself on a par with the collection published
(cheap) at Ratisbon under the title of "Musica divina." Moreover
there is nothing to prevent you from adding many a composition
more or less modern. Dispose of my few, as you are pleased to
admit them. You might begin with the "Credo" (from the
"Coronation Mass"), and the "Te Deum" in plain song [cantus
planus] of which you speak. Later on a tolerably simple Mass,
with organ accompaniment only, might perhaps find a place. Then,
two excerpts from the Oratorio "Christ,"--"the Beatitudes" and
the "Pater noster"--which have already appeared at Leipzig, might
reappear in Paris, especially if there were any favorable
opportunity of getting them heard. As to the Oratorio entire, it
will be better still to wait awhile longer.
"Expectans expectavi"...and let my biographical notice which you
have in view also wait. In order to make it exact and
comprehensive, it would be necessary for me to give some data to
the writer who would undertake the task of representing me today
to the public. Many things have been printed about me in a
transient way. Amongst the most remarkable articles that of Mr.
Fetis, in his "Biographie universelle des Musiciens" (second
edition), of which you tell me, takes the foremost place.
Nevertheless, however much disposed I am to acknowledge the
conscientious and kind intentions towards myself of the
illustrious and learned man, and even whilst really thanking him
for raising the importance of my works which he connects with
"one of the transformations of Art," I shall not have the false
humility of accepting some of his valuations as definitive
judgments. Of all the theorists whom I know, Mr. Fetis is the one
who has best ascertained and defined the progress of harmony and
rhythm in music; on such chief points as these I flatter myself
that I am in perfect accord with him. For the rest he must excuse
me for escaping in different ways from the critical school whose
ways he extols. According to his theory Art ought to progress,
develop, be enriched, and clothed in new forms; but in practice
he hesitates, and kicks against the pricks,--and, for all that,
would insist that the "transformation" should take place without
in the least disturbing existing customs, and so as to charm
everybody with the greatest ease. Would to Heaven that it might
be so! Between this and them, pray accept, dear sir, my best
thanks, together with the expressions of my very distinguished
and devoted sentiments.
F. Liszt
Rome, November 8th, 1867--Santa Francesca Romana
P.S.--My sincere congratulations for the cross of St. Sylvestre.
People outside are quite mistaken in thinking that they are
lavish with decorations here.
I have informed the Princess W. of your kind arrangements
relative to the edition of the work that Monseigneur de Montault
mentioned to you.
62. To Madame Jessie Laussot
Dear Maestra,
No one knows better than you how to relieve the virtue of
obligingness by the most cordial kindness. You make a point of
persuading your friends that you are in their debt for the
services you render them. In so far as they give you the
opportunity of exercising your fine qualities you are perfectly
right, but further than that you are not; and for my part I beg
you to be as fully assured of my sincere gratitude as of my
entire devotion.
I am not going to set about pitying you much for the difficulties
and contradictions that your artistic zeal encounters. The world
is so formed that the practice of the Good and the search for the
Better is not made agreeable to any one; not in the things of
Art, which appear the most inoffensive, any more than in other
things. In order to deserve well one must learn to endure well.
The best specific for the prejudice, malice, imbroglios and
injustice of others is not to trouble oneself about them. It
seems that such and such people find their pleasure where we
should not in the least look for it: so be it, reserving to
ourselves to find ours in nobler sources. Besides, how could we
dare to lament over difficulties that run counter to our good
pleasure? Have not the worthiest and most illustrious servants of
Art had to suffer far more than we?...This consolation has its
melancholy side, I know; nevertheless it confirms the active
conscience in the right road.
This a propos of the prelude extra muros of your last concerts.
Let us pass on to the programmes of them, dear and victorious
Maestra.
The "Panis Angelicus," [By Palestrina.] the Schumann Quintet and
the sublime Prelude to "Lohengrin" are works which a well-
brought-up public ought to know by heart. You will do well
therefore to reproduce them often. There is no criticism
admissible on this subject; and, if you absolutely exact it that
I should make one at all, it would only be on the adjective
"celebrated," appended to the Schumann Quintet, which would do
without it without disadvantage. Pardon me this hairsplitting.-
As to the "Beatitudes" I entirely approve of your not having
exhibited them a second time. You know, moreover, that I usually
dissuade my friends from encumbering concert programmes with my
compositions. For the little they have to lose they will not lose
it by waiting. Let us then administer them in homoeopathic doses-
-and rarely.
I am delighted with what you tell me of Wilhelmj. Please assure
him of my best regard and of the pleasure I shall have in showing
it to him with more consequence. The Concerto for which he asks
has already been begged for several times from me by Sivori and
Remenyi. I don't know when I shall find time to write it. There
is not the least hurry for it, as long as criticism constrains
violin-virtuosi to limit themselves to a repertoire of four or
five pieces, very beautiful doubtless, and no less well known.
Joachim naively confessed to me that after he had played the
Beethoven and Mendelssohn Concertos and the Bach Chaconne he did
not know what to do with himself in a town unless it were to go
on playing indefinitely the same two Concertos and the same
Chaconne.
Sgambati and Pinelli announce six matinees of Chamber Music every
Wednesday, beginning the day after tomorrow. The audience will be
more numerous this year than formerly. People are beginning to
talk about these matinees in the aristocratic salons in which it
is often de bon ton not to listen to good music.--
Towards spring Sgambati will bring you his new laurels, and will
also tell you about his future prospects. The deciding of his
marriage will influence all the rest: it might almost be
regretted that our friend should abandon himself to an excess of
honorable feeling!
Without offending any one, the famous saying about the Chassepot
rifle may be applied to the Chickering Piano; it is doing wonders
at Rome. Everybody talks to me of it, and wants to see and hear
it. One of my archeological friends calls it "the Coliseum of
Pianos"!
My affectionate respects to your mother;--sympathetic
remembrances to Miss Williams; a friendly shake of the hand to
Callander;--admiring chirps to Bocage;--warmest compliments to
the Pearsolls, and
Very cordially yours,
F. Liszt
Rome, January 13th, 1868
63. To Dr. Franz Brendel
Dear Friend,
My hearty congratulations upon our Falcon-colleagueship [Brendel
had received the Weimar Order of the Falcon of Watchfulness
(Falkenorden der Wachsamkeit)] and henceforth always, "Vigilando
ascendimus."
As I was expecting parcels and news from Leipzig I delayed
answering your friendly letter. I have not yet received either
the Almanack, or the corrected proofs of the "Elizabeth". How did
the performance in the Pauliner Church [Riedel had arranged a
performance of the "Elizabeth" in Leipzig.] go off? Ask Kahnt to
let me have one or two of the notices of it--especially the
unfavorable ones. Remind him also to write to Otto Roquette about
the translation of the Latin chorus at the end, to which I
referred in my last letter to him.
Berlioz's "Requiem" is the corner-stone of the programme for the
Altenburg Tonkunstler-Versammlung. I have often speculated about
the possibility of having this colossal work produced.
Unfortunately the Weimar churches were not sufficiently spacious,
and in Brunswick, where the Egidien church would be a magnificent
place for musical festivals of any kind, other difficulties stood
in the way. Probably Altenburg also does not possess any building
sufficiently large to hold an orchestra for the "Dies Irae", and
Riedel will have to reduce the 16 drums, 12 horns, 8 trumpets and
8 trombones to a minimum. But, even though it should not be
possible to give a performance of the whole work, still there are
portions of it--such as the "Requiem Aeternam," the "Lacrymosa
and Sanctus"--that are extremely well worth hearing and
appreciating.
The sketch of the programme furnishes an excellent antidote to
Berlioz's Requiem, in Handel's "Acis and Galatea"; and some
smaller things of Draseke, Lassen and my humble self might be
introduced in between.
Sgambati's co-operation will depend upon my journey. I am unable
as yet to say anything definite about it. Not till June can I
decide whether I can come or not. To speak frankly it will be
difficult for me to leave Rome at all this year.
With regard to your personal affairs I can but again assure you
that I take the liveliest interest in them. The modesty of your
claims, dear friend, is very much out of proportion with the
importance of the services you have rendered. One rarely meets
with demands that are as just and as unpretending as yours. Be
assured of my sincere readiness to promote your interest in
higher quarters, and to do what I can to satisfy you.
With warmest thanks and kindest greetings yours,
F. Liszt
Rome, January 26th, 1868
Sgambati's matinees for Chamber-music are better attended than
ever this winter. They include all that is musically interesting
as regards Rome.
64. To Walter Bache
Dear Mr. Bache,
I thank you cordially for your kind letter, and beg you to rely
always on my feelings of sincere affection and esteem.
It would certainly be a great pleasure to me to see you again in
London this summer, yet I could not venture to promise or to keep
my promise, and must abstain from either.
Please therefore to make my excuses to the Secretary of the
Philharmonic Society, and to thank him for his kind intentions
towards me. If an opportunity of realising them should occur
later on,--without disappointment or disagreeableness to any
one,--I should be much pleased. As regards the present time it is
superfluous to give any thought to the proposition you transmit
to me, in view of the obligations which will retain me elsewhere.
I am even doubtful whether it will be possible for me to accept
the invitation of my German friends to the Tonkunstler-
Versammlung at Altenburg in July.--
The good news you give me of Klindworth is very pleasant to me.
May he remember me sufficiently well to know how much I
appreciate him and what an affection I have for him.
Sgambati is very much in fashion this winter, and the fashion is
perfectly right in this. He sends you a thousand affectionate
greetings, and Lippi, [A Roman pupil of Liszt's] Mdlle. Giuli
[Liszt's best lady-pupil in Rome] and the other patients of the
"Scuola" [School] hold you in warm remembrance.
Accept also, dear Mr. Bache, the assurance of my very sincere
devotion.
F. Liszt
Rome, January 30th, 1868
The performance of my symphonic works in London must, like the
concert of the Phil. Society, be postponed. Your zeal in this
matter touches me much. I would not wish tosuppress it, and only
beg you to moderate it so that it may be all the more fruitful.
65. To Dr. Franz Brendel
Dear Friend,
I have nothing to find fault with in the sketch of the Altenburg
programme except that my name occurs too often in it. I am afraid
of appearing obtrusive if several works of mine are produced at
every Tonkunstler-Versammlung. Certainly the repetition of the
13th Psalm might be permissible and even advantageous to myself,
as you kindly remark; also I should not care to raise any protest
against the chorus "An die Kunstler," and simply because it has
hitherto been more screamed at than heard, for it has been
accounted one of my most culpable heresies to have set these
words of Schiller's to music after Mendelssohn, and indeed
without copying Mendelssohn and without humoring the customary
taste of Vocal Societies. Parenthetically be it said that
Schiller and "Manhood's dignity" forbade me to make this
composition any pleasanter. I dreamt a temple and not a kiosk!--
If you run the risk of giving this Artists' Chorus in Altenburg I
must beg the conductor to take all possible care in rehearsing
it--and to aim at the most dignified composure in the
performance. Like reverberating marble-pillars must be the effect
of the singing!--
Please thank Stade [Director of the Court orchestra, and Court
organist in Altenburg (born 1817); he was a friend of Liszt's for
many years.] most warmly for his friendly intention to play one
of my Organ pieces. He will probably choose either the Variations
on the Basso continuo of Bach's Cantata "Weinen, sorgen, seufzen,
klagen" ("Weeping, grieving, sighing, lamenting")--or the BACH-
Fugue.
Discuss the matter again with Riedel and Stade, as to whether 3
items by Liszt on the programme are not too much. I will gladly
yield to your decision, and wish only there were more prospect of
my being able to attend this Tonkunstler-Versammlung. However I
cannot say anything definite about it till June.
Sgambati gives a concert next week in Florence. On his return at
the end of April it will be decided whether he can undertake the
journey to Altenburg or will have to remain here all summer.
Sgambati is decidedly not an artist for a watering-place,
although as a virtuoso his talent is extraordinary and
undoubtedly effective. He plays Bach, Beethoven, Chopin,
Schumann, and my most troublesome things with perfect
independence and in a masterly style. His artistic tendencies and
sympathies are altogether "new-German." This winter we heard two
of his larger works: a Pianoforte-Quintet and a Nonet for
strings. Both of these deserve to be brought out by our Musik-
Verein.
Ad vocem of the dedication of Seifritz's Overture, you have come
to the right resolution in dedicating the 2nd year's issue of the
Almanack to Prince Hohenzollern. I likewise approve of the
following numbers being dedicated to the Princes in whose
capitals the Tonkunstler-Versammlungen are held.
The first number of the Almanack seems to me very successful. But
the historical Calendar might gain in interest by omissions and
additions. Mediocre local celebrities such as "H.S. in E., T.D.
in B., L.A. in L.," etc., etc., do not need to figure as
historical. As little do a couple of first performances that were
given in Weimar under my conductorship. See to it, dear friend,
that more important data are collected in good time, and that
superfluous data are rejected.
As I told you in Leipzig, the Grand Duke has determined to have
me in Weimar for a couple of months during the winter (towards
the beginning of '69). Perhaps I may go somewhat sooner.
With the next sending of proofs please ask Kahnt to enclose the
manuscript of the 18th Psalm ("The Heavens declare the glory of
God") for male voices. It is written on very large sheets of
music-paper and bound in boards. But in order that the parcel may
be made a more convenient size let the boards be removed and the
manuscript paper doubled up. Kahnt will remember that I left him
this manuscript seven years ago.
With hearty greetings, yours most sincerely,
F. Liszt
March 3lst, 1868
66. To Johann von Herbeck
Dear Friend,
My cousin Eduard will bring you the score of the 18th Psalm
intended for the Mannergesang-Verein [Vocal Society for Men's
Voices] in Vienna. Allow me at this opportunity again to offer
you my sincerest thanks for the kindly feelings you have always
entertained for me. The further fate of the Psalm forwarded to
you I leave wholly in your hands. You will have to decide whether
it is suitable for being performed at the Jubilee Festival of the
Mannergesang-Verein. If you think it is I shall be glad; still I
beg you not to make it any special consideration, and if you
think it more advisable not to burden the Festival-programme with
it, I shall be quite content, feeling convinced, dear friend,
that you will know best what is most to my advantage.
Otherwise the study of it would give no trouble. The Psalm is
very simple and massive--like a monolith. And, as in the case of
other works of mine, the conductor has the chief part to play.
He, as the chief virtuoso and artifex, is called upon to see that
the whole is harmoniously articulated and that it receives a
living form. In the rhythmical and dynamical climax, from letters
B to E (repeated from H to L), as also in some of the ritenuti;
especially in the passage:
"The law of the Lord is perfect,
Converting the soul;
The testimony of the Lord is sure,
Making wise the simple, etc.,"
you will find substance to prove your excellence as a conductor.
Well, dear friend, you know what it is brilliantly to arouse a
flaming spirit out of dead notes.
Accept the assurance of my sincere esteem and affection.
F. Liszt
Rome, June 9th, 1868
67. To Dr. Franz Brendel
[This is the last of the many letters Liszt addressed to Brendel,
who died a few months afterwards.]
Dear friend,
As might have been foreseen, I must unfortunately give up all
thought of paying you and my friends of the Tonkunstler-
Versammlung a visit this year. Were it possible for me to get
away from here, I should today start for Munich, in honor of the
"Meistersinger" which is to be performed next Sunday--and thence
I should go to Weimar and Altenburg. In place of this I have to
remain here till the end of the month. After that I mean to go to
the neighborhood of Ancona for some sea baths. Please send me at
once, in a wrapper, the notices of the Altenburg Musical Festival
that have appeared in the Neue Zeitschrift.
Sgambati asks me to send you his kindest excuses. He would have
much liked to wander to Germany, but he too is nailed here for
this summer. His concerts in Florence with Wilhemj a few weeks
ago were very successful. Sgambati is quite a phenomenal pianist
for Italy, and is certain to do himself credit elsewhere on
account of his sterling qualities, and his rare excellence as a
virtuoso is combined with a personality of the greatest
amiability and reliable artistic feeling. There is some talk of
his getting an appointment in St. Petersburg.
A fortnight ago I heard from Paris that Berlioz was failing in
health and suffering greatly. When I saw him last (in the spring
of '66) he was then already physically and mentally broken down.
Our personal relations always remained friendly, it is true, but
on his side there was somewhat of a gloomy, cramped tone mixed
with them...
Neither Schumann nor Berlioz could rest satisfied at seeing the
steady advance of Wagner's works. Both of them suffered from a
suppressed enthusiasm for the music of the future.
I shall not be able to decide about my proposed stay in Weimar
till the end of the year. Till then I shall keep quiet here or in
the neighborhood, the extreme boundary to which is indicated by
the sea baths of Ancona. Several other invitations have had to be
courteously declined. But next year a considerable change may
take place in my outward circumstances, and may again draw me
closer to Germany. How this last chapter of my life will shape
itself I cannot yet foresee.
The Vienna Mannergesang-Verein have kindly asked me to provide a
composition for their Jubilee Festival. This is the reason why I
asked Kahnt for the score of the 18th Psalm ("The Heavens declare
the glory of God"), which has at last come, and was despatched to
Vienna the day before yesterday [published by Schuberth,
Leipzig]. Kahnt has no doubt also received the corrected
pianoforte score of the "Elizabeth." And there happily remains
only the full score to do, the proofs of which I am expecting
now.
During the winter my innumerable social duties rendered it
absolutely impossible for me to write any longer compositions.
This enforced idleness vexes me extremely--and I intend to assume
an air of rudeness to rid myself of a great many people. It is
more especially intrusive correspondents who are a vexatious
waste of time to me. Since the "Coronation Mass," I have in fact
only written one solitary work: a "Requiem" for male voices with
simple organ accompaniment [published by Kahnt, Leipzig].
How much I should like to hear Berlioz's colossal Requiem in
Altenburg!--Think, when there, in all friendliness of
Your sincerely attached
F. Liszt
Rome, June 17th, 1868
Again I beg you to send me regularly the programmes and the
notices of the Altenburg T.K.V. in the Neue Zeitung.
68. To E. Repos
Dear Sir,
As you are kind enough still to remember about the "Ave Maris
Stella" it would be inexcusable of me to forget it. My first
manuscript having gone astray I spent the whole of yesterday in
rewriting this very simple song, of which you will receive two
versions at once by the next possible occasion; one for
mezzosoprano voice with Piano or Harmonium accompaniment, the
other for 4 male voices with a little Organ accompaniment. In
this latter please excuse my very bad writing, over and above
whatever there may be defective in the composition. I cannot,
here, have several copyists at my disposal as in Germany. The
only one whom I can employ is ill--and I have not time to wait
till he gets well, for from tomorrow I undertake my pilgrimage to
Assisi and Loretto--after which I shall make a villeggiatura of
at least six weeks at Grotta-mare (near Ancona, on the shores of
the Adriatic).
I depend on your kindness to send me the final proofs of the "Ave
Maris Stella" to the address which I will give you shortly.
How shall I manage to get you my biographical notice published in
1843 in the voluminous collection of the Biographae Pascallet? I
really do not know. This notice is both the most exact, the best
edited, and the kindest of all that have appeared about me in
French. Mr. Fetis quotes it in my article of the Biographie univ.
des Musiciens, and I have asked Mr. le Chanoine Barbier de
Montault to look for it at Angot the editor's.--The entire
collection of the Biographaie Pascallet must be, amongst others,
in the library of Mr. Emile de Girardin, but the illustrious
publicist has so many great matters to attend to that I should
scruple to trouble him about such a trifle.
In any case it will be easy to unearth our unhappy little Opus in
question in the Bibliotheque imperiale, where, if necessary, it
can be copied for the use of Mr. le Ch. de Montault.
Please, dear sir, count on my very sincerely affectionate and
devoted sentiments.
F. Liszt
Rome, July 1st, 1868
A thousand thanks for your kind sending of the Repertoire of St.
Sulpice, which is this moment come.
69. To Prof. Carl Riedel in Leipzig
[1827-88, founder and director of the celebrated Riedel Verein in
Leipzig, and after Brendel's death President of the Allgemeine
Deutsche Musikverein.]
Dear Friend,
My sincere congratulation upon your glorious accomplishment--the
performance of Berlioz's Requiem in Altenburg, and also my
kindest thanks for all the trouble and care you have bestowed
upon the "Elizabeth" and the "13th Psalm." I hope to hear
Berlioz's "Requiem" next winter in Leipzig, and also some of
Bach's contrapuntal "feste Burgen." My ears thirst for them!
Meanwhile let me ask Frau Professor Riedel kindly to accept me
herewith in effigy as an inmate.
With sincere esteem, I remain, dear friend,
Your gratefully attached
F. Liszt
Grotta Mare, August 12th [1868]
70. To E. Repos
Dear Sir,
By the same post I return you the proofs of the "Ave Maris
Stella," which reached me yesterday. Will you be kind enough to
have the various errors of these first proofs corrected on the
plates. Exactitude in editions is a duty of the profession, too
often neglected.
I will send you, by the first opportunity, a short "Offertoire"
(of some 40 bars) for men's voices. The text forms part of the
service of St. Francis--"Mihi autem adhoerere Deo bonum est," and
I composed it lately at Assisi.--In about a week's time I shall
be back in Rome, where I left my manuscripts; amongst others a
"Requiem" for men's voices with Organ accompaniment. The style of
it is very simple, and whatever goodwill one brings to it the
execution will also be very simple. If it would suit you to
publish this "Requiem" (of about some thirty small pages of
print) I will send it you with the "Offertoire" of St. Francis.
Accept, dear sir, the expression of my distinguished and devoted
sentiments.
F. Liszt
Grotta Mare, August 26th, 1868
Address Rome.--I have not received any letter from you for
several months.
71. To Prof. Dr. Siegmund Lebert in Stuttgart
[The addressee was a distinguished pianoforte teacher (1822-
1884), co-founder of the Stuttgart Conservatoire, co-editor of
the Grosse Clavierschule (Lebert and Stark), and of the
instructive edition of Classical pianoforte--works published by
Cotta, in which Liszt, Bulow and Faisst took part. It is to these
last-mentioned works that the letters here given refer.]
Dear Friend,
To satisfy rational and righteous people is the better part of my
life. I am very glad that you approve of the letter to the French
edition of your Method, and that you find it appropriate. I have
simply said what I think. I pledge myself always to be true in
speech and action, however many annoyances and misinterpretations
may be hurled at me in return. In confidence I will tell you what
is the rule of my whole existence; it consists of the daily
prayer: "O veritas Deus, fac me unum tecum in perpetua
caritate!"--
Excuse the delay in the return of the 3rd part of the Method. I
thought of making use of some favorable opportunity of sending it
to Stuttgart to save you the expense of postage; but no such
opportunity has presented itself, and so this concluding volume
of the Method was despatched to you through the agency of Herr
Kolb (Wurtemberg consul in Rome). The added notes are very
unimportant, because, in fact, I had no other weightier remarks
to make. While playing through the Etudes I found myself put into
a thorough good humor, and this must be my excuse for the few bad
jokes which my mischievous pencil scribbled down. Please do not
let them go further; such jests must be kept quietly to
ourselves.
In Grotta mare I wrote about 20 pages of the technical exercises.
Unfortunately a host of correspondence prevents my making
progress with the work I have already begun and which is finished
in my head. The Italians say: Give time, time ("dar tempo al
tempo"), which often provokes me utterly!--
First of all I shall set to work at the Weber and Schubert
edition, which I hope to send you by the beginning of November.
Please present my best thanks to Baron Reischach for his kind
letter. The business point of it (the Weber and Schubert edition)
I herewith answer; that I shall redeem my promise by the
beginning of November; and that with an easy conscience I shall
then give proof of my gratitude by writing to Baron R. myself.
In sincere and friendly collaboratorship, I am
Yours most sincerely,
F. Liszt
Rome, September l0th, 1868
72. To E. Repos
Dear Chevalier and Friend,
Your last letter interests me much, and I thank you very
sincerely for the confidence you show me. Certainly I should ask
nothing better than to reply to it as you wish; but there is the
difficulty. Shall you reproach me with "claudicare in duas
partes"? No, I do not think you will, for I do not intend to have
any hitch; it is simply that the small influence which, in
certain given circumstances, I could exercise, is paralysed by
other circumstances that now predominate. I should be obliged to
explain various things to make you understand my extrinsic
inaptitude, and consequently my obligatory abstention on some
points which touch me closely. I prefer not to enter into these
details in writing; perhaps we shall have an opportunity of
speaking about them: as to the present time the following is my
reply, reduced to the most concise terms:
I entirely approve of your two projects of the competition of
sacred Music, and of the definitive, normal and really Catholic
edition of the Plain-Song of the Church. These two enterprises
are opportune and desirable, and may be carried out to your honor
and advantage. All the same I am not in a position to serve you
efficaciously utraque. Therefore I ought not to be mixed up with
it,...unless any contingency as unforeseen as decisive should
supervene.
You will have read in the Correspondance de Rome that the work of
M. Sre. Alfieri has remained in suspense. It is not a posthumous
obstacle with which your edition would have to contend, but
another, which might also be called Legion.
The "Requiem" and the "Offertoire of St. Francis" shall be sent
to you in a fortnight. Before sending them to you I want
carefully to look through the copy, so as to save the engraver as
many corrections as possible.
I shall not leave Rome till Christmas; from January till the end
of March I shall be at Weimar.--
Pray accept, dear Chevalier and friend, the assurance of my
affectionate devotion.
F. Liszt
September 19th, 1868
When will the 1st volume of your publication of the History of
the Popes and Cardinals come out? I shall be much obliged if you
will send it me.
73. To C.F. Kahnt, the Musical Publisher
[Facsimiles of this and No. 99 appeared in the Neue Zeitschrift
fur Musik, June 18th, 1890.]
Dear Sir and Friend,
The delay in the receipt of your letter did not in any way lessen
the very welcome news it contained, for which I thank you
cordially. Herewith also my warm congratulations in regard to the
little red-colored Altenburg volume.
Of the gracious acceptance accorded to the dedication copy of the
"Elizabeth" I have already received a full report, which is
altogether satisfactory. The second copy de luxe please to keep
for the present. I should like to present it to our Grand Duke ad
honorem of the Wartburg Library.
Your intention of sending the third copy next Easter to the
Exhibition of the German Products of the Printing Press, I, as
the author, consider both very appropriate and a pleasant piece
of news.
As I am expecting corrected proofs of the "Elizabeth" score, I
beg you to enclose Wieseneder's "Kindergarten Lieder-Buchlein"
[Book of Kindergarten Songs]. Probably this will be your last
sending to Rome for the year '68, as I shall be in Weimar again
by the beginning of January. I shall, therefore, leave all
further discussions in extenso till then. Meanwhile there is
scarcely anything positive or to the point to write about.
My friendly greetings to Brendel; he knows how much it is my wish
to obtain reliable support and some profitable advantage for the
endeavors of the A. D. Musik-Verein. Rest assured of this, dear
friend, and count upon my sincere and unalterable attachment.
F. Liszt
Rome, September 20th [1868]
Be quick with and out with the 69th Almanack!--
74. To E. Repos
Dear Monsieur Repos,
Here is the Requiem. If you think it would be well to publish the
five parts separately (Requiem, Dies irae, Offertoire, etc.) in
the 5 numbers of the Revue de Musique sacree, I have not the
slightest objection to it; and will only ask you to announce the
complete edition, to be had by itself, at the same time as the
detached pages appear.
The copy is very distinct and correct; please beg the engraver
not to add any wrong notes of his own composition, and send me
the proofs to Rome.
I should be glad if the "Offertoire" of St. Francis (added to the
book of the Requiem) could come out at once. The manuscript is
only two pages,--and I do not think I shall be infringing too
much St. Francis's rule of poverty by reserving to myself, for
this Offertoire as well as for all my compositions that you
publish, author's rights for Germany and Italy, in order to keep
my promise to several publishers.
Accept, dear Monsieur Repos, the expression of my very
distinguished and devoted sentiments.
F. Liszt
Rome, September 22nd, 1868
75. To Prof. Dr. S. Lebert
Dear Friend,
Today I deserve a little praise. The Weber task is finished, and
hence I have kept my promise a few weeks in advance.
How I have understood my task you will see from the short Preface
on the first page of the various readings to the "Conzertstuck."
The printer will have to act in strict conformity with what is
there stated, and to give the necessary letters and signs.
Unfortunately I cannot help giving this unusual trouble, for two
kinds of letters and signs are positively indispensable.
My responsibility with regard to Cotta's edition of Weber and
Schubert I hold to be: fully and carefully to retain the original
text together with provisory suggestions of my way of rendering
it, by means of distinguishing letters, notes and signs,--and
these I beg you will again have fully explained to the printer.
In the various readings you will probably find some things not
inappropriate;--I flatter myself that I have thus given
performers greater licence, and have increased the effect without
damaging or overloading Weber's style. Get Pruckner, who is
acquainted with my bad musical handwriting, to play the various
readings to you.
N.B.--They must be printed in small notes throughout the whole
edition.
The parcel containing the "Conzertstuck," "Momento capriccioso,"
4 Sonatas of W[eberj (and the 2 Beethoven ones of the Bulow
edition) will be despatched to you tomorrow by Kolb. Send me, at
your early convenience, Weber's 2 Polonaises (Hartel's last
edition), which must not be omitted in Cotta's edition; also let
me have all Schubert's Dances (Valses, Landler, Eccossaises, in
Holle's edition revised by Markull). And as I have now got into
the way of revising, I should like at once to prepare the
Schubert volume and submit to you, before the end of November,
the result of many years of most delightful communion with
Weber's and Schubert's pianoforte compositions, with fingering,
marks for pedal and expression, and various readings.
The Schubert volume I shall limit to 3 or 4 Sonatas, the great
Fantasia, some 8 Impromptus, the Moments Musicals, and all his
Dances. A few other pieces as duets may follow later, more
especially his Marches and the Hungarian Divertissement.
Let me hope that my work may prove intelligible, temperate and
satisfactory, and also of some service to ordinary pianists.
Any remarks and objections you may have to make in connection
with these, I shall be quite willing to consider.
With friendly greetings and thanks,
Yours most sincerely,
F. Liszt
Rome, October 19th, 1868
P.S.--Let me hear from you at once, as soon as you receive the
parcel.
76. To Richard Pohl at Baden-Baden.
Rome, November 7th, 1868
.--. My very kind biographer La Mara writes me a few charming
lines telling me that she is shortly sending me her volume
"Studienkopfe" ["Studies of heads"]. "Das junge Volk hat Muth,"
["Young folk have pluck"] as you say, and I quite approve of
their not letting themselves be intimidated. Courage is the vital
nerve of our best qualities; they fade away when it is wanting,
and unless one is courageous one is not even sufficiently
prudent. To examine, reflect calculate and weigh are assuredly
necessary operations But after that one must determine and act
without troubling too much about which way the wind blows and
what clouds are passing. .--.
77. To Johann von Verbeck
Much esteemed Friend,
I have just answered the invitation of the "Musikfreunde," and
trust you will agree with what I have written. I am quite aware
that the performance of the "Elizabeth" in Vienna--which is
considered a mark of honorable distinction to me--I owe to you.
My not having complied with your offer before was mainly due to
my desire to spare you any embarrassments in connection with the
performance, embarrassments which I, owing to my peculiar
position and my distance from active circles of the Press, can
readily ignore without the slightest "bitterness of feeling."
Well, let us hope that your favorable augury will prove true.
Your earlier letter I have not received. But I was heartily
delighted with your last. Shortly before receiving it I had been
hearing a number of excellent things about the composer,
conductor and friend Herbeck, all of which tallied perfectly with
what I remembered and of what I myself feel convinced. You will
guess who communicated all this to me.
To return to the "Elizabeth" performance in Vienna; I should like
to be present. The Committee of the Musikfreunde name two days in
March; the last mentioned would be the most convenient one for
me. I must tell you beforehand, in confidence, that on this
occasion I should not be able to remain in Vienna beyond a couple
of days, and that I wish especially to keep quiet while there,
and to meet as few people as possible. It is no longer in any way
appropriate that I should appear anywhere in person; [Liszt had
been requested to conduct his "Elizabeth", a request he declined
(probably in consideration of his having taken holy orders).] it
suits me much better, when necessary, to be trodden down an
effigy by all the different chatter. And as you, much esteemed
friend, are the one and only person who shall conduct the
"Elizabeth" in Vienna, I wish to leave the distribution of the
vocal parts entirely to your care. I would merely remind you that
my two compatriots Bignio and Fraulein Rabatinsky (now in Vienna)
sang splendidly in the parts of the Landgrave Ludwig and the
spiteful Landgravine Sophie, at the first performances of the
Oratorio in Pest. Hence, if no categorical objections are raised
against them by the worthy theatrical potentates, it would seem
advisable and well to secure these singers for parts for which
they have already proved themselves competent.
As an unnecessary remark let me add that the small Magyar
Cantilena of the Magnate (in the first number) requires a
powerful voice.
In sincere esteem, I remain yours in all friendliness,
F. Liszt
Villa d'Este, December 1st, 1868
P.S.--I am expecting the promised manuscript of the
"Tanzmomente." [Composed by Herbeck for orchestra; transcribed by
Liszt for the pianoforte] By the beginning of January I hope to
be in Weimar.
78. To Prof. Dr. S. Lebert
Dear friend,
The annotations to Schubert's Sonatas demanded more time than I
had anticipated. For some weeks past I have been working
industriously at them--now they are finished ad unguem.
Our pianists scarcely realise what a glorious treasure they have
in Schubert's pianoforte compositions. Most pianists play them
over en passant, notice here and there repetitions,
lengthinesses, apparent carelessnesses, and then lay them aside.
It is true that Schubert himself is somewhat to blame for the
very unsatisfactory manner in which his admirable piano-forte
pieces are treated. He was too immoderately productive, wrote
incessantly, mixing insignificant with important things, grand
things with mediocre work, paid no heed to criticism, and always
soared on his wings. Like a bird in the air, he lived in music
and sang in angelic fashion.
O never-resting, ever-welling genius, full of tenderness! O my
cherished Hero of the Heaven of Youth! Harmony, freshness, power,
grace, dreamings, passion, soothings, tears and flames pour forth
from the depths and heights of thy soul, and thou makest us
almost forget the greatness of thine excellence in the
fascination of thy spirit!----
Let us limit our edition of Schubert's pianoforte compositions to
2 Sonatas, the G major Fantasia (a Virgilian poem!), the splendid
"Wanderer"-dithyramb (C major Fantasia), 2 books of Impromptus,
Moments Musicals and all his Valses (among which there are gems
of the first water). All this will be sent to you forthwith; and
in addition Weber's Polonaises.
In the Sonatas you will find some various readings, which appear
to me tolerably appropriate. Several passages, and the whole of
the conclusion of the C major Fantasia, I have re-written in
modern pianoforte form, and I flatter myself that Schubert would
not be displeased with it.
The pianoforte Duets of Schubert (Holle's edition) please address
to Weimar, as I have no time left for revisings in Rome. Send me
also a copy of the "Aufforderung zum Tanz" ["Invitation to the
Dance"] that is so drummed at everywhere. You forgot to let me
have this piece of salon-fireworks with the other music, and I
too did not remember it at the time; years ago I had to play this
"Invitation" over and over again, times innumerable--without the
smallest "invitation" on my part--and it became a detestable
nuisance to me. However, such a show-piece must not be omitted in
Cotta's edition of Weber.
Your visit to Weimar, dear friend, will be very welcome and
agreeable to me. When there we shall be able to discuss, weigh
and settle a number of things very conveniently.
With sincere thanks, I remain
Yours in all friendship,
F. Liszt
Villa d'Este, December 2nd, 1868
P.S.--I have not received the French translation of your Method.
79. To Eduard von Liszt
Dearest Eduard,
Your promotion [Eduard von Liszt had been appointed
Oberstaatsanwalt (Chief State attorney) in Vienna.] is a real and
great joy to me. It does my heart good to see your continual
services receive recognition, and to know you about to enter a
more promising sphere. Your new position does not, indeed, free
you from all effort and exertion, but you have long since become
accustomed to bear the yoke on work-days like a man, and although
the yoke may not appear altogether enviable, still it is always
the most honorable and most secure.
I wish only that you may ever remain true to yourself, and by
perfectly satisfying your own conscience you may deeply feel
God's unfailing promise "Dominus non privabit bonis eos qui
ambulant in innocentia."--
.--. From the President and the Vice-President of the Society of
Musikfreunde, Drs. Egger and Dumba, I received a very friendly
letter inviting me to fix upon one of the three day--2lst
February, 7th or 23rd March--for the performance of the
"Elizabeth" in Vienna, and to undertake to conduct the work. To
do the latter is absolutely impossible to me, for reasons that
you know; hence I shall decline to fix upon a date. My answer
conveys to the above-named gentlemen my thanks for this
distinguishing mark of their good-will, and, at the same time, I
express my wish to attend the performance, and mention that the
end of March would be the most convenient time for me.
I also wrote to Herbeck pretty fully, saying that he, and he
alone, should conduct this performance; it is to be hoped that
under his direction the whole thing will run a successful course.
Hearty greetings to all yours, and I look forward to seeing you
again soon.
F.L.
December 6th, 1868 [Villa d'Este]
80. To Johann von Herbeck
Very dear Friend,
Although I feel absolutely sure that you will conduct the
"Elizabeth"-performance in a perfect and brilliant style, I
gladly comply with your wish that I should be in Vienna a few
days beforehand. As I have already said, it would be more
convenient to me to leave here towards the end of March.
Meanwhile present my most gracious thanks to the Committee of the
"Musikfreunde," with the request that they will in future regard
me as quite inadmissible as a conductor. Your question whether I
attach "any special importance" as to how the different parts
should be filled, I answer simply thus: arrange things wholly and
entirely as you think best. The few indefinite suggestions in my
last letter are of importance only in so far as they agree with
your competent arrangement, otherwise in no way. One point only I
should like adhered to in the Vienna performance, namely that no
foreign singers be engaged for it. To have one's own house in
good order is always the wisest and safest plan.
I have heard much in praise of Fraulein Ehnn [A singer at the
Royal Opera House in Vienna]; and should feel specially indebted
to her if she would undertake the Elizabeth: the part does not go
against the grain, and should Fraulein Ehnn wish any alterations
I should be quite willing to consider them.
With warm thanks, yours most sincerely,
F. Liszt
Rome, December 29th, 1868
The "Tanzmomente" are still dancing on their way here, for they
have not yet come.
81. To Edvard Grieg
[Published in Gronvold "Norwegische Musiker" (Norwegian
Musicians, Warmuth, Christiania).--The addressee was the clever
leader of the Young School of Northern Composers. He was born at
Bergen in 1843, and educated at Leipzig.]
Sir,
I am very glad to tell you what pleasure it has given me to read
your Sonata (Op. 8). It bears testimony to a talent of vigorous,
reflective and inventive composition of excellent quality,--which
has only to follow its natural bent in order to rise to a high
rank. I am pleased to think that in your own country you are
meeting with the success and encouragement that you deserve:
these will not be wanting elsewhere either; and if you come to
Germany this winter I cordially invite you to stay a little at
Weimar, in order that we may thoroughly get to know each other.
Pray receive, sir, the assurance of my sentiments of esteem and
very distinguished regard.
F. Liszt
Rome, December 29th, 1868
NEXT SECTION: WEIMAR.--PEST.--ROME.
82. To Commerzienrath Carl Bechstein in Berlin
[Head of the famous pianoforte-manufactory; our "Beflugler," as
Bulow and Tausig called him (A play on the word Flugel, which
means both a "grand piano" and "wings.")]
Very Dear Sir,
Accept a seven-octaved chromatic scale of thanks for your
kindness in sending your magnificent piano for the Grand-Ducal
Hofgartnerei in Weimar. I hope you will on some occasion allow me
to have the pleasure of convincing you, de visu et audaitu, how
glorious the instrument looks and sounds here.
According to report we are shortly to see Tausig again in Weimar.
Tell him he may be sure of a hearty welcome from me.
With sincere esteem and grateful thanks I remain
Yours most sincerely
F. Liszt
Weimar, January 19th, 1869
P.S.--Enclosed are a few lines for Tausig, which kindly forward
to him.
83. To Johann von Herbeck
Very Dear Friend,
Fraulein Ehnn's amiable readiness to undertake the part has
greatly pleased me, and I beg you to convey my sincerest thanks
to our "Elizabeth." The part will not cost her any immoderate
effort; all possible alterations, pauses, dotted notes,
ornamentations, shall be left ad libitum and entirely to the
pleasure of the gracious singer. Do not write to me further on
this subject, and endeavor merely to get Fraulein Ehnn to feel
herself comfortably and pleasantly at home with my poor tone-
melodies.
Friend Remenyi, whom I do not need now to introduce to you, will
be the bearer of these lines to you. He has delighted and
captivated every one here, the Court as well as the public, and
this is verily no small matter, for in Weimar we are accustomed
to the most distinguished violin-virtuosos. I requested him to
tell you how grateful I feel to you for your idea of a concert of
Liszt's compositions.
But, in order to avoid every appearance of indiscretion or
forwardness, I consider it well and advisable to keep exclusively
to the Elizbeth on this occasion.
Hold fast, therefore, to two points:
a. all parts of the Elizabeth to be filled by native talent.
b. Critics to be worried only with this one work.
[At the performance of the Elizabeth in the "ausserordentlichen
Gesellschafts-Concert" (Company's special concert) on April 4th,
1869, Liszt met with a genuine triumph. Herbeck writes: "After
every number, and at the end of every part, there was no end to
the calls for Liszt." The performance was repeated on April 11th,
and received with even greater enthusiasm.]
I have also requested Remenyi to ask you about the apartments I
shall require. My stay in Vienna will be limited to eight or ten
days, which I should like to spend in as quiet and peaceable a
way as possible, and not within the circle of disturbing
visitors.
With sincere esteem and friendly attachment yours,
F. Liszt
Weimar, January 27th, 1869
84. To E. Repos
Dear Sir and Friend,
A thousand sincere thanks for the kind zeal and love that you
bestow upon the publication of my poor works. In order that the
edition of the "Requiem" may be entirely correct, I will beg you
to send me again proofs of the "Offertoire," "Sanctus" and "Agnus
Dei," either to Weimar before the 18th March, or to Vienna from
the 25th March to the 12th April. My address in Vienna is c/o Mr.
Herbeck, Court conductor, etc., etc. Graben, Trattnerhof. Vienna.
Austria.
I shall spend two or three days at Ratisbon towards the middle of
April, in order to hear the Cathedral choir there, which has a
great reputation in Germany. There also I shall find a manuscript
of the highest interest, and one which up to now has been almost
unknown: it is the opus musicum magnum of Orlandus Lassus. It is
composed of more than five hundred pieces of music.
Are you in touch with Mr. Pustet, the most considerable publisher
of religious music at Ratisbon?--
Your visit to Rome will be extremely agreeable to me. I expect to
be back at the end of April and to pass the summer at Santa
Francesca Romana.
Your very affectionately devoted
F. Liszt
Weimar, March 3rd, 1869
Probably I shall profit by your kind proposition, and shall send
you shortly a Mass (for 4 voices, with a simple Organ
accompaniment).
85. To Laura Kahrer, in Vienna
[Now married to Concertmeister Rappoldi in Dresden, and one of
the lady-professors at the Conservatoire there. The above note,
which was accompanied by a silver pen for composing, Liszt sent
her after having been present at her first public appearance at a
charity-concert in the Royal Opera House in Vienna. In 1870 she
became a pupil of his in Weimar, and was soon considered one of
the most distinguished lady-pianists; since 1879 she has enjoyed
the title of Kammervirtuosin (Court pianist) of Saxony.]
Dear and astounding Artiste,
Accept this small remembrance of the hour when your extraordinary
talent so joyfully surprised me, and be assured of the sincere
and friendly devotion of yours,
F. Liszt
Vienna, April 15th, 1869
86. To Franz Servais
[Composer; conducted the Wagner performances in the Theater de la
Monnaie, Brussels, in 1890-91.]
Dear Monsieur Franz,
The sincere pleasure caused me by your letter, which reached me
at Pest at the end of April, is completed by the one you have
addressed to me here. I am delighted to hear that my prophecy has
been realised and that you enjoyed yourself at Munich. At this
time you would not find anywhere else an ensemble of ideas,
works, acts and instruction so suited to your artist-nature, and,
consequently, so favorable to the full development of your fine
powers. Thanks to M. de Bulow and his prodigious activity, on a
par with his intelligence, Munich is becoming the new musical
capital of Germany. You will therefore do well to stay some time
there, in order vigorously to prepare yourself for the task which
has devolved on you elsewhere.
Perhaps I may see you again this summer, for if, as announced,
"Rheingold" is performed there on the 25th August I shall come to
it.
Meanwhile I thank you for having so well listened to the
"Elizabeth"; that is a presage to me that we shall meet more than
once on the same path, in which I wish you the most complete
success. .--.
Believe, dear Monsieur Franz, in my very devoted affection.
F. Liszt
Rome May 21st, 1869
87. To William Mason
Rome, May 26th, 1869
Dear Mr. Mason,
Mr. Seward has given me your kind letter and several of your
compositions. These give me a double pleasure in that they prove
that you have not lost your time at Weimar, and that you continue
to make good use of it elsewhere.
The Etude de Concert (Op. 9) and the Valse Caprice (Op. 17) are
of a distinguished style and make a good effect. I shall also
sincerely praise the 3 Preludes (Op. 8) and the two Ballades, but
with some reservation. The first Ballade appears to me somewhat
cut short; it wants I know not what at the beginning and towards
the middle (page 7) of something needed to make the melody stand
out; and the pastorale of the 2nd Ballade (page 7) figures like a
too-cheap piece of "padding."... And, since I am in the vein for
criticising, let me ask why you call your "Ah! vous dirai-je,
Maman"--"Caprice grotesque?" Apart from the fact that the
grotesque style should not intrude into music, that title is
unjust to the clever imitations and harmonies of the piece, very
charming by the way, and which it would be more suitable to
entitle "Divertissement" or "Variazione scherzose."--
As to the Methode, you won't expect me to make a deep study of
that. I am much too old for such a thing, and it is only in self-
defence that I still work sometimes at the piano in view of the
incessant botherations and indiscretions of a heap of people who
imagine that nothing would be more flattering to me than to amuse
them!--
Nevertheless, in looking through your Methode I find some
exercises much to be recommended, namely, the "interlocking
passages" page 136 to 142;--and all the "accentual treatment" of
Exercises. [The italics (here in quotations) in this sentence are
written in English and in italics by Liszt.]
May your pupils and the editor obtain from them all the profit
that I wish them!
A thousand thanks, dear Mr. Mason, and count on my very
affectionate and devoted sentiments of old.
F. Liszt
88. To the Composer Heinrich Schulz-Beuthen
[Printed in Gottschalg's "Chorgesang," 1890.--Schulz-Beuthen was
born in 1838.]
Very dear Sir,
That you have dedicated your 42nd and 43rd Psalms to me I feel to
be an honor in the artistic sense, for which I am sincerely
grateful. It is long since any new composition has given me the
impression of intellectual strength and musical completeness such
as I find in yours. And this work stands even above eminent
compositions of the kind. It appears to me even more fully
rounded, pregnant and powerful than your 29th Psalm, which I
justly recognised as a distinguished work upon first reading it
through. The grand impression produced by your 29th Psalm on the
occasion of the Tonkunstler-Versammlung in Dessau confirmed my
predictions, and I am convinced that wherever the 42nd and 43rd
Psalms are heard every person with any depth of soul will feel
their sublime beauty, and offer you something more valuable than
mere ordinary applause. Do not look for word-making from me; I
never knew much about it, and I can still less try my hand at it
now in my old age. But allow me, very dear sir, to tell you quite
frankly and briefly this:--
You must not hold yourself aloof and at a distance; your splendid
works must be performed, printed and circulated. And although--
owing to the idle and impudent chatter of many leaders of the
press--my influence in musical matters has been reduced to a
minimum, still I hope shortly to arrange a performance of your
Psalms in one or two places.
With sincere esteem I remain yours very truly,
F. Liszt
Weimar, June 18th, 1869
89. To Franz Servais
Dear Monsieur Franz,
.--. Although older than you, yet my enthusiasm for "Tristan" is
not second to yours.--I am delighted that the performance has
come off so well, but I should not wish this marvellous chef-
d'oeuvre to become for you a sort of upas tree under the shadow
of which you would go to sleep.--Great manifestations of genius
ought to do the part of the sun,--to illuminate and fertilise.
Believe in my sentiments of devoted affection.
F. Liszt
Rome, July 4th, 1869
90. To Madame Jessie Laussot
Dear Maestra,
I do not know why the name of Boccherini always recalls to me the
valley of Tempe. There could be nothing more flattering and more
salutary for me than to be admitted into so fortunate an abode,
and you have certainly made the stroke of a Maestra in
introducing me there (a little bit in a contraband way!).--I hope
Mr. Delatre will be kind enough to send me under cover the first
number of the paper containing La Mara's article [The Liszt-
sketch from the first vol. of the "Musakalischen Studienkopfe,"
which the authoress had translated into Italian.]; directly
afterwards I will subscribe to the Boccherini, so that I may get
the whole of the biography regularly.
A thousand thanks for your intelligent solicitude; I entirely
approve of the word tedesco being left out on the title-page;
"tradotto dall' Autore" is evidently the better indication, and I
guarantee you that the authoress will be perfectly satisfied and
will add her thanks to mine, without thinking of making the
slightest observation or difficulty about anything whatever. When
you are passing through Leipzig I will make you acquainted with
my very amiable panegyrist.
I am certainly intending to be present at the first performance
of "Rheingold," announced for the 25th August; but I doubt
whether they will be in a position to give this work so soon. Mr.
de Bulow absolutely must take some rest after the Conservatoire
examinations; the Servais are pressing him much to settle down
with them for the months of August and September at Hal (in
Belgium); I want him to accept their invitation, and he will, I
hope, decide to do so. Now without him "Rheingold" at Munich
seems to me at least problematical. I will let you have positive
tidings, which I myself shall receive shortly. Please tell me
where to address you.
I have set to work again, and with the exception of the fortnight
at Munich, in honor of "Rheingold," I shall remain here, or else
in the neighborhood, until next spring.
Sgambati kisses your hands. Pinelli is at the baths of Lucca,
where Buonamici [Giuseppe Buonamici, pupil of Liszt and Bulow,
now one of the most celebrated pianists of Italy. Lives at
Florence] will probably join him.
Very cordially yours,
F. L.
I will write two words of thanks to Delatre and beg you to give
me his address.
In your walks at St. Gall make my salutations to the concert room
in which were heard, some 10 or 12 years ago, the "Symphonie
Heroique" conducted by Wagner, and two Symphonie Poems, conducted
by your very humble servant. Szadrowski was at that time
conductor at St. Gall; since then he is settled in the Grisons
(at Graubunden); if you should go that way do not fail to see
him; I recommend him to you as one of our friends.
Rome, July 16th, 1869
91. To Camille Saint-Saens in Paris.
[The celebrated French composer, pianist and organist (born in
Paris 1835) was, as is well known, in sympathy with the New
German School, and fosters, amongst others, the genre of
"Symphonic Poems" made known by Liszt.]
Very honored Friend,
Your kind letter promised me several of your compositions; I have
been expecting them, and, while waiting, I want to thank you
again for your second Concerto, which I greatly applaud. The form
of it is new and very happy; the interest of the three portions
goes on increasing, and you take into just account the effect of
the pianist without sacrificing anything of the ideas of the
composer, which is an essential rule in this class of work.
At the very outset the prelude on the pedal G is striking and
imposing: after a very happy inspiration you do wisely to
reproduce it at the end of the first movement and to accompany it
this time with some chords. Among the things which particularly
please me I note: the chromatic progression (last line of the
prelude) and that which alternates between the piano and
orchestra (from the last bar of page 5--repeated then by the
piano alone, page 15); the arrangement of thirds and sixths in
demisemiquavers, charmingly sonorous, pages 8 and 9, which opens
superbly on the entry of the subject fortissimo; the piquant
rhythm
[Figure: Musical score excerpt of the rhythm in 6/8]
of the second subject of the Allegro scherzando, page 25.
Possibly this would have gained somewhat by more combination and
development, either of the principal subject or of some secondary
subject; for instance, a little anodyne counterpoint, it seems to
me, would not be out of place on pages 26, 27. etc., etc., and so
on. Item for pages 50 to 54, in which the simple breadth of the
period with the holding on of the accompaniment chords leaves
rather a void; I should like there to be some incidence and
polyphonic entanglement, as the Germanic Polyphemuses say. Pardon
me this detailed remark, dear Monsieur Saint-Saens, which I only
venture to make while assuring you in all sincerity that the
total of your work pleases me singularly. I played it again the
day before yesterday to Sgambati, of whom Plante [Francis Plante
(born 1839), the exquisitely refined Pianist] will speak to you,
as of an artist above the common run and even more than
ordinarily distingue. He will let the public hear your Concerto
next winter, which ought to meet with success in every country.
When is the performance of the "Timbre" ["Le timbre d'argent"
(the silver bell), an Opera] to be? I wish it to give you
abundantly all the satisfaction that you deserve, and shall only
regret that I cannot be present at the performance of it. At my
age the role of young composer is no longer suitable--and there
would not be any other for me at Paris, as I cannot continue
indefinitely that of an old disabled pianist. Thus I have
judiciously made up my mind not to trouble myself about my
compositions any further than the writing of them, without in the
least thinking of spreading them. Supposing that they have any
value it will always be found out soon enough either during my
life or afterwards. The sympathy of my friends (a very well
chosen sympathy, I flatter myself) amply suffices me; the rest of
the world may talk in its own way. As to the "Elizabeth" I do not
think it is adapted to the Parisian taste. I am moreover very
tired of that score through the performances at the Wartburg,
Pest and Vienna; and the difficult task of a suitable French
translation, plus the rehearsals with a set of artists little
disposed to take trouble, frightens me. I much prefer to employ
my time in a manner less ungrateful and more agreeable;
consequently I shall not put out anybody in Paris, which I shall
not visit; and invite you to come and see me in Rome. Here, dear
Monsieur St. Saens, we can talk and musiquer [make music] at our
ease. Try and procure me this great pleasure soon, and believe
fully in my sentiments of high esteem and devoted affection.
F. Liszt
Rome, July 19th, 1869
92. To Camille Saint-Saens
Very honored Friend,
At last your compositions have come, and I spent all yesterday in
their amiable society.
Let us speak first of the Mass: this is a capital, grand,
beautiful, admirable work--so good that, among contemporary works
of the same kind, I know perhaps of none so striking by the
elevation of the sentiment, the religious character, the
sustained, adequate, vigorous style and consummate mastery. It is
like a magnificent Gothic Cathedral in which Bach would conduct
his orchestra!
After having read your score three times I am so thoroughly
imbued with it that I venture to risk a few remarks.
In the Gloria one should, I think, preserve the literal text
entire: "Gratias agimus tibi propter magnam gloriam tuam."--
Consequently add four or five bars.
At the beginning of the Sanctus it would be better to continue
the voices, and to complete by them the sense of the orchestra;
similarly it would be advantageous to interlace, by means of an
alto solo, the text of the Benedictus (which you have omitted) to
the Organ melody, pages 77 and 78 after the Hosanna, as well as
to add the chorus to the final phrase of the "Dona nobis pacem,"
pages 88 and 89.
You will find all these small matters carefully noted down on
your score, which I will venture to return to you, begging you to
let me have it back again soon, for I must possess this
extraordinary work, which has its place between Bach and
Beethoven.
Bear with one more liturgical question, and, in addition, a
proposition boldly practical in the Kyrie, the spire of your
Cathedral. The inspiration and structure of it are certainly
admirable..."omnia excelsa tua et fluctus tui super me
transierunt." Nevertheless, during these 300 bars, about, of a
slow and almost continuous movement, do you not lose sight of the
celebrant, who is obliged to remain standing motionless at the
altar? Do you not expose him to commit the sin of impatience
directly after he has said the confiteor?...Will not the composer
be reproached with having given way to his genius rather than to
the requirements of the worship?
In order to obviate these unpleasant conjunctures it would be
necessary for you to resign yourself to an enormous sacrifice as
an artist, namely, to cut out 18 pages! (for church performance
only, for these 18 pages should be preserved in the edition to
your greater honor as a musician, and it would suffice to
indicate the "cut" ad libitum, as I have done in several places
in the score of the Gran Mass).
Sacrifice, then, 18 pages as I said, and put the "Christe
eleison" on page 6, instead of the "Kyrie eleison,"
[Here, Liszt illustrates with a 3-bar musical excerpt at the
point where the words "Chri-------------ste e-le------" are
sung.]
concluding pp on page l0. From the musical point of view
exclusively, I should blush to make such a proposition; but it is
necessary to keep peace, especially in the Church, where one must
learn to subordinate one's self in mind and deed. Art, there,
should be only a correlative matter, and should tend to the most
perfect concomitance possible with the rite.
Be assured, dear Monsieur Saint-Saens, of the sentiments of high
esteem and great sympathy which I entertain towards you.
Your very devoted
F. Liszt
Rome, August 4th, 1869
93. To Madame Jessie Laussot
I have had to write a great many notes this last week. Pardon me
for being so late in thanking you for your friendly lines, and
kindly tell Mademoiselle Alexandrine Ritter how sincerely I feel
for her in her affliction. Her mother expressed in a rare degree
and in her whole personality the high and sweet dignity of the
human soul. Respect attached itself to her naturally,--and she
inspired the noble serenity of it.
In a few days a little surprise will reach you in the form of an
"Ave Maria" written for the Cherubim Society, and dedicated to
the society's dear Maestra. However simple these few bars may be
(in which there is not a single repetition of a word, nor
ornamenting of any kind) I hope they will not be unpleasing to
you, and I beg you to play them in the form of a prayer for
Your very affectionate
F. Liszt
Rome, October 7th, 1869
In acknowledging the receipt of the "Ave Maria" tell me when you
expect Bulow, of whom I have had no tidings since Munich.
Sgambati returned here last week.
94. To Dr. Ludwig Nohl
[The well-known writer on musical subjects (1831-1885)]
Dear Friend,
Let my best thanks for your letter be, to take it to heart--and
to comply with it. Meanwhile this much is certain--that we shall
see each other in Weimar next May, and that at the Tonkunstler-
Versammlung there you will officiate as the worthy biographer of
Beethoven.
In spite of too modest a remark in your letter I am convinced
that you are peculiarly well qualified for thoroughly grasping,
and making others comprehend, the question of the "more modern
style of Art." Proofs of this have been gathered recently from
all the admirable things you have said in your brochure on
Wagner; for instance, in regard to the "refined, firm and proud
position held by Music," its "most expressive physiognomy," and
"that spirit of love which Music has created for itself"--and
also, if you will allow me such presumption in contrast to your
modesty, on p. 63, where you say, "The logos alone regulates the
thought and gives life to the risings and fallings of the poetic
idea"--
Sic vos non vobis--
Innumerable interruptions prevent my beginning the Beethoven
Cantata today. But I have at last secured quiet: I shall remain
all the winter at the Villa d'Este (3 or 4 hours out of Rome),
and take care that I do not lose an immoderate amount of time.
With sincerest thanks and in all friendliness yours,
Villa d'Este, November 17th, 1869
F. Liszt
95. To the Princess Caroline Sayn-Wittgenstein
[According to the Weimarer Zeitung it was printed as follows,
fragmentarily, in the Leipziger Tageblatt of December 6th, 1888.]
November 27th, 1869.
.--. The death of Overbeck reminds me of my own. I wish, and
urgently entreat and command, that my burial may take place
without show, and be as simple and economical as possible. I
protest against a burial such as Rossini's was, and even against
any sort of invitation for friends and acquaintances to assemble
as was done at Overbeck's interment. Let there be no pomp, no
music, no procession in my honor, no superfluous illuminations,
or any kind of oration. Let my body be buried, not in a church,
but in some cemetery, and let it not be removed from that grave
to any other. I will not have any other place for my body than
the cemetery in use in the place where I die, nor any other
religious ceremony than a quiet Mass in the Parish Church (not
any kind of Requiem to be sung). The inscription on my tomb might
be: "Et habitabunt recti cum vultu suo.".--.
96. To Franz Servais
Your kind letter has given me very sincere pleasure, dear
Monsieur Franz. I hope your health is quite re-established, and
that you are plunging into Bach to your heart's content,--that
admirable chalybeate spring! I will bear you company, and have
given myself, for a Christmas present, the little 8vo edition of
Peters of the two "Passions," Masses and Cantatas of Bach, whom
one might designate as the St. Thomas Aquinas of music. Kahnt,
who sends me these scores, tells me of his earnest desire to get
Cornelius settled at Leipzig, in the position of editor-in-chief
of the Neue Zeitschrift, founded, as you know, by Schumann, and
bravely carried on by Brendel. It is the sole paper which has,
for thirty years past, sustained with steadfastness, knowledge
and consistency the works and the men of musical progress. If, as
I wish, Cornelius undertakes Brendel's task, I think you would do
well to follow out your project of staying again in Leipzig.--In
any case I hope to see you again this spring at Weimar; I shall
arrive there towards the middle of April, and shall stay till the
end of June. During the winter I shall abstain from all
travelling, and shall not leave my retreat at the Villa d'Este
except to stay a few days in Rome. Many people have very kindly
invited me to go to Paris; I have excused myself from doing so
for reasons of expediency which you know. Henceforth it is not
myself that I have to bring forward, but simply to continue to
write in perfect tranquillity and with a free mind. To do this
obliges me to seclude myself, to avoid the salons, the half-
opened pianos and the society drudgery imposed by the large
towns, where I very easily feel myself out of place.
Thank you cordially for your propaganda of the "Missa Choralis;"
I shall be much obliged if you will write me a couple of words
after the performance. Will you also please tell M. Brassin that
I thank him much for not having been afraid of compromising his
success as a virtuoso by choosing my Concerto? Up to the present
time all the best-known French pianists--with the exception of
Saint-Saens--have not ventured to play anything of mine except
transcriptions, my own compositions being necessarily considered
absurd and insupportable. People know pretty well what to think
by what they hear said, without any need of hearing the works.
How did the orchestra go with the piano in the Concerto? Had they
taken care to have enough rehearsals? There are several passages
that require minute care; the modulations are abrupt, and the
variety of the movements is somewhat disconcerting for the
conductor. And, in addition to this, the traitor triangle (proh
pudor!) [Oh shame!], however excited he may be to strike strong
with his cunning little rhythm, marked pianissimo, provokes the
most scandalous catastrophe...
Notwithstanding all the regrettable parleying, for in such a
matter all sensible people ought to be of the same opinion, I
presume that Mr. Godebski's bust of Chopin will shortly be placed
in the lobby of the theater at Warsaw. Certainly Chopin well
merits this mark of honor, which moreover need in no wise prevent
people from busying themselves about a larger monument to
Lemberg, and from collecting a sufficient sum for that purpose.
At Weimar we will talk of Hal and the pleasure it will be to me
to pay you a visit there. Pray present my respectful thanks to
your mother, and my affectionate remembrances to Madame
Godebski,--and believe me, dear Monsieur Franz, your sincere
friend,
F. Liszt
Villa d'este, December 20th, 1869
(Address always Rome.)
97. To Dr. Franz Witt in Ratisbon
[Like all the subsequent letters to Dr. Witt, this letter is
without date or ending, as printed in Walter's biography of Witt
(Ratisbon, Pustet, 1889).--Dr. Witt (1834-80) was a distinguished
musical scholar, also a composer, the founder and first general
president of the Cacilien-Verein [St. Cecilia Society], and died
as a clergyman in Landshut.]
[Rome, towards the end of 1869.]
Very Dear Sir and Friend,
Before I had the honor of knowing you personally the manuscript
of your "Litaniae lauretanae" aroused in me sincere interest and
religious sympathy towards you. This first impression is now
increased by my deeper knowledge of the substantial value of your
compositions and my fuller appreciation of the great services you
have rendered to Church Music. That you act as admirably in
practice as in precept is evident in other of your works, but
especially in the Mass and the Te Deum which were performed here
on the Emperor of Austria's name-day in the Church of the Anima
under the leadership of our dear friend Haberl [On the 4th
October, 1869] Both of these works are of rare value--and, what
is still more rare, both are equally devoted to Art and the
Church. The "Litaniae lauretanae" breathes also a spirit of
nobility of soul, and diffuses its pleasant aroma notwithstanding
the necessary musical limitation. The collective character of the
invocations shows uniformity; and yet the lines of melody are
very finely drawn; especially touching to me is
[Here, Liszt writes a 2-bar musical excerpt where the words "Sa--
lus infirmo---rum Refugium peccatorum, Conso-la-trix afllicto---
rum" are sung]
My hearty thanks for the dedication, my very dear friend; it
brings me justifiable and joyful pride, which your own
exaggerated modesty should dispel.--Next summer I will again come
to you for a few days on my way to Szegzard (Hungary), where my
Mass for male voices (2nd very much corrected edition,--now
published by Repos, Paris) is to be performed. A few months after
my visit you will I hope receive most satisfactory news (through
Haberl) about the Cacilien-Verein [Haberl had endeavored, through
the intervention of the Bishops assembled in Council in Rome, to
obtain the Pope's approbation of the Cacilien-Verein, and his
efforts met with success.], to which, in fullest conviction, I
remain firmly attached--as well as to its much esteemed
President.
98. To Prof. Dr. Siegmund Lebert
Dear Friend,
The proofs of Weber's and Schubert's Sonatas were despatched to
Stuttgart in two parcels by rail the day before yesterday. This
is the cheapest and quickest way of sending things, and I beg of
you in future to send parcels in this way, as packages sent by
spediteur come slowly and cost a great deal. N.B.--The parcels
must not be too thick, and must have the address written on the
wrapper. As soon as you send me the D minor Sonata, that is still
wanting, and Weber's Conzertstuck, I will revise them at once;
ere long you will receive Schubert's Impromptus, Valses, etc.
My endeavor with this work is to avoid all quibbling and
pretentiousness, and to make the edition a practical one for
teachers and players. And for this reason at the very last I
added a goodly amount of fingering and pedal marks; kindly get
the printers to excuse this, and I trust that the trouble it
causes will not prove superfluous.--With regard to the deceptive
Termpo rubato, I have settled the matter provisionally in a brief
note (in the finale of Weber's A flat major Sonata); other
occurrences of the rubato may be left to the taste and momentary
feeling of gifted players. A metronomical performance is
certainly tiresome and nonsensical; time and rhythm must be
adapted to and identified with the melody, the harmony, the
accent and the poetry...But how indicate all this? I shudder at
the thought of it.
Also kindly excuse me from writing a preface, and write it
yourself, dear friend. For you know exactly what I should wish to
say, and you would say it much more clearly than I could, for my
very small amount of pedagogism is, for the most part, confined
to the words of St. Paul: Littera occidit, spiritus vivificat!
Your success delights without surprising me. It is only what
ought to be, that Lebert and Stark's Pianoforte Method should
meet with general acceptance, and that the Stuttgart
Conservatoire should continue to prosper. Both of these points of
merit I took the opportunity of mentioning with due honor to H.M.
the Queen of Wurtemberg--on the occasion of her visit to the
Villa d'Este here.
Best thanks for sending the Bach Fugue, the 2 Etudes (separate
edition) and the last volume of the Method, which I found to
contain many, to me, new and praiseworthy items, among others the
Etudes of Hiller and Brahms.
Ever, in all friendship, yours
F. Liszt
Villa d'Este, January l0th, 1870
I shall remain here till the end of April, and then go direct to
Weimar.
99. To C. F. Kahnt, the Music Publisher
Dear Friend,
The life's object of the Neue Zeitschrift remains firmly to stand
by the colors of Rheingold and the Nibelungen, and unfailingly to
represent the interests of the Deutsche Musikverein. This
embraces all essential consequences for us.
At the end of next week I will send you the piano-forte score of
the Beethoven Cantata, and write full particulars to Riedel.
By the middle of April I hope to reach Weimar. Best thanks for
sending the Ave maris stella--and in all friendliness I remain
yours,
F. Liszt
Rome, February 14th, 1870
100. To Herr Gille, councillor of justice
Dear Friend,
The best thing I have to tell you today is that we shall soon see
each other again. At the beginning of April I shall visit Bulow
in Florence, and then go direct to Weimar.
Last week I had a correspondence with Riedel about matters of the
Tonkunstler-Versammhung. The most important points are as
follows:--The utmost economy that is possible to making a
perfectly suitable orchestra and chorus. The spaces at our
disposal in Weimar (churches, theater and refreshment room) will
not allow of any great expenditure as regards the personnel. It
is to be hoped that Muller-Hartung can obtain a respectable
contingent for the Beethoven Mass, which will lessen the number
of outside co-operators; and I in like manner reckon chiefly on
the Weimar Vocal Union for the more important numbers of the
concert programme-Psalm by Schulz-Beuthen, Prometheus by Saint-
Saens, my Beethoven Cantata, etc. The arrangement of the
orchestra is to be as it was at the Carl August Festival and at
the Tonkunstler-Versammlung of '61--10 first violins, 6 to 7
double basses, etc. Riedel conducts Beethoven's Mass; Lassen the
concerts in the theater; and Muller-Hartung my Cantata.
Conzertmeister David and Director Hellmesberger will preside over
the 1st violins. Both gentlemen will also determine about the
performance of the Beethoven Quartet. Any other special violin
virtuoso would be superfluous this time. Riedel must arrange the
distribution of the solo parts of the Beethoven Mass according as
he thinks best. Milde only requires, in my Cantata,
"Dieser Brave sei verpflichtet
Das zu thun, was wir gedichtet."
["May this brave one be constrained
That to do which we ordained."]
(Schober, 49. Goethe-Feier.)
I flatter myself, by-the-bye, that Milde will also find a
pleasure in the "Sternen-Cantabile"--
[Here, Liszt illustrates with a musical score excerpt where the
words "Viel tau-send hal-ten nach-tig" ("Vide the accompanying
page") are sung. It contained the Cantabile in question for Milde
from Liszt's Beethoven Cantata.]
Riedel asks me who shall play the pianoforte?
If our meeting were at Jena I should decidedly invite Bulow to do
it; he is the veritable Beethoven player and interpreter, the one
who knows and who can do [Kenner und Konner]; but unfortunately
the shades of Dingelstedt and Gutzkow warn him from Weimar's
doors...
Meanwhile there is no hurry about the choice of a pianist (he or
she). Only arrange the principal things in a suitable manner, the
chorus, orchestra, solo singers and the Beethoven Quartet; all
the rest will soon be arranged after my arrival at Weimar in the
middle of April.
Yours most faithfully,
F. Liszt
Villa d'Este, February 26th, 1870
The piano arrangement of my Cantata must be written out again,
and cannot therefore be sent off for 8 or 10 days. The entire
work lasts about three-quarters of an hour. I am so far ready
with it, that there are only two or three more passages to be
instrumented.
101. To the Baroness E. M. Schwartz in Crete
[Autograph in the Liszt Museum at Weimar.--The addressee was
widely known as the writer Elpis Melena.]
My winter villeggiatura at the Villa d'Este is drawing to its
close; the day after tomorrow I return to Rome, and when you
receive these lines I shall be at Weimar. Address to me there
till the middle of June.
When will your Cretan volume, crowned [Untranslatable pun on the
words "cretois" and "crete."] with erudition and philhellenism,
be finished? Shall you return this summer for its publication? I
hope you will, and I will confess to you without any compliments
that you are among the very small number of my friends whose
absence I feel to be a privation. Now, to accustom one's self to
this kind of privation does not become easier with age.
You doubtless know the novel of your great historical friend,
published now by the "Gaulois" (if I am not mistaken) under the
title "La Domination du Moine" (or "Clelia.") I question whether
another of your friends--less historical although very
distinguished--M. St. Rene Taillandier, recently appointed
Secretary General to the Minister of Public Instruction, would
subscribe to many copies of G.'s novel for the Imperial
libraries; but he will have a fine opportunity of ministerial
revenge when the biographer of the hero of l'unita italiana (not
the "cattolica," relegated to Turin) brings out "la Crete," in
which the Cretans will at last be relieved from the anathema of
their Epimenides narrated in St. Paul's Epistle to Titus,--
"Cretenses semper mendaces, malae bestiae, ventres pigri."--In
the matter of "mendaces" and "ventres pagri" there would be a
tremendous competition with the rest of Europe.
My plans for the spring and summer remain always the same.
Weimar--from the 10th April till the 20th June--with the
Tonkunstler-Versammlung (which has the honor of counting you
amongst its illustrious members); then in the last week of May I
should be very much tempted to be present at the famous "Passion
Play" at Ober-Ammergau; at the end of August I shall go to my odd
friend August at Szegzard (Hungary), who is anxious that a new
Mass of mine should be performed on the day of the dedication of
a church (29th September); and in October I shall return to Rome.
I suppose you receive the Allgemeine Zeitung. It gives but too
much news, and little edifying, about serious things here by its
"Roman Letters," no less widespread than badly put together. If
you want to obtain complete information on these difficult
questions you must read l' Univers and the letters of Veuillot,
or at least l'Unita cattolica; but it would be exacting too much
from your impartiality. Moreover you have better things to do
than to read; your chief duty is to make yourself read,
consequently to write and to write again;--in a secondary manner
occupy yourself a little with your beautiful vines, and, above
all, don't forget to bring soon some samples of their excellent
product, which will enliven our material and intellectual
"substantials," at which, hoping to participate again in the year
of grace 1870, I am,
Your very affectionate and very devoted servant,
F. Liszt
Villa d'Este, March 15th, 1870
As handy gossip I send you the following: they say that Odo
Russet [sic] will shortly go to England for his wife's
confinement, and will not return to his post in Rome. It is also
said that Schlozer will pay a visit here in the spring;--and that
the daughter of Countess Garcia is to marry a nephew of Cardinal
Antonelli, and will bring a fortune of ten thousand pounds
sterling.
Tarnowski will return to his Penates in Gallicia at Easter, and
will write to you. Wider continues to be president of the German
circle. Next door to one another, there are many concerts given
at the Sala Dante, and our friend Sgambati is acquiring more and
more the reputation of a great artist, which he merits. Remenyi
spent the winter in Hungary. I should very much like to invite
him to come to the Tonkunstler-Versammlung at Weimar; but our
programme is already over-full. In any case I shall meet Rem.
again at Szegzard.
102. To Camille Saint-Saens
Dear Friend,
The rehearsals of your "Noces de Promethee" (Marriage of
Prometheus) are proceeding well at Weimar and Jena; we shall pay
particular attention to the 4 harps, the saxophones, etc. But
what is of the greatest consequence is yourself. I have announced
your coming at the Court and in the town. A revoir then! Try to
be here on the 24th, [Saint-Saens came to Weimar for the
Tonkunstler-Versammlung of the "Allgemeine Deutsche Musik-
Verein," with which the Beethoven Centenary was simultaneously
celebrated; and for the first time, on the 27th May, 1870, Saint-
Saens' name appeared on the programme of these concerts. He also
appeared as a pianist, and Liszt played with him at a Matinee on
two grand pianos.]--and believe me yours ever in sincere
friendship,
F. Liszt
Weimar, May 12th, 1870
103. To Johann von Herbeck
Very dear friend,
Being perfectly convinced of your genuine friendship I am quite
willing to follow the instructions you will briefly give me
concerning the Beethoven Festival [For the benefit of the
Beethoven Memorial. It took place in Vienna on the 18th March,
1877. Liszt played the E-major Concerto and the pianoforte
Fantasia (with chorus), and accompanied the Scotch songs sung by
Caroline Bettelheim.] in Vienna. Whether, and in what way, I may
be able to take part in it will be decided when we have discussed
the subject. Meanwhile I most modestly determine to consider
myself unusable. [There is here a play on the word bescheiden,
the German being ich bescheide mich bescheidenst, which is
untranslatable.]
About the beginning of August I shall pay you a visit in Vienna,
whence my road leads onwards to Szegzard. My earlier halting
points will be: 3rd July, Leipzig--performance of my Missa
choralis; 13th and 17th July, "Rheingold" and the "Walkure" in
Munich; and after that the Passion Play at Oberammergau.
The favorable reception accorded to the Coronation Mass [By
Liszt] is essentially due to your having conducted it. My best
thanks for this. The score is to be printed shortly, and I must
ask you to hand over to the publisher Schuberth the manuscript
which I gave you in Munich last summer. Schuberth is going to
Vienna in a few weeks.
With sincerest esteem, I remain your ever gratefully devoted
F. Liszt
Weimar, June 20th, 1870
104. To Sophie Menter
[The favorite and most distinguished of Liszt's lady-pupils, of
whom he wrote to Navratil on 29th September, 1881, that he had
"for many years past regarded her as the most brilliant and
accomplished of the lady-pianists of the day." Since 1874 she has
held the appointment of Court pianist at the Imperial Court of
Austria.]
Dear and Very Honored One,
A telegram from Abranyi informs me that an invitation, addressed
to Capellmeister O.B. in Salzburg, has already been sent to you
to ask you to take part in the Sangerfest in Pest. Hence, after
having triumphantly played in the Mozarteum on the 18th, your
triumphs are to be continued forthwith in Pest on the 20th. Baron
Augusz and your humble servant expect you there from the 19th.
Kindly let me know (per telegram) by which train you will arrive,
and--a few days afterwards--my rigidly adhered-to plan of
carrying you off to Szegzard shall be brilliantly fulfilled.
Here in this house you will find rest, comfort, friendly sympathy
and harmless affability, and, in addition, music too, and that
not of the worst kind, for we shall arrange it ourselves.
Your sincerely attached and devoted
F. Liszt
Szegzard, August 11th, 1870
105. To Sophie Menter
Your hearty and humorous little note closes delightfully with the
promise that you are soon coming to Szegzard. You will not find
here any vestige of all the artistic enjoyments and glories of
the Mozarteum; the whole symphonic contingent of Szegzard is
limited to half a dozen gypsies with instruments out of tune and
harmonising in pell mell fashion one with the other; the choruses
are free and performed in the open air, namely: soprano and alto-
-flocks of geese; tenor and bass--cattle;--so that a conductor
like O.B. would have nothing further to do than to pose as a
mythological figure...
Nevertheless I promise you, dear kind patroness, many pleasant
and befitting things in this restful, genial and refined home of
our mutual friend Baron Augusz.
You will be most heartily welcome to us all--especially to your
most sincerely attached
F. Liszt
Szegzard, August 29th, 1870
Between the middle and the end of September Remenyi, Mosonyi and
Mihalovich will be staying here.
106. To Kornel von Abranyi in Budapest
[Autograph in the possession of Herr E. von Mihalovich in
Budapest.--The addressee was a musician, writer and critic
there.]
Dear Friend,
The death of Mosonyi puts our hearts in mourning. [Michael
Mosonyi, the friend of Liszt, and to whose sudden death the
latter here refers, was famous in Hungary as a composer, teacher
and author.] It makes us sorrow also for Music in Hungary, of
which Mosonyi was one of the noblest, most valiant and
praiseworthy representatives. One might be proud of walking side
by side with him in the right road. In truth his name had not its
due eclat and renown abroad; but he did not trouble himself the
least about that, and possibly he did not even take enough
trouble about it,--as much by wisdom as by contempt of equivocal
and vulgar means, which were repugnant to the elevated rectitude
of his soul. He felt what esteem was due to him, and thought of
nothing but real glory; that which is attained by conscientious
perseverance in the Good and the Beautiful.
Let us honor his memory by setting ourselves to make his examples
and teaching bear further fruit!--
Many of the published compositions of Mosonyi deserve to be more
and better known; others, still in manuscript,--his last great
dramatic work "Almos" in particular--will soon be spread abroad,
I hope.
We will talk about this shortly at Pest. For today I wish merely
to share with some friend, such as yourself, dear Abranyi, the
grief at the loss which we have sustained. Yours from my heart,
F. Liszt
Szegzard, November 2nd, 1870
107. To Sophie Menter
Dear Patroness,
Your dear little notes joyfully alarm the whole household. All
beg you urgently to come as soon as possible, and I all the more
urgently as I have to go to Vienna at the end of April.
Your bewitching description of the "Ambrosia-Concerto" makes me
most inquisitive: be sure not to forget to bring the tremendous
manuscript with you; we will arrange an historically memorable
performance of it in the salon of the Town-Vicarage.
Hearty greetings, and in all friendliness yours,
F. Listz
Pest, March 22nd, 1871.
In musical matters as follows: this evening and Friday concerts
by Remenyi; next Sunday and on the Wednesday before Easter
Philharmonic concerts;--in between a grand concert at the Musik
Academie of Ofen, and on Good Friday a performance of the Stabat
Mater, etc., etc.
Our programme shall be arranged here, forthwith, by word of
mouth, at any quarter of an hour that my dear patroness Sophie
may feel disposed to appoint.
108. To Edmund von Mihalovich in Budapest
[Composer of several operas and large orchestral works (born
1842), now director of the Music Academy in Budapest.]
.--. Augusz, in his last letter, speaks of fresh proposals on the
subject of my settling in Hungary. I answer him, as before, that
I am quite disposed to show myself accommodating, devoted,
useful, obedient and grateful. The only condition that I make
relative to my return to Pest next winter is--a place to live in;
for, on the one hand, the modesty of my income forbids me to
increase my expenses, and, on the other hand, politeness demands,
as it seems to me, that if they seriously want me they will also
show me that they do, by sparing me the onerous trouble of having
to find a home. On the four occasions on which I have stayed at
Pest since 1865 Schwendtner has shown me the utmost and most
cordial hospitality. I feel a most true gratitude to him, but
should be afraid of showing it ill by taking too great advantage
of his kindness to me.
.--. Mme. de Moukhanoft [The cultivated musical friend of Liszt
and Wagner, to whom the latter dedicated his "Judenthum in der
Musik," whilst Liszt dedicated an Elegic to her memory] writes,
"Has Mihalovich received my letter of tender invectives and
entreaties to make him come to Weimar?"
It will be difficult to persuade her that walks on the shore at
Ostend ought to be preferable to the charm of the talks on the
"Goethe Platz," and even at the "Erb-Prinz," which she will again
favor with her presence towards the middle of June, I hope.
Tausig also promises me to spend a fortnight here.
Mlle. Brandt sang several songs admirably yesterday morning at
the "Hofgartnerei" I shall accompany her in yours tomorrow.
Yours in cordial friendship,
F. Liszt
Weimar, May 29th, 1871
Till the end of June address--Weimar.
109. To Marie Lipsius
Dear and kindest Biographer,
Again an excellent suggestion; follow it without hesitation and
present us ere long with a pleasantly powerful and characteristic
portrait of Tausig. [Liszt's great pupil (born in 1841) had died
in Leipzig on the 17th July, 187l.] In what year of the fifties
his father brought him to Weimar, I do not now recollect; but I
do remember how greatly astonished I was at his extraordinary
talent when I first heard him play. The intellectual claws and
pinions were already giving signs of mighty power in the youth
who was scarcely 14 years of age, and somewhat delicate in
appearance. I felt some compunction in undertaking to give him
further instruction, determined not to undertake the task, and
therefore informed the father that in the case of such a
stupendous organisation the wisest plan was to leave it free,
independent development without a teacher. However Tausig
insisted upon remaining with me. He studied immoderately; as a
rule kept very much to himself while in Weimar, and got into
various little scrapes in consequence of his quick, ironical
humor. I was accused of being over-indulgent with him, and of
thus spoiling him; but I really could not have acted otherwise,
and I loved him with all my heart. On various occasions when I
had to undertake short journeys in connection with the
performances of my works he accompanied me; among other places to
Dresden, Prague and Vienna. Subsequently he lived in Vienna for
some length of time, and got up some concerts there with the view
of having some Symphonic Poems performed which he himself
conducted--but he was unable to get a proper start. He had to
struggle on and to endure many privations before attaining the
success he deserved. His brilliant vocation did not become firmly
established till a few years ago, in Berlin, Leipzig, etc.
In the spring of '69 I met Tausig in Paris (after the
"Tannhauser" scandal), and returned with him to Weimar for the
Tonkunstler-Versammlung. Bulow conducted the Faust Symphony by
heart (at the rehearsals most accurately mentioning the
letters!), and Tausig played the A major Concerto marvellously.
Since then I have seen him only twice: last May at the
Tonkunstler-Versammlung in Weimar (where he played Beethoven's E-
flat major Concerto) and now...
Countess Krokow could give you the most reliable information
about him, and our friend R. Pohl may also be of use to you in
your work. As far as I know, no one has understood Tausig's
genius, his demoniacally ideal nature, with so quick a
perception, so refined and--I might say--with such womanly
intuition, as Frau von Moukhanoff (nee Countess Nesselrode).
Unfortunately the two letters in which she wrote me full
particulars about Tausig are in Rome. Tausig dedicated his two
lately published Etudes, Op. 1, to her, and she was ever a highly
appreciative and kindly patroness of his. Remember to mention her
specially in your delineation of his character.
Of Tausig's publications those chiefly deserving the highest
praise are his masterly transcriptions of the Beethoven Quartets,
the Toccata and Fugue of Bach (D minor), Schubert's March; the
three pieces from "Tristan and Isolde," the pianoforte score of
the "Meistersinger," of the Kaisermarsch, the "Nouvelles Soirees
de Vienne" and his two last original Etudes. Recommend also, for
the good of pianists, and as a very saleable work, an early
publication of his very admirable and well-sustained arrangement
of Chopin's first Concerto (E Minor).
Accept the expression of my sincere esteem and gratitude.
F. Listz
Schloss Wilhelmsthal, Sunday, July 23rd, 1871.
In the middle of this week I return to Weimar and remain there
till the 5th-10th of August.
110. To Franz Servais
Dear Franz,
In spite of the proverb "Every road leads to Rome" I shall not be
able to return there by way of Hal this time. Will you give my
very affectionate respects to your mother and tell her how much I
regret to be unable to be present, except in thought, at the
beautiful family fete at the time of the inauguration of the
monument to your father, on the 10th September.--Shall you not
invite the Prince de Chimay (the present governor of Mons, I
believe)? He would have a right there owing to his sincere
interest for Art and his very distinguished musical talent.
I am persuaded that Lassen will express in noble music the
inspiration of this fete intended to perpetuate the memory of an
illustrious and sympathetic artist. But however successful may be
his composition, it does not absolve you from yours, which filial
affection demands of you and will dictate to you. Write it
without delay, and afterwards take advantage of your leisure at
Hal to fulfil the praiseworthy programme indicated in your
letter:
a. To work hard at the Piano.
b. To help towards your independence by making yourself capable
of cutting a good figure as conductor.
c. To venture on the performance of your "Macbeth" sorceries and
other of your compositions, with the reservation of not hearing
yourself immediately proclaimed king by the sorcerers of
criticism.
Shall you make your appearance at the composition competition
next year? I invite you to do so.
You know that H. Richter has been appointed conductor to the
National Theater of Pest, and will conduct "Lohengrin" there at
the end of September. He will find, I trust, honor and
satisfaction in more firmly implanting in his country the sublime
works of Wagner, and in making the orchestra, the stage and the
public profit by the exemplary rules and practices of M. de Bulow
at Munich. Needless to say that I shall endeavor to make
Richter's task as easy as possible to him.
Count Tyszkiewicz, in passing lately through Weimar, was kind
enough to explain to me his new system of musical mathematics,
and to show me his tables of figures honored with commendatory
letters from Mr. Gevaert and several notabilities. If, by means
of his figures and measures, Tysz. succeeds, as you claim for
him, in demonstrating that X...is a "pyramid," this will be a
more pyramidal glory even than the system.
Next Thursday I go to Eichstatt (Bavaria), where the (German) St.
Cecilia Society meets. Its founder and president F. Witt--a much
respected ecclesiastic, conductor of the Cathedral, composer and
editor of two newspapers of sacred music published by Pustet at
Ratisbon--gives evidence of a great capacity and a persevering
zeal in endeavoring seriously to improve the uses and customs of
Church music, and, by continuous publications, to propagate the
old works of repute as well as the new ones of this class that
are deserving of recommendation.--A pamphlet by Witt, which
appeared in the spring, "uber das Dirigiren der Kirchenmusik"
["about the conducting of Church music"], corrects some grievous
errors and furnishes much profitable instruction.
I shall be much obliged if you will send me a printed account of
your fete of the 10th September; on that day I shall be in Rome,
and shall not return thence till toward the end of October, to
settle at Pest for the winter.
Remember me most kindly to your brother Joseph, [The excellent
Violoncellist Joseph Servais, who died in 1885 at the age of 35]
to Godebski and his wife, and believe, dear Franz, in my
steadfast feelings of devoted affection.
F. Liszt
Wilhelmsthal, August 25th, 1871
Address Rome, Santa Francesca Romana, Campo Vaccino.
What are Joseph's and your plans for the winter?
111. To Walter Bache
Dear Mr. Bache,
Your kind remembrance of the 22nd October has given me sincere
pleasure, for which I thank you cordially. Please excuse me for
not telling you oftener by letter my constant feelings of
affection for you; the hindrance of occupations and cares drives
me, alas! into an extreme parsimony as regards letter writing
with my best friends, but I think that is my only omission
towards them. To see M. de Bulow again was a real joy to me. His
health is improving, and his prodigious maestria at its height.
He is going to make a concert tour this winter in Vienna, Pest,
Prague, Berlin, etc., and will come to London in May. I hope that
the people there will be able to appreciate his superiority in
its entirety. Bulow, more than any contemporary artist, takes the
lead in celebrity. He is not only a very great virtuoso and
musician, but also a veritable sovereign of music. Mme. Laussot,
who has the genius of nobility of the heart, also came to fete me
on Sunday. I shall see her again at Florence in a fortnight, on
my way to Pest, where, as you know, I am henceforth fixed, by
royal and national favor. Whether there or at Weimar, I hope we
shall meet again next summer, dear Bache, in perfect harmony.
Your very cordially affectionate and devoted
F. Liszt
Rome, October 25th, 1871
Bravo and thanks for your concert programmes, which I beg you to
continue sending me.
112. To Marie Lipsius
Dear Patroness,
To your .--. sketch of Tausig only a single objection could be
raised; namely, that you bestow too high praise upon me. Pardon
me if I cannot argue about it, and accept my cordial thanks for
this new tribute of your generous kindness.
Last Sunday (22nd October) I had the great pleasure of a visit
from Bulow. He is going to remain in Florence till the New Year,
and he then begins a categorical concert tour in Vienna, Pest,
Prague, Berlin, Leipzig, and at the end of April goes to London.
His perfect mastery as a virtuoso--in the finest sense of the
word--is in its zenith. To him one might apply Dante's words: "A
master to those who know."
Again my hearty thanks, and wishing you an increase of La Mara's
.--. writings, I remain with much esteem,
Yours very sincerely,
F. Listz
Rome, October 25th, 1871.
In a fortnight's time I travel to Pest.
113. To Breitkopf and Hartel
Dear Sirs,
In order justly to decide the question of plagiarism between
Messrs. Altschul and Joseffy, [Both were pupils of Liszt; the
former is now in Buda-Pest, the latter in New York.] one would
need first of all to compare the manuscripts of the two
disputants. Altschul was kind enough last winter to play me his
version in thirds and sixths of Chopin's "Valse" (in D-flat
major); the other, questionable, version by Joseffy I do not
know. If you think it advisable to send me both versions I am
quite ready to let you have my opinion on the subject. Meanwhile
I will only remark that the multifarious forms of passages in
thirds and sixths--upwards, downwards, to the right, to the left,
or crossing, split up, etc., etc.--admit of a variety of forms of
transcription in thirds and sixths of the Chopin Valse, and hence
Herr Joseffy might quite innocently, in his love of sport as a
virtuoso, have shot down his own bird even within Herr Altschul's
range.
But whether two birds existed must be proved by the "corpus
delicti."
With highest esteem I remain, dear sirs,
Most truly yours,
F. Liszt
Buda-Pest, November 22nd, 1871. (Palatingasse 20.)
P.S.--Herewith is my yearly contribution to the "Bach-
Gesellschaft."--
Allow me to reply, later on, to your kind inquiry in regard to a
pianoforte piece.
114. To Madame A. Rubinstein in St. Petersburg
Madame,
Your talent of observation is as incontestable as your very
charming amiability. With a sagacious eye you observed my
predilection for the silent "compatriot," apparently rather
sombre, but of excellent composition at bottom. [A box of
caviare, which Madame Rubinstein had sent to Liszt.] Doubtless
the advantages which appertain to it in its own right were
peculiarly enhanced by the charm of your salon, where I hope to
see it again and often. Meanwhile, since you are good enough to
favor me with its uninterrupted company, I beg to assure you that
I shall appreciate it even beyond its specific merits, which are
moreover very real. Will you be so good as to renew to Rubinstein
the expression of my old and admiring friendship, and accept,
Madame, the most affectionate thanks and respects of your very
devoted servant,
F. Liszt
Pest, Tuesday, January 9th, 1872
115. To Edmund von Mihalovich
Very Dear Friend,
Your new Song "Du bist wie eine Blume" ["Thou'rt like a tender
flower"] is most welcome, and you have succeeded perfectly with
it. It only remains to add a ninth to this No. 8, so that the
volume may contain the number of the Muses. I hope that you will
shortly bring me this No. 9 yourself, for we want you at the
Tonkunstler-Versammlung (also the ninth), which will be held at
Cassel from the 26th to the 30th June. Your "Geisterschiff"
figures on the programme of the first concert, and Riedel (our
President) will write to you officially to invite you to fill the
post of pilot and captain of your "phantom ship," in other words,
to conduct the orchestra. At the same concert Volkmann's Overture
"Richard III.," Raff's "Waldsymphonie," Rubinstein's Overture to
"Faust" and a new Violin Concerto of Raff will be performed.
Wilhelmj will play the violin part, and I hope that other
soloists of renown will also lend us their assistance. The
programme of this year's Tonkunstler-Versammlung contains,
besides these, a new old piece of goods--the "Elizabeth;" and an
antiquated new one--"The Seven Words of O[ur]. S[aviour].,
composed by Schutz at the end of the sixteenth century, and the
manuscript of which was recently discovered at Cassel itself.
The "Elizabeth" will be given at Erfurt on the 2nd May, and on
the 8th Riedel gives Berlioz's "Requiem" at Leipzig, for the
benefit of our "Beethoven Scholarship." It goes without saying
that I shall be present at these two performances.
.--. Schuberth has been very ill at New York, and is not yet
sufficiently well to set out on his journey. I am expecting him
here towards the middle of June: he will come to Cassel, where we
will settle the little matter of your manuscripts in five
minutes.
Yours in all friendship,
F. Liszt
Weimar, April 18th, 1872
My most affectionate thanks to Count Albert Apponyi for his kind
remembrance, with the assurance of my cordial reciprocity.
P.S.--Augusz would give me great pleasure if he would send me a
small provision of Hungarian tobacco (to smoke), for my old
Weimar friend Grosse, the celebrated Trombonist.
Shall you not go to Bayreuth for the 22nd May? I shall invite you
to do so.
116. To Johanna Wenzel
[The lady here addressed was a pupil of Liszt's at the time, and
subsequently married Jules Zarembski, and is at present one of
the teachers of the pianoforte at the Brussels Conservatoire.]
My Dear Young Lady,
In reply to your friendly lines I beg of you earnestly no longer
to think of having the barbarous operation performed upon your
fingers; rather all your life long play every octave and chord
wrong than commit such a mad attack upon your hands.
With best thanks, I subscribe myself yours respectfully,
F. Liszt
Weimar, June l0th, 1872
117. To Wilhelm von Lenz
Very Honored Friend,
I owe you thanks in the 24 major and minor keys for the
remembrance you keep of me, and the ardent style in which you
publish it to the world. Your pamphlet ["Die grossen Pianoforte-
Virtuosen unsrer Zeit" The Great Pianoforte Players of our Day.]
draws down upon itself a capital reproach; it is that you make me
out too grand and too fine. I am far from deserving it, and I
confess it without any false modesty; but since you have been
pleased thus to overwhelm me I can but bow in silence,--and press
your hand.
No one possesses less than myself the talent of talking with the
pen, and the necessity of receiving more than a hundred letters a
month (not counting bills, and the numerous sendings of
manuscript or printed works which I have to read) makes
correspondence again more than difficult for me. It is all I can
do to get through the necessary epistolary work imposed upon
me...Moreover the greater part of the things which are easily
said is indifferent to me, and those that I wish to say resist
ordinary language. On this subject some one well said to me:
"Words seem to me to intercept feeling rather than to express it;
and actions, alas! seem to me sometimes like a thick veil thrown
over our soul: looks even seem to be trammelled by phantom
barriers, and souls which seek one another across the sufferings
of life only find one another--such is my belief--in prayer and
in music."--
What wit, what sallies and what brilliant sparks in your "Quartet
of Pianist Virtuosi!"--Don't let us forget the etymology of the
word "Virtuoso," how it comes from the "Cicerone" in Rome--and
let us reascend to Chopin, the enchanting aristocrat, the most
refined in his magic. Pascal's epigraph, "One must not get one's
nourishment from it, but use it as one would an essence," is only
appropriate to a certain extent. Let us inhale the essence, and
leave it to the druggists to make use of it. You also, I think,
exaggerate the influence which the Parisian salons exercised on
Chopin. His soul was not in the least affected by them, and his
work as an artist remains transparent, marvellous, ethereal, and
of an incomparable genius--quite outside the errors of a school
and the silly trifling of a salon. He is akin to the angel and
the fairy; more than this, he sets in motion the heroic string
which has nowhere else vibrated with so much grandeur, passion
and fresh energy as in his "Polonaises," which you brilliantly
designate as "Pindaric Hymns of Victory."
No need to tell you that I fully share in your admiration and
sympathy for Tausig and Henselt. Do you know Wagner's epigraph
"Fur Carl Tausig's Grab"?
"Reif sein zum Sterben, Des Lebens zogernd spriessende Frucht
Fruh reif sic erwerben, In Lenzes jaherbluhender Flucht--War es
dein Loos, war es dein Wagen: Wir mussen dein Loos wie dein Wagen
beklagen."
[For Carl Tausig's Grave:--"Ripe for Death's harvest, The fruits
of life long tarrying, Full early to pluck them In the fleeting
bloom of spring--Was it thy lot, was it thy bourn? Thy lot and
thy destiny both must we mourn."]
Allow me to be particularly grateful to you for one very
comprehensive expression in your pamphlet (page 4)--"es war
thematisch" [it was thematic]--and accept, dear Lenz, the
expression of my old and very cordial devotion.
F. Liszt
Weimar, September 20th, 1872
In three weeks I return to Hungary, and shall stay there for the
winter. The remainder of my existence will be divided henceforth
between Pest and Weimar. When you return to Berlin (in the
summer) I invite you to come this way. Are you in touch with the
musical young Russia and its very notable leaders--Messrs.
Balakireff, Cui, and Rimski-Korsakoff? I have lately read several
of their works; they deserve attention, praise and propagation.
118. To Otto Lessmann in Charlottenburg
[Lessmann, a pupil of Bulow's and F. Kiel's, was at one time a
teacher in Tausig's School for the Higher Instruction in
Pianoforte Playing, and is now well known as editor of the
Allgemeine (deutsche) Musikseitung, representing the party of
musical progress with energy and success.]
Very Dear Sir and Friend,
My best thanks for presenting me with your admirable edition of
Bach's "Preludes." Such works are among the pleasant signs of the
musical Present; inasmuch as they will drive away the old jog-
trot style of pianoforte playing. Bulow's edition of Beethoven
outweighs in the matter of instruction a dozen Conservatoires.
And the editions by Kroll and Lebert also deserve praise and
ought to be widely circulated; and to your Bach Preludes I wish
plentiful successors in the "Suites," "Inventions" and
"Variations" (especially the 30 in G major) of grand old Herr
Johann Sebastian--of Eisenach.
Allow me also to add that reading over your Songs enables me more
and more thoroughly to enjoy them when I hear them--intelligent
singers shall be found for them--and accept, dear friend, the
expression of my sincere esteem and affection.
F. Liszt
Eisenach, September 26th, 1872
119. To Eduard von Liszt
Horpacs, November 6th, 1872
Dearest Eduard,
My stay here has been somewhat prolonged, and I shall not reach
Pest till next Sunday.
Szechenyi's [Count Szechenyi was Austrian ambassador in Berlin up
to 1892.] residence here is most decidedly pleasant and
convenient, without noise. In the chapel attached to the house,
the house-chaplain (a cultured and estimable priest) daily reads
Mass. At table an old house-physician, Dr. M., contributes a good
deal to the entertainment. Among other amusing things he said one
day: "As to the cholera, no one knows anything definite about it
yet except myself, for I have fathomed its nature. And its nature
consists solely and wholly...of nothing but cholera!"
The day before yesterday we drove with Szechenyi and Mihalovich
to Raiding, [Liszt's birthplace.] in less than two hours. A Herr
Wittgenstein (probably an Israelite), who lives in Vienna, now
rents this Esterhazy estate, and sublets it again. I found no
perceptible changes in the house where I was born since my last
visit there 24 years ago. The peasants recognised me at once,
came to pay me their respects at the inn, and rang the church
bell as we drove away.
.--. I wrote to Kahnt from here that he was to send you
immediately the 9 "Kirchen-Chorgesange" and my Mass for men's
voices ("Editio nova").
The three Patronatsscheine [tickets of membership] for the
Nibelung performance in Bayreuth (Bayern. N.B.--The King has
commanded that henceforth Baiern [Bavaria] shall be spelt with a
y), and your letter to Herr Feustel, please attend to without
delay.
All cordial greetings to you and yours--from your faithfully
attached
F. Liszt
Augusz I shall meet in Pest-Ofen.
Give Bosendorfer my friendly greetings, and at the same time tell
him how I praise the excellent piano upon which I have been
practising a little here.
If Zumbusch goes to Vienna, commission him--as we arranged--to
make a bust of me in marble and a pedestal for Bosendorfer.
120. To Princess Caroline Sayn-Wittgenstein
[Printed by "order" in the Signale, 1873 (after the death of
Napoleon), in which form the letter is reproduced here, as the
original could not be procured. This letter does not indeed show
us Liszt as a far-sighted politician, but simply as a man of
noble impulses.]
Pest, January 10th, 1873
Napoleon III. is dead! A great soul, an all-embracing
intelligence, experienced in the wisdom of life, a gentle and
noble character--with a disastrous fate! He was a bound and
gagged Caesar, but still closely related to the Divine Caesar who
was the ideal embodiment of earthly power. In the year 1861, when
I had a pretty long interview with Napoleon, he said, "Sometimes
it seems to me as if I were over a hundred years old." I replied,
"You are the century yourself, Sire!"--And, in fact, I honestly
believed at the time, and do so still, that Napoleon's reign was
the one most in keeping with the requirements and advances of our
era. He has set noble examples, and accomplished or undertaken
great deeds: amnesties which were more complete under him than
under other governments; the protection of the Church in Rome and
in other countries; the rejuvenescence of Paris and other great
cities in France; the Crimean war and the Italian war; the great
Paris Exhibition, and the rise of local exhibitions; the earnest
attention paid to the lot and to the interests of the country
people, and of the working classes; the generosity and
encouragement to scholars and artists,--all these things are
historical facts, and are things in which the Emperor took the
initiative, and which he carried out in spite of all the
difficulties that stood in his way.
These things will not be eclipsed by the misfortunes that befell
him, however terrible these may have been, and, on the day of
judgment, France will fetch the coffin of Napoleon III. and place
it in all honor beside that of Napoleon I. It can be affirmed
without adulation that throughout life the Emperor unswervingly
practised those great virtues which are in reality one and the
same thing and are known by the names of benevolence, goodness,
generosity, nobility of mind, love of splendor and munificence.
One of the fine traits of his character that he is acknowledged
to have possessed, was his never-failing kindheartedness and his
deep gratitude towards those persons who had ever done him a
service. In all humility and lowliness of spirit I will imitate
him in this, and begin with himself by blessing his memory and
addressing my prayers for him to the God of Mercy who has so
ordered things that nations may-recover from their wounds. .--.
121. To Eduard von Liszt
Dearest Eduard,
Long since you ought to have heard from me...However, I have not
been altogether idle, and during the last weeks have been busy
blackening some sheets of music paper which you shall see in
print and hear me play. Bosendorfer heard some of it last night,
and will bring you word about it to Pest. Be good enough to pay
Zumbusch a visit, and beg him to have my bust done in good
marble, and to have it finished and ready by the 2nd April
(Franciscus di Paula). I intend to spend this name-day of mine
with you quietly, [This was an established custom of Liszt's for
many years, and one to which--even after his cousin's death--he
adhered, and spent the day with the family up to the time of his
death.] and to take the bust to Bosendorfer "in persona."
I am told that the Gran Mass is to be performed on Easter Sunday
in Pressburg. If so, we will go there together to hear it, with
your wife, Marie [Eduard von Liszt's daughter, now Baroness Saar
in Vienna.] and Franz.
As to the Bayreuth affair, I have already told you what my wish
and will is. It must remain thus. .--.
Probably Cosima will be going to Vienna in February.
God's blessing abide with you and yours. Thine, with all my
heart,
F. Liszt
Pest, January 13th, 1873
122. To Dr. Emil Thewrewk von Ponor, Professor at the University
of Budapest.
[A classical philologist who published a little Hungarian work
entitled "Die ungarische Rhythmik," the German edition of which
was to be dedicated to Liszt. The two men differed in their
opinion respecting the origin of Hungarian music; however, in
consequence of Von Ponor's contribution to the subject, Liszt did
in the end agree with the proof Von Ponor brought forward--with
this reservation, that "the gypsies did bring harmony into
Hungarian music," a point which--Ponor thinks--"may readily be
conceded."]
Much-Esteemed and Dear Herr Professor,
I regret that my reply to your request about the Elizabeth-motive
can only be somewhat unsatisfactory. It was sent to me together
with some others--referring to Saint Elizabeth--about 13 years
ago, by Mosonyi and Baron Augusz, and the Hungarian text is
published in the concluding notice to the score of my Oratorio. A
copy of the "Lyra Coelestis" I did not need; probably this (to me
unknown) printed work will be readily found here, and is sure to
be in the Library of the Martinsberg monastery.
If not inconvenient to you I should be glad to receive the honor
of a visit from you; it would interest me greatly to hear of and
to become acquainted with your researches concerning Hungarian
rhythmic forms.
Meanwhile I thank you warmly for your friendly lines, and for
communicating the Volkslied in the 5/4 time:--
[Here, Liszt illustrates with a musical score excerpt]
Yours with much esteem and sincerely,
F. Liszt
Pest, January 14th, 1873
123. To Dr. Franz Witt
January 20th, 1873
Much-Esteemed Friend,
At New Year I sent you a copy of the Stabat Mater by Palestrina
"for the lecture arranged by R. Wagner." The inaccuracies and
errors of this copy I have carefully corrected, for in such a
masterly and exemplary arrangement every iota is of importance.
Wagner gave me his manuscript 18 years ago in Zurich, and forgot
afterwards where it was. As regards its publication, which is
much to be desired, it is not for me to interfere in the matter
in any way, and I beg you to come to some understanding with
Wagner about it. If he should wish to correct his old manuscript
(the paper of which has become rather yellowish) I will gladly
place it at his service.
124. To Eduard von Liszt
Dearest Eduard,
Having considered the matter about the certificate of death which
Rothschild wished to have, I shall not make use of Belloni in
connection with it. If Emile Ollivier were still in Paris it
would be his place to procure the certificate. My dear good
mother died in his house (Rue St. Guillaume, Faubourg St.
Germain) at the beginning of January 1866. He looked after her
and took tender care of her for several years; and finally had
her body taken to the Church of St. Thomas d'Aquin for the
funeral service, and followed it thence to its last resting-place
in the cemetery of Montparnasse. This noble conduct and his
speech at the grave I cherish in my innermost heart.
Since the winter of 1866 I have never been back in Paris, and my
relations with trustworthy persons there are as good as entirely
broken off. Hence I yesterday went and got good advice from
friend Augusz, and have accepted his proposal, namely, to address
a request to Count Alexander Apponyi--son of and Secretary to the
Austrian ambassador in Paris--to procure the certificate of death
of my mother and to send it to you. Let Rothschild know of this
matter, which, let us hope, will soon be satisfactorily settled.
Many thanks for the trouble you are taking about the bust by
Zumbusch, and which I very much wish personally to present to
Bosendorfer in Vienna as an Easter egg. I know I can rely wholly
upon your ever faithful and incomparable readiness to do me a
favor.
Allow me one other request, which will cost you only half an
hour's time and a visit. The visit is to an extremely
interesting, learned and distinguished man--Dr. Ambros, formerly
Imperial Solicitor-General in Prague, now professor and
referendary to the Officielle Zeitung in Vienna, always an
eminent writer on aesthetics, history, the history of music, a
polygraphist, composer--in fact, a good friend of mine. Be kind
enough to tell him that I am awaiting his answer in the
affirmative, respecting a lecture by him on Robert Franz at the
extra Soiree arranged in honor of and for the benefit of Robert
Franz; Dr. Ambros was at my request respectfully invited by Herr
Dunkl ("Firma Roszavolgyi") to give us his assistance. I take
part too as pianist, collector and arranger of the Soiree, and
hope that Dr. Ambros--who is so specially competent for the task,
owing to his eloquent and valuable treatise on Robert Franz--will
give us brilliant assistance, and give us a speech there without
talking himself out. The warmest welcome and appreciation will
await him on all sides. But obtain his kind consent as soon as
possible, together with a written yea to Dunkl (Musikverlag
Roszavolgyi, Christoph-Platz, Pest).
Heartiest greetings to your wife and children, and au revoir on
the 2nd April.
Thine,
F. Liszt
Pest, January 28th, 1873
125. To Eduard von Liszt
My Dearest Friend,
Zumbusch's letter seems to me pretty comforting, and if you would
have the kindness to write to him again I hope the bust will
reach Vienna by April 1st. Have you asked what it costs? If not
do so in your next letter. Of course I do not mean to bargain
with Zumbusch (that is a thing I do only in case of dire
necessity--and even then am a bad hand at it). We must simply pay
what he asks, and leave ourselves to his friendly feelings of
moderation, which will not fail...
In spite of all your endeavors and persuasive powers Dr. Ambros
is not coming to the Robert Franz Soiree in Pest. He wrote to
Dunkl that he is unusually busy in Vienna with urgent affairs
connected with the Zeitung--and hence cannot find any time to
prepare an address--and besides this is afraid of taking cold on
the journey...To all this we can raise no remonstrance, so I must
just accept this refusal of Ambros, much as I should have liked a
different answer. Some day I will tell you the preliminaries of
this business. Last week I received from Freiherr Suttner,
President of the Vienna Singakademie and Imperial Chamberlain, an
invitation to play a few pianoforte pieces in the concert
arranged for Robert Franz's benefit. I replied that an interval
of 25 years separated me from my last public appearance as a
pianist, andthat I considered it advisable for me to remain
within the interval. As I told you last October, it is not my
intention to officiate in any way this winter in Vienna.
Herewith I send you an extract from the sitting of the Chamber of
the day before yesterday, the result of which is almost as
unexpected as it is important. The deputies of the conservative
party and of the opposition voted almost unanimously in favor of
raising the funds for establishing a new Musik-Akademie. And an
unusual honor was conferred upon me on the occasion,--for,
although I have never come forward in the matter, it was
nevertheless brought forward in my name, and this certainly puts
rather a heavy burden upon me. I will endeavor conscientiously to
do justice to the honor as well as the burden. For the last
couple of days a stupid feverish cold in the head has kept me in
bed. Tomorrow, however, I shall be up and about again.
Faithfully thine,
F. Liszt
Pest, February 10th, [1873]
126. To Eduard von Liszt
My Dear Friend,
Bosendorfer brings you tidings of the Robert Franz Soiree of
yesterday. [At this soiree Liszt played Beethoven's A-flat major
Sonata, Op. 26, No, 4; his own "Soirees de Vienne" (after F.
Schubert); Schumann's "Wie aus der Ferne"; and R. Franz's
"Lied."] In a fortnight's time I shall have a similar work before
me as pianoforte player, at a charity concert which Countess Anna
Zichy is patronising. Then follows, further, a matinee of the
Liszt-Verein at the Stadtpfarrei [The town parsonage], and the
performance of Witt's Mass, of which I undertake the conducting
on the 25th March (in the church). At the beginning of April I
shall be with you.
Heartfelt greetings to you and yours from your faithful
F. Liszt
[Pest] March 3rd, 1873
127. To Madame Jessie Laussot
Dear, Excellent Friend,
Your ideas are always very wise, practical and noble; I
participate in them beforehand, and esteem myself happy to have
them communicated to me direct. With regard to Robert Franz's
little capital, I presume that his zealous friends have already
taken decisive measures; on my return to Weimar (before the end
of April) I will learn whether it is possible to carry out your
idea...You know that a thousand thalers have been sent from here,
the result of a soiree arranged in Franzs honor. Perhaps I shall
find an opportunity to send him more soon.--
Walter Bache writes me word of his "Ninth Annual Concert" in
London, with my 13th Psalm. Bache behaves "eroicamente" with
regard to me, and takes rank in the very small group of my
friends who are the most determined to show the public--in spite
of the contrary opinion, much believed by influential papers--
that my music is not absolutely void of sense. I should like to
make the task of these friends a little easier, and I try not to
increase the merit of their devotion by my faults.
Enclosed is the programme of the concert of our friend Mihalovich
yesterday evening. "Romeo and Juliet" was encored, and the
"Geisterschiff" did not founder. The audience, very aristocratic,
was more select than numerous, which is a good sign for our
friend. Item the squashing of some learned articles in the
papers.
Will you kindly give my grateful acknowledgments to Mr.
Hillebrand for his friendly remembrance, and for sending me his
new volume on the French? I had read bits of it in the Augsburg
Gazette, and shall take a double pleasure in reading the entire
work. Hillebrand, like Alexander von Humboldt, has a passionate
attachment to France;--I am proud to feel that I am in accord
with him also on this point.
The day after tomorrow I shall be in Vienna, and shall spend a
fortnight with my near relative and friend Eduard Liszt. After
that I return to Weimar, and hope to see you there in the summer.
I will write to you in good time about the performance of the
Oratorio Christus...
Respectful homage and cordial friendship,
F. Liszt
Pest, March 30th, 1873
128. To Casar Cui
[Russian composer and musical critic.]
Sir,
Pray excuse my delay in thanking you for your very kind letter
that Mr. Bessel brought me with the piano score of your Opera
William Ratcliff. It is the work of a master who deserves
consideration, renown and success, as much for the wealth and
originality of the ideas as for the skilful handling of the form.
As I am persuaded that all intelligent and honest musicians will
be of this opinion, I should like to add to it some assurance on
the next performance of your Ratcliff in Germany. It should be
done at once at Weimar were I in active function at the theater
as in the preceding years (from 1848 to '59); but since my
retirement I am not any longer in a position to take definite
steps, and must confine myself to recommendations--more often
counteracted than followed.
Accept, sir, my sincere thanks, and with every expression of high
esteem I am, yours truly,
F. Liszt
Weimar, May, 1873
129. To Franz Servais.
Dear Monsieur Franz,
My best wishes accompany you "into your cage." [This usually
means "in durance vile," but the word "cage" is preserved here on
account of the context.--Trans.] You do well to put yourself
there, and, if the flight of your genius should find itself
somewhat trammelled, for the time being, before the tribunal of
counterpoint and fugue, it will soar all the more proudly
afterwards. I hope you will come out of your cage glorious and
crowned; in case of bad luck do not be too much disappointed;
more skilful and more valuable men than you and I, dear Franz,
have had to have patience, and to have patience yet again. M. de
Buffon, when he said "genius is patience," did but make the
mistake of an incomplete definition; he took a part for the
whole; but that part is absolutely necessary in the practice of
Art, as in that of earthly life.
Please remember me very affectionately to your mother; give a
shake of the hand to your brother from me,--and depend ever on my
devoted and affectionate feelings.
F. Liszt
Weimar, June 5th, 1873
130. To the Canoness Adelheid von Schorn
Dear Excellent One,
My little travelling plans have been upset by a letter from
Cosima. I did not stop either at Salzungen (where I had arranged
to meet Schuberth) or at Meiningen, and came straight here on
Saturday, in accordance with an invitation from Cosima to a
little fete of the workpeople of the theater of the Nibelungen.
Many idle and gossiping people everywhere are troubling their
heads about this theater, and are asking when and how it will be
finished building. Instead of descanting foolishly or maliciously
about it (the two things sometimes go together), it would be
better to get a "Patronats-Schein" [a receipt of membership], and
thus to join in the grandest and most sublime work of art of the
century. The glory of having created, written and published it is
Wagner's intact; his detractors have only to share the disgrace
of having thwarted it and delayed the bringing of it to the full
light of day, by performance.--
Next week I go to Schillingsfurst, and towards the middle of
August I shall be back at Weimar.
A thousand very cordially affectionate and devoted regards.
F. Liszt
Bayreuth, July 30th, 1873
131. To Eduard von Liszt
Dearest Eduard,
After an absence of 3 weeks I returned here yesterday. I remained
first to days in Bayreuth, from August 26th to September 5th,
[The dates here ought certainly to be from July 26th to August
5th--as Liszt's letter is dated the 19th of August.] and then the
same length of time in Schillingsfurst (with Cardinal Hohenlohe)
and at Langenburg (with Prince Hermann Hohenlohe), whither I had
the honor of accompanying the Cardinal.
Cosima, Wagner and the five children are in the best of health.
The building of the Nibelungen-Theater is progressing famously;
if the necessary sum of 300,000 thalers [some 45,000 pounds] of
which as yet only about 130,000 have been forthcoming, is got
together in time, the performance of the "Festival
Drama"--"The Ring of the Nibelung"--is to take place in the
summer of '75.
.--. Simultaneously with his theater, Wagner is building a
beautiful and exquisitely situated house close to the Hofgarten.
The King of Bavaria has given him 20,000 thalers [some 3,000
pounds] for this. Next spring Wagner will take up his abode
there.
My intercourse with Cardinal Hohenlohe is always pleasant. He
leads a very retired life in Schillingsfurst, receives but few
visits and pays only a few, and occupies himself principally in
building and arranging a large schoolhouse and an institution for
girls under the superintendence of a Benedictine Sisterhood.
Great festivities are being arranged here in honor of the
marriage of the Hereditary Grand Duke. On September 6th the entry
of the bridal pair, on the 7th a Court concert, on the 8th a
Festival-play by Devrient in the theater and a performance of
Beethoven's 9th Symphony, etc., etc. I have undertaken to conduct
the Symphony and also to play a couple of pianoforte pieces at
the Court concert. A second Festival-play, entitled "The Bride's
Welcome to the Wartburg," written by Scheffel and set to music by
me, is to be given on September 2lSt in the Minnesanger Hall in
the Wartburg, where you heard the "Elizabeth" Oratorio.
A few days after this I shall travel to Rome, and remain there 3
or 4 weeks. Before the end of October I shall come to you again
for a couple of days before returning to Pest on November 1st.
The dedication-copies of the "Szoszat" and the "Hymnus" for Count
Andrassy are not yet ready, it seems. Roszavolgyi (Dunkl) has
sent me only a fete ordinary copies of the pianoforte version,
and not one of the score. I shall therefore have to wait till
November before sending or presenting it to Count Andrassy.
From the Grand Duchess I received 1,000 thalers--but these
together with your 500 have all been spent. Be so good as to send
me another 300 thalers next week! For my journey to Rome I shall
probably, towards the middle of September, again have to ask you
for a note of 500 francs. Although I do not go in for any
luxuries, money vanishes quickly and readily in my hands.
Heartiest greetings to your wife and children, and au revoir in
Vienna at the end of October.
Faithfully thine,
F. Liszt
Weimar, August l0th, 1873
132. To Franz Servais
Dear Victorious One,
Your letter had been travelling several days in Bavaria before it
reached me here yesterday morning. I thank you for letting me
take an affectionate part in the success you have obtained, and I
wish to keep that part throughout your future successes--and even
failures. The latter will not do you any great harm, provided
that you know how to keep that attachment to work, and that
perseverance in noble ideas, which are the chief heirloom of the
artist. Lassen tells me that we are shortly to hear your "Tasso"
here: my attentive sympathy is wide awake; so fulfil your
promise, dear Franz, by coming before the end of this month, and
we will talk at our ease at the Hofgartnerei of our aims and
plans.
Please give my respects to your mother, and my cordial
remembrances to Joseph and Godebski.
Your affectionate and devoted
F. Liszt
Weimar, August 19th, 1873
133. To Walter Bache
Dear Friend,
Often I am behindhand and stop short of thanks with you, but it
is certainly not for want of sincere affection and esteem.
Your "9th Annual Concert" has again shown the worth of your
talents and the firm constancy of your character. Now in our
artistic world character is still more rare than talent.
You nobly unite the two; it is a pleasure to me to acknowledge
it, and to count you amongst the most devoted champions of
progress and of musical good sense.
At their head, by right of age and capability, walks
imperturbably and gloriously Hans de Bulow.
Will you give him the enclosed letter? and believe me ever, dear
Bache,
Your very cordially affectionate
F. Liszt
Weimar, August 20th, 1873
134. To Max Erdmannsdorfer, Hofcapellmeister in Sonderhausen
[At present Capellmeister in Bremen; he has rendered good service
to the cause of the New-German musical tendency both in Germany
and Russia.]
Very Dear Herr Capellmeister,
Your friendly invitation for me to attend the performance of your
"Schneewittchen" I am unfortunately unable to accept. Owing to
the festivities at the Wartburg it is impossible for me to get
away next week. Will you kindly convey to the Princess Elizabeth
my regrets as well as my most gracious thanks?
On Sunday, September 28th, I shall have the pleasure of thanking
you personally in Sondershausen for arranging and carrying out
the extraordinary concert programme. It is my special wish that
the two "Faust Episodes" should not be separated--even at the
risk of wearying the public for a few minutes with the
"Nachtlicher Zug." [Two Episodes from Lenau's Faust (Leipzig,
Schuberth).] But this piece does not appear to me altogether so
bad...
I beg you again to repeat my sincere praise to the Sondershausen
artists who played so admirably here last Monday in the 9th
Symphony, and remain, very dear Sir, with marked feelings of
esteem,
Yours in all friendship,
F. Liszt
Weimar, September 16th, 1873
Kahnt, Gille, J. Schuberth, Lassen and several other friends of
mine are going to attend the Sondershausen concerts on the 28th
and 29th September.
The Weimar presentation I will bring you.
135. To Otto Lessmann
Dear Friend,
Best thanks for sending Kiel's "Christus"--a work full of
spiritual substance, of noble and fine sentiments, and masterly
in execution. Riedel proposes to give a performance of it next
winter it Leipzig.
With such a clause as Joachim introduces for the "Novitaten-
Concerten"--"that only such composers shall be taken into
consideration in the programmes whose renown as artistic
representatives of the German nation is established"--Handel,
Bach, Mozart, nay even Beethoven, would have come off badly in
their life-time!
Whether it is appropriate for the Berlin Hochschule to act in so
specially a high and mighty manner remains to be seen. Still it
is to be expected that such procedure is likely itself to meet
with some other restricting "clauses."
Of the arrangement for 8 hands of the Pastorale and March [From
Liszt's Oratorio "Christus."] which I wish to have from you, you
will have already heard from Schuberth. Likewise from Kahnt of
the couple of pieces from the "Elizabeth."
Au revoir on Sunday, the 28th September, in Sondershausen, where
we shall have a curious (sonderliches) Programme. Receive
herewith, dear friend, a special invitation, together with the
assurance of my friendly attachment.
F. Liszt
Weimar, September 24th, 1873
I shall bring you back your copy of Kiel's Christus to
Sondershausen.
136. To Kornel von Abranyi
Dear Valiant Friend,
Your letter, and the printed paper of great fame which
accompanies it, recalls to me the saying, "La joie fait peur."
[Abranyi, who was the Secretary of the Festival Committee which
had been formed for the celebration of Liszt's Artist-Jubilee in
November 1873 at Budapest, had in their name invited Liszt to
take part in this.] Nevertheless I could not suit myself to the
role of a coward; I will therefore endeavor to surmount my fear
and to make myself worthy to share with my brave compatriots in
the joy they have prepared for me.
I beg you, in your capacity of secretary of the Festival
Committee, to present my most grateful thanks, in good Hungarian,
to the most illustrious and most reverend President, Monseigneur
Haynald, [The Archbishop of Kalocsa, afterwards Cardinal, Liszt's
friend of many years. (Being interested in the present
collection, he promised to contribute to it the letters addressed
to him "by the great artist and noble man." His death
unfortunately prevented the fulfilment of his promise, and the
Archiepiscopal Chapter of Kalocsa did not accede to the request
of the editor to be allowed to have these letters.)] and to the
members of the Committee.
Baron Augusz had written me word that he would come here in the
middle of September, to be present at the "Festspiel" [Festival
Play] at the Wartburg. He shall soon receive news from me from
Rome, where I shall arrive on Sunday. Schuberth is sending you
the score and the piano score of the "Christ," together with the
biographical notices for which you asked me. My cousin Eduard
will send you the "postscript" immediately.
Cordial friendship and fruitful collaboration.
F. Liszt
Weimar, October 1st, 1873
Herewith the programmes of the 2 concerts at Sondershausen at
which I was present. This afternoon I start for Rome,--and on the
1st November shall be at Pest.
137. To Martha Remmert
[A pupil of Liszt's; became later Kammervirtuosin (court-pianist)
in Weimar, and lives now in Berlin.]
Pest, December 27th, 1873
Dear Fraulein,
The best "solution" in reply to the ministerial order lies in
your hands. Merely play the first page of Henselt's Concerto and
no one will doubt that I am very kindly disposed towards you. And
I shall be glad to render you further service in your zeal for
study and your ambition as a virtuosa. No matter whether I be in
Pest or in Weimar.
In all friendliness yours,
F. Liszt
138. To ?
[Autograph without address or date in the possession of Count
Albert Amadei in Vienna.--According to him the letter belongs to
the year 1873.]
Very dear Fraulein,
Please reply at once per telegram:--"Please do not come.--Liszt
does not need or wish to be heard, as he has no one for whom he
must strike up."
Tomorrow evening more by word of mouth.
Sincerely yours,
F. Liszt
Monday
139. To Countess Marie Dunhoff in Vienna
[Sketch of a letter in the possession of Herr O. A. Schulz,
bookseller in Leipzig.--The addressee, the wife of the German
ambassador Von Bulow, lives now in Bucharest.]
[Beginning of January, 1874]
Dear Countess,
You speak to me so eloquently of the merit, talent and
superiority of Madame L.B. that I am quite ashamed of not
fulfilling her wish subito. But in reality that would be more
difficult than she imagines; a "petit morceau de piano" would
only be a small part of the matter; the public is a very exacting
master, even in its days of favor; the more it gives the more it
expects...
Half a dozen such requests as that of Madame L.B. have been
addressed to me at Vienna this week. How can one suffice for such
a business, which, be it said in passing, is at once outside and
far beyond my duties?--At my age one must try to behave
reasonably, and to avoid excess; I shall therefore limit myself
in Vienna to the one concert of the "Kaiser Franz Joseph
Stiftung," [Emperor Francis Joseph Scholarship] which reasons of
great propriety, easy to understand, have led me to accept with
alacrity. I am told that it will take place on Sunday, 11th
January; so be it: I shall willingly conform to the arrangements
of the Committee and have no other wish in this matter than...not
to inconvenience anybody. [The concert for the "Emperor Francis
Joseph Scholarship" did not take place till April; and Liszt did
actually play, in the Easter week, for the Countess's protegee,
though not in the Concert Room, but in the Palais Auersperg.]
Permit me to hope, dear Countess, that you will not, under the
pretext of "discretion," inflict upon me the immense punishment
of seeing you less often this time than formerly, and that you
will not retract any of your kindness, on which I place the
greatest store.
A thousand and a thousand sincere and most respectfully devoted
expressions of homage.
F. Liszt
140. To B. Bessel, Music Publisher in St. Petersburg
Horpacs (Chez le Comte Szechenyi), February 2nd, 1874.
Dear Sir,
Pray excuse me for being so late in thanking you,--you and all
those who signed the telegram sent to Pest on the occasion of my
jubilee fete. I am deeply touched with the noble sentiments it
expresses with a chivalrous eloquence, and beg you to convey the
tribute of my most sincere gratitude to Messrs. Balakireff,
Borodine, Cui, Moussorsky, Rimski-Korsakoff, Scherbatcheff, and
Stassoff.
You were kind enough, Sir, to let me see several of their works
at Weimar; I appreciate and esteem them highly, and as far as
depends on myself I will do all I can to make them known, and
shall feel honored thus to respond to the sympathetic kindness
which brave colleagues such as these accord to
Their very devoted
F. Liszt
141. To Professor Skiwa in Vienna
[Printed in the Signale, 1874, No. 20.--Skiwa had dedicated his
"Beitrage zur Literatur des Harmoniums" ("Contribution to
Harmonium Literature") to Liszt.]
Very Dear Sir,
Kindly excuse the delay in my sending you my sincere thanks,
which I shall very shortly take the liberty of expressing to you
personally in Vienna. I shall then also ask you to do me the
favor of making me more intimately acquainted with your excellent
transcriptions. In reading them through one at once observes the
author's masterly style and his care and artistic handling of the
characteristic peculiarities of the harmonium, especially in the
management of the basses and the mid-voice parts. But still the
mere reading your transcriptions does not satisfy me, and I
should like to hear them, so as to be able fully to enjoy them.
Herr Bosendorfer will bring you the manuscript of the
"Consolation," the dedication of which is very acceptable to me.
The transcription of this small piece into A major appears to me
very appropriate, and the arrangement excellent.
With marked esteem and friendly thanks,
F. Liszt
Pest, March 2lst, 1874
142. TO C. F. Kahnt, the Music Publisher
[Published in the Neue Zeitung fur Musik, 14th September, 1892.]
Dear Friend,
The day after tomorrow I again go to Vienna, and remain there
about a week. In case the "Prometheus" proofs are ready send them
to me to my usual address ("Schottenhof bei Hofrath E. v. Liszt")
by the middle of Easter week; after that my address will be
rather uncertain, as I intend spending a few days in Pressburg
and Kalocsa (with Archbishop Haynald), and do not return here
till after April 20th. Hence, if the "Prometheus" proofs are not
ready within the next few days, do not send them till after my
return to Pest (April 21).
Please send the proofs of Mihalovich's songs as soon as possible
to the composer, addressed to
"Servitenplatz, im Teleky'schen Haus."
The Vienna concert in the "Palais Auersperg" is announced for
Easter Monday, April 6th. The following Sunday, or at latest on
Sunday the 19th April, the concert of the "Kirchenmusik-Verein"
is to be given in Pressburg, at which I take a part in piano-
playing--it is to be hoped for the last time this year!--
I think of remaining here from April 2lst to the beginning of
May, and then of wandering straightway to Rome, and to the Villa
d'Este.
I wish you in all friendliness a happy Easter, with satisfactory
business at the Easter's fair, and remain your sincerely attached
F. Liszt
Pest, March 29th, 1874
Have you sent Countess Oriolla the omitted copy of the "Wartburg
Songs"?
143. To Dr. Franz Witt
[1874?]
I look forward with eager interest to the realisation of your
scheme to found a Catholic School of Music. The numerous and
important services you have rendered as composer, conductor,
teacher, promoter and president of the Cacilien-Verein proclaim
and mark you as pre-eminently fitted to organize and direct this
highly important kind of School. I should wish that Hungary, my
fatherland, might set a good example, and might offer you, my
very dear friend, an honorable and influential post in the Musik-
Akademie that was voted for last year in the Chamber. This wish
of mine was seconded with cordiality by His Eminence the Cardinal
Primate, His Excellency the Archbishop of Kalocsa, Haynald, and
H. E. Trefort, the Minister of Public Instruction. Various
political circumstances interfered with the plan of starting a
Musik-Akademie in Pest; but the idea has by no means been given
up, and I have still the hope that you may yet at some future day
be called upon to give your powerful assistance in connection
with the teaching and practice of Church music in Hungary.
144. To Professsor Carl Riedel
Dear Friend,
As at all preceding Tonkunstler-Versammlungen, you have again
this year in Brunswick done the best that was possible. [The
Meeting took place in Halle, instead of in Brunswick.] Five
concerts sound almost alarming, but the programmes are drawn up
and arranged with so much forethought and care that your master-
hand and that indescribable "with avec" (as dear Frau Dr. Pohl
called it) are at once to be recognised. It certainly was
advisable to check the "democratic movements" of the orchestra
without interfering with the well-meant "command." That the
Sondershausen set continue to prove themselves reliable and
friendly I am delighted to hear. I wish all possible success to
Erdmannsdorfer's "Schneewittchen." The youthful and captivating
Frau Kapellmeisterin Erdmannsdorfer is especially capable of
doing justice to Raff's Trio (or Concerto) and other pianoforte
pieces. [Pauline Fichtner, who married Erdmannsdorfer, was a
pupil of Liszt's, and became court-pianist at Weimar and Hesse.]
Will Bulow be able to be present? We have not written to each
other for some time past. Do you know where to address him just
now?
In case my Faust Symphony is given at the 5th concert (as your
programme announces), I beg you to ask Bulow to be conductor.
This work has become his property since he conducted it so
magnificently at the Weimar Tonkunstler-Versammlung ('61), when
the whole orchestra was amazed and astounded at his fabulous
memory. You will remember that not only did he not use a score,
but at the rehearsal referred to the numberless letters and
double letters with unerring accuracy.
With regard to two other matters I wish: A, that Steinway may
have the kindness to lend one of his excellent harmoniums for the
Hunnenschlacht, and that the instrument may be so placed as to be
invisible to the public and yet distinctly heard. B, that the
performance of the Sanctus from the Mass for men's voices be
taken from the editio nova (published a few years ago by Hartel),
and not from the earlier edition. Here, too, Steinway's harmonium
would render excellent service, visible and placed close to the
chorus. Perhaps our friend Stade would have the kindness to play
the harmonium part of the Hunnenschlacht and of the Sanctus.--
I truly regret that I shall not be able to hear that sublime,
grand and overpowering Requiem by Berlioz, nor to attend the
Musical Festival in Brunswick. I am physically and mentally very
exhausted, and need several months' rest; besides my remaining
away from Weimar forbids me from meanwhile visiting any other
German towns.--Before the middle of May I shall go direct to
Rome, and remain there till the end of the year in my former
residence at the Villa d'Este (3-1/2 hours from Rome).
With friendly greetings to your wife, I remain, Yours ever in
esteem and sincere attachment,
F. Liszt.
Pest, April 17th, 1874
Accept my best thanks for cancelling my promise to Metzdorff (in
regard to the performance of his Symphony).
I agree perfectly, of course, with your desideria fog the Musik-
Verein, and hope next year to be able to contribute something
towards their realisation.
"In patientia vestra possidebitis animas vestras."
To Kahnt I wrote at once on my return from Pressburg on Monday.
145. To Dom-Capellmeister [Cathedral Conductor] Dr. Franz Haberl
in Ratisbon
[This letter, like the subsequent one to Haberl, is a copy of the
draft of a letter of Liszt's by Dr. Mirus in Weimar.--Haberl is a
distinguished musical scholar (born in 1840).]
[1874?]
Pardon me if I again come with claims upon your kindness. You may
know that I am working at an Oratorio on St. Stanislaus, and
perhaps might be able to give me some assistance with it by
communicating to me the liturgic hymns referring to the feast of
St. Stanislaus. The Enchyrydion and Directorium Chori designate
the Mass, Protexisti, etc., on May 7th. To receive fuller
information from you on this point would greatly oblige me.
[Haberl also gave Liszt aural communications regarding the
Stanislaus legend. "On one occasion," says Haberl, "Liszt was
specially and greatly delighted to hear of the man whom
Stanislaus summoned out of the grave as a witness that the field
had been paid for, and gave me a sketch of his proposed motives
and tone pictures."]
Pray accept, reverend Sir and friend, the expression of my marked
esteem, and believe me yours gratefully and sincerely,
F. Liszt
146. To Professsor Carl Riedel
Dear Friend,
Herzogenberg's [Formerly Director of the Leipzig Bach-Verein,
then Kiel's successor at the Berlin Hochschule, which post he
lately resigned.] "Deutsches Liederspiel pleases me very much.
The very first chorus with its mixed species of tempi 6/4-3/2 and
6/4-3/2 is fresh and pithy, and the whole work seems to me.
excellent, pleasant and effective. Hence I should much like to
recommend its being performed.
Where does Herzogenberg live? Has he any appointment anywhere?
Let me know, when you can, something of his former and present
work.
(N.B.--It would be worth while, later, carefully to arrange the
"Deutsches Liederspiel" for orchestra.)
I observe with special pleasure that Grutzmacher has chosen a
Suite of St. Saens'. St. Saens will not, however, be able to
come,--the less so as a few years ago his appearance in quite a
harmless concert in Baden-Baden brought down upon him hideous
rebukes and reproaches from the Parisian Press. And the tone in
France is not yet more temperate; still it is right that German
artists should prove themselves fair and just towards foreigners,
and, as long as Auber's and Gounod's Operas are given in all
German theaters, I see no good reason against considering and
performing other works by French composers. Among modern
composers I regard St. Saens as the ablest and most gifted.
I am much satisfied with the choice you have made of my things,
dear friend, and thank you cordially for it--at the same time I
must express my sincere regret that I am unable to attend the
Tonkunstler-Versammlung, and remain, with much esteem, yours most
sincerely,
F. Liszt
Pest, May 5th, 1874
147. To Princess Julie Waldburg at Castle Wurzach
Madame La Princesse,
I feel that I am quite inexcusable. You have been so kind as to
send me some charming Lieder, and to accompany them with the most
gracious lines in the world. How could I fail to thank you for
them immediately? What rusticity!--Deign to think of this no
longer, Princess; and permit me not to "judge" your songs,--
magisterial competency would fail me utterly,--but to tell you
that I have read them with much pleasure. The one of which the
style and impassioned accent please me particularly is dedicated
to Mme. Ehnn--"Liebeshoffnung"; but I do not mean to depreciate
the others.
The oriental interval of the augmented fourth, which I scent in
the "Mondlied," would be written, I think, more simply thus:--
[Here, Liszt writes a 2-bar musical score excerpt]
and further on
[Here, Liszt writes another musical score excerpt]
(C instead of B-sharp). And to prove to you, Princess, my
attention in reading your works, I will venture to observe to you
that in the French Romance "Comme a vingt ans" the prosody is
neglected in the third couplet. Instead of the printed version
(with two syllables omitted) it should run something like this:--
[Here, Liszt writes a 7-bar musical excerpt at the point where
the words "Je vis le len--de--main, non plus au hord de l'onde
mais as--si--se as che--min la jeune fi--le blonde" are sung.]
If I still had, as in Vienna, the honor of finding myself in your
neighborhood, I hope you would grant me a word of indulgence; and
meanwhile, Madame la Princesse, I venture to beg you to accept
the most respectful homage of
Your very humble and inexcusable servant,
F. Liszt
Pest, May 10th, 1874
148. To Peter Cornelius
Dearest Friend of my Heart,
Again a request. You alone can help me, and give me in German a
faithful poetical rendering of Lamartine's "Hymne de l'enfant a
son reveil."
Years ago I used to sing this hymn, from my inmost heart, to my
three children; you remember them...
And now the composition (what an unknown word for it!) is to
appear in print, and the publisher Taborszky in Pest will send
you my manuscript together with a copy of the poem. In case any
prosodical alterations should seem appropriate, be kind enough to
write them down distinctly in notes on a separate sheet of paper.
Tomorrow I travel direct to Rome, and shall spend the summer and
autumn in the Villa d'Este (Tivoli). There, at length, our
"Stanislaus" shall be pushed forward. [Cornelius translated the
text to the Oratorio "Stanislaus."]
With friendliest greetings to all your circle, I am, dearest
Cornelius, ever your heartily devoted
F. Liszt
Pest, May 16th, 1874
149. To A.F. Eggers in Liverpool
[From a copy of the draft of a letter by Dr. Mirus, Weimar.]
[Villa d'Este, June 21st, 1874]
Dear Sir,
Your friendly communication rests upon a harmless mistake. You do
not seem to know that for 26 years past I have altogether ceased
to be regarded as a pianist; hence I have for a long time not
given any concerts, and only very occasionally played the piano
in public, for some very special reason, to aid some charity or
to further some artistic object, and then only in Rome, Hungary
(my native country), and in Vienna--nowhere else. And on these
rare and very exceptional occasions no one has ever thought of
offering me any remuneration in money. Excuse me therefore, dear
Sir, that I cannot accept your invitation to the Liverpool
Musical Festival, inasmuch as I cannot in any way think of
wearying the public with my "whilom" piano-playing.
Respectfully yours,
F. Liszt
150. To Walter Bache
Dear and Honored Friend,
I am often with you in kindest remembrance and cordial sympathy
with your admirable efforts, but unfortunately I rarely get any
letters written to the friends I value most, for my time is
wasted with a number of wearisome and useless notes. I have just
despatched one of this sort to a Mr. E. in L. The good man
invites me to the Festival to be held there, asks me to consider
the matter, and even offers me a remuneration in money for
playing--without imagining that I have anything else or better to
do than to accept such invitations. To me concert tours would be
absolutely senseless; to fulfil my duties in Pest and Weimar
gives me trouble and interruptions enough. All the other things
need not be enumerated.
The summer and autumn (till my return to Pest in January '75) I
mean to spend here quietly and at work. Last Monday and Tuesday I
had the special pleasure of a visit from Bulow. And we thought of
you in all friendship.--Bulow is now going to Salzungen (near
Meiningen) for a couple of months, to recover from the terrible
fatigues of his concert tour, and next October goes again to
London.
Remember me most kindly to Mr. Dannreuther with assurances of
faithful attachment, and do me the favor to give the enclosed
notes of thanks to Messrs. Hueffer and Gounod.
Our very able and dear patroness, Madame Laussot, told me that
you, dear Bache, will probably soon be wandering towards Italy.
A hearty welcome, therefore, to the old place where again is
resting your old and sincere friend,
F. Liszt
June 2lst, 1874
(Villa d'Este,--Tivoli, per Roma--Italia.)
151. To Dr. Franz Witt
[Villa d'Este, Early Summer, 1874.]
Much-esteemed Sir and Friend,
The lively recollection I entertain of the truly edifying Church-
music performances in Eichstatt under your direction [On the
occasion of the 3rd General Assembly of the Cacilien-Verein in
Eichstatt, August 1871] increases my regret that I am unable to
accept your friendly invitation to the 5th General Assembly of
the Cacilien-Verein in Ratisbon (between the 1st and 7th August)
[The Assembly was held on the above-mentioned days.]. A wearisome
piece of work will keep me here till my return to Pest in January
'75. Next summer, however, I hope again to pay you a visit, and
to gather excellent precepts and examples from you. Meanwhile I
am reading your Essays with peculiar satisfaction, and more
especially your com-positions in the "Musica sacra" and the
"Fliegende Blatter." "Fliegend" [flying] must here be taken in
the higher, angelic sense; in the latter sense O salutaris hostia
sounds altogether comforting Musica angelorum, such as pleasantly
animates all your Church tone-works.
152. To Dr. Franz Haberl
[A portion of this letter is printed in Dr. Mirus' brochure, "Das
Liszt-Museum in Weimar" (1892), which contains many interesting
relics of Liszt.]
[Villa d'Este, Early Summer, 1874.]
Much-esteemed Sir and Friend
To my sincere regret I find myself prevented from attending the
Cacilien-Verein in Ratisbon.
The efforts and performances of the Verein I follow with the
deepest interest, and anticipate that its promoters--who are so
capable, careful and learned--will accomplish all that is truly
of advantage in Church music. And in this Ratisbon has for many
years past deserved to rank first, and you, my much-esteemed
friend, deserve the fullest recognition that can be offered for
the abundant services you have rendered in the cause. Accept my
grateful thanks for kindly sending Vittoria's Missa pro
defunctis, [A six-voiced Requiem given by Dr. Haberl at the 5th
General Assembly of the Cacilien-Verein in Ratisbon in 1874, and
published in the "Musica divina," Annus II., Tom. I, by Pustet]
which was brought to me by the Chaplain of the Anima Church. Will
you be so kind as to get Herr Pustet to send me also, through
Leukoch, [Perhaps ought to read Leuckart?] "Mannuale breve
canticum," etc.? [A little book of Chorales by Joh. Georg
Mettenleiter]
In spite of the grievous news of your continued sufferings I do
not give up the hope of seeing you here again soon, and of taking
all friendly care of you; and you shall not in the least degree
be troubled or wearied; merely recruit from your over-exertions
by living simply and comfortably amid quiet and congenial
surroundings.
Hence I take the liberty again of inviting your Reverence to
spend the next months with me here in the Villa d'Este, where you
will find rest, quiet and cosiness, mild air, glorious scenery,
pleasant walks, good eating, good wine, books, music, pianos to
make use of ad libitum, and a temperature mentally agreeable.
Cardinal Hohenlohe requests me to say that you will be heartily
welcome, and this message is communicated with unmixed pleasure
by your very respectful and sincerely grateful
F. Liszt
153. To Edmund von Mihalovich
Very Dear Friend,
Your Prologue to the Nibelungen in course of performance at the
Walhalla-Roszavolgyi has royally amused me. [A joke of
Mihalovich, who had nicknamed several mutually known people with
the names and characters out of the Nibelungen] I wish that
Wagner may find in Messrs. Betz, Scaria, Niemann, etc.,
interpreters as well suited to their roles as Richter-Wotan,
Dunkl-Loge, Abranyi-Thor and Gobbi-Mime.
At Bayreuth "fervet opus" The preparatory piano rehearsals are
going on; celebrated artists are growing thick on the ground,
like the suitors at Penelope's court. Joseph Rubinstein suspends
his commercial occupations, and returns from Cracow to drive the
four-in-hand accompaniment of Rheingold. The architects,
painters, decorators, machinists, costumiers and their people are
continuing their work; therefore, in spite of difficulties and
obstacles, the great work of Art of this century--Wagner's
Tetralogy of the Nabelungen--will come to pass, and I hope to be
present at the first performance with my very dear friends Mi and
Do. [Mihalovich was called Mi by Liszt, and Count Apponyi Do.]--
Meanwhile let us go on patiently at our own modest work, and
endeavor to make it as suitable as possible. Next winter we will
make an exchange of our latest sheets of music. I will bring a
pretty thick packet to Sir Hagbar. [An Opera by Mihalovich
(Hagbar and Sigurd)]
Schuberth promises me the "Geisterschiff" in the autumn; we will
then launch it at once with Sgambati, who has just composed
several Lieder, exquisite in sentiment. I have recently written,
as an Impromptu, without any forethought, an Elegie in memory of
Mme. de Moukhanoff, entitled "Schlummerlied im Grabe" [Slumber
Song in the Grave.]
Your kind wishes for my repose are being realised here. I pass my
days very peaceably, and my evenings alone, in reading, writing
or playing. Since the departure of Bulow, who gave me his most
eminent company for two days (in the middle of June), I have, so
to say, seen nobody. He is now making his villeggiatura at
Salzungen near Meiningen, returns to England in the month of
November, and will not go to America till the autumn of '75.
Pay me a visit sometimes in thought, dear Mi, and believe me ever
your very cordially devoted friend,
F. Liszt
Villa d'Este (Tivoli), July 30th, 1874.
Let me hear something about Do and Horpacs. [An estate of Count
Emmerich Szechenyi, the former Austro-Hungarian ambassador in
Berlin, whom Liszt frequently visited.] I will write to them
later.
154. To Peter Cornelius
[The letter is addressed to Neuenahr, where Cornelius had gone
for a water-cure, shortly before his death. The translation of
the Cacilia-legend he did not accomplish.]
Dear and valued Friend,
You have again presented me with a marvellous gift. Your German
translation of Lamartine's "Hymne de l'enfant a son reveil" is
exquisitely successful, and retains all the fragrance and aroma
of the original poem.
"Kein Wurmlein vergissest Du...Das Zicklein an Staude und
Beere...Am Milchkrug Mucklein saugt den Saft...Und die Lerche das
Kornlein picket."...
["No worm dost Thou e'er forget...The kid amid the shrubs and
berries...The fly that sips the sweetest juice...And the lark
that pecks the blade of corn."...]
All and everything fits in so exactly with the music, syllable by
syllable, that it seems as if the poem and music had sprung up
together. Verily, dear friend, you are an extremely kind and most
perfect magician. Now do not be vexed with me if my grateful
appreciation of your skill should prove somewhat covetous, and I
again ask you to do me a favor. A little French poem of 48 short
lines, "Sainte Cecile, Legende," by Madame Emile Girardin
(Delphine Gay) is awaiting your poetic courtesy. Allow me to send
you my finished composition of this Cacilia, the musical
foundation of which is furnished by the Gregorian antiphone:
"Cantantibus organis, Caecilia Domino decantabat." It is to be
hoped that I have not spoilt it, and I trust to your friendly
kindliness to send me a German translation of it before the next
Cacilia Festival (22nd November), soon after which it shall be
printed, and a performance of it given in Pest.
The delay with the edition of your two Operas I sincerely regret.
They deserve much greater appreciation and a much wider
circulation than hundreds of others that are printed, and the
publication of the pianoforte scores is sure to effect this for
them. Meanwhile I am glad that you have made use of my suggestion
to base the Overture of the "Barber" on the pleasantly
characteristic motive--
[Here, Liszt illustrates with a 4-bar musical score excerpt.]
Next summer we shall meet in Munich.--With hearty thanks, your
sincerely attached
F. Liszt
Villa d'Este (Tivoli), August 23rd, 1874
If you should see Frau Schott in Mainz, give her my kindest
remembrances. For some time past various manuscripts have been
lying ready which I should have liked to hand over to Schott's
house of business; but fear that they might arrive at an
inopportune moment. The very title, "Drei symphonische Trauer-
Oden" ["Three Symphonic Funeral Odes"] might prove alarming; and
besides, the scores--all about 20 pages in length--would have to
be published simultaneously with the pianoforte transcriptions
(for one or two performers). Well, "we can wait."...
I am working pretty industriously at the "Sanct Stanislaus." Of
this you will tomorrow receive a full report--and an urgent
request for speedy, energetaeally accentuated pains over the
essential but not lengthy alterations of the text.
155. To Ludwig Bosendorfer in Vienna
[Head of the celebrated pianoforte manufactory, now
Commerzienrath (Councillor of Commerce)]
Dear friend,
With my sincere thanks for your interesting reports of the Vienna
musical world I would gladly have given you something of the same
kind in return. But there is here nothing whatever in the way of
novelties or specialities in the way of concerts; be content,
therefore, if my letter today mentions only one, but to me a very
important artistic item--namely, the frequent use of your piano,
which, among other virtues, possesses a wondrous power of not
getting out of tune [Unverstimmtheit]. Since its despatch from
Vienna not a tuner has touched it, and yet it keeps in beautiful
tune, and steadily resists all variations and effects of
temperature.
Till the end of January I shall remain quietly at work here; then
go direct to Pest--and by the middle of April on to Weimar. My
thoughts and efforts require now only peace and seclusion. These
are things that suit me best in my old age, and uphold me in
spiritual intercourse with my dear and true friends. As such I
greet you and your wife heartily and sincerely.
F. Liszt
Villa d'Este, August 28th, 1874
156. To Adelheid von Schorn in Weimar
Dear and Most excellent One,
For our grand coup you come in completely in your role of
providence, which you fill with such complete good grace, and
with an admirable mastery! I cannot tell you what immense comfort
your letter brings me, with its assurance of your speedy arrival
in Rome. Try not to delay it beyond the 25th-30th November, and
if possible come sooner. Princess Wittgenstein is still very
suffering, and has kept her bed entirely for six weeks; your
company and the inspirations of your solicitude will do her more
good than all the Allo-and Homoeopaths put together.
I beg that you will write to her speedily to announce your
coming, for she is ignorant and must be kept in complete
ignorance of the plot we have hatched with Princess Marie [The
daughter of Princess Wittgenstein.], the happy success of which
you will crown. (questions of detail will be easily settled to
your satisfaction, in such a manner that the stay in Rome will be
thoroughly pleasant to you.
It is understood that you will not mention the question of where
you will live to Princess W., who has already only too much worry
about her own rooms. In my opinion it would be best for you to go
to the Hotel d'Amerique, Via Babuino (close by the house of the
Princess and of the one where I live), and to spend some days
there, until you see where you can settle yourself comfortably,
whether at the Pension (also very near the Babuino) where your
cousin Octavie stayed, or elsewhere.
When you reach Bologna, please let me know by telegram on what
day you will arrive; I will meet you at the station, and it will
be a real joy to me to escort you to your first abode in Rome.
Thank you with all my heart, and yours ever,
F. Liszt
Rome October 12th, 1874 (Vicolo de Greci, 43.)
The Princess is living at Via Babuino 59.
Your letter was only returned to me from Tivoli yesterday
evening.
I shall remain here, or at the Villa d'Este, till the end of
January.--
157. To Breitkopf and Hartel
Very dear Sirs,
The kind reception you gave the last sending of my somewhat
cumbersome manuscripts and revisions pleased me greatly. I will
always gladly do what I can to not increase the publishers'
worries, and henceforth print only what has been carefully worked
out and will prove tolerably acceptable.
With regard to the form in which the Songs and Wagner-
transcriptions are to be published, you may act altogether as you
think best. I did certainly think that the convenient and neat
edition in small octavo would be preferable (like the last
edition of Chopin and my "Etudes transcendantes"): hence in from
5 to 6 little volumes:--
1. Beethoven (The "Adelaide" and other Songs);
2. Mendelssohn (6 Songs);
3. Robert and Clara Schumann;
4. Robert Franz;
5 to 6 (?). Wagner-transcriptions.
This would in no way prevent the songs and pieces of several
pages (such as the "Adelaide," Mendelssohn's Songs, the
"Tannhauser-March," the "Rienzi-Fantasia," etc.' being sold
singly--in the same small 8vo form which, candidly speaking, I
always like best. As long ago as the year '39 I induced Haslinger
to publish Schubert's songs in an edition of this kind--and at
that time it seemed rather a doubtful innovation. Also about
placing the words below the music. I wish this, for the sake of
the poetical delivery in all of the songs, except the "Adelaide,"
because the poem roams about rather too freely in rococo style.
Let us leave "the flow'ret at the grave" to bloom on quietly
without retouching it again.
I must unfortunately again trouble you to send me all the proofs.
It is a matter of great moment to me to have the things arranged
as accurately and as appropriately for the piano as possible. And
for this I require the last proofs, in order finally to revise
them in reading and playing them over. (For the printer's
consolation be it remarked that no new alterations shall now crop
up again; my zeal in correcting shall be confined to making some
pedal marks and fingerings.) First of all I should like to try
over Sgambati's duet arrangement of the "Ideale" with him; and
you will doubtless do me the favor of sending me the proof sheets
stitched together before I leave here (at the end of January).--
I leave the matter concerning the small honorarium confidently to
your well-known kindly disposition, and remain, very dear Sirs,
Yours respectfully and most obediently,
F. Liszt
Villa d'Este, November 24th, 1874
158. To Count Albert Apponyi in Budapest
[From an undated rough draft of a letter in the possession of
Herr O. A. Schulz, bookseller in Leipzig. (The date has been
ascertained from a letter to Mihalovich.)--The addressee was the
well-known Hungarian statesman.]
[Villa d'Este, December 6th, 1874]
Dear and Very Honored Friend,
Your excellent letter of the 27th November reached me here
yesterday evening. I hasten to give you my very sincere thanks,
and to add a frank reply on the question of the Academy of Music.
First of all I think the "moyen violent" [violent means] of
Huszar, which will deliver us from barren tittle-tattle, is
right; let us throw the Seeschlange [sea serpent] into the
Danube, and if he wants an epitaph here is one: "It is better to
do nothing than to do stupidities."
Now, are we the stupid ones?--The Government is much interested
in this affair; the Sovereign's decision has been obtained; I
know not what official publication has followed. You yourself,
dear Count, have brilliantly persuaded the Chamber of Deputies
that the said Academy would be of use in raising Art in Hungary;
my necessary humble reserve has been taken by the public as
consent.--Is it possible now to take no account of such
precedents, and to draw back when it is a question of advancing?
I do not think so, and I am quite of your opinion, as wise as it
is opportune.
In spite of the difficulties of a position embroiled with divers
worries, and in spite of the scantiness of the financial means,
we ought to stick to our affirmative position and not in the
least to give way.
As to my "personal convenience," which you are good enough to
take into such kind consideration, permit me to assure you anew
that I aspire to one only blessing--quiet time for work in my own
room. Orare et laborare. The point of honor, which no one
understands better than yourself, attaches me to Hungary, our
country. May I fulfil there all my duty of gratitude!--
I shall be back at Pest (Fischplatz) on the 10th February, and
shall rejoice to hear the Ballade of our valiant friend
Mihalovich, to whom I shall write tomorrow.
Yours from my heart,
F. Liszt
159. To Edmund von Mihalovich
Dear Excellent Friend,
I wrote the day before yesterday to Do, and was about to continue
with a letter to you when a telegram called me subitissimo back
to Rome. The thread of my ideas has not been broken on the
journey, and I resume our conversation, a trois, on the long
gestation--omen of abortion--of the Hungarian Academy of Music.
I trust that my very dear and honored friends will be convinced
of my perfect disinterestedness in the question; the idea of an
Academy is in no way mine if I become sponsor to it, it will be
in self-defence and without any connivance at paternity whatever;
I even refuse to help in the procreation of the marmot [brat];
and, far from making myself, before my time, in any way its
champion or propagandist, I hesitate over the difficulties which
are opposed to its birth. I have explained these many a time to
my Budapest friends, and the difficulties have increased rather
than diminished during these last three years...
1stly. The financial situation of the country appears to be such
that one must scruple to burden the budget with an expenditure
beyond urgent needs. My patriotism is sufficiently sincere and
lively to counsel me to abstention, including every renunciation
that is compatible with my strict duty.
2ndly. It would be a poor luxury to add a third music school to
the two schools already existing (meagrely) at Pest. If one
cannot emulate with honor the similar establishments of Vienna,
Leipzig, etc.--what is the good of troubling any further about
it? Now, to give a vigorous impulse to Art among us, we must
first unite and fuse into one spirit a set of professors of well-
known capability,--a very arduous and ungrateful task, the
accomplishment of which demands much intelligence, and a
sufficient amount of cleverness and of money.
Other minor, local considerations complicate the matter stilt
further; I pass them over in silence today, and will not repeat
myself any more except on one point,--my religious devotion to
our country and our art. To serve them somewhat, according to the
moderate degree of my talent, whether it be in working by myself
at my manuscripts (which is what I much prefer), or in
cooperating with my friends in public things, this is my simple
and exclusive desire, totally removed from the personal
pretensions or anxieties of vanity which are wrongly imputed to
me.
"Tiszta lelek, tiszta szandek, akar siker, akar nem." ["Pure
soul, pure intention, whether the results be favorable or not."--
Maxim of Stephan Szechenyi.]
My friends are those who haunt the Ideal; there, dear friend, we
"recognise" each other, and shall always do so,--but not "in the
mud," illustrated by a fascinating poet, too much celebrated and
tainted by the triviality of vulgar applause--Heine. Amongst
other things he had predicted that the Cathedral of Cologne would
never be finished. "In vain will Franz Liszt give his concerts,"
etc.--
You know that Wagner is coming to Pest in Lent. It is only right
that several of your compositions--especially the last, "Sello"--
should be performed in public at that time. Talk the matter over
with Richter. I on my side will ring the "Bells." Please beg
Abranyi to hurry with the Hungarian translation of Longfellow's
poem (the Prologue to the "Golden Legend"), and to follow, not
the German translation of the "Pianoforte score," which I have
sent to Engesser, but the original English text. [Liszt had set
to music the Prologue to the "Golden Legend," under the title
"Die Glocken des Strassburger Munsters"--"The Bells of Strassburg
Cathedral."]
Yours in cordial friendship,
F. Liszt
Villa d'Este, December 8th, 1874
I will write tomorrow to the very gracious chatelaine of Horpacs.
160. To Carl Hoffbauer in Munich
[From a copy belonging to Dir. Aug. Gollerich.--Hoffbauer, born
in 1850, became in 1872 Director of the Gesang-Verein in Munich,
went to Frankfort in 1880, and put an end to his own life. He
composed, among other things, the Operas "Cotzzata" and
"Demetrius."]
[End of 1874.]
My hearty thanks for the kindly zeal with which you have taken up
the "Christus Oratorio." But a performance of it in Munich
appears to me so doubtful, and connected with so much trouble,
expense, and difficulty, that I must for the present dissuade you
from the undertaking. Besides, it would not be possible for me to
accept your invitation for the end of February, as several
engagements will keep me in Pest till Easter. And, if ever you
give a performance of the Christus in Munich, I should much like
to be present. As yet the whole work has been only twice heard,
in Weimar and Pest (in May and last November, '73).
In reply to your inquiry, I must mention Herr and Frau von Milde
and Frau Dr. Merian as specially well acquainted with and capable
of taking the solo parts.
Accept the assurance of my utmost gratitude for your eagerness to
give a performance of the Christus in Munich.
Most respectfully and sincerely yours,
F. Liszt
101. To Edmund Von Mihalovich
Very Dear Friend,
In spite of the legion of Dessoff, calm plains or storms, go on
roaring bravely in the waters of the "Phantom Ship." Even should
we not succeed in arriving safely in port, and should we meet no
other Senta than Her Highness Madam Criticism, it matters not;
those who follow us in the same waters of the Ideal will be more
fortunate...
"Et quasi cursores vitai lampada tradunt!"--
We will talk about all this fully in February, in the Fischplatz.
Will you be so kind as to send the enclosed letter to my gracious
and admired translator of the "Chopin"--Mme. la Comtesse Ottilia
Wast? [A translation into Hungarian from the old edition of the
book.]
Further, I beg that you will recommend Taborszky to publish
before Easter my St. Francois de Paule, which our very dear
friend Albert Apponyi has been good enough to adorn with his
poetry,--and also "L'hymne de l'enfant a son reveil," which
Taborszky must have received in November (with the German words
by Cornelius and the addition of a harp part).
Schuberth has been seriously ill. I shall be after him to bring
out your Geisterschiff [Phantom Ship] without any more delay.
A revoir in six weeks, and always
Very cordially yours,
F. Liszt
Villa d'Este, December 29th, 1874
On the occasion of the Wagner concert in Pest I should like my
"Bells" to ring, and beg Abranyi to attune the Hungarian
Klingklang [ding-dong] of them speedily and beautifully.
[Liszt's "Glockengelaute" (Bell-ringing) consisted in this--that
he played the Beethoven E Concerto at the Wagner concert in Pest.
He allowed himself to be persuaded to do this, as people were
afraid that, on account of the high prices, the concert would not
be full.--The "Bells of Strassburg Cathedral" were not
performed.]
162. To Carl Hoffbauer in Munich.
[From the copy of a draft of a letter by Dr. Minis.]
[Probably Pest, at the beginning of 1875.]
Very Dear Sir,
Your last letter exhibits so convincing a character of truth and
noble-mindedness that I sincerely rejoice at the prospect of
becoming personally and in spirit better acquainted with you. And
first of all be assured of my special interest in your Opera
"Comata." Whatever I may be able to do as regards a
representation of it in a theater I shall not fail to do. In
Munich we will read the score over together, and discuss further
details.
Of your persistence in wishing to have the "Christus" performed I
wrote to Schuberth yesterday, and shall in full confidence leave
the whole matter to your considerate zeal. You will best know
whether and how a successful performance can be made possible,
and please therefore arrange matters altogether according as you
think fit. I beg you merely to let me know the day you fix upon
some 10 or 12 days previously, and address me to Pest (at
Easter), if earlier to Weimar, and I will then come for the full
rehearsal.
[The performance took place on the 12th April, 1875. As a result
of this King Ludwig II ordered a separate performance in the
Court theater, and this again was followed by a public one.]
Respectful greetings to the poetess of the "Comata," and believe
me, with marked esteem, yours gratefully and sincerely,
F. Liszt
163. To Professor Julius Stern in Berlin
Dear Friend,
For years past and again lately I have been very much indebted to
you. Our eminently learned and dear friend Weitzmann [Theorist
and contrapuntist in Berlin (1808-1880)] told me of the careful
rehearsals, and of the admirable manner in which you conducted
the Faust Symphony. Owing to critical circumstances and
negativings I have, as a rule, to dissuade people everywhere from
giving performances of my scores. All the more pleasantly am I
affected by the goodwill of the few friends who carefully and
courageously march on in front.
Therefore, while offering you my sincerest thanks, I beg you to
excuse my not being just now able to accept the tempting
invitation to Berlin.
Yours most respectfully and sincerely,
F. Liszt
Rome, February 4th, 1875
(Next week I return to Pest, and at the beginning of April go to
Weimar, where I should be delighted to welcome you again.)
164. To Count Albert Apponyi
[From a rough copy of a letter in the possession of Herr O. A.
Schulz, bookseller in Leipzig.]
February 18th, [1875?]
This morning the Politische Volksblatt [The Political People's-
Paper] brings me your portrait, my honored and dear friend. The
notice accompanying it pleases me only in so far as it predicts a
great future for you, based on your very evident merits and great
talents. People are agreed upon your great height
("Haupteslange")--all the better, for it corresponds to the
height of your character, and I bet a hundred to one that you
will never combat "the spirit of the times" ("Herr von Zeitgeist
und Frau von offentliche Meinung," [Mr. Spirit of the Times and
Mrs. Public Opinion.] as the honorable Count Gozzi ceremoniously
said), except when you meet with stupidities and adventures on
which this spirit of the times is astride.
A friendly invitation for tomorrow evening at the house of
Your very devoted and grateful
F. Liszt
165. To Johann Von Herbeck
Very Dear Friend,
My sincere thanks for your letter; gladly would I follow your
very kind and "unselfish" request. To say "nay" to my friends
always comes hard to me. But how can I act otherwise in face of
the negativings of critics? And why should I not prefer abiding
my time in peace alone?
Now-a-days an artist is reckoning without his host if he places
honest faith in the public. For people now-a-days hear and judge
only by reading the newspapers.
I mean to take advantage of this in so far that the leading and
favorite papers of Vienna, Pest, Leipzig, Berlin, Paris, London,
etc.--which abhor my humble compositions and have declared them
worthless and objectionable--shall be relieved of all further
outward trouble concerning them. What is the good of performances
to people who only care to read newspapers?
Hence, dear good friend, let the "Gran Mass" [Herbeck, however,
did have them performed.] and the "Glocken" ["Die Glocken des
Strassburger Munsters"--"The Bells of Strassburg Cathedral"]
remain unperformed in Vienna, where (in Easter week) you shall
receive a visit from yours most warmly and gratefully,
F. Liszt
Budapest, March 3rd, 1875
166. To Eduard Von Liszt
Dearest Eduard,
Give Lenbach my kindest thanks, and at the same time ask him to
send his extremely poetical portrait of Frau von Moukhanoff here
soon in honor of the noble lady and of the musical Commemoration
Festival which we have announced for the middle of May. [Liszt
dedicated an Elegie to the memory of this gifted lady.]
Tomorrow morning early I go to Hanover; my address there till May
29th [This must mean the 29th April.] will be: "at Freiherr von
Bronsart's, Intendant of the Hoftheater." On Saturday is the
performance of the "Elizabeth," and on the 29th the concert for
the benefit of the Bach monument.
My gracious Grand Duke is very urgent about my speedy return; I
shall, therefore, probably spend only 8 or 10 days at Schloss Loo
(from the 2nd to the 12th May), and then return here forthwith.
The Tonkunstler-Versammlung is to be held in Dresden at the end
of June. I long for some rest and quiet work.
Thine with all my heart,
F. Liszt
Weimar, April 22nd, 1875
167. To Adelheid Von Schorn in Rome
Dear Excellent One,
I come to keep you company a little in your convalescence,--far
advanced, I hope, so as to be something like a complete cure. For
a tisane [A soothing drink] I offer you some news of your cara
patria. There are few variations at Weimar: the Grand Duke and
Grand Duchess remain there till the end of June; the Emperor of
Russia is announced for the 25th June; the Hereditary Highnesses
are going to the waters (Marienbad and Pyrmont) in a few days,
and will return before the Grand Duke's fete (24th June);
Gutschen Watzdorf is going on his own account independently to
Carlsbad, Mme. de Loen to Reme (in Westphalia).
At the theater a tempered, but lively activity; during these
latter weeks a new Drama by Otto Roquette has been given--Der
Feind im Hause. [The enemy in the house.] The subject is taken
from the quarrel of the Colonna in Rome; the success of the piece
will not occasion any fresh quarrels; nor will that of two new
Operas that I have seen--Der Widerspanstigen Bezahmung [The
subduing of the refractory ones.] by Gotz and Golo of Scholz,
which have come inopportunely into competition with Schumann's
Genoveva--a work which has been taken up again with marked
success this year (after it had been prudently ignored for twenty
years--except at Leipzig and Weimar) at Leipzig and Wiesbaden.
Other theaters will mix themselves up with it, in spite of the
non-success of Genoveva at Vienna, where it was put on the stage
in the winter of '74 with a most praiseworthy luxury of
decoration and costumes.
At the time of the performance which I conducted, and that is
some twenty years ago, I said: Genoveva is musically the sister
of Fidelio; only Leonora's pistol is wanting.
Tristan and Isolde, announced here for the 15th and 19th
May,...have remained at Munich with M. and Mme. Vogel, who have
lost a child. Loen [The Weimar Intendant] and all the public are
very much put out at this untimely mourning; possibly the Vogels
will be able to come towards the end of June; I don't reckon on
it much, but have written to them on the subject at Loen's
request. If they accept, the Commemoration Matinee of Mme.
Moukhanoff will take place between the two performances of
Tristan, and the "Tempelherrenhaus" in our park has been chosen
by us as the spot for this musical commemoration. I will send you
the programme.
Meanwhile here is that of Saturday last at the "Orchestral
School"--a very useful establishment, well adapted to our
modestly proud situation of Weimar, and which Muller-Hartung
conducts according to my wishes. [The concert "in honor of
Liszt's first visit to the School" consisted entirely of works by
him.] Bruch's Odysseus--a musical illustration of Preller's
admirable pictures in the Weimar museum--was performed last
Thursday, conducted also by Muller-Hartung.
Lassen is in the middle of composing some fine choruses for the
two "Fausts," which Devrient is intending to get up here in two
evenings, in conformity with his new scenic arrangement.
Very cordially yours,
F. Liszt
Weimar, May 17th, 1875
168. To Eduard von Liszt
Dearest Eduard,
.--. The day after tomorrow I join the Duke of Weimar's party at
Schloss Wilhelmsthal, and shall remain there several days. After
that I should have liked to wait upon Cardinal Hohenlohe in
Schillingsfurst; but His Eminence is at present at Bad Ragaz
(Switzerland) undergoing some after-cure for a foot-trouble, the
result of some accident he met with last winter. When I receive
his answer I shall so arrange things that my visit to
Schillingsfurst is paid as is agreeable in tempore opportuno.
From the 3rd to the 15th August I shall be in Bayreuth; after
that I shall this year end with Weimar (without playing
"Tannhauser" there, as a guest!) at the Carl-August Festival on
September 3rd, for which I have written a short and simple chorus
in popular style, the text of which is furnished by King David:
"The Lord preserveth the souls of His saints, and light is sown
for the righteous."
In contemplating this light in all humility,
I am, in true affection,
Thine,
F. Liszt
Weimar, July 17th, 1875
Enclosed are a few words for our Marie. If I had to choose a
cousin I should choose her. Hence I confess my innermost
elective-affinity with papa and daughter.
Lenbach's wondrously inspired portrait of Madame Moukhanoff will
tomorrow be sent back to Vienna to the Countess Coudenhoven.
169. To Louis Kohler
Very Dear Friend,
Merit and success, in your case, would seem always to stand in
perfectly delightful harmony. Best thanks for your kindly letter
and for sending your Opus 147: "Technische Kunstler-Studien"
["Technical Artist-Studies"]. And although I am more disposed to
turn away from than towards Methods and Pedagogics, still I have
read this work of yours with interest. The entrance of the pedal
after the striking of the chords as indicated by you at the
beginning of page 3, and as consistently carried through by you
almost to the utmost extreme, seems to me an ingenious idea, the
application of which is greatly to be recommended to pianoforte
players, teachers and composers--especially in slow tempi.
I regret that we are geographically so far apart; but
sympathetically I remain in sincere esteem and in all
friendliness yours,
F. Liszt
Schloss Wilhelmsthal, July 27th, 1875
My friendly greetings to your very talented pupil Alfred
Reisenauer. Perhaps you may be coming to Weimar again shortly; I
should be pleased to hear this.
One line in your friendly letter I answer herewith: proud of my
Konigsberg title of doctor, and anxious to do it credit, I
willingly refrain from giving performances of my humble
compositions anywhere.
170. To Carl Hillebrand in Florence
[The celebrated author of "Zeiten, Volker und Menschen" ["Times,
People and Mankind"] and other works; born 1820; lived, from 1870
until his death, in Florence, where a memorial tablet, in
gratitude to his memory, was erected over his house in the Lung'
Arno.]
Dear and Very Honored Friend,
Your friendly letter leaves me a good hope...for next year. I
have just transmitted your thanks and the data relative to our
concerted idea to the Grand Duke, who arrived at Ostend on
Thursday last, with his daughters, his son and his daughter-in-
law. Their Royal Highnesses return to Weimar the 1st September
for the fete of Carl August, which the Emperor and Empress of
Germany will solemnise with their presence. Monseigneur tells me
to invite you to it. I observe to him that you will probably be
detained elsewhere; nevertheless, if you should come to Germany
at that moment, be assured that you will be warmly welcomed and
received at the Court of Weimar.
The monument of Carl August will be inaugurated on the 3rd
September. The ceremony of the "Toison d'Or" ["Golden Fleece"],
at which the Emperor will be the sponsor of his brother-in-law,
our Grand Duke, will take place on the 4th. Then T.R.H. will
leave Weimar, and my poor self return to the Villa d'Este
(towards the middle of September) for as long a time as my very
dear compatriots will allow of it. They press me strongly to
return to Pest on the 1st November; before obeying them I shall
come and see you at Florence.
Please count always on the feelings of sincere and high esteem of
your very cordially devoted
F. Liszt
Bayreuth, August 2nd, 1875
The papers keep you au courant of the marvels of Wagner's theater
here. The performances (announced for the month of August '76) of
the Tetralogy, "Der Ring des Nabelungen," will be the chief event
of dramatic Art, thus royally made manifest for the first time in
this century in its ensemble and unification of Poetry, Music,
Acting, and their decorations of Painting and mise-en-scene.
There is not merely the chance, but the guarantee of a grand and
striking success, in view of the sublimity of the work itself,
and also of the enthusiasm which it already excites amongst the
numerous staff of artists chosen to interpret it. In spite of the
difficulties of this new transcendental style of Wagner, the
preparatory study and rehearsals are an enchantment for the
singers and the musicians of the orchestra.
By the 18th August I shall be back at Weimar, and shall stay
there till the 6th September.
To Madame Laussot my tender and grateful regards.
171. To Adelheid von Schorn
Dear Excellent One,
It is not without regret that I have given up the very sincere
pleasure of meeting you now at Nuremberg. If you remained there
till towards the middle of September I should come and ask you
what commissions you have for Rome, where I expect to arrive
before the 20th September.
Here we are sailing in the full tide of the marvels of art. Every
day, morning and evening, one act of the "Ring des Nibelungen" is
rehearsed in Wagner's new theater. The enthusiasm of the whole
staff of singers and orchestral players, to the number of about
150, is as sincere as it is abundant, and everything augurs for
next year some prodigious performances of the immense and sublime
work which royally dominates all contemporary Art, including the
former works of Wagner.
Cosima sends you a thousand affectionate messages, and is
expecting to see you at the time of the definite succession of
the Nibelung-Ring in the month of August 1876. You were present
at the laying of the first stone of the monument, and must not be
absent at the crowning moment. .--.
Mme. de Schleinitz is staying here a fortnight longer, and is
living at the castle. She keeps herself continually at the
highest diapason of grace and charm, without ever missing the
opportunity of effectually obliging her friends.
A revoir soon, dear and very excellent one; and ever from my
heart your devoted
F. Liszt
Bayreuth, August 7th, 1875
I shall be back at Weimar by the 18th August.
172. To Dr. Franz Witt
[Probably August or September, 1875]
Much-esteemed Friend,
While greatly regretting to hear of your indisposition and
thanking you sincerely for your last letter, I now ask you: How
are you going to answer the ministerial communication of
Trefort?--Are you willing to render important help as regards
Church music in Hungary? Superfluous words are unbecoming to me;
let us onward and act; and may your noble and stimulating
influence be granted to Hungary. Assuredly you will find there
admiration, affection, and the necessary assistance in the great
services you will render.
In a word: Come to us, and let us work together in Budapest!
173. To Lina Ramann
[Authoress of "F. Liszt als Kunstler und Mensch" ("F. Liszt as
Artist and Man"), 2 vols. (Leipzig, Breitkopf and Hartel, 1880
and 1887)]
Dear Friend,
Thanks to your care I had excellent and very inspired company
during my two days' journey from Nuremberg to Rome. Your parallel
"Bach and Handel" delighted me more than the famous landscapes of
the Brenner. Allow me specially to praise your fine insight into
and correct interpretation of the various musical forms of
culture from the Motet to the Mass and the Oratorio.
Some portions also of the "Allgemeine musikalische Erzieh-und
Unterrichtslehre" [Universal Musical Instruction] pleased me--(in
spite of my inaptitude in things pedagogical), especially the
main idea of the work:--that musical instruction should not be
separated from, but form a part in, the course of education; a
relevant thought, the practical application of which will
essentially benefit, and prove useful to, art as well as
education.
Again my cordial thanks for the hours at Nuremberg, and best
greetings to the amiable comrades in art Fraulein Ida and
Auguste.
Yours respectfully and sincerely,
F. Liszt
Rome, September 28th, 1875
174. To Eduard von Liszt
Rome, September 29th, 1875
Dearest Eduard,
Wherever we may be we ever remain one in heart. Probably I shall
be in Budapest as early as the middle of November, on account of
the Musik-Akademie, which it is my duty to shape in accordance
with the standard of somewhat difficult local circumstances.
Appointments have already been made by the Minister Trefort:
Franz Erkel as Director, Volkmann as Professor of Composition,
and Abranyi as Secretary. Witt and Bulow had the first offers
from Trefort: unfortunately Witt is still too ill, and Bulow
could not come till later, after his return from America. Of
course Bulow would have received the largest possible sphere of
action--somewhat the same as he occupied in Munich, where, for a
couple of years, he acted as Director of the Conservatoire in the
most successful manner...
All hearty greetings to your circle, and believe me ever your
gratefully and sincerely attached
F. Liszt Address: 43, Vicolo dei Greci, Roma (Italia). Till the
beginning of November I stay here or at the Villa d'Este, and
then travel direct to Pest.
Pray send me news of our dear and amiable Marie.
175. To Kornel von Abranyi
Dear Friend,
A thousand thanks for your letter with its weighty contents.
[Abranyi had informed Liszt that the Hungarian Landes-Musik-
Akademie--which had been called into existence by Trefort, the
Minister of Education--had already been organised and was shortly
to be opened, and that Liszt was invited to the inauguration
ceremony.] All things considered, it does not appear to me
advisable to hurry my return. As I did this year, I mean next
year also to reach Pest towards the middle of February--in time
for Lent and the concert season. By that time the work at the
Musik-Akademie ought to have fairly established itself.
I gladly undertake to conduct a pianoforte-class for virtuosi and
teachers,--first of all from the 1st March to Easter 1876. And
should the undertaking give indications of proving a success, I
would be willing to devote several months a year to this species
of instruction in the Musik-Akademie of Budapest.
I look forward to being on the best and most cordial terms with
Erkel. [Franz Erkel (born 1810), a celebrated Hungarian composer,
at that time Director of the Musik-Akademie and Capellmeister at
the National Theater in Pest. Died 15th June, 1893] Also with
Volkmann and the other professors.
As regards the very worthy Secretary, I rejoice to labor with him
as next-door neighbor (on the Fischplatz, where assuredly we
shall not dry up "like fish out of water"), and remain always
His grateful and truly attached friend,
F. Liszt
Villa d'Este, October 14th, 1875.
My friendly greetings, please, to Engessers, Zimay, Siposz, [All
were Hungarian musicians] and to our dear composer of the "Liszt-
Cantata," Gobbi.
176. To Walter Bache
Highly Esteemed and Dear Friend,
Hearty thanks for your kindly remembrance of the 22nd October.
With regard to the "Elizabeth" performance (at your "Twelfth
Annual Concert" on the 24th February) I am somewhat anxious on
account of the great exertions and expense which the performance
will entail upon you. Still I will not make any further objection
to your characteristically firm incorrigibleness in your
steadfast wish and endeavor to do the utmost possible for the
good of your old friend, now 64 years of age.
To Frau Blume (whom I often called upon in Rome) please give my
friendliest remembrances. If the part of Elizabeth does not
displease her she is certain to give an excellent interpretation
of it.
I am most glad to grant friend Banz the permission he desires,
and am grateful to him for his kindly sentiments.
Till the middle of February I shall stay here--and then go direct
to Budapest--and remain your faithfully attached
F. Liszt
Villa d'Este, October 26th, 1875.
In case you receive direct news of Von Bulow, please let me know.
177. To Eduard von Liszt
Most Dear Friend,
Your letters are as full of heart as they are of mind. They both
comfort and exalt me. My prayers always include you. May the
"Supreme Spirit" strengthen us!
For me to appear at the opening of the Musik-Akademie in Pest on
November 7th, is, I think, neither necessary nor desirable. It
will be better that the undertaking (the official part of which I
did not call into existence!) should be more fully started before
I take any part in it. Hence till the middle of February I remain
at the Villa d'Este (quietly finishing a few compositions) and
then return direct to Pest.
Herbeck is said to have promised to conduct a concert there. I
trust we may meet in friendship on the "Fischplatz" during Lent.
How could he manage to have the Gran Mass performed in the
Burgkapelle? The dimensions of the work require rather a goodly
amount of space for chorus and orchestra...Next summer it is
proposed to give a grand concert-performance of the Gran Mass in
Dusseldorf (where they have a splendid hall, admirably adapted
for musical festivals). I shall look for your report of the
Vienna performance.
As regards the "Prometheus," I beg you to fix with Her-beck that
in Vienna the new improved edition, published by Kahnt (Leipzig),
shall be used, and get him to procure it from Kahnt: pianoforte
score, full score, and voice parts. If Herbeck should entertain
any doubt about the new edition on account of the expense, I
shall be quite ready to settle the small "difference" with a few
gulden, which you will advance me for the purpose. [Eduard von
Liszt managed Liszt's money affairs for him.]
I am very anxious that this "Prometheus"--who is ready to
"unchain" himself next summer in Dusseldorf and at the Musical
Festival at Altenburg--should not again be a failure in Vienna,
after his late want of success there.--
Give Kulke my best thanks for his excellent essay with its kindly
sentiments (in the Vaterland of September 17th); I am specially
pleased with the close: "In the same way as Sebastian Bach could
not conceive a musical thought in any other way than from a
contrapuntal point of view, Liszt cannot conceive a theme in any
other way than from a thematic point of view," etc.
Heartiest greetings to all your circle: Marie will always prove
herself noble and firm.
Your faithfully attached
F.L.
(Villa d'Este) October 31st, 1875
178. To Madame Jessie Laussot
Very Dear and Kind Friend,
Although I scarcely know how sufficiently to express my gratitude
to you for all the proofs of friendship you have constantly shown
me during twenty years, I am quite convinced that no
misunderstanding would ever be possible between us. You know my
good intentions from the outset, and in case of necessity you
divine them with the heart's most penetrating and delicate
intelligence.
I add to my thanks for your last letter a request which you will
certainly grant, by assuring our very honored friend Hillebrand
of my sincere devotedness. In addition, assure him also that my
zeal in serving my gracious master, the Grand Duke of Saxony,
will never be used to the detriment of any one, and that I
especially take into consideration the proprieties appropriate to
the merits and position of individualities that I esteem and
love.
So then we will discuss "academicamente," at your house in
Florence (after my return from Hungary, towards the middle of
February), the subject of Hillebrand's spending some months each
year at Weimar.
This could be brought about under reciprocally pleasant
conditions; I confess that I take a rather egotistical interest
in it...but without failing in the duties of friendship.
In a week's time, Mdlle. Adelheid de Schorn accompanies her aunt-
-"the Lady Abbess von Stein"-- back to Germany. She will bring
you two or three books of music from me.
Sgambati has finished a second, very remarkable Quintet (for
Piano and Strings), which will soon be heard in Rome.
Zarembski (whom I introduced to you) works valiantly, and
deserves to be reckoned as an unusually excellent pianist of the
first rank.
A revoir in February, and yours very devotedly,
F. Liszt
Villa d'Este, November 17th, 1875
If you should see the Jaells before their concerts in Rome, give
them my most affectionate remembrances.
179. To Eduard von Liszt
My Honored Friend,
What you felt at the performance of the Gran Mass has extremely
rejoiced me. "He who loves understands."
Give Herbeck my warmest thanks for the carefulness of the
rehearsals and performance of this work, about which I allowed
myself to make the remark (in Paris 1866), to a personage of the
very highest rank, that "it had been more criticised than heard."
On no account would I press Herbeck to give a performance of the
"Prometheus-choruses"; according to my thinking, it would be
better to wait and see how these choruses are done next spring in
Dusseldorf and at the Tonkunstler-Versammlung in Altenburg before
bringing them back to Vienna. I should also like to be present at
the Vienna performance, which will not be possible tha's winter.
I shall probably only be able to stay one day with you (at the
beginning of April). I almost doubt whether the "Hunnenschlacht"
could be performed amongst the "Philharmoniker" [lovers of
harmony] without defeat to me. Nevertheless, "vincit qui
patitur."
Heartiest greetings to our Franz, who will prove himself worthy
of you.
Most faithfully thy
F. Liszt
(Villa d'Este, Tivoli) November 26th, 1875
.--. As I already told you, I shall remain here till the middle
of February, and then return direct to Budapest. From next April
I am threatened with much travelling about. My threefold
domicile, Pest, Weimar and Villa d'Este, and all that is
connected with it, makes my life very onerous. Even the well-
known consolation, "Tu l'as voulu, Georges Dandin" [it is your
own doing], fails me...Still there is hope in the proclamation
"Et in terra pax, hominibus bonae voluntatis."
Once more thanks for your kind intercession in my friend Vincenz
Kirchmayer's [Liszt's former travelling companion in Spain and
Portugal during the forties, and especially recommended by Liszt
to his cousin Eduard.] affairs. When the decision has been given
let me know it.
180. To Hans Schmitt, Professor at the Conservatorium of Music in
Vienna
[Well known as an excellent teacher of the pianoforte, also as a
writer on music]
[End of 1875]
My Dear Sir,
It is well known how much mischief is done to the piano both with
hands and feet. May your instructive pamphlet on the right use of
the pedal duly benefit pianoforte players. [Footnote: "The Pedal
of the Piano." Vienna, Doblinger (3rd ed. 1892).] With best
thanks for sending me the pamphlet, I remain
Yours respectfully,
F. Liszt
181. To Kornel von Abranyi
Dear Honored Friend,
In the affairs of the Academy of Music I had till now simply to
wait. [The opening of the Academy of Music had taken place
meanwhile in the middle of November, 1875.] Now comes the time
when a different, an active line of conduct presents itself to
me. I shall always endeavor to come up to the expectations of my
friends. First of all in the middle of February we begin our
peaceful academical conferences, and, as I have already written
to you, I willingly undertake, from the 1st March, to conduct a
pianoforte class (for virtuosi and teachers)--provided that Erkel
and you, dear friend, agree to this harmless proposal. My further
activity in the Royal Hungarian Academy of Music had better be
favored, measured and decided by the circumstances. I can only
lay claim to be the well-intentioned zealous servant of Art and
of Hungary.
Please to give Erkel my heartiest thanks for the Liszt-paragraph
in the "Inaugural Address." The kindly confidence which Erkel has
reposed in me for more than 30 years shall never be abused.
The notice "Count Geza Zichy, President, and Bartay, Director of
the Pest Conservatorium," affects me very pleasantly. Engesser's
constancy in conducting the Liszt-Verein [Engesser founded the
Liszt-Verein in Pest (for mixed voices)] particularly rejoices
me. Is Gobbi's Cantata come out? Friendly greetings to the
composer and recently "well-known composer of album-leaf
waltzes," from your old, truly attached
F. Liszt
Villa d'Este, January 20th, 1876
(Before my arrival--16th February--I will telegraph to you from
Venice, where I shall visit Count Imre Szechenyi.) In case there
were anything to write to me, address, till February 5th, Rome,
Vicolo dei Greci, 43.
182. To Eduard von Liszt
(Villa d'Este,) January 23rd, 1876
My Dear Beloved Friend,
Your letter has deeply affected me. I preserve it in the secret
cell of the heart, where the last words of my dear mother remain-
-and give me consolation. I cannot thank you in words. My thanks
rise in prayer to God. May His blessing ever be with your
generosity and constancy in all that is good.
At the "Decisions of the Court of Cassation" (the 2nd October and
16th November) you spoke so forcibly and beautifully clearly
about blasphemy, and of the symbol of redemption, the crucifix--
and thus truly fulfilled the teaching of our Savior:
"Thesaurizate autem vobis thesauros in Coelo." Let us continue to
the end, dearest Eduard, in the love of Christ!
I absolutely wrote the "Hunnenschlacht" for the sake of the hymn
"Crux fidelis." Kulke in a very generous manner determined on the
production of this work in Vienna. For very many years Kulke has
always been well-affected towards me. I enclose a few lines of
thanks which I beg you to hand to him. His "Moses before Pharaoh"
I have, alas, not the power to compose. To compose philosophy and
politics in music appears to me an all-too-difficult task. I
almost doubt whether it could be accomplished.
Heartiest greetings to your family, and most truly yours,
F. Liszt
I shall arrive in Pest again in the middle of February.
183. To Dr. Eduard Kulke in Vienna
My Dear Sir,
During long years you have constantly shown me so much kindness
that I cannot sufficiently thank you for it. I am also ashamed
not to compose better works, so as to make the kindly
interpretation of them more easy and pleasanter to you.
Nevertheless all the more valuable is your insight and
indulgence.
The "feathered thief" [A comedy by the addressee, a well-known
and meritorious author, and sent by him shortly before to Liszt.]
reconciles me with the "newspaper geese." It will, without
plagiarism, win its laurels on the stage. The dialogue and action
are full of humor and wit...and the final catastrophe of the
thrashing must make an impression on the public.--
Excuse me, my dear Sir, if I do not feel myself equal to the task
of an Old-Testament Oratorio. [Kulke had sent a poem, "Moses
before Pharaoh," to Liszt in Rome, with the question whether he
would be inclined to make it the subject of an Oratorio.] Michael
Angelo represented his Moses mighty and horned (perhaps as a most
excellent ideal forerunner of Pope Julius II.?); Rossini sang
exquisitely the "preghiera di Mose," with which Europe is still
enraptured; and Marx's Oratorio Moses, less well-known, contains
many excellent parts.
"Non omnia possumus omnes." My humble self can do but little, and
remains most humbly grateful to the "Caritas Christi."
With especial regards and thanks, yours most truly,
F. Liszt
Villa d'Este, January 23rd, 1876
184. To Marie Lipsius
My Honored Patroness,
Your kind promise to translate the "Chopin" into beautiful German
rejoices me extremely. Hearty thanks for it. I will soon send the
revised (French) copy, and I hope the work will be easy and
pleasant to you. In the 3rd edition of "Musikalische
Studienkopfe" I lately read "Berlioz"--an excellent
characterisation and recognition of this extraordinarily great
master, who perhaps hovers more in the untrodden regions of
genius than anywhere else.
The addition of the "index" is a valuable completion of this
third edition. Its success augurs well for what will follow.
With much respect and gratitude,
F. Liszt
(Villa d'Este,) February 3rd, 1876
185. To August von Trefort, The Hungarian Minister of Education
in Budapest
[Printed in the Pester Lloyd of that date.--Addressee died 1888.]
Herr Minister,
Although I scruple to weary the extraordinary good-will which the
public of Budapest has evinced towards me, I nevertheless make so
bold as to offer the assistance of my two hands for the concert
shortly to be given in aid of the sufferers by the floods, if
Your Excellency is of opinion that this could still be at all
useful. In the year 1838, when I returned for the first time to
Vienna, I gave my first concert there in aid of the sufferers by
the inundation at Pest. It will be a comfort to me if I can now
close my protracted career as virtuoso by the fulfilment of a
similar duty. [The concert in aid of the sufferers by the floods
in Budapest took place with Liszt's co-operation on the 13th
March, 1876] I remain, until death, Hungary's true and grateful
son.
Your Excellency's most obedient
F. Liszt
Budapest, March 1st, 1876
186. To Walter Bache
Honored and Dear Friend,
You, in your London "Annual Concerts," have for 12 years worked
more wonders than I was able to compose in the "Rosenwunder"
[Rose miracle] of Elizabeth. Hearty thanks for your account of
the 12th concert, and all the exertions connected with it! I beg
you to present my most respectful compliments to Mrs. Osgood
("Elizabeth"), and, before all, to Constance Bache, the kind
translator of the Legend.
Entirely approving of the use of the mute in the passage
[Here, Liszt illustrates with a musical score excerpt]
and during the chorus of angels, remains, in sincere esteem for
the steadfast conductor and friend Walter Bache, his faithful and
grateful
F. Liszt
Budapest, March 8th, 1876
187. To Madame Jessie Laussot,
Dear excellent Friend,
The Commander Casamorata has written to me again about the fete
of Bartolomeo Cristofori. I have replied to him that my answer
had been already received by you in the month of January '75, and
that I can only repeat the same excuses. I copy the last lines of
my letter to Casamorata that you may have the exact particulars:-
-
"Without reckoning that for more than thirty years I have not
belonged to the active lists of pianists and only desire the
honorable repose of an invalid, I permit myself to remark that
the duty of celebrating the inventor of the pianoforte in Italy
belongs by preference to Italian pianists of note, such as M.
Buonamici (in Florence) and M. Sgambati (in Rome), etc."--
In conclusion, I scarcely could leave Germany all this summer
(except for the visit to the Chateau de Loo), and I shall
probably be obliged to return to Hungary after Bayreuth, where I
hope still to find you.
Yours very devotedly,
F. Liszt
Budapest, March 18th, 1876
188. To Dr. Leopold Damrosch in New York
[Draft of a letter from a copy by Dr. Mirus in Weimar.--Addressee
(1832-1885) came to Weimar in 1855 as a violinist under Liszt,
went to Breslau in 1858, and in 1871 to New York, where he had
great success and influence as a conductor.]
April 15th, 1876
My dear honored Friend,
You have recommended our young friend Max Pinner to me. He shows
himself to be an excellent artist, and I have become much
attached to him [Pinner died young.] I beg you to accept through
him the renewed expression of my former faithful friendship.
Your beautifully conceived and nobly executed work "Ruth" I have
read with sympathetic interest and pleasure. I will not fail to
suggest its performance in Germany.
How shall I thank you for the edifying goodwill which you
manifest towards my compositions? Your intelligent enthusiastic
conducting of my scores prevents any one noticing the defects of
the composition.
A hearty greeting to your wife, and with warmest esteem ever
yours,
F. Liszt
189. To Friedrich von Bodenstedt
[From a copy by Director Aug. Gollerich in Nurnberg.--Addressee,
who died in April 1892, the poet of Mirza Schaffy]
June 8th, 1876
My very honored Friend,
Your very agreeable and genial friend, Frau Major von L., sends
the September leaflet about the concert in Hanover. A thousand
thanks for it. .--.
On the occasion of my happy 50 years' jubilee you rejoiced me
with a poem, of which Iam proud. You have admirably succeeded in
coaxing such poetical euphony from an old worn-out instrument
like my humble self.
Au revoir in Hanover, and friendly greetings to your family.
With thanks, yours sincerely,
F. Liszt
190. To the Music Publisher Bessel
Sir,
Although the music which you have been so obliging as to send me
through Mr. Kahnt has not yet reached me, I hasten to assure you
again of the strong interest which I take in the works of the new
Russian composers--Rimski-Korsakoff, Cui, Tschaikowski,
Balakireff, Borodine--which you edit. You know that lately, at
the Tonkunstler-Versammlung at Altenburg, the Ballade "Sadko" was
well performed and received. Next year I shall propose that other
works of the above-named Russian composers be produced. They are
worth serious attention in musical Europe.
When you return to Weimar in July I shall better express to you
my thanks and regards.
F. Liszt
Weimar, June 20th, 1876
Kindly give the accompanying note to Mr. Cui.
191. To Prince Carl Lichnowsky
[Communicated to the Musical Chronicle, 20th February, 1888, by
A. Gollerich.--Addressee is the brother of Liszt's intimate
friend, Prince Felix Lichnowsky, who, as a member of the
Parliament of Frankfort, fell on the Heath at Bornheim
(Bornheimer Haide), a sacrifice to the Revolution of 1848.]
Your most Serene Highness and Friend,
In old attachment I thank you heartily for your kind lines. The
most grateful recollections ever bind me to the House of
Lichnowsky. Your highly endowed father and your admirable brother
Feliz showed not less kindness to me, than Prince Carl Lichnowsky
showed before that to the young Beethoven, who dedicated his Opus
I. (3 Trios) to the Prince Lichnowsky, and felt himself quite at
home in the so-called Krzizanowitz "Palace," and in the Castle of
Gratz. [Krzizanowitz is Lichnowsky's inherited estate in Prussian
Silesia, the Castle of Gratz his dominion in Austrian Silesia.
Franz Liszt like Beethoven, was a guest in both these places.]
May it be permitted, dear Prince, to find you again there
(perhaps next year) to
Your faithful and most devoted
F. Liszt
June 21st, 1876
192. To Hofcapellmeister Max Erdmannsdorfer
Very honored Friend,
Thanking you very much for your kind invitation, I shall
willingly come next Sunday, and rejoice that I shall again hear a
special Sondershausen concert. Berlioz's "Harold-Symphony" is to
me an old, ever-fresh recollection: the Sondershausen orchestra
played it capitally at the first Festival of the "Music of the
Future" in Ballenstedt, which I conducted.
Send me soon the whole printed programme. Can you already conduct
Wagner's new "Fest Marsch?"
I beg for Bulow's "Nirwana," if possible, and in case there
should be room for anything, not long, of mine, I would most
modestly suggest the Symphonic Poem "Hamlet," which I never
heard. Most friendly greetings to your wife, and believe me
always
Yours most sincerely,
F. Liszt
Weimar, June 27th, 1876
I suppose the concert takes place on Sunday afternoon, so that
the visitors from Weimar can get back here again?
Which train, in the lately altered railway guide--as I was told
yesterday--will bring me in tempo (non rubato) [in time--not
broken] to Sondershausen and back?--
193. To Kornel von Abranyi
Dear honored Friend,
Best thanks for your letter. Please to make my apologies to the
mayor Herr Karoly and to the Festival Committee in Szegedin. [The
town of Szegedin and the Hungarian Vocal Society had begged
Liszt's active sympathy for the Musical and Singers' Festival
about to be held in that place. Karl Wagner was president of the
Festival Committee.] With reference to the first invitation to
Szegedin (last March) I made the observation immediately that
"During the whole month of August I belong to Bayreuth."
Consequently it is no fault to remain there,--if the principle is
correct.
Now, dear faithful friend, I invite you once again to come
hither. The "Festival-Play" is of the very most serious
historical significance...So do come at the latest from the 27th
till the 30th August for the third series of these stupendous
performances of the "Nibelung's Ring." The Montecuculi-an matters
will be gladly arranged for you here [i.e. the expenses.] by
Your old, most sincerely faithful
F. Liszt
Bayreuth, August 6th, 1876
194. To Richard Wagner
[Autograph of this curiosity in possession of Herrn
Commerzienrath Bosendorfer in Vienna.]
Incredible One,
Hast thou a moment's time for the Leipzig "affaire"? then please
come down here (where Herr Neumann now is) to thine own
F. L.
[Bayreuth, August, 1876]
[This referred to the performance of the "Nibelungen" in Leipzig,
striven for by Angelo Neumann and interceded for by Liszt, for
which purpose the former came to Bayreuth.--Wagner wrote in
pencil on Liszt's letter as follows:--
"Still more incredible One!
"I am in my shirt-sleeves and under no circumstances inclined to
give my work to Leipzig or anywhere else!
"Love me!
Thy
R. W."]
195. To the Kammersangerin [Private Concert Singer to the Court]
Marie Breidenstein in Erfurt
[Died 1892. She dedicated herself with satisfaction to the
rendering of Liszt's compositions, and was also his pupil for
piano.]
Dear honored One,
Perhaps the Schubert songs with my most modest instrumentation
would suit somewhere in your programme. Here are the printed
scores with the orchestral parts. "Gretchen" and "Erlkonig" have
been much used and are played out. This is not so much the case
with the "Young Nun"; and Mignon's wonderful song, "So lasst mich
scheinen bis ich werde" [So let me seem till I become], is
scarcely heard--or appreciated!
But if you will once more spare me an hour in Weimar, I will
accompany these 4 instrumented Schubert-Songs for you.
Next Saturday departs from here
Your sincerely devoted
F. Liszt
Weimer, Monday, September 18th, 1876
N.B.--The instrumentation compelled me to a few little different
readings in Schubert's four songs: on this account the singer
must go by my score-edition as regards the rests and the very
slight alterations.
196. To Camille Saint-Saens
Very Dear Friend
In sending you today the transcription of your "Danse macabre," I
beg you to excuse my unskilfulness in reducing the marvellous
coloring of the score to the possibilities of the piano. No one
is bound by the impossible. To play an orchestra on the piano is
not yet given to any one. Nevertheless we must always stretch
towards the deal across all the more or less dogged and
insufficient forms. It seems to me that Life and Art are only
good for that.
In sincere admiration and friendship,
Your very devoted
F. Liszt
Hanover, October 2nd, 1876
197. To Professor L. A. Zellner, General Secretary of the
Conservatoire of Music in Vienna
[From a copy of a draft by Dr. Mirus in Weimar.]
October 3lSt, 1876
Honored Friend,
Be so very kind as to convey my sincere thanks to Directors
Mosenthal and Herbeck for the friendly communication about the
Beethoven-Monument Concerts in Vienna next March. A few weeks
earlier I beg you to send me the programmes, to which Beethoven's
Concerto in E-flat major, and also as a Finale, in case the
"Hammerclavier" appears admissible, the "Choral Fantasia," will
willingly be added with his old hands by
Your faithful and most obedient
F. Liszt
198. To Hans Richter, Conductor of the Royal Opera in Vienna
[From a copy by Dr. Mirus in Weimar.-Addressee (born 1843 in
Hungary) the renowned conductor, since 1876, of the Bayreuth
Festspiel, and, in addition to his opera work in Vienna,
conductor of the Philharmonic Concerts there and of the Richter-
Concerts in London.]
November 10th, 1876
I thank you most sincerely for your friendly intention of giving
my Beethoven-Cantata in the performance at the Royal Opera House
for the benefit of the monument to Beethoven. By today's post you
will receive the whole printed score, together with a separate
edition of the orchestrated Andante (from the B-flat major Trio),
which shines, like a guiding star, above my insignificant work.
The Cantata was published by Kahnt, Leipzig, in the year 1870,
and was also first brought out in Weimar, then in Pest, on the
occasion of the Beethoven Jubilee Celebration. If, my dear Sir,
the orchestration to some extent pleases you, I should advise you
to take up this alone in your programme on the 15th December.
The remaining movements might meet with many hindrances in
Vienna...and, frankly, I have become altogether somewhat shy as
regards the performance of my compositions. Although I quietly
endure their foregone want of success with prevailing criticism,
it is my duty not to let my friends be injured by it.
Once again hearty thanks for your goodwill and meritorious
conducting of Wagner.
F. Liszt
199. To Breitkopf and Hartel
Dear Sirs,
Your communication to me of the 25th October has been very much
delayed, owing to my change of residence several times during the
past weeks. There is surely no need to assure you that I never
thought of causing any unpleasantness at all to any one--more
especially judicially [The publisher of "Tannhauser" had tried to
make out that Liszt's arrangement of the March was a "piracy."]
In particular my connection with your very honorable house for
more than 30 years has ever been most simple and honest. This is
also shown by my two quoted letters of the 17th February and 3rd
April, 1853, with reference to the publication by your firm of
the "Tannhauser and Lohengrin pieces," whose publication at that
time I was quite "the agreement" with Richard Wagner in
suggesting.
Certainly I could not, without injuring the Tannhauser March, go
all through the original, loading it with shakes, and here and
there adding arpeggios. However, if "connoisseurs" will look
through my transcription in detail, they will easily discover
that neither the variation on the principal theme, nor the
modulating of the second, nor in any manner the whole setting of
the pianoforte arrangement, could be found fault with as a
"piracy."
With much esteem,
Very sincerely yours,
F. Liszt
November 12th, 1876
Budapest (where I stay the whole winter)
200. To Constantin Sander, Music Publisher in Leipzig
[Autograph in possession of M. Alfred Bovet in Valentigney.]
Very honored Sir,
Best thanks for kindly sending me the "collected writings of
Hector Berlioz" and some novelties of your firm. The compositions
of Tschaikowsky interest me. A few of my pupils here play his
Concerto and several of his pieces really capitally. I have also
recommended Riedel to include Tschaikowsky's Symphony in the
programme of the next Tonkunstler-Versammlung.
Otto Reubke's arrangement of the Schubert Quartet [In A minor,
published by Sander (F. E. C. Leuckart).] for one performer on
the pianoforte seems to me well done, though the 3rd bar of the
first Allegro should stand thus,--
[Here, Liszt illustrates with a musical score excerpt]
because in the latter case the important E of the melody cannot
be held on, etc.--
I know the manuscript of an excellent arrangement of Schubert's D
minor Quartet for 2 hands, the author of which, a man of very
high standing, I do not today mention by name. But should you be
inclined to publish this Quartet (arranged for 2 hands on the
P.F.) I will gladly give you further particulars.--
By today's post you receive my last revision of Berlioz's
"Symphonie fantastique." I have added two remarks to the title
which I beg you to notice and adhere to. Thus "Piano Score"--not
"Arrangement."...Then it is absolutely necessary to insert the
whole programme of Berlioz, French and German, in your 2nd
edition (on the 1st page after the title-page). If necessary my
friend Richard Pohl will give you the original French text and
the translation.
With sincere regard, yours in all friendship,
F. Liszt
Budapest, November 15th, 1867
P.S.--I keep the copy of the Witzendosf edition for a while, and
send you today only the Paris edition, together with the last
proof copy of the "Symphonie fantastique."
201. To Breitkopf and Hartel
November 23rd, 1876
Dear Sir and Friend,
Before Herr W. Juranyi handed me your letter I had replied to the
earlier communication from your esteemed house with reference to
the same matter.
Accept once again the assurance that I lay great stress upon the
continuation of our friendly relations, which have now existed
for 36 years. As far as this depends on me it shall never cease.
Your letter contains two proposals:--
1. To recommend Wagner to sign a legal document.
This is entirely opposed to my peaceable practices.
2. To prepare an enlarged version of the transcription of the
"Tannhauser-March."
Acquiescing in this, I will send you the day after tomorrow a
couple of pages of notes [musical] for the purpose of an enlarged
edition. I cannot decide whether these acquire a legal value, but
in any case they prove to you, dear Sir, my sincere readiness.
My "Wagner-Transcriptions," by-the-by, were not in any way a
matter of speculation to me. Appearing at the beginning of the
fifties, when only the Weimar theater had the honor of performing
"Tannhauser," "Lohengrin" and the "Flying Dutchman," such
transcriptions only served as modest propaganda on the inadequate
Piano for the sublime genius of Wagner, whose radiating glory now
and henceforth belongs to the Pride of Germany.
With high esteem most sincerely yours,
F. Liszt
Budapest, November 23rd, 1876
202. To the Music Publisher Constantin Sander
Very honored Sir,
You have rightly guessed that Herr von Keudell's "excellent"
transcription of Schubert's D minor Quartet is finished. It now
only remains for you to write to His Excellency, that you may put
this work in your window.
Reubke has succeeded very well with the B minor Rondo of
Schubert, only, to my thinking, he should add the now
indispensable pedal marks to it. By the same post I send you his
manuscript together with a few remarks, and beg you to thank
Reubke for his friendly dedication, and also to compliment him
especially on the refined and beautifully effective carrying out
of the subject--
[Here appears notated four measures of the theme.]
Yours most truly,
F. Liszt
Budapest, November 29th, 1876
203. To Vera Timanoff
[First Tausig's pupil (also Rubinstein's for a little while),
from 1875 she studied every summer with Liszt as long as he
remained in Weimar. In 1880 she became pianist to the Court at
Weimar.]
Dear Virtuosa,
I telegraphed immediately to you at Laibach, to tell you to come
without ceremony. Your talent is such that it would convert even
the Turks, and I assure you that the audience at the Pest
concerts will be delighted to applaud you. As to the title which
you propose to take, I think it is too modest for you, but there
would be an excess of modesty on my part in saying anything
against it...so let us be reciprocally proud of it and don't let
us advertise it!
A revoir soon,--and always
Your affectionately devoted
F. Liszt
Budapest, November 29th, 1876
Be so kind as to give my most cordial regards to Monsieur and
Madame Bosendorfer.
204. To Otto Reubke at Halle-on-the-Saale
[Now Music Director at the University there]
Dear Herr Reubke,
Your Arrangement [of Schubert's B minor duet for pianoforte
alone] pleases me uncommonly. I beg you to notice the alterations
I have made on the accompanying sheet of music-paper. This
version is not quite so much like the original as yours, but, as
the great thing is to bring out a fortissimo, we may well allow
inaccuracies of this kind in favor of the performer and of
effect.
You are requested to add to your excellent Arrangement of the
Schubert Rondo much pedal and some fingering,
By your warmly attached
F. Liszt
Budapest, November, 1876
205. To Marianne Brandt, Kammersangerin in Berlin
December 3rd, 1876
Dear honored Friend,
What is always very pleasant and dear to me is your goodwill.
With my hearty thanks for it I send today the little notice.
"Jeanne d'Arc au bucher" ["Joan of Arc at the Stake"] came out a
few months ago at Schott's (Mainz). This short dramatic Scena can
be sung with either pianoforte or orchestral accompaniment. The
chorus is conspicuous by its absence. Johanna [Jeanne] alone has
to perform. N.B.--Only the second edition (published 1876) is to
be used; not the first, which also came out at Schott's 30 years
ago. Schott sent me no copy of it; it was too much trouble for
Berlin to correspond with Mainz via Budapest. Herr Capellmeister
Mannstadt [Now Capellmeister at the Court theater in Wiesbaden.]
will therefore be so kind as to order the "Johanna" (full score
and piano score) at Schott's, if you really have the goodness to
sing it. [It was done in honor of Liszt's presence in Berlin,
which was celebrated by the performance of some of his works.]
There might possibly be special feelings now in Berlin against
it, in spite of Schiller's Tragedy, "Die Jungfrau von Orleans."
Therefore think the matter over.
For years past I have been mostly obliged to dissuade people from
the performance of my large works. The general public usually
goes by what is said by the critics, whose most prominent organs
among the newspapers are hostile to me. Why should I go into
useless quarrels and thereby compromise my friends? Peace and
order are the first duties of citizens, which I have doubly to
fulfil both as honorable citizen and artist.
As for the rest, dear friend, if it suits you to sing any one of
my musical compositions, be assured of the sincerest thanks of
Yours most truly,
F. Liszt
206. To the Committee of the Beethoven Monument in Vienna
[From a copy by Dr. Mirus in Weimar]
December 10th, 1876
Honored Gentlemen,
Rejoiced to be able to help you, I will work with you with a full
heart and both hands in the concert for the Beethoven Monument.
Allow me to answer your friendly remark about the performance of
Beethoven's Choral Fantasia thus,--that I should not think of
performing any other work at this concert than one absolutely
written by Beethoven, and consequently my share in the concert
programme will consist of the E-flat major Concerto. [It did not
consist of that. Liszt did after all play the Pianoforte Part of
the Choral Fantasia, Op. 80.]
I beg you will kindly communicate to the honored Secretary of the
Committee, Herr Zellner, my hints with regard to the Beethoven
Scholarship in Leipzig.
Accept, Gentlemen, the expression of my high esteem.
F. Liszt
207. To Eduard von Liszt
Budapest, January 2nd, 1877
Dearest, Most Honored Cousin,
I always remain faithful to thee in heartiest agreement with thy
thoughts and feelings. Every year brings us nearer to the
fulfilment of our hope in Jesus Christ the Savior!
"He that endureth to the end shall be saved!"--
I am now quite recovered from my little attack. If there were
nothing worse in this world than sprained legs and physical
suffering, one could be quite satisfied. Moreover I belong to the
very favored and happy ones, even as regards physical suffering.
There is nothing particular going on here which I need mention.
Four times weekly I have a class for pianists and pianistes,
native and foreign. Half a dozen of these distinguish themselves
and will be able to grow into capable public artists.
Unfortunately there are far too many concerts and concert-
players. As Dingelstedt quite truly said, "The theater is a
necessary evil, the concert a superfluous one." I am trying to
impress this sentence on my disciples of the Hungarian Academy of
Music.
As you know, Budapest possesses three musical Institutions: the
Conservatorium (which has existed 36 years and counts several
hundred scholars), the Hungarian Theatrical School, and the new
and still small Academy of Music. An excellent younger friend of
mine, Count Geza Zichy, is president of the Conservatorium; an
older one, Count Leo Festetics, president of the Theatrical
School; and my humble self acts in the same position at the
Academy of Music, whose Director Franz Erkel and General
Secretary Abranyi proceed most zealously and judiciously. I have
only pleasant relations with them both, and the Minister Trefort
is already well-disposed towards me, because he knows that I save
him unnecessary annoyance and expense. Most likely the Academy of
Music will in two years' time be so flourishing that there will
be more to say about it; in the meantime let us study--and be
silent. .--.
Heartiest greetings to thy family, and au revoir in Schottenhof
[Eduard Liszt's home in Vienna.] in the middle of March, on the
occasion of the "Beethoven-Monument Concerts."
Thy
F. Liszt
The Christmas week has beggared me. Be so good as to send me very
quickly 500 gulden, for I have hardly 60 left.
208. To Walter Bache
Truly, dear Bache, you are a wonder-working friend. Your
persevering trouble, exertions, expenditure of time and money for
the production of my bitterly-criticised compositions in London
during the past fifteen years, are among the most uncommon
occurrences in the annals of Art. Once again heartiest thanks;
please also to thank Mr. Manns properly for his excellent
conducting of "Mazeppa." Things of that kind are awkward both for
conductors and performers. But how can one go on making music
with what is idly convenient, even when this is raised into
importance under the guise of being classical?
Hueffer's translation of Wagner's letter pleases me. Friendly
greeting to Hueffer [Musical author in London, lately deceased]
and Dannreuther [Musician in London] from
Your grateful and very devoted
F. Liszt
Budapest, March 9th, 1877
At the beginning of April I shall be back in Weimar. I am pleased
that you included the old "Loreley," with fresh orchestral
accompaniments, in your concert programme. Give my respectful
compliments to the friendly singer Mrs. Osgood.
209. To Eduard von Liszt
Weimar, July 3rd, 1877
Dearest Eduard,
For some weeks I have been much on the go and disturbed in many
ways. Several musical performances occasioned me to go about in
the neighborhood. On the 17th June some portions of the "Christus
Oratorio" were splendidly sung in the Thomaskirche (Leipzig) by
the Riedel Verein. Last Friday "Elizabeth" came brilliantly to
the fore again in Eisenach, and yesterday Gille, my untiring
friend of many years' standing, arranged a large concert of
sacred music (with several items of mine), at which I was
present.
I do indeed regret that I am not able to accept in person the
kind invitation of my beloved nephew Franz for his wedding-day.
It would be much better for me to be more with you
all!...Enclosed are a few words to Franz. Arrange for my proxy as
a witness at the marriage ceremony. Whoever is chosen by you will
be worthy and right to me: as for me I should choose my friend
Bosendorfer.
I go the day after tomorrow to Berlin for two days; then I am
bidden farther and nearer till the end of July. I shall
respectfully announce to the Frau Furstin [Princess] my arrival
in Rome--beginning of August. Please send me here on the 20th
July the money for the journey, and something over--about 1200
marks [about 60 pounds]. I must not have any other debts except
moral ones. Our name Liszt in the Hungarian language means Flour:
we will provide good wheaten meal "ex adipe frumenti" with thee,
Franz, and thy children.
Truly devoted,
F. L.
.--. I shall visit you in the middle of November on the return
journey from Rome to Pest,--where I think of spending the winter,
as formerly.
Heartiest greetings to your wife and Marie.
210. To Ludwig Bosendorfer
Honored Friend,
You have been just as much a pianoforte maker as I have been, and
still remain, alas! an almost posthumous pianoforte player.
My friend Berlioz asked: "Do you believe that I can listen to
music for my pleasure?" Nevertheless we intend to continue our
Music and Piano "for our good pleasure."
Thanks for letter and telegram.
Heartily devoted,
F. Liszt
Weimar, July 12th, 1877
211. To Edmund von Mihalovich
.--. In order to obtain this performance [Of Mihalovich's Opera
"Hagbar."] I think it necessary and indispensable (as I have
already told you) that you should lay a regular siege in person
to the Intendant, the Capellmeister, and the singers, male and
female, of the theater which you choose.
The new serious Operas are now regarded with suspicion and are in
disgrace everywhere. Several trials have been made of them here
and there of late years. In the happiest of them the public
applauded warmly during the first performances, and abstained
from attending the following ones. Consequently the coffers
remained empty: ergo, it is the receipts which prove real
success. If Wagner's marvellous chefs d'oeuvre hold their own in
the repertoire, it is because they make money and continue to
draw even a large contingent of detractors. .--.
Weimar, July 20th, 1877
Towards the middle of August I shall be in Rome, and shall stay
at the Villa d'Este until my return to Pest in November.
212. To Kornel von Abranyi
Weimar, July 28th, 1877
Honored Friend,
Dear Secretary-General of the "Zene Akademia," [i.e. Academy of
Music of the Country.] Sincere thanks for your significant
communication, which I answer immediately, point by point.
[Abranyi had informed Liszt, as President of the Academy, of the
course of instruction (1877) and concerts, and had also asked him
for his opinion on several Art questions.]
1. The conclusion of the year '77 with the examination concerts
(25 to 28 June--and the "Magyar Hangverseny" [An Hungarian
Concert.] on the 30th June) has been very gratifying. Let us
rejoice in the praiseworthy performances of Messrs. Juhasz,
Agghazi, Swoboda, and of the ladies Frau Knapp, Fraulein Lepessy,
[The above-mentioned were favorite pupils of the Master at the
Academy.] etc., in Counterpoint, Harmony, Composition,
Aesthetics, Hungarian music and the indispensable Piano-playing.
The work best praises the Master: in like manner do the pupils,
when preparing themselves for pre-eminence, praise their teacher.
The "Zene Akademia" has not to work for the universally usual
kind of musical study, but has indeed a weightier, higher task to
fulfil.
2. The publication of your "Academic lectures" I had especially
recommended to His Excellency Minister Trefort. "Suitable
teaching and departmental books" printed in the Hungarian
language are inaccessible. You, my honored Secretary-General,
have to look after that,--and the Minister will certainly support
your scientific-patriotic work for the use and benefit of
learners and teachers at the "Zene Akademia"--and further, in all
Hungary.
3. As to the "Plan of classes in the department for Church music,
Singing and Organ," I can now only repeat my previously expressed
wish that the right and able person of good working capability
may be found for conducting these classes. Neither invalids nor
dabblers may officiate at No. 4, Fischplatz!--[Liszt's house,
and, for the time, the locale of the Academy.] If unfortunately
the right reverend Herr F. Witt should continue unable to fill
the post offered to him in Budapest, I shall propose that the new
director should come for a year on trial. And a complaisant sort
of Protection is thereby to be avoided, for the matter in
question is nothing less than the worthy thriving and culture of
Church music in Hungary.
4. I consider as necessary the appointment of an experienced
Pianoforte Professor, one who is pushing forwards, and who will
be able to relieve our highly honored Director Herr F. Erkel of a
part of his very meritorious but excessive exertions. Meanwhile I
protest strongly against desiring to have a professorship without
salary. Fees with honor; judicious restrictions without beggarly
management; otherwise we shall come to grief.
5. I beg that my "jubilee-stipend," entrusted to me in the most
honorable manner by the municipality of Budapest, may next year
('78) be apportioned to the same artists as this year. I will
gladly sign all the papers having reference to this. Looking
forward to the speedy appearance of your Study of Harmony, and of
the collected writings of our never-to-be-forgotten friend
Mosonyi, together with his biography and Abranyi's new
compositions, and greeting your laudable and persistent endeavors
in the cause of Art with sympathetic recognition,
I remain, with best regards, yours truly,
F. Liszt
Next week I journey farther--shall be in Rome by the middle of
August--and in November in Pest, where I intend to spend the
winter again. Write to me in September: my address will be Villa
d'Este, Tivoli, (presso) Roma, Italia.
I beg you to give the enclosed lines to Frau Knapp.
213. To the Music Publisher Constantin Sander
Very dear Sir,
I shall have much pleasure in preparing the re-discovered
manuscript of the "Harold Symphony" (Score for Piano and Alto
[viola]) for the dress and in entrusting it to you. Send me the
manuscript soon, together with the original score of Berlioz,
which is necessary for the accurate revision of the arrangement.
My fee shall be a moderate one, as I am pleased that your firm is
going to publish this arrangement, which was finished in
Switzerland forty years ago. I would have made it public long
since, if the manuscript had not been lost.
Sincerely yours,
F. Liszt
Villa d'Este, Tivoli (near Rome), September 5th, 1877
Please send with it a copy of the excellent Trio of Edward
Napravnik. My friend Sgambati will produce it publicly in Rome,
and make it a success.
214. To Adelheid von Schorn at Weimar
Dear and honored One,
When one is at a loss what to say or write, well--one tries to
help oneself with music. Enclosed I forward you the song of your
noble-hearted mother: "Ach, was ist Leben doch so schwer!" [Ah,
why is life so burdensome!] My setting is so managed that you
will easily master it, as well in the singing as in the
accompaniment. [Published in the 8th book of Songs under the
title "Sei still" ("Be still")]
Faithfully yours,
F. Liszt
Rome, September 15th, 1877
215. To Breitkopf and Hartel
Honored Sirs,
.--. May my slight share in your edition of Chopin's works, which
nearly all belong to your firm, be of use to you. I remarked
before how little really remains to be done to Chopin's
compositions, as he himself, with praiseworthy and exceptional
accuracy, added every possible instruction to the performer--even
to the pedal indications, which in no other author appear so
frequently.--Your collaborators will certainly find accuracy and
authenticity of the original text in Karl Klindworth's Moscow
edition of Chopin. I chose the "Etudes," because the first volume
was dedicated to me, and the second too for the matter of that
(at that time). I gladly dispense with a revision of both, and
beg you particularly, dear Sirs, not to expose me to an unseemly
rivalry. I will always maintain a most peaceful attitude towards
my honored colleagues, and, wherever they please, allow their
influence and opinion to have free play.
According to your letter, you repudiate the idea of "an
instructive edition with other additions" of Chopin's works. Are
then the directions for fingering also to be omitted?...All the
more undisturbed will the leisure of the collaborators be.--
Last week I sent you the corrections of the "Triomphe funebre du
Tasse," as well as the "Impromptu." Tomorrow "Heroide funebre"
(for four hands) will follow, and very soon I am expecting the
"Hunnenschlacht," which completes all the arrangements for four
hands of the 12 "Symphonic Poems." A complete edition of them in
3 or 4 volumes (as you may judge best) will be a pleasure to me.
In spite of the much criticising, ignoring, and denunciation,
which these things have had to suffer for 20 years, they are
perhaps not yet quite done to death.
I beg you to add the Prefaces and Poems (French and German) to
the edition for four hands, as well as to the scores, and also to
the further editions for 2 pianos. The same with regard to the
transcription for piano of the "Triomphe funebre" (Italian and
German), because, as a matter of fact, a well-disposed programme
composer uses such hints more than is generally supposed. Of
course the dedication of the "Impromptu"--"a Madame la Baronne
Olga de Meyendorff, nee Princesse Gortschakoff"--must not be left
out.
With distinguished respect,
Your obedient
F. Liszt
Villa d'Este, September 26th, 1877
Till the end of October my address will be: 43, Via dei Greci,
Roma (Italia). From the middle of November: Budapest (Hungary).
216. To Frau Ingeborg von Bronsart in Hanover
Dear Kind Friend,
I am much touched by your charming letter, and grieved at not
being able to accept your friendly invitation. That would
certainly be more agreeable than to attend to all sorts of
duties; but, since three parts of these are self-imposed, I am
all the more bent upon fulfilling them; and, in order to keep
faith with myself, I am returning to Budapest before the middle
of November, and shall remain there till April. Perhaps I am less
useless there than elsewhere; it is an idea or an illusion of
mine.
What excellent and beautiful things the two Hans are going to do
at Hanover! [Hans von Bulow had been appointed Hofcapellmeister
in Hanover, where Hans von Bronsart was Intendant of the
theater.] It is a matter of lively joy to me, and next summer I
hope that my ears will benefit by the new musical regime all in
honor of Art, and the example of which will be of service and
bear fruit far and wide.
Last week I forwarded from the author to your address a copy of
Sgambati's Quintet, dedicated to Bulow; and also a Fugue
(preceded by a grand Prelude and ending in a Chorale--the same
which Guido d'Arezzo made use of to name the six notes of the
gamut: "Ut queant taxis resonare fibris, etc.!"...One of the two
Hans will tell you the rest of the hymn, which is always chanted
on the 24th June, the feast of St. John the Baptist).
Once on a time you used to cultivate fugues with maestria: will
that of Sgambati seem to you classical enough? I almost doubt it,
since in these matters your strictness is extreme. In consequence
of H.M. the Queen of the Netherlands being in mourning, the
"auditions" at the chateau of Loo do not take place this year. I
shall therefore go straight from here to Pest.
Please give my love to your children, and believe me to be for
all time the heartily devoted friend of their papa and mamma.
F. Liszt
(Villa d'Este,) October 2lst, 1877
217. To Eduard von Liszt
Dearest Eduard,
.--. I am told that one or two newspapers announce that I am
going to Paris. I have no thought of doing so, and am moreover
very weary of travelling. What I should prefer would be to remain
firmly fixed in one place, it matters not what, village or city,
till my end, and to go on as quietly as possible with my work. As
this is not permitted to me, I try at least to avoid unnecessary
perambulations, do not go (in spite of various invitations) to
Paris or London, and keep within that already far too extensive
and troublesome triangle, Pest, Weimar, Rome!--So I shall again
spend the next four months here, and then, at the beginning of
April, pay you a week's visit.
Write and tell me where my dear cousin Marie is. [She had shortly
before married Baron von Saar, an officer.] Is her husband
established in Wiener-Neustadt, and in what capacity?
How are our Franz in Graz and his wife?
Heartiest greetings to the Frau Generalissimus-Procuratorin
[Eduard v. L. had in December 1875 become General Procurator.
Liszt called his wife in joke "Generalissima" or "Generalin."]
from your heartily and faithfully affectionate
F. Liszt
Budapest (Fischplat 4), November 23rd, 1877
All friendly greetings to Bosendorfer.
218. To Jules de Zarembski
[A highly gifted pupil of Liszt, born in 1854 in Russian Poland,
died in 1885 at Brussels, where he was Professor in the
Conservatoire.]
Dear Friend,
Thinking that you would spend some weeks at Berlin, I sent the
day before yesterday a letter for you to our friend Bosendorfer,
begging him to have it punctually delivered to you. This letter
enclosed another, which you will remit to Paris to Madame la
Comtesse Taida Rczewazska. She promised me lately at Rome to take
an interest in your success at Paris, and I assured her that your
talent and intellectual gifts would not make her patronage
irksome. Therefore be careful not to give me the lie, and to show
yourself of an amiable disposition at Countess Rczewazska's.
I forgot to ask her where she lives in Paris; but you will find
out without difficulty from some compatriot, or from other people
of the world, which is society. Enclosed are a few lines of
introduction to the illustrious, indefatigable and unageing
publicist, Emile de Girardin. They say of him in joke that he has
an idea every day. If he were to reach the age of Methuselah
ideas would certainly never fail him.
At one time there used to be music in his salon; he understands
it quite as well as the late M. Thiers or the Marechal MacMahon.
However, if M. de Girardin invites you, play there, as I did when
I was last in Paris (in the year '66).--
An excellent recipe against unjust criticisms (of the kind like
that of M. X. which you quote to me) is to criticise oneself
thoroughly before and after--and finally to remain perfectly calm
and follow one's own road!
Cordially yours,
F. Liszt
Budapest, December 13th, 1877
An enthusiastic account of your success at Vienna was given me by
Mme. Tony Raal, who yesterday evening played Tausig's
"Zigeunerweisen" admirably at a concert of M. de Swert. [A
Belgian violoncellist, recently deceased]
219. To Madame Jessie Laussot
Dear and most excellent Friend,
Your "intrigues" are noble, salutary, beneficent, and would win
every advantage in the broad light of day. To take my part in
them, at your command, is one of my most agreeable duties.
[Mme. Laussot was trying to obtain the nomination of Antonio
Bazzini, the excellent violinist and composer (born 1818), as
director of the Conservatoire at Milan, and begged Liszt to
support this choice through the German ambassador Baron Keudell
in Rome, which he did. Bazzini however did not at that time
receive the office, which he at present holds.]
I sent my letter direct to Rome to Baron de Keudell
yesterday..--. Bazzini deserves the post of director of the
Conservatoire at Milan, which ought to be offered to him at the
first onset.
Your most heartily devoted
F. Liszt
Budapest, January 29th, 1878
Our friend Mihalovich will give you news of Budapest. As
elsewhere, I am absorbed here in the most difficult of tasks--to
put up with myself. Happily I receive plenty of help; noble
friendships and dear and beautiful memories light up the path
which I still have to follow before I reach the grave.
220. To Madame Jessie Laussot
Dear and Excellent Friend,
Under present circumstances (indicated in your note of this
evening) I doubt whether your just and noble efforts will attain
their end. [Refers to the as yet unsuccessful candidature of
Bazzini for the directorship of the Milan Conservatoire. See the
preceding letter.]
Without pretending to Catonism, it is a good thing to attach
oneself to good causes, whether favored by the gods or not.
"Victrix causa diis placuit."...So, if you are vanquished on the
battle-field between the Cathedral and the Conservatoire of
Milan, I shall remain on your side, in spite of my reasonable
leaning towards Caesar, and the lawful inheritors of his
idea,...not towards the others, please, because that would drag
me too low and roll me in the mire.
From my heart your old servant and friend,
F. Liszt
Budapest, February 3rd, 1878
221. To the Music Publisher B. Bessel
Dear Sir,
You have been unusually parsimonious in only sending me a single
copy of the Ballade of Count Tolstoy. ["The Blind Bard." Liszt
wrote the melodramatic piano accompaniment to it (1874).] Allow
me then to make use of this copy to indicate the version which I
think should be put into the arrangement for piano (alone without
declamation). I add, the necessary notes and alterations, for you
to publish or not, as you think best, the version subjoined. I
have no claim to the sale of my wares, and am only manufacturing
them...for the honor of Castile!--Count Tolstoy understood this
sentiment; he only has to make a bargain: that is why I have sung
with Tolstoy his Ballade of the "Blind Bard," hoping too for
"peace" at last "for all noble boyars." [Slavonic noblemen.] You
sent me some other publications of your house: "six morceaux pour
piano" by Liadoff; they are pleasantly refined; and the "Russian
national songs edited by N. Rimsky-Korsakoff," for whom I feel
high esteem and sympathy. To speak frankly, Russian national
music could not be more felt or better understood than by Rimsky-
Korsakoff. His notation of the "popular songs" is most
intelligent and most musical; and the accompaniment and harmonies
seem to me admirably adequate. If you publish the version for
piano of "Tolstoy's Ballades" I beg you to send me the proofs
beforehand.
A thousand affectionate compliments.
F. Liszt
Budapest, March 11th, 1878
Please send me in any case half a dozen copies of the "Ballade,"
already printed, to Weimar, where I remain from mid-April till
the end of July.
222. To Walter Bache
Very honored and dear Friend,
I have always to be thanking you; it is from my heart, and will
ever be so.
The programme of your fourteenth "Annual Concert" is again an act
of courage; particularly in London, where my compositions meet
with all manner of obstructions--almost more than elsewhere, from
the Leipzig Gewandhaus down to many greater and smaller
Gewandhausler.
It stands clearly written, a hundred times over, that I cannot
compose; without indulging in unseemly protests against this, I
quietly go on writing, and set all the greater store by the
constancy of some of my friends, particularly Walter Bache, for
the stout-* heartedness which till fourteen times fourteen he has
for so many years displayed.
In the introduction to your fourteenth Programme F. Niecks
[Friedrich Niecks, Professor of Music at the University of
Edinburgh; the writer of the excellent work "F. Chopin as Man and
Musician"], a propos of F. Liszt, said very truly:--
1. "Form is an abstract idea."
2. "A harmonic combination or progression may be against the
rules of a system," etc.
3. "Programm-music is a 'legitimate genre of the art.'" [Portion
in quotes (' ') written in English by Liszt]
Give Niecks my sincere thanks; also to Mr. Manns and
courtoisement Miss Williams [The well-known vocalist Miss Anna
Williams]. The "Funeral Pyre of Joan of Arc" will, I trust, have
done away with her coolness.
With regard to the Tempi I am very yielding in my small pieces,
and gladly allow well-disposed artists to decide this.
Sophie Menter-Popper was recently here and will probably (middle
of May) play in Sir Benedict's model monster-concert, which for
forty years has wielded the sceptre of London successes. Call on
my honored friend Sophie Menter--a rarely natural and excellently
schooled musical individuality. You will feel yourself quite at
home with her, and I told her this beforehand. Yours
affectionately,
F. Liszt
Budapest, March 19th, 1878
From the middle of April till the end of July I remain in Weimar;
later, at the end of August, I go again to the Villa d'Este.
223. To Professor Dr. Ludwig Nohl
Honored and dear Friend,
Of the many pictures of the remarkable group of cypresses in the
Villa d'Este your brother's [Max Nohl, painter] beautiful
poetical drawing is my favorite. For the present of this and the
inscription on it I thank you most heartily. I attempted (last
October) to put down on music paper the conversation which I
frequently hold with these same cypresses. ["Au Cypres de la
Villa d'Este" [To the Cypress of the Villa d'Este). 2 numbers.
Schott, Mainz.] Ah! how dry and unsatisfactory on the piano, and
even in the orchestra,--Beethoven and Wagner excepted--sounds the
woe and the sighing [Das Weh and Wehen] of almighty nature!--
Nevertheless I will most modestly show you this Cypress-Memento
at the piano when we next see each other--I hope in Vienna, where
I am staying during the first week of April with my dear cousin
as usual. Afterwards I go to Bayreuth and Weimar.
Sincerely yours,
F. Liszt
Budapest, March 20th, 1878
224. To Professor Dr. Siegmund Lebert
Honored Friend,
Quite excellent so. Let us divide the revision of the Cotta
edition of the 4-handed Schubert, and for your part look after
all the Sonatas, "Lebenssturme," Scherzi, etc.--If you wish it, a
few pedal marks. and fingerings shall willingly be added to the
Variations Op. 10 and 82. Send me both works to Weimar, with the
rest of Schubert's Waltzes for four hands, which show more
creative power than many big compositions--old or new.
With the few Schubert pieces send me also the scopes of the
Beethoven Concertos and their accompaniments, arranged for a
second piano by Moscheles. My arrangement I will forward you at
the beginning of August. Meanwhile I beg you to give the Freiherr
von Cotta my most grateful thanks.
Very respectfully yours,
F. Liszt
Budapest, March 27th, 1878
From the middle of April till the end of July I remain in Weimar.
225. To Edmund von Mihalovich
Very dear Friend,
I most sincerely feel with you in your grief. "Non ignara
mali"...for I too have wept at the grave of my mother.
A sad but well-written book, "Stello" ("Consultations of the
black doctor"), depicts the sufferings and death of three young
poets,--Millevoye, Andre Chenier, Chatterton,--gathered home
before they had acquired glory here below.
In these moving pages of Alfred de Vigny he asks, "What is one to
think of a world which one enters with the hope of seeing one's
father and mother die?"...Prayer alone can answer this question.
Let us then pray our heavenly Father that His Will may be done on
earth as it is in heaven, and that the work of our life may be
ever conformed to the Divine Will.
Ever yours,
F. Liszt
Bayreuth, April 13th, 1878
226. To Kornel von Abranyi
.--. What could I write to you about Wagner's "Parsifal?" The
composition of the first act is finished: in it are revealed the
most wondrous depths and the most celestial heights of Art.
Ever very sincerely yours,
F. Liszt
Bayreuth, April 14th, 1878
227. To Frau Ingeborg von Bronsart
Dear Kind Friend,
If you have not already done so, you will end by having a bad
opinion of your old and very affectionate servant. My share of
free locomotion is very limited. Having arrived at Weimar last
Wednesday I could not pack off again immediately without
inconvenience. I must therefore await a favorable week for my
Hanover wish. In May "Rheingold" is to be given here, and St.
Saens's "Dalila" again, which I wish to hear and see. Monseigneur
the Grand Duke assured me yesterday that this work made a success
at its first performances; and several people, who often hold a
contrary opinion, agree in their praises of "Dalila."
From the 13th to the 15th June (Whit week) a Tonkunstler-
Versammlung is announced at Erfurt. It will seem pale as compared
with that of Hanover of last year; but I want to be present at
it, considering my unvarying interest in the work undertaken by
the late Brendel and bravely continued by Riedel and Gille. After
having said A, and even B and C, I ought to go through the whole
alphabet.
Formerly, in the first period of your success, I had the pleasure
of applauding and admiring you at the old theater of Erfurt. Now
there is a new and very handsome one, I am told, with more than
1100 seats; besides that a new concert room which I do not know,
any more than I do the theater. I dare not invite you to favor
them with your presence, but if you should come with Hans it
would be charming.
The next time I see X. I shall come upon him to show himself an
editor rather than a shopkeeper ("Kramer") in the little
negotiation of which you speak.
A thousand sincere wishes for the finishing of "Hiarne" [The
Opera composed by Frau von Bronsart, which was given for the
first time in 1892 in Berlin with great success.] and my constant
and very devoted homage to the persevering composer.
F. Liszt
Weimar, Saturday, April 20th, 1878
228. To Eduard von Liszt
Dearest and most honored Cousin,
The accompanying copy of the Budapest telegram will tell you that
I must go to Paris probably at the end of May. I had indeed
refused several private invitations to visit the Paris
Exhibition; for years past both long and short journeys-unless
there is some special reason for them--have been inconvenient,
difficult and repugnant to me. It was on that account that I told
you and others of my having given up the collective-wonder of
Paris.
Now the telegram from Trefort and Szapary (President of the
Hungarian Exhibition in Paris) alters my negative decision.
Without ever talking twaddle about patriotism, yet in all modesty
I will not be wanting where there is something to be done for
Hungary.
[The telegram, dated 21st April, is as follows: "Abbe Franz
Liszt, Weimar. Universal wish that you should represent Hungary
in International Jury of Paris Universal Exhibition. Jury begins
on 1st June, lasts about 2 to 3 weeks. Please accept confidential
mission, and wire reply immediately to Presidential Bureau,
Handelsministerium, Budapest. Minister Trefort. Count Julius
Szapary."
To this Liszt replied: "Most ready for service, Liszt begs for
full particulars of his duties."]
As soon as my duty in Paris as an Hungarian Member in the
International Jury is fulfilled I shall return here. I have
promised to be present at the Tonkunstler-Versammlung in Erfurt
in the last week of June, and on the 8th July Weimar celebrates
the jubilee of the 25th year of the accession of the Grand Duke.
.--. I shall be much pleased to make the acquaintance of Herr
Adalbert Goldschmidt. I have several times hankered after the
score or pianoforte score of his grand work "Die Todsunden" ["The
Mortal Sins"], which, so I am told, has not yet appeared in
print. Is the composer staying long in Hanover? Probably I shall
go to see Bulow and Bronsart there immediately after the Erfurt
Tonkunstler-Versammlung, at the end of June.
You remember that I categorically dissuaded Fraulein Remmert from
giving an orchestral concert in Vienna. In spite of that she had
it announced and advertised,...and in the end there only came of
it a vexatious mancando, perdendosi!
Ah! the artist-world is full of troubles! Thy faithful and
heartfelt-devoted
F. Liszt
Weimar, April 26th, 1878
229. To Hofconcertmeister Edmund Singer
Dear Honored Friend,
Your charming, gifted illustration of my little Quelle [spring]
[Liszt's "Au bord d'une source" (Annees de Pelerinage), for three
violins concertante (Schott, Mainz)] delights me anew. The three
violins flow, splash, bubble and sing--and sound like rainbow
colors.
With friendly thanks for this Artist-gift, I remain your ever
respectfully obliged
F. Liszt
Weimar, May 10th, 1878
230. To Adolf von Henselt in St. Petersburg
[The "German Chopin," as Henselt has been called (1814-1889),
lived in St. Petersburg from the year 1838, where, after Liszt's
first visit there in 1842, they became warm friends. Henselt sent
his "interpretation" of Liszt's Lucia-Fantasia to the latter "for
correction." The above letter is in answer to that.]
My Honored Friend,
The original works of Adolf Henselt's are the noblest jewels of
Art. One longs for more of them...
By-the-by, when Henselt gives a hope of arranging,
"interpreting," "making an effect with" other compositions, he
succeeds so admirably that the public,
the pianists, and the compositions in question are thereby
enriched and favored. Even my little "Lucia"-transcription has
gained much by throe "interpretation," dear friend. Hearty thanks
for this reminiscence of our Petersburg intimacy.
The proof-copy I simply sent back to you, unaltered and nothing
crossed out, as all the various readings are admirably suitable,
and henceforth I leave it to your good pleasure to decide about
the publishing. (In Russia Hofmeister's German copyright holds
good, does it not? . . .)
Tomorrow I go to Paris, and will observe there your
recommendation of the Russian instrument.
Many of your admirers frequently tell me about you; above all
Zschocher and Topfer. You come backwards and forwards to Dresden
and Leipzig; why not also to Weimar?...Answer this modest
question in person here to throe old and most faithful
F. Liszt
Weimar, June 5th, 1878
231. To Eduard von Liszt
[Weimar, June 6th, 1878]
Dearest Eduard,
Adalbert Goldschmidt has brought you Weimar news. I consider his
"Todsunden" a remarkable Art-work. If the composer maintains
himself on these heights in his next Opera his name will become
famous in spite of all the critics...
Nowadays, more than ever, the public thirst for Opera alone.
Everything else in music is nonsense to them. There is a French
saying--"There is some one who is wittier than Mr. de Voltaire;
that is everybody"--and when all the world gets a fancy into its
head one must certainly consider it either reasonable, or
stupid,--but necessary--
With With regard to the delay of the Jury (Class 13, "Instruments
de Musique") I go to Paris next Sunday, 8th June, remain there
till the 19th, and return here on the 20th June on account of the
Erfurt Musical Festival...
Thy faithful, loving
F. Liszt
To simplify our correspondence call me also "Dearest Franz."
My Grand Duke much wishes to have the photograph of your son-in-
law's cousin, the poet Saar. Send me this speedily.
232. To Professor Carl Riedel
Dear Friend,
The further carrying out and arranging of the Erfurt programme I
lease to your long-tried and complete mastery.
I once more recommend Borodin's Symphony; the quartet parts that
are wanting can certainly be speedily written out next week (at
my expense).
The study of the numerous works will offer no difficulties in
Sondershausen; there they are accustomed to step boldly forward.
Friend Riedel conducts my 13th Psalm; Bulow undertakes the two
Faust-episodes (in case these are not struck out, as I did advise
you to do); and I retain the "Hungaria" and Bronsart's Concerto;
but for several reasons I beg that my name may not be put on the
programme as conductor.
I told Concertmeister Kompel [A pupil of Spohr's; died not long
ago at Weimar] and L. Grutzmacher [Solo violoncellist] (the
Weimarer) yesterday that Bulow wishes to play the Bronsart Trio
with them. Both gentlemen are quite agreed about this.
If Frau Erdmannsdorfer would play some other brilliant piano
piece (not of my composition), rather than the often-heard
Hungarian Fantasie, I should prefer it, just because the
programme already contains too many Liszt things, and I could not
myself bear the false appearance of making use of the
Tonkunstler-Versammlungen for bringing forward my compositions...
My real feeling on this matter has been known to you for years
past.--
Early on Saturday, at half-past nine, I go direct from here to
Paris--and on the 2lst June arrives in Erfurt
Yours ever with sincere esteem,
F. Liszt
Weimar, Thursday, June 7th, 1878
My Paris address (from the 10th to the 18th June) will be: Maison
Erard, Rue du Mail, 13.
Do publish the programme in the next number of the Zeitschrift;
two or three slight alterations will not matter in the least.
233. To Vera Timanoff
Dear illustrious One,
I don't know how you will manage to adapt the "Sonnambula" to
your little hands; they will have to trot about on the roofs in
the style of somnambulists.
A revoir, wide awake, the day after tomorrow,--and a thousand
affectionate and devoted regards.
F. Liszt
Thursday [Summer, 1878]
234. To Eduard von Liszt
Dearest Eduard,
I have very little in the way of musical matter to tell you about
my stay in Paris from the 9th to the 18th June. I scarcely found
time to hear the two last acts of Gounod's "Faust" at the Grand
Opera. I was prevented from attending concerts by invitations and
visits elsewhere. But I was able to follow attentively the plain-
song during High Mass at Notre Dame on Trinity Sunday, together
with a very intelligent friend, R. P. Joseph Mohr (Societate
Jesu), a competent judge and promoter of Church music.
Hanslick--who showed himself friendly to me in Paris--will report
in the Neue Freie Presse concerning the 13th class (musical
instruments, etc.), of which he is vice-president.
Madame Erard placed at my disposal a princely suite in her house,
Rue du Mail, 13 (with which Spiridion [Liszt's valet] I was quite
satisfied); a carriage also in addition. Thanks to this
hospitality my expenses were very much diminished, and I only
required 1500 francs..--.
My old friend Belloni has also proved himself most faithful this
time in Paris, and saved me many expenses. It is wonderful how
honest and disinterested he remains, with all his constant
contact with the artist-world!--
Immediately on my return I went to Erfurt for the Tonkunstlcr-
Versammlung (from the 22nd to the 25th July). The whole affair
went off well. I send you in addition the whole programme. Bulow
played in a marvellous and masterly manner.
Everything in Weimar is now in a state of commotion over the
Ducal-Jubilee-Festivities, which begin the day after tomorrow.
The King of the Netherlands, the King of Saxony, Prince Friedrich
Carl of Prussia, several reigning German Dukes and foreign
Princes are expected. Our Emperor and King is sending Prince
Windischgratz with congratulations to the Grand Duke. Victor
Scheffel (the author of "Ekkehard," the "Trompeter von
Sackingen," the "Bergpsalmen," etc.) has written the Festival
Play, which is to be performed in the theater here on the 9th
July. My "Carl-Alexander" March, which was published 20 years ago
(by Bote and Bock) in Berlin, is to serve as Prelude.
For 30 years past I have been incrustated into the Royal house of
Weimar, and shall remain faithful to it.--
My dearest cousin Marie wrote me a loving, witty note with
respect to the photograph of her cousin, Ferd. von Saar, which I
wanted for my Grand Duke. I will write my thanks to Marie
shortly. Send the accompanying lines to Franz in Gratz; I am
congratulating him, in them, that you are now grandpapa.
Heartfelt greetings to the Generalissima.
Thy
F.L.
Weimar, July 6th, 1878
235. To Robert Franz
[A facsimile appeared in the "Musikalisches Wochenblatt." Liszt
worked untiringly, like no other of his contemporaries in art, to
make the great German Master of Song, Robert Franz (1815-1892),
understood and appreciated (See "Robert Franz." Gesammelle
Schriften, IV.); and, when increasing deafness prevented this
artist from practical musical work, Liszt founded the fund in his
honor.]
My Much-Honored Friend,
How beautiful, how deep, how fervently and truly finished are,
once more, your "Six Songs" (Opus 48)!
Heartfelt thanks far so kindly sending them. You well know that
for thirty years past your genius--a fixed star in German lyrics-
-has been sincerely admired by your ever most faithful
F. Liszt
Weimar, July 12th, 1878
236. To Kornel von Abranyi
Dear and Honored Friend,
On arriving here yesterday evening I found your letter, together
with the enclosure to Minister Trefort, which I return
immediately to you, signed. Agghazy deserves to be helped,
because his hands and his head are very musically endowed.
[Agghazy (now teacher of pianoforte playing at Stern's
Conservatorium in Berlin) received a stipendium from the
Hungarian Government, through Liszt's intercession, in order to
make a livelihood in Paris.] Juhasz and he will certainly do
honor everywhere to the Budapest Academy of Music. Agghazy must
have some letters of introduction for Paris. Advise him to ask
for there from Minister Trefort, Ministerial-Counsel Hegedus
Friedrich Harkany and Count Geza Zichy. Before his departure I
will send him a few lines to Madame Erard, and to my loyal old
friend Belloni, who is ever ready to do me a service.
I need scarcely ask, dear Abranyi, how you have passed your
summer. The chief thing is to hold out steadfastly, and you show
this in the noblest manner by your unwearied, meritorious
endeavors after the high goal of Art. "Perseverons!"
I think of staying here till the beginning of January, and of
returning then direct to Budapest. First of all I must finish a
little extra work: as soon as the new setting of the text for the
dramatic Oratorio "Der heilige Stanislaus," which Baron
Dingelstedt has kindly promised me, comes to hand the composition
shall proceed. I am often quite anxious about further writing of
music, but I do not give it up, although I do not imagine at all
that I can express that which floats before my mind. But my self-
dissatisfaction finds ample consolation in the ever-fresh joy at
the master-works of the Past and Present:--most of all in
Wagner's majestic word-tone-creations. King Ludwig II. of Bavaria
rightly addressed "to the Tone-poet Master Richard Wagner."--
Hearty greetings to your family, and ever yours
Sincerely and gratefully,
F. Liszt
September 13th, 1878 (Villa d'Este, Tivoli)
The loss of Augusz touches me most painfully. Since the first
performance of the Gran Mass, more than twenty years ago, we have
been one in heart. He it was also who especially decided me to
carry out my wish to settle myself in Budapest.
After the opening of the new Academical Course write to me about
it.
237. To Eduard von Liszt
Dearest Eduard,
I give my heartiest thanks to the highly-honored friendly Frau
General for writing at your dictation.
We take the heartiest interest here in your recovery. It is to be
hoped you are already on the best road to vigor.
My dearest cousin Marie has now happily made me a great-uncle.
Enclosed are two words of thanks to Marie.
I am now waiting for the new setting of the poem of "Stanislaus"
from Dingelstedt in order to take up my interrupted composition
again--I want at least a year and something over to finish it.
Meanwhile I have not quite lost my time. In the last two months I
have completed a "Via crucis" (the 14 Stations) and pretty full
responses to the 7 Sacraments (for Chorus and Organ). I rejoice
[to think] that I shall play them to you on the 2nd April, '79,
at the Schottenhof.
Thy faithful
F. Liszt
Rome, November 4th, 1878
238. To Freiherr Hans von Wolzogen in Bayreuth
[The well-known writer on Wagner and publisher of the Bayreuther
Blatter]
Highly-honored Baron,
The October number of your Bayreuther Blatter brought me the
highest intellectual gift. [Wagner's Essay "The Public in Time
and Space"] No temporal ruler can bestow one like it. The
estimation of it lays me all the more under an obligation to that
true humility with which I have long and most devoutly paid
homage to our incomparable master, Richard Wagner.
Accept my sincere thanks for the friendly words in remembrance of
the performance of the Dante Symphony in your house, and kindly
recall to the good graces of the Frau Baronin von Wolzogen.
Yours most respectfully and devotedly,
F. Liszt
November 15th, 1878 (Villa d'Este, Tivoli)
239. To Eduard von Liszt
.--. I take a hearty interest in the improvement of your health.
You are the younger, the more sensible and useful of us two;
therefore you should outlive me many years in good health.
I have been dreadfully industrious with my music-writing since
the middle of September. I sit and walk in it like one possessed!
The "Via crucis" (now finished) has brought me back to a long-
cherished idea--namely, the composition of choruses to be made
use of at Church festivals during the giving of the 7 holy
sacraments; thus 7 pieces of music of about a hundred bars each.
These have now been 8 days at the copyist's, and, according to my
thinking, are not quite a failure. If you also think this it will
heartily rejoice
Your most faithfully devoted
F. Liszt
November 2lst, 1878
[Tivoli]
This evening I shall be in Rome, and will have this letter and
the signed enclosure attended to at the post.
Hearty greetings and thanks to the dear Frau Generalissima.
240. To Eduard von Liszt
Budapest, January 22nd, 1879
Dearest Eduard,
.--. On Sunday, the 12th January, His Holiness was so gracious as
to give me, for the second time, a private audience. I will tell
you shortly, by word of mouth, the friendly sentiments of the
Pope towards me.
I spent last Wednesday evening in Gorz with Frau Baronin Augusz,
and arrived again at Fischplatz, No. 4., early on Friday. The
roof is already on the new Music Academy building, Radialstrasse,
and is said to look very well. In November of this year I shall
inhabit it.
My friends in Budapest, Abranyi, Mihalovich, Count Albert
Apponyi, Count Geza Zichy and several others, are strongly and
heartily attached to me. Archbishop Haynald only comes to Pest in
the beginning of January. I was not caught in the other base
spider's web. "Honesty is the best policy!"
Bosendorfer called on me yesterday and told me of the intention
of the Vienna Friends of Music to perform the "Gran Mass" at the
end of March. If Bosendorfer's intimations are correct I am not
disinclined to conduct this performance, although for many years
I have refused all such invitations--and only a little while ago
to London, Aix-la-Chapelle, Berlin, etc. I should be rejoiced if
at last the "Gran Mass" had a fair hearing in Vienna.
A hearty greeting to Frau Generalissima from thy faithfully
devoted
F. Liszt
Looking forward to our speedy meeting at the end of March.
[It did not come to pass. Councillor E. von Liszt died on the 8th
February, 1879. "It is for me a constant sorrow at the heart that
Eduard is no longer with us," wrote Liszt to the widow a year
after Eduard's death.]
241. To Ludwig Bosendorfer
Dear and honored Friend,
I take your friendly hint by enclosing these lines to
Hellmesberger; please to give them to him. During many years, in
Vienna, Weimar and Budapest, Hellmesberger has always shown
himself kindly disposed towards me. In ingratitude there is,
alas, only too much rivalry; the matter grows contemptible, and
contemptible people like to find amusement in it. My nature
absolutely forbids me such despicable behavior. Count Geza Zichy
tells me, dear friend, that he expects you shortly. Perhaps you
will come with Hellmesberger to our Kunstlerabend [Artists'
Evening] here on the 7th March, when we shall be honored by the
fine composer and splendid virtuoso, my excellent friend, Saint-
Saens.
Count Zichy writes you the rest about the Klausenburg journey.
A hearty greeting to your wife.
Truly devoted,
F. Liszt
Budapest, February 19th, 1879
I have just received Zellner's letter. Give him my hearty thanks
for it.
Sophie Menter went to Warsaw the day before yesterday, and gives
a concert there tomorrow with her husband Popper,--and afterwards
in St. Petersburg,
242. To Adolf von Henselt
Very dear Friend,
Hast thou still pleasure in beautiful, distinguished virtuoso
piano-playing? If so then go and hear the eminent pianiste Frau
Menter. She brings thee the hearty greeting of thy old friend
F. Liszt
Budapest, February, 1879
243. To Marie Lipsius
My dear Friend,
Hearty thanks for your dear lines of sympathy. The loss of my
cousin and most intimate friend Eduard von Liszt is a deep grief
to me. You wish for the dates of the Budapest and Vienna
concerts; for this I was obliged to ask the help of my excellent
friend Kornel Abranyi. He knows these and other things far better
than I. For ten years he edited the Hungarian musical paper, and
now officiates as General Secretary and Professor at the Royal
Academy of Music in Budapest, the Director being Franz Erkel, and
my humble self the President.
Here is the result of Abranyi's researches, by which it is
evident that I have neither been idle nor used anything for my
own benefit.
At the same time let it be mentioned to the praiseworthy and
amiable authoress of "Musikalische Studienkopfe," La Mara, that
since the end of '47 I have not earned a farthing by pianoforte
playing, teaching or conducting. All this rather cost me time and
money.
Since the year '47 I only played in public twice in Rome--'63 and
'64--at the gracious command of Pope Pius IX.; often in Budapest
later on, twice in Vienna, once in Pressburg and Oedenburg (my
native town) as a child of the country. Nowhere else. May my poor
pianoforte performing at last come to an end! It has long been a
torment to me. Therefore--Amen!--
On the occasion of the celebration of their Majesties' silver
wedding I shall have the honor, in accordance with the invitation
of the Gesellschaft der Musikfreunde [Society of friends of
music,] of conducting the "Gran Mass" in Vienna on the 8th April
(the Tuesday before Good Friday). Performances of this Mass
(after the first at Gran in '56) took place in Pest, Prague,
Vienna, later in Leipzig and Amsterdam, in '66 in Paris, and
again in Amsterdam, as also in '77 in Weimar and Dusseldorf, the
latter under the conductorship of Ratzenberger. This Mass has
also been heard in America.
In conclusion also the following memoranda for La Mara: Without a
written engagement, yet indeed morally bound, since '71 I spend
several months of every winter in Budapest, from April to July in
Weimar, then the autumn months, and more, chiefly in the Villa
d'Este near Rome, where His Eminence Cardinal Hohenlohe affords
me the kindest reception. There I wrote the "Christmas-tree," the
"Via Crucis," the "Responses to the Seven Sacraments," etc. These
three works are quite ready, and indeed beautifully copied, as
well as the "Cantico del Sole" of the marvellous St. Francis of
Assisi. Their publication troubles me little, for they are not
suitable to the usual musical customs and trade...
So why bargain with them?
I have only fragmentarily sketched the Oratorio "Stanislaus," but
wish to finish it, which will take at least a year.
My "Technical Piano-Exercises"--improperly advertised in the
papers as "Pianoforte-School"--still require a few months for
revision and arrangement with fingering, etc., but could come out
next year if I have no hindrances.
Accept, my dear friend, my sincere and grateful attachment.
F. Liszt
Budapest, March 2nd, 1879
The middle of April I shall be in Weimar again
244. To Otto Lessmann
My dear Friend,
The enclosed programme proves to you that in spite of all fatigue
my invalided piano-playing still contributes in a small degree to
the relief of the sufferers of Szegedin.
[According to the programme, Liszt played Schubert's "Funeral
March"; "To the memory of Petofi," and "Cantique d'Amour" of his
own composition, as well as, with Mihalovich, Schubert's
Fantaisie (C major) for two pianofortes.]
To assist in other concerts than in this country would not become
me, and I have already declined many invitations of that sort
with excuses and thanks.
For the celebrations preceding the silver wedding of their
Majesties I shall have the honor of conducting the "Gran Mass" in
Vienna on the 8th April ("Society of the friends of music").
To our speedy meeting in Weimar, and ever yours in all
friendship,
F. Liszt
Budapest, March 23rd, 1879
245. To Von Trefort, the Hungarian Minister of Instruction
[From a copy in the possession of K. v. Abranyi.]
Monsieur le Ministre,
I learn through M. Abranyi that Your Excellency continues to show
your solicitude for the Royal Academy of Music at Budapest. The
work of this institution is to serve Art in Hungary, and thus to
help, in this connection, in making your patriotic, grand
intentions fruitful. My colleagues at the Academy of Music are of
one mind and devoted in their activity.
I permit myself to recommend once more particularly to your
kindness M. Abranyi. He perseveres in his meritorious career as
writer, theorist, composer, translator, professor, and Magyar
character of the noblest stamp. The evidence of his merits will
assuredly be recognised in many languages by a heap of laudatory
phrases...after his death. A brilliant obituary is assured to
Abranyi, but I hope that Your Excellency will accord him the
modest satisfaction that he claims while he is alive.
I have the honor to be, Monsieur le Ministre, your very humble
and very devoted servant,
F. Liszt
Weimar, May 12, 1879
246. To Walter Bache
Very honored, dear Friend,
Hearty thanks for your letter and for letting me see Manns's
Commentary on the "Hunnenschlacht." Please give to Manns the
accompanying short explanation of the idea of my "Symphonic
Poem." In spite of my spending several hours in letter-writing
almost every day, it is impossible for me to be regarded as a
punctual correspondent. Intelligent and kindly-disposed persons
will excuse me, and the many others I can scarcely entertain any
longer, because I don't require any such entertainment! [Play
upon the words "wirthschaften" (to manage) and "Wirthschaft"
(housekeeping, or a public house]
Next Whit-week "Tonkunstler-Versammlung" in Wiesbaden. On the 5th
June Bulow conducts the first concert there, at which Bronsart's
beautiful and valuable "Fruhlings-Fantasie," Billow's music to
Shakespeare's "Julius Caesar," and my "Faust Symphony" will be
performed. Bulow kindly plays the piano the same evening, and has
chosen Tschaikowsky's Concerto. Besides this his favorite pupil
Schwarz produces several "Etudes transcendantes." [By Liszt] Till
the middle of July I stay here. Then Bayreuth, and at the end of
August Villa d'Este. To Frau Jessie Hillebrand and her husband
[who were just then in London] give heartfelt and faithful
devotion, with respectful thanks, from
Theirs in old friendship,
F. Liszt
Weimar, May 25th, 1879
[The explanation, accompanying this letter, of the idea of the
"Hunnenschlacht" is as follows:]
Kaulbach's world-renowned picture presents two battles--the one
on earth, the other in the air, according to the legend that
warriors, after their death, continue fighting incessantly as
spirits. In the middle of the picture appears the Cross and its
mystic light; on this my "Symphonic Poem" is founded. The chorale
"Crux fidelis," which is gradually developed, illustrates the
idea of the final victory of Christianity in its effectual love
to God and man.
247. To Ludmilla Schestakoff
Madame,
Your illustrious brother Glinka is one of the well-chosen
admirations of my youth. His genius has been known to me ever
since the year 1842; and at my last concert in St. Petersburg (in
'43) I played the "Marche tscherkesse" from "Russlan and
Ludmilla," and a brilliant transcription by Vollweiler of several
themes from the same Opera.
Glinka remains the Patriarch-prophet of music in Russia.
With my sincere thanks to you for sending me the beautiful score
of "Russlan," carefully edited and well arranged by Messrs.
Rimsky-Korsakoff, Balakireff and Liadoff [The score was published
in 1879.], I beg you to accept, Madame, the expression of very
respectful homage of your very humble servant,
F. Liszt
Weimar, June 14th, 1879
248. To Alexander Borodin, Caesar Cui, Anatolie Liadoff and
Nicolas Rimsky-Korsakoff in St. Petersburg
Very Honored Gentlemen,
You have done a work of serious value under the form of a jest.
Your "Paraphrases" charm me: nothing can be more ingenious than
these 24 Variations and the 16 little pieces upon the favorite
and obligato subject
[Here, Liszt writes a 4-bar musical score excerpt of the main
theme of the 24 Variations]
In short, here we have an admirable compendium of the science of
harmony, of counterpoint, of rhythms, of figuration, and of what
in German is called "The Theory of Form" (Formenlehre)! I shall
gladly suggest to the teachers of composition at all the
Conservatoires in Europe and America to adopt your "Paraphrases"
as a practical guide in their teaching. From the very first page,
the Variations II. and III. are true gems; and not less the other
numbers continuously, up to the grotesque Fugue and the "Cortege"
which crown the whole work gloriously. Thanks for this dainty
feast, gentlemen, and I beg that when any one of you brings out a
new composition he will let me know it. My most lively, my
highest and most sympathising esteem has for many years been
assured to you; pray accept also the expression of my sincere
devotion.
F. Liszt
Weimar, June 15th, 1879
249. To Capellmeister Professor Jos. Bohm in Vienna
Honored Herr Vereinsleiter [Conductor of a Verein (Society)], I
follow your edifying endeavors in the Cacilien-Verein with
sincere interest. It seems singular that they should stumble on
obstacles. What is in question? Innovations?...By no means. The
noblest Conservatism remains the essence and aim of the Cacilien-
Verein; it merely demands a serious study and proper performances
of the most dignified classical authors in Church music,
Palestrina and Lassus at the head. Nothing can reasonably be
objected to this, and you may confidently maintain, dear sir,
that "recognition must take place and the good cause prove
victorious."
I beg you will put down my name as a subscriber to your "Vienna
journal for Catholic Church music," [Professor Bohm was at that
time the editor of it, and had invited subscriptions for a
monument to the musical historian Ambros.] and have the numbers
which have already appeared addressed to me in Weimar.
Be so good as to employ the enclosed hundred florins for the
gravestone of my highly esteemed friend the late A. W. Ambros.
Yours with all esteem,
F. Lizst
Weimar, June 22nd, 1879
250. To Vera Timanoff
A hearty welcome to you, Illustrissima, and pray tell M. Sauret
that I shall be delighted to make closer acquaintance with him. I
greatly admired his superb talent in Vienna.--You know my rule
never to bother anyone, and least of all artistes; but if M.
Sauret should feel inclined to play something at the Hofgartnerei
this morning, it would give me great pleasure.
In any case I invite him to come (at eleven) with you, and I
shall request you to fulfil your promise of captivating us by
your performance (not by dancing, but by your superior fingering)
of Rubinstein's Ballet, "Feramors."
Yours affectionately,
F. Liszt
Sunday Morning [Summer, 1879]
251. To Adolf von Henselt
Very dear friend,
Our meeting once more is a cordial pleasure to me. According to
your last letter, you purposed arriving on the 19th inst. Why
delay? Still, arrange it entirely according to your own
convenience. Only allow me to make one observation: on Wednesday
evening, 23rd July, I am invited by somebody where a refusal
would be wrong and stupid. But if you were favorably inclined,
our extra three-handed whist might be quite well arranged at the
house of this somebody.
[Henselt was in Weimar the 19th and 20th July. "We played
together, not on the piano, but certainly half a dozen games of
whist, of which I fortunately lost five at least," wrote Liszt to
Fraulein von Schorn.]
Your version with the grace note [passing note?] B flat pleases
me best.
[Figure: musical example, two bars]
[The two bars of music refer to C. M, v. Weber's "Episodic
Thought," which Henselt had transcribed for piano and amplified;
he published it in March, 1879, dedicating it to "his friend
Franz Liszt." Henselt at first meditated calling it "Hymn of
Love." But Liszt found the term rather too highflown for this
favorite melody. "Episodic thought is more suitable," he wrote,
and so that title remained.]
In expectation of seeing you, and in faithful and admiring
friendship,
Weimar, July 12th, 1879
F. Liszt
252. To Dr. Siegmund Lebert
Dear friend,
I keep a long-standing promise today, by sending you the 3 last
Concerti by Beethoven arranged for 2 pianos. This arrangement is
distinctly different from all other existing arrangements of the
same Concerti for 2 pianos. Till now it has been the habit of
arrangers to content themselves with setting the Tutti (or
better, the orchestral parts) for the 2nd piano only, leaving the
1st to rest entirely or to support the 2nd according to
inclination. By this a grievous disproportion in the effect of
the orchestra parts is induced, let alone the fact that some of
the arrangements are exceedingly scanty.
In my opinion this sort of proceeding belongs to the past and is
hackneyed. What good is there it the first player sitting there
at all, if he does not know how to take part in the whole? Ergo,
I had to occupy him almost constantly.
As a matter of course I have not altered a single note of
Beethoven's original version (of the so-called Soli parts), and
have only added a tolerable amount of indications for pedal and
fingering, for the convenience of pupils and teachers.
2 identical copies (printed on 4 lines--excepting the Cadenzas)
are necessary for the performance of this arrangement.
It may prove useful and effective, as well in studing at the
"homely fireside" and in musical schools, as also in performances
in small concerts (where there is no orchestra), in
Conservatoires, at examination: and drawing-room performances.
The chief title stands on the first page; on the 2 following ones
are remarks for the printer, which I leave to your masterly hand
as a pedagogue, dear friend, to render more distinct and to
complete. With special regard I remain always yours sincerely,
F. Liszt
Rome, September 25th, 1879
I have great pleasure in the perusal of the 2nd edition of
Weitzmann's "History of Pianoforte Playing."
253. To Professor Bassani in Venice
[A well-known teacher of the pianoforte in Venice, and friend of
Liszt's]
Much-esteemed Colleague,
You are so forcibly exceptional a person, and prove this by truly
uncommon musical and poetical works.
Mademoiselle Giuli has already written to tell you the lively
pleasure I have had in hearing her play one of your compositions
remarkably well; several others, for piano or for the voice,
deserve a similar success, and will obtain it as soon as they are
known.
Pray accept, dear Monsieur Bassani, the very sincere esteem and
sympathy which is offered to you, together with best wishes for
the extension and widespread fame of your "Armonie dell' Anima,"
by
F. Liszt
(Villa d'Este) October 28th, 1879
254. To the Composer Anatolie Liadoff in St. Petersburg
Dear Sir,
All your compositions bear the stamp of distinction and of good
taste. This one is charmed to find again in the "Arabesques" you
are kind enough to send me. Pray accept my thanks and the
expression of my very sincere and devoted esteem.
F. Liszt
(Villa d'Este,) December 25th, 1879.
255. To Frau Reisenauer-Pauly in Rome
[The mother of Liszt's pupil, Alfred Reisenauer]
Dear Madame,
My best thanks for your kind notice of the Roman concert of
January 23rd. It seems to me that "populations necessiteuses"
[distressed population] would have been better on the programme
than "populations affamees" [starving population] of Silesia.
Mendelssohn's excellent Concerti always hold their ground without
risk, especially since Berlioz's witty article (published nearly
30 years ago), according to which they are occasionally performed
by the pianos alone, without further trouble on the part of the
pianist.
While taking affectionate part in the success achieved by your
son Alfred, whose talents are duly valued by me, I remain, dear
Madame,
Yours truly,
F. Liszt
Budapest, January 30th, 1880.
My cordial greetings to Madame Helbig.
256. To Professor Klindworth in Moscow
Much-esteemed dear Friend,
My sincere thanks for your masterly arrangement of Chopin's
Concerto. [The Concerto in F minor; score, orchestral parts and
arrangement for 2 pianos published by Jurgenson (Moscow) and Bock
(Berlin).] You showed me the first movement of it some years ago
in Munich. I consider the modifications in the instrumentation
and in the piano part successful. As much transparency as
possible should be preserved in the melodious parts.
I conclude that you will impress on M. Jurgenson the necessity of
not giving way to the ancient careless abuses of publishers in
the 2-piano edition. Thus four lines and two identical copses are
requisite for performance.
As leader and head of the now numerous Chopin-Editors, your
excellent Jurgenson-Edition authorises you to advance a proudly
modest "Sic vos non vobis."
Au revoir this summer in Hall, dear Klindworth. Give my kind
regards to your wife.
Yours faithfully,
F. Liszt
Budapest, February 16th, 1880
The last corrected proofsheets of Tschaikowsky's Polonaise
dedicated to you leave by today's post addressed to Jurgenson.
257. To the Kammervirtuoso Professor Hermann Scholtz in Dresden
[Pianist and composer (born 1845, pupil of Bulow and
Rheinberger), is especially famous as an admirable player of
Chopin.]
Much-esteemed Sir and Friend,
I have sincere pleasure in praising and recommending your Chopin-
Edition. To Klindworth belongs the merit of having preceded you
by his intelligent and practical work. Your publisher, Peters,
might be advised in the next thousand copies he issues of the
Chopin-Edition signed Hermann Scholtz:--
A. Not to fill up the first volume with Waltzes. Why make this
paltry concession to the trifling requirements of the drawing-
room? Chopin's Waltzes are certainly charming, elegant and full
of invention...still his Polonaises and Mazurkas have a far
higher importance.
Chopin is the bewitching musical genius in which the heroically
chivalrous Polish nationality finds expression. This chief
characteristic ought to be distinctly emphasised in classifying
his works. So, first volume: Polonaises, Mazurkas and the
Fantasia upon Polish motives.
B. The clear notation of the melodies (indicated by tails turned
upwards!), as in the Klindworth-Edition, should be maintained.
C. In works having an orchestral accompaniment an arrangement of
that accompaniment for a second piano ought to be printed under
the Solo part of the first piano.
(The brains of most pianists become addled by the usual editions,
where the essentially melodious and rhythmical character, nay
often even the correct bass, is wanting.)
D. This is again addressed to Mr. Peters. He ought not to
withhold from the audience your admirable version of the
Recitative in the Adagio of the F minor Concerto for Piano Solo,
and should add these few pages to your Chopin-Edition.
Yours faithfully,
F. Liszt
Weimar, April 29th, 1880
255. To Sophie Menter
Dear Friend,
The signature of the telegram front Rome announced to me your
return to "Hungaria." I met friend Bosendorfer the day before
yesterday in Frankfort: we began at once of course to talk about
Sophie Menter and her new thickly-leaved Petersburg laurels.
Similar plants will bloom for you everywhere according to the
capacity of the soil, and will always shade your artistic
peregrinations through Europe and America.
Give my kindest regards to Neuschul, from yours cordially,
F. Liszt
Weimar, May 26th, 1880
259. To Jules de Zarembski
Dear Friend,
You have made an excellent choice; and M. Gevaert also. The
Brussels Conservatoire keeps in the first ranks: its very active
and intelligent Director will take good care not to allow it to
degenerate or to sink into idleness; on the contrary, he gives
and will give it an entirely progressive impulse. You will have
to see that your piano class does honor to the Conservatoire, to
its head and to your own name. This will take some years to do;
therefore, persevere.
Your three studies are most uncommon, remarkable and successful.
The second, in F minor, might be signed Chopin. This exceedingly
high praise does not imply that you have in any way been guilty
of plagiarism, for in your works original power is manifest.
Perhaps there may be a slight falling-off towards the middle of
the third Study; still this does not disturb the total good
impression.
When we are chatting together again about music I will explain to
you viva voce my antiquated ideas concerning the whys and
wherefores of matters belonging to our profession.
I am sending Simon at Berlin at once the good copy of your three
Studies. He has sent me the rather bad one of your Mazurkas for
two performers. These I played over with the Baroness von
Meyendorff yesterday evening. She begs me to tell you our very
favorable opinion of these charming productions of your Polish
muse.
I am telling Simon that publishers cannot do better than bring
out works of value such as Zarembski writes.
Pray, dear friend, present the sincere regards to Mme. Zarembska
of your cordially attached
F. Liszt
Weimar, June 1st, 1880
I am just sending off the copies of the Studies and Mazurkas to
Simon.
260. To Professor Bassani
Dear Friend,
Your "Studio sinfonico" is fine poetry in music. It reminds me of
Venice when I was twenty. The solemn, sad motive (5/4)
corresponds to the lagoons and to the gloomy stroke of their
waves round the Bridge of Sighs: the other subject soars on high
accompanied by the gentle sound of the belfries, announcing, as
it were, from a distance the joyfulness of divine hopes.
My cordial sympathy and friendship.
F. Liszt
Weimar, June 4th, 1880
261. To Marie Lipsius
Dear Friend,
Hearty thanks for your persistent kindness; "Carmen" has just
arrived, and I now beg you to find out for and send to me another
tale of Merimee's, called "Les ames du Purgatoire" [Souls in
Purgatory]. It narrates the adventures of Don Juan de Marana,
immortalised by Mozart and Lord Byron. Grabbe has also turned his
poetical attention towards this mauvais sujet, and gives him as a
companion to Faust, which might perplex His Excellency von
Goethe.
I hope soon to see you either in Leipzig or Weimar.
Ever yours gratefully,
F. Liszt
Weimar, June 10th, 1880
Tomorrow I shall write to Hartel's that the edition of my
"Gesammelte Schriften" could not do better than begin with your
excellent version of the "Chopin."
262. To Kornel von Abranyi
Highly Esteemed Dear Friend,
My hearty thanks for the dedication copy of your charming
"Nocturnes." "Near the chapel" and "Starry night" belong to my
most select intimate Programme.
Aladar Juhasz needs but health to stand forth and hold his own as
an excellent artist, virtuoso and composer. The matter of his
stipend is now arranged--as we wished it. Juhasz will certainly
also greatly distinguish himself at the Klausenburg Musical
Festival. My lines of introduction to Trefort, the Minister, must
no longer be presented to His Excellency as mustard after dinner.
The less scribbling and gossiping the better. "Vitam impendere
vero."--
I request that the two accompanying letters in Hungarian may be
answered by the General Secretary of the Royal Hungarian National
Academy of Music, Abranyi Kornel, in my name. Before I left
Budapest we read together the polyphone tattoo by J. K., and I
then requested you to make the composer understand that
Meyerbeer's far-famed "Rataplan, Rataplan, plan, plan" (in the
"Huguenots") is quite enough henceforth for the audience.
Do not delay any longer returning his score to J. Beg Herr P. A.
to excuse me for not being a millionaire.
Till the end of July remains in Weimar Yours most faithfully and
gratefully,
F. Liszt
Weimar, June 20th, 1880
263. To Freiherr Hans von Wolzogen
Highly esteemed Freiherr and Friend,
.--. Wagner has shown and taught us triumphantly "what style is."
You explain the mighty matter admirably in your last writing,
dear Sir. That a "School for the culture of style in Bayreuth"
should be established, is wished by no one more seriously than by
Yours most sincerely,
F. Liszt
Weimar, July 28th 1880
149. To Friedrich Hofmeister, Music Publisher in Leipzig
Weimar, August 17th, 1880
Dear Sir,
For the last twenty years or more Kirchner has known how
sincerely I esteem his compositions. I rejoice to see that he
continues adding to their number with freshness and vigor, and am
much obliged to you for sending me his "Toys," "Caprices,"
"Leaves," etc., which you have brought out.
Yours truly,
F. Liszt
265. To Baroness Helen Augusz, Sister of Mercy in Graz
[Daughter of Liszt's late friend, Baron Anton Augusz, of Szegzard
in Hungary]
Most revered Sister of St. Vincent de Paule,
Pray always dispose of my feeble services. I am writing to the
Baroness de Roner according to your instructions, and request
that you will send her the enclosed lines.
M. Tirindelli's [Professor at the "Liceo Marcello" in Venice;
violinist and composer.] abilities deserve attention,
consideration and encouragement. This you have well understood,
and it will be a pleasure to me to second you.
How can I be of use to him?
By recommending him to some publisher in Germany?
Does he intend to travel and give concerts? Your protege, M.
Tirindelli, may count upon my sincere readiness to oblige him:
the only thing I ask is, that he should write me distinctly in
what way I can be of service to him. Yesterday I took the liberty
of noting several alterations in his melody "All' Ideale," his
Mazurka, and in the Adagio of the Trio which pleases you by its
fine feeling.
By the way, this Adagio has been so badly copied that another
less faulty one will have to be made before sending it to print.
By this same post you will receive the three works with my
alterations.
Having arrived here last Saturday, I shall remain at the Villa
d'Este till New Year. In the middle of January will return to
Budapest
Your very respectful and devoted servant,
F. Liszt
Rome, September 1st, 1880
The most convenient address for me during the next months is:
Albergo a Via Alibert, Roma.
266. To Madame A. Rubinstein
Allow me, dear Madame Rubinstein, to dedicate to you my
transcription of your husband's charming and very famous Lied. To
the very conservative burden "Ach! wenn es doch immer so bliebe"
[Ah! could it remain so for ever!] I add that what will certainly
always remain as now is, your most respectfully and
affectionately obedient servant,
F. Liszt
(Villa d'Este,) October 24th, 1880
267. To Frau Amalie von Fabry in Budapest
Dear Madame,
I do not know whether I talk too much; but I certainly write too
little to those who remain constantly in possession of my sincere
gratitude. I crave your kindly indulgence therefore for my
involuntary shortcomings.
Through your nephew Imre [Baron Augusz, son of Anton Augusz. He
died at an early age.] I hear that his mother, Baroness von
Augusz, has been so good as to look at my new dwelling in the
Academy of Music, and that the arrangement of it, as yet unknown
to me, meets her approval. The solicitude you have shown, Madame,
in this matter--as well as in other similar ones in the
Palatingasse and Fischmarkt during the last 8 years--I beg to
acknowledge with warmest thanks. It never enters my head to make
exaggerated pretensions with regard to my residential
requirements. Decency without display continues to be the right
thing for me. I only have one wish at all times: never to be a
trouble to my friends anywhere.
It will be agreeable to me if Fanny feels disposed to undertake
my modest household service again this winter. She adapts herself
well to it with her pretty smiling face.
Pray accept, dear Frau von Fabry, the renewed expression of my
old devoted affection.
F. Liszt.
Villa d'Este, Tivoli, November 1st, 1880
On the 15th January I shall again arrive at Budapest.
268. To Frau Anna Benfey-Schuppe
[Autograph belonging to Herr Fritz Donebauer at Prague.--The
addressee is an authoress residing at Weimar.]
Dear Madam,
A thousand apologies. I ought long ere this to have written you
and my esteemed friend, Dr. Benfey, a letter of thanks, and to
have sent your sheetful of questions back answered. [The answers
follow in the letter.] Pray excuse this delay.--
I frankly confess that the title of the pamphlet, "Beethoven and
Liszt," [Alludes to a pamphlet contemplated by the late husband
of the lady addressed.] at first frightened me. It called to my
mind a reminiscence of my childhood. Nearly fifty years ago, at
the Jardin des Plantes in Paris, I used often to notice a
harmless poodle keeping company in the same cage with a majestic
lion, who seemed to be kindly disposed towards the little
chamberlain. I have exactly the same feeling towards Beethoven as
the poodle towards that forest-king.
With sincere thanks and regards,
Yours, F. Liszt
November 11th, 1880 (Villa d'Este, Tivoli)
At the end of September, Breitkopf and Hartel sent my own duet
arrangements of my twelve "Poemes Symphoniques" at my request to
Gottschalg (Weimar). This copy is intended for Dr. Benfey.
Gottschalg will likewise willingly place the scores of the
"Dante" and "Faust" Symphonies, as well as the arrangement for
two pianos of both these works, at your disposal.
The names of the greatest performers figure in the Court
concerts, such as, Joachim, Ernst, Vieuxtemps, Bulow, Rubinstein,
Bronsart, Tausig, Madame Viardot-Garcia, etc., etc. A few of
these concerts were conducted by Berlioz, and their programmes in
every case contained nova et vetera (as prescribed in the
gospel).
During my direction of the Opera at Weimar, from '49 to '58, the
following works were performed there, together with the standing
repertoire of Mozart's, Weber's, Rossini's, Meyerbeer's Operas,
etc.
February '49 "Tannhauser;" August 28th, '50, "Lohengrin" (first
performance); later on "The Flying Dulchman," and Wagner's
splendid edition of Gluck's "Iphigenia in Aulis."--Berlioz's
"Benvenuto Cellini;" Schumann's "Manfred" (first performance),
Raff's "King Alfred," two of Lassen's Operas, Spohr's "Faust"
(with the recitatives), Sobolewski's "Comala," Dorn's
"Nibelungen" (first performance), etc., etc.--Finally, Peter
Cornelius' "Barber of Bagdad"--the last operatic performance
which I directed there.
This short list will suffice for your purpose of the pamphlet; to
it we may add that several Oratorios and Symphonic works were
performed under my direction, such as Marx' "Moses," Rubinstein's
"Paradise Lost," Schumann's "Paradise and the Peri" and his
concluding scenes in "Faust," etc.; as for Symphonies, the Great
Pyramid--Beethoven's "Ninth" (for Goethe's Jubilee in '49),
nearly all Berlioz's Symphonies and Overtures, besides other
Symphonies and Overtures by Schumann, Raff, Hiller, Bronsart,
Joachim, Bulow, etc., most of which were at that time scarcely
known or entirely new.
You might obtain better and more detailed information concerning
musical life at Weimar (from '49 to '58) from some who took part
in it either as performers or friends, especially Gille, Lassen,
Gottschalg, Grosse (trombone-player and contrapuntist),
Wahlbrull, Milde and his wife, and Fran Dr. Emilie Merian, than
from the theater archives.
I have no doubt, moreover, that the present Intendant, Baron
von Loen, will readily permit you to inspect the archives of the
theater and see any programmes of the Court concerts of that time
which may still be forthcoming. You may likewise count upon the
obliging readiness of Lassen and Muller-Hartung in making your
pamphlet known.
During my summer stay in Weimar in latter years, some pianists
have taken to coming there regularly who play my Symphonic Poems
well and willingly. I am not able to name any of those who come
during the winter. Ask Lassen and Muller-Hartung about this.
Enclosed you will find an introduction from me to Madame Merian.
She sings my songs with fervent intelligence, from heart to
heart.
F. Liszt
November 11th, 1880 (Villa d'Este)
269. To the Committee of the Antwerp Musical Society
Very Honored Gentlemen,
The expression of my sincere gratitude for your very kind letter
has been delayed owing to a circumstance which was independent of
my will.
I am acquainted with the high character which the Antwerp Musical
Society bears; many of those who were present at your Festivals
in 1876, '77, and have spoken to me in the liveliest terms of
praise of those great musical performances, of the far-famed
merits of your director, Peter Benoit, of his Rubens Cantata and
of his Oratorio [La Guerre, De Oorlog.] recently sung at Brussels
on the occasion of the national commemoration by 900 members of
your Society. Greatly flattered by your invitation, I hope,
Gentlemen, that my answer to it may not appear discourteous to
you. Allow me to decline the honor of directing the Festival you
have in view for 1881 and to be present at it as a simple
listener. Should any work of mine have been admitted to your
programme, I would fain request M. Peter Benoit [One of the chief
representatives of Belgian national music (born 1884), Director
of the Antwerp Conservatoire] to conduct it, since for the last
fifteen years I have declared myself unfit for this work in all
countries.
My engagements keep me at Budapest till Easter. After that time I
shall be charmed to have the opportunity of assuring you again
personally at Antwerp of the sentiments of high consideration and
distinguished esteem with which I remain,
Yours faithfully,
F. Liszt
November 16th, 1880 (Villa d'Este,) Tivoli
[The Lisztt-Festival given by the Societe de Musique d'Anvers
took place on the 26th May, 1881, under Benoit's direction, in
Antwerp. The programme comprised the Gran Mass; the E flat
Concerto, played by Fran Falk-Mehlig; the Dance of Death, played
by Zarembski; Mignon and other songs, sung by the ladies
Kufferath and Schauenburg; and the Preludes.
In a second Festival-Concert on 29th May, arranged by Liszt's
former pupil F. von Servais and Jules de Zarembski, Tasso and the
Faust Symphony, the Concerto Pathetique (played by M. and Mme.
Zarembski), and "Loreley" with orchestra (Mdlle. Kufferath) were
performed. Gevaert, the celebrated musical savant, apostrophised
Liszt in the opening speech as "the incomparable Virtuoso whose
prestige has never been surpassed, nor even equalled; the
prolific and inspired composer, who in the numerous domains of
Art which he has touched has opened new roads, explored new
shores, and left everywhere the luminous imprint of his bold and
innovating genius; the eminent head of a School, who may without
exaggeration be described as the initiator, par excellence, of
the musical movement of our epoch; one of those rare favorites of
the gods for whom posterity begins even during their life-time,"
etc.]
270. To Sophie Menter
Dear, Highly Valued Friend,
If I rightly understand your letter and telegram you are soon
going to Paris and London, and also soon coming to Rome. When?--
tell me this clearly. A Roman Sophie Menter Concert is easily
arranged and will be a great pleasure for me.
Although introductions from me are quite superfluous for you, I
beg you to consider them always at your disposal. The best person
to safeguard your interests with the German Ambassadors in France
and England will be Frau Grafin Schleinitz. Alter, shorten and
improve anything you like in the Fantaisie on the Huguenots.
Pieces of this sort ought only to be brought forward by super-
eminent virtuosi--Sophie Menter, for instance. The transcriber
then hardly serves as "Klecks." [Klecks is the name of Mme.
Menter's favorite cat.]
Yours cordially,
F. Liszt
December 2nd, 1880 (Villa D'este, Rome)
Maybe you will tell me yourself soon in Rome where I am to send
the letters; if not, send me your address. I shall remain here
till January 5th and be at Budapest on the 15th.
271. To Dr. Friedrich Stade in Leipzig
[Musical writer (born 1844) in Leipzig]
Very Dear Sir and Friend,
Your transcription of "Gretchen" [Out of Liszt's Faust Symphony.]
for pianoforte and harmonium is capital, just as I wished. I only
take the liberty of very slightly altering it, and have added ten
bars at the end, which are to be henceforth inserted in the score
and in my own arrangements of the Faust Symphony. [They follow
herewith in the orchestral movement, according to Dr. Stade's
copy.]
If you will kindly take the trouble to arrange the entire Faust
Symphony for two performers on one piano, I shall be greatly
indebted to you. [This was done.] Deal as freely as possible with
the figurations and also with the distribution among the seven
octaves of the odious keyboard. It seems to me that what may be
more laterally accurate ought often to give way to what sounds
better and even to what is more convenient for the players at the
piano.
Thanking you once more, I remain,
Yours most cordially,
F. Liszt
Rome, December 11th, 1880.
We will play your duet arrangement together before it is
published, in Weimar--next spring.
[Here, Liszt illustrates with Musical score excerpts]
272. To Professor S. Jadassoiin in Leipzig
[Composer (born in 1831), teacher at the Leipzig Conservatoire
since 187l]
Dear Sir,
Your setting of the 100th Psalm is nobly religious in feeling and
excellent in style. The working out of the choruses is masterly
throughout, from beginning to end; a passage which comes out with
especial brilliancy is that on pages 14, 15-19, 20, "with
rejoicing," where the trombones, and then the trumpets and
trombones, joyously repeat the subject of the fugue in
augmentation.
The Arioso too which follows, "He made us," is most fervent in
expression. There is a fine field here for beautiful contralto
voices to rejoice in.
My sincere thanks, dear sir, for the dedication of this excellent
work. I shall recommend it for performance to such of my friends
as are conductors; above all, to Hofcapellmeister Muller-Hartung,
whom I shall request to bring out your Psalm at Weimar.
Yours sincerely,
F. Liszt
Villa d'Este, January 10th, 1881
273. To Frau Reisenauer-Pauly in Konigsberg
Dear Madam,
It is one of my duties to deal sparingly in letters of
introduction. Still I am quite willing to repeat my opinion that
your son Alfred is a highly gifted and brilliantly aspiring
pianoforte-player.
Should this conscientious opinion enable him to obtain further
recommendations, he is free to make use of it.
Yours sincerely,
F. Liszt
Budapest, January 29th, 1881
274. To Dionys von Pazmandy, Editor of the Gasette de Hongrie
[This letter is printed in French in the Gazette de Hongrie, but
is only known to the Editor in the German translation (Neue
Zeitschrift fur Musik?).]
Dear Sir and Friend,
You want to know my impression of yesterday's Bulow Concert? Yet
it must have been yours, that of all of us, that of the whole of
the intelligent audiences of Europe. To define it in two words:
admiration, enthusiasm. Bulow was my pupil in music five-and-
twenty years ago, as I myself, five-and-twenty years before, had
been the pupil of my much respected and beloved master, Czerny.
But to Bulow it was given to do battle better and with greater
perseverance than I did. His admirable Beethoven-Edition is
dedicated to me as the "fruit of my tuition." Here however it was
for the master to learn from the pupil, and Bulow continues to
teach by his astonishing performances as virtuoso, as well as by
his extraordinary learning as a musician, and now too by his
matchless direction of the Meiningen Orchestra.--Here you have
the musical progress of our time!
Yours cordially,
F. Liszt
Budapest, February 15th, 1881
275. To Frau Colestine Bosendorfer in Vienna
[The wife of the celebrated pianoforte-maker, who died young]
Not to see you in Vienna this time, Madame, was a grief to me. It
cast, as it were, a melancholy shadow over my stay there, which
otherwise was brightened by so cordial a reception.--
I am accompanied by the roses without thorns of my pleasant
recollections of you, and my hearty and respectful devotion
remains unaltered.
F. Liszt
Weimar, Easter Sunday, April 17th, 1881
Have the kindness to repeat to Bosendorfer the assurance of my
very cordial friendship.
276. To the Most Honorable Committee of the Wagner-Verein, Berlin
Addressed to Professor Otto Lessmann.
Gentlemen,
A distinction such as that which was conferred upon me yesterday
by the Berlin "Wagner-Verein" and by the audience has seldom been
received by the highest masters in the musical art, among whom I
can only count as an apprentice.
["Les Preludes" and "Festklange," the former under Lessmann's,
the latter under Mannstadt's direction, had been performed in the
winter garden of the Central Hotel before a numerous audience
assembled by invitation. Between the two symphonies, Marianne
Brandt sang "Jeanne d'Arc au bucher," and Heinrich Ernst some of
Liszt's songs. A banquet concluded the festival.]
Accept my warmest thanks for the "Liszt Festival Concert" of
Sunday, 24th April; it remains as a joyous incentive to lifelong
continuous work with
Yours respectfully,
F. Liszt
Berlin, Monday, April 25th, 188l
277. To Kornel von Abranyi
Weimar, May 13th, 1881
My Dear Friend,
Rather more than half of my concert-engagements for this year
have now been fulfilled. The two performances of "Christus" in
Berlin and Freiburg were admirable; the Liszt-Concerts in
Freiburg and Baden-Baden likewise; in the first of these the
three-part hymn "L'enfant au reveil" was also given, charmingly
sung by deliciously clear voices. By way of a rehearsal of this
piece the ladies gave a morning serenade in honor of me at the
house of my friendly hosts the Rieslers, whose villa will remain
most pleasantly in my remembrance. Felix Mottl conducted the
Liszt concert in Baden-Baden with "Mazeppa," the "Mephisto-
Waltz," the "Hunnenschlacht," and three pieces from the Oratorio
"Christus" in a most praiseworthy manner. Bulow's Liszt-evening
in Berlin glorious as at Pest and Vienna..--.
I shall stay here till Sunday, 22nd May. On the 24th I shall be
at Antwerp. On the 26th is the performance of the "Gran Mass"
there.
I am very glad that the Committee of the Musical Festival has
chosen just this particular work, which has hitherto been more
talked about and abused by the critics than heard. Of course I
had left the programme entirely to the discretion of the
Committee, for I really have no wish to recommend any work of my
own for performance anywhere. My mission is to work on
unpretendingly and without troubling myself about advancement.
Yours faithfully,
F. Liszt
My best regards to your wife and sons. I will send you programmes
from Antwerp and Brussels. I shall be back here again on the 4th
June. From the 9th to the 12th June Tonkunstler-Versammlung in
Magdeburg.
278. To Kornel von Abranyi,
Much Esteemed, Dear Friend,
The second copy (with the additional few hundred bars) of the
score of my second Mephisto-Waltz is admirably done. Thank Gyula
Erkel very particularly in my name for it. I request his
acceptance of the enclosed forty florins, as a slight
remuneration for the time he has spent on it. I depend upon your
firm friendship, which has stood the test of so many years, to
find a delicate mode of presenting them to him. The score of the
second Mephisto-Waltz will be published next autumn by Furstner
(Berlin), and then performances can take place at Budapest and
elsewhere.
I am writing to our esteemed Director of the Royal Hungarian
Academy of National Music, Franz Erkel, to have Chickering's
grand pianoforte, as an excellent and kind gift from America,
placed in the music-hall in the Radial-Strasse. This piano, as
well as the whole of my possessions in Budapest, will belong to
the Royal Hungarian Academy of Music at my death, which is not
far off. Correctness remains the motto of
Yours most faithfully,
F. Liszt
Weimar, May 22nd, 1881.
Tomorrow evening I shall be at Antwerp. The Committee there have
decided for the Gran Mass to be performed on the 26th May without
any pressure on my part. Therefore Eljen Hungaria--in all
countries. You may address to Weimar in the beginning of June.
279. To Frau Charlotte Blume-Arends
[A pupil of Liszt's now in Berlin.]
Weimar, August 29th, 1881
Dear Madam,
A good deal of irregularity has crept into my housekeeping during
my long indisposition. Your kind letter only reached me
yesterday. Thank you heartily for it; I accept the office of
godfather. So your son is to be named Franz, and to walk the
waters of life firmly and serenely, trusting securely in God,
like my patron Saint Francois de Paule, whose motto is:
"Caritas." I have long been wishing to thank you by letter for
the charming present which decorates my study in the new wing of
the Musical Academy at Pest. That elegant work of art is greatly
admired by my numerous visitors. It would be charming, were the
amiable donor to return and inspect it. The remembrance of you is
still vivid in Pest.
Best compliments to your husband from
Yours gratefully and truly,
F. Liszt
I hope to be quite recovered in ten days, and shall then go to
Rome.
280. To Otto Lessmann
Weimar, September 8th, 1881
Dear Friend,
I have still to undergo a supplementary treatment of baths and
sweatings. [In consequence of a fall, Liszt had been seriously
ill all summer.] This I shall do at Weimar. From the 21st to the
30th September I shall be at Bayreuth, and from October till New
Year in Rome.
I am sending off the duet version of my Symphonic Poem "From
cradle to grave" to Bock to day. .--. I shall send him the score
from Bayreuth, because just now I am not able to work more than a
few hours a day continuously.
There is so much admirable music written that one is ashamed to
write any more. With me it only happens in cases of urgency and
from inner necessity.
Thanking you heartily,
Yours ever,
F. Liszt
281. To Francois Auguste Gevaert, Director of the Brussels
Conservatoire
[Celebrated Belgian music teacher and composer, born 1828]
Very Honored, Dear Friend,
Among the recollections of my long artistic life one of the
dearest to me is that of your kind sympathy. I cherish sincere
gratitude for it, of which I should be glad to give you a proof.
Allow me, to begin with, to dedicate to you the Symphonic Poem I
have just written, which was suggested by a drawing by Michel
Zichy entitled "From the cradle to the grave."--The score is
short enough, and, it seems to me, free from superfluous
repetition.
Lassen has spoken to you about the performance of your Quentin
Durward at Weimar. The Grand Duke desires it to take place; his
Theater-Intendant, Baron von Loen, was preparing for it, and the
singers are certain to take great pains and show all alacrity in
performing their several parts well.
To my own regret, in which his Royal Highness shares, as well as
his theater company and the audience, the performance has to be
adjourned; for the German translation is not forthcoming, and
some dawdling on the part of your publisher throws obstacles in
the way. Let him soon turn over a new leaf. As for the German
translation, I particularly recommend to you my friend Richard
Pohl (who is living at Baden-Baden, where he is editor-in-chief
of the local newspaper of that charming place). Pohl is
distinguished by great musical intelligence and cleverness in
translating, of both of which he has given proof in Berlioz's
Beatrice and Bennedict and Saint-Saens' Samson.
Lassen and Baron Loen will continue to correspond with you
concerning the mise-en-scene of Quentin Durward at Weimar. Small
towns have but small successes to offer. You are entitled by
right to both large and small ones. Accept them.--
I do not scruple to ask a favor of you, my dear friend. The
decoration of the Order of Leopold arrived at a time when I was
ill in bed. It was accompanied by a few complimentary lines from
the Secretary of the Foreign Office, Baron de Lambermont, as well
as by the official document which was to be signed by me. It
would have been my most agreeably imperative duty to have thanked
Baron de L., and to have expressed my lively feelings of
gratitude for this royal favor. This I could not immediately do,
owing to the state of my health, which did not allow of my
writing, and still renders that occupation very difficult. Add to
this that a good deal of disorder had got into my household;
several letters and manuscripts have been mislaid, and,
notwithstanding all my endeavors, I have not been able to find
Baron de L.'s lines again or the document they enclosed. I
therefore beg you, dear and highly esteemed friend, to present my
apologies to the Baron, and to ask him to send me a duplicate of
the document I have to sign. My address from 22nd September to
2nd October will be: Bayreuth (Bavaria); after that, Via and
Hotel Alibert, Rome.
Yours, in high esteem and cordial friendship,
F. Liszt
Weimar, September 19th, 188l
282. To Francois Auguste Gevaert
Highly Honored Master and Dear Friend,
Thanks to your kind help I have at last put my business with
Baron Lambermont in order and have just written him a letter of
very grateful acknowledgment.
Permit me to revenir a nos moutons. Panurge has nothing to do
with them, nor has the honorable biscuit-seller of the Gymnase,
still less his peaceable neighbor, your publisher Mr. Grus. What
we want is the score of your "Quentin Durward" and composer's
consent to the performance of it at Weimar. The Grand Duke's
Theater-Intendant undertakes the payment of the German
translator, my old friend, Richard Pohl, who will certainly take
great pleasure in performing his task in the most satisfactory
way possible. Baron Loen and Lassen will correspond with you
concerning the performance, which is intended to take place in
December '82.
My cordial thanks for your favorable acceptance of my dedication.
Some months are still necessary for the copying and publishing of
the score together with the orchestral parts. Before this is
finished 1 will send you the printed pianoforte arrangement for
one and for two performers.
Be good enough, dear friend, to give my affectionate regards to
Madame Gevaert and to your sons, and ever count upon my very
grateful devotion.
F. Liszt
Bayreuth, October 8th, 1881
I shall be in Rome in eight days.
283. To Eduard von Mihalovich
Dearest Friend,
I must be found guilty [of negligence?]. I do not apologise. My
aversion to letter-writing has grown excessive. But who could
answer more than two thousand letters a year without becoming an
idiot?
I have been ailing a good deal for the last three months. As soon
as there was an improvement, something else appeared. Do not let
us mention this any more, for you know how little my health
occupies my thoughts, and how disagreeable it is to me to hear it
talked of. In short, I feel sufficiently recovered to set out for
Rome the day after tomorrow. My very dear granddaughter Daniela
goes with me, and will remain till the beginning of January. This
is a providential pleasure on which I did not count at all, but
for which I thank the good angels.
I will tell you by word of mouth the minor reasons which
prevented me from sooner communicating your two splendid scores
and the pianoforte duet arrangements of them to the publishers,
Breitkopf and Hartel. Your fine manuscripts have at last reached
Leipzig, and you will soon have a letter from the present
proprietors of the ancient and illustrious house Breitkopf and
Hartel, with their conditions for publication, which will be
their ultaiytalunz. They are aware of the sincere interest I take
in your works, and will, I trust, share it, without leading you
into any expense.
Stern [Adolph Stern in Dresden, author of the libretto.] has
given me fairly good news as to the preparations for the
performance of your Haubar at Dresden. Young composers are always
too impatient.--
Pray remember me cordially to our excellent friends the Veghs,
Albert Apponyi, Madame d'Eotvos and her daughter, Mademoiselle
Polyxena, and...I was just going to add the name of a charming
woman with whom I am out of favor.
Yours ever,
F. Liszt
Bayreuth, October 8th, 1881
My address from the middle of October to the lst of January: Via
and Hotel Alibert, Rome.
You are held in affectionate remembrance at Wahnfried. Wagner is
finishing the instrumentation of the 2nd act of Parsifal, and
gives it his most passionate attention. We shall have something
new, marvellous, unheard of, to hear.
M. Humperdink, the lucky triple laureate of the three
scholarships, "Mozart," "Meyerbeer," "Mendelssohn," is at work
here copying the score of Parstfal; [E. Humperdink, born in 1854,
made Wagner's acquaintance in 1880 at Naples, and at the first
performance of Parsifal conducted the choruses from on high and
the music on the stage. He has been teacher at the Barcelona
Conservatoire since 1885.] Joseph Rubinstein [Born 1847 in
Russia, he lived a great deal in Wagner's society after 1872, and
took an active part in the rehearsals for the Bayreuth Festival
Performances in 1875 and 1876, He died by his own hand the 15th
of September, 1884, at Lucerne.] is continuing his arrangement of
it for piano at Palermo just now, and will complete it later on
at Bayreuth. Other artists on the high road to celebrity are also
employed in copying this same Opus magnum, the performance of
which we shall applaud in July 1882. It will be a next to
miraculous and highly fashionable pilgrimage.
P.S.--The busybody Spiridion has been so careless as to carry off
a little gold watch of mine that I had merely given him leave to
wear while he was in my service. Please ask Spiridion to give you
this watch on New Year's Day. You will return it to me about the
middle of January 1882, when I go back to Budapest.
284. To Jules de Zarembski
Dearest Friend,
I have rarely done a minor work--big ones bother me--with as much
pleasure as that of setting your two Galician Dances for
Orchestra. It is quite finished, with a few additions of which I
hope you will not disapprove; but my scrawl of a manuscript
cannot possibly be sent you: therefore I have asked Friedheim
[One of the most pre-eminent among the younger pupils of the
Master.] to undertake to copy it, and I will send you this copy
before the New Year. If the publisher Simon is inclined to
publish this orchestration I will let him have it for a thousand
marks; if not, keep it yourself; and make any use you like of it;
first of all at the concert in which you are going to bring
forward your own compositions exclusively. I wish I could be
present at it, and on this occasion I renew to you the sincere
and sympathetic esteem in which I hold your noble and rare
talents. They will fructify by means of perseverance.
Friedheim's copy will reach you in time to have the parts copied
and to add the necessary nuances. Please send me a programme of
the concert of which Zarembski as composer is to fill the list.
The other programme you are meditating, to be devoted to my works
for the pianoforte, seems to me to be too long; this is a defect
for which I can only be very thankful to you, and yet I am going
to ask you to reduce your recital to the average proportion. An
hour and a half of pianoforte music of mine, however admirably
played, is more than sufficient.
M. Becquet, President of the Brussels Musical Society, writes to
me concerning the performance of my Elizabeth, and M. Radoux,
Director of the Liege Conservatoire, likewise. I fear the
translation of the libretto and its proper adaptation to the work
will be impediments. Nevertheless, if your friend Franz Servais
were good enough to undertake the work of revision and of
intelligent adaptation to the vocal parts, I should be more easy
in my mind, and should only wish to look through the whole before
the publisher, Kahnt, prints the French version under the German
original. I am now writing this to M. Becquet. Pray give my
cordial regards to Franz Servais and my grateful remembrances to
Maitre Gevaert.
Enclosed are the photographs with signature for MM. Dumon and
Dufour; to which I add a third (recently taken in Rome) for
yourself.
I am honored, flattered, and also...overwhelmed by numbers of
letters. I have received more than a hundred during the last six
weeks; I should have to give ten hours a day to letter-writing if
I were to attempt to pay my debts of correspondence: this I
cannot do. Even the state of my health, which is not bad but
forbids any continuous occupation, is opposed to it. Besides,
when my old mania for writing music lays hold of me--as is the
case just now--I feel quite unable to use my pen in any other
way. I therefore beg you to convey my apologies and very
affectionate thanks to M. and Mme. Tardieu for the kindness they
show me.
I hope to repeat all this to them personally, for it is not said
that I shall not return to Brussels, although travelling is
becoming arduous for me. M. Tardieu's present of spirituous
liquid has restored me several evenings during my work,...which
may be superfluous, but completes what has gone before.
Your very devoted friend,
F. Liszt
Rome, December 4th, 1881
I remain here till the first week in January at Via and Hotel
Alibert.
285. To Camille Saint-Saens
Much-Esteemed Dear Friend,
You are not one of those who are easily forgotten, and you have
won your fame valiantly. My feelings of sincere admiration and
gratitude have followed you for many years; they are confirmed
and increased by the proofs you give of constant and active
sympathy.
I wrote to you last summer from Magdeburg on the occasion of the
festival. Your remarkable work "La Lyre et la Harpe" figured on
the programme; a delay in the translation and in the study of the
choruses obliged me, to my great regret, to defer the performance
of it till next summer, when the Tonkunstler-Versammlung, which
is honored by your active membership and has just named me its
Honorary President, will again meet.
Before Christmas Furstner, the publisher, will send you, from me,
three copies (score and arrangements for pianoforte solo and
duet) of my second Mephistopheles Waltz, dedicated to Camille
Saint-Saens. I thank you cordially for giving it so hearty a
welcome. No one more than myself feels the disproportion in my
compositions between the good-will and the effective result. Yet
I go on writing--not without fatigue--from inner necessity and
old habit. We are not forbidden to aspire towards higher things:
it is the attainment of our end which remains the note of
interrogation, being in this something like the end to the
Mephistopheles Waltz on b, f--
[Here, Liszt illustrates with a musical score excerpt]
intervals which are indicated in the first bars of the piece.
You intimate the friendly desire that I should revisit Paris.
Travelling at my age becomes burdensome, and I greatly fear that
I should be found out of place in capitals like Paris or London,
where no immediate obligation calls me. This fear does not make
me less grateful towards the public, and especially towards my
Parisian friends, to whom I acknowledge myself to be so greatly
indebted. Besides, I should not like completely to give up the
thought of ever seeing them again, although the deplorable
performance of the Gran Mass in 1866 left a painful impression
upon me.
This is easily explained on both sides. Nevertheless, it would be
too much for me in future to expose myself to such
misapprehensions. Without false modesty or foolish vanity I
cannot allow myself to be classed among the celebrated pianists
who have gone astray in composing failures.
By the way, allow me to ask a question. If I were to return to
Paris, would you feel disposed, dear friend, to repeat your
former offence by conducting any of my works in I know not what
orchestral concert? I dare not ask you to do it, but, supposing
that a favorable opportunity should occur, I should be very proud
to be present. Meanwhile be so good as to remember me very kindly
to Viscount Delaborde, and to thank your colleague of the
Institute, Massenet, sincerely for his telegram. He will excuse
me for not answering him at once. To fulfil the duties of a
correspondent is an insoluble problem for your very grateful and
devoted friend,
F. Liszt
Rome, December 8th, 1887.
256. To Ludwig Bosendorfer
Very Dear Friend,
I was raised to a very exhilarated state of mind by the many
tokens of sympathy and friendship on the 22nd October. [Liszt's
70th birthday.] To give it expression, I wrote several pages of
music, but no letters at all. Antipathy to letter-writing is
becoming a malady with me...Have the kindness to beg my friends
in Vienna to excuse this. Perhaps I may yet live long epough to
prove my affection to them in a better way than by words. My
health does not preoccupy me at all; it is fairly good and only
requires care, a thing which is at times irksome to me.
As usual for the last 10 years, I shall return to Budapest in the
middle of January '82.
My best regards to your wife.
Yours faithfully and gratefully,
F. Liszt
Rome, December 8th, 1881
I repeat especially my hearty thanks to Zellner.
287. To Pauline Viardot-Garcia
[The great singer, who still teaches in Paris, was Liszt's pupil
for piano.]
Most Illustrious and Gracious Friend,
A woman distinguished by her shrewdness and talents, the
authoress of several volumes which have had the good fortune to
pass through several editions, has asked me for a line of
introduction to you. I have told her what she and all the world
besides already knows: that Pauline Viardot is the most exquisite
dramatic singer of our time, and besides this a consummate
musician and a composer of the most delicate and lively
intelligence. To which opinion, as merited as it is universal,
Madame X. is prepared to give ample and elegant expression in a
notice she meditates publishing upon you.
Pray give a kind reception to your new correspondent, and keep a
friendly remembrance of your old and most devoted admirer,
F. Liszt
Rome, December 12th, 1881
288. To Madame Malwine Tardieu in Brussels
[The wife of the chief editor of the Independance Belge]
How good of you, Madame, to make such ready allowance for my
delays and shortcomings in correspondence. It is a disagreeable
infirmity of mine not to be able to write longer and better
letters. Your last kind lines delighted me, and I thank you for
them most affectionately. The brilliant success of Massenet's
Herodiade [The first performance of the Opera took place at the
Theater de la Monnaie in Brussels, 19th December, 1881.] gives me
sincere pleasure; all Paris, after having applauded the work on
its first appearance at Brussels, will be all the more ready to
applaud it again in Paris itself. For my own part let me confess
to you quite in a whisper that I am inclined rather to hold back
with respect to certain love-scenes, which, it seems, are
necessary on the stage, when introduced into biblical subjects.
They jar on my feelings--excepting in our admirable and valiant
friend St. Saens' Dalila, where he has made a glorious love duet
which is quite in place; for Dalila and Samson are bound to give
themselves to the devil for love's sake, whilst in Massenet's
Magdalen and Herodfade the whole thing is merely
conventional...theatrical.
Pray forgive me, Madame, for this opinion, which is slightly
pedantic, but without any pretension. When you see Madame Viardot
again, tell her that I still cherish an enthusiastic recollection
of her--a typical Orpheus, Fides and Rosina,--and, besides, an
enchanting composer and a pianist full of ingenious dexterity.
Have you heard anything of her daughter, Madame Heritte? Do you
know her remarkable setting of Victor Hugo's "Feu du Ciel"?
Monsieur Becquet [President of the Brussels Musical Society
(since dissolved).] has sent me an excellent French translation
of my Elizabeth, [By Gustave Lagye.] quite adapted to the sense
and rhythm of the music. When this Legend of St. Elizabeth was
first performed at Budapest (end of August 1865) the Independance
Belge published a most flattering article on the work. .--.
Pray remember most kindly to M. Tardieu your affectionate and
devoted servant,
F. Liszt
Rome, January 20th, 1882.
Zarembski has received my orchestration of his charming "Danses
Polonaises." ["Danses Galiciennes."]
289. To Colonel Alexander Wereschagin
[The brother of the celebrated painter; formerly adjutant to the
Russian General Skobeleff, also an author.]
Dear M. de Wereschagin,
I am very grateful to you for sending me the photograph of one of
your brother's admirable pictures. His "Forgotten" is a dismal,
ghastly symphony of crows and vultures; I understand it, and
deeply enter into his marvellous inspiration.
Be so good as to tell your brother how great is my admiration for
his genius, and accept, dear Sir, the expression of my best and
most devoted regards.
F. Liszt
Budapest, February 5th, 1882.
290. To the Kammervirtuosin Martha Remmert
Dear Martha,
Enclosed are the various readings [Varianten] to my "Todtentanz."
[Dance of Death.] I noted them down after hearing the piece last
May for the first time with Orchestra at the Antwerp Musical
Festival (played by Zarembski in a masterly way). The brief
alterations are easy to insert into the instrumental parts, for
they only apply to the Horns, and consist in the addition of 7
bars; the rest are pauses in the orchestra while the pianoforte
solo continues.
All is accurately indicated in the enclosed copy, so that, should
the publisher Siegel (Leipzig) feel disposed to add a
complementary sheet to the score, it might be easily printed from
this copy. I should not like to trouble Siegel about this; but I
authorise you, dear Martha, to communicate the complementary
pages A, B, C, to Siegel. [The alterations alluded to did not
appear in print.]
I wish you all the success you deserve in your concert
productions, and remain always, Yours sincerely,
F. Liszt
Budapest, February 20th, 1882.
291. To Madame Malwine Tardieu
Dear Madame,
You were beforehand with me in knowing that the performance of my
St. Elizabeth is to take place, for the first time in French, at
Brussels on Sunday, 30th April. If the date is not changed, I
shall arrive on the 27th for the last rehearsals.
I hardly venture to accept the hospitality you are so good as to
offer me, from delicacy; if, however, you help me ever so little
to overcome my scruples, they will vanish. A thousand thanks for
the good news you give me of the success of "Samson" and of other
works by St. Saens in Germany. He has possessed my admiring
friendship for many years.
My very affectionate and grateful regards.
F. Liszt
Budapest, April 11th, 1882
I shall return to Weimar in about ten days, where I shall expect
to receive the printed programme from M. Becquet, which is to fix
my arrival in Brussels.
Pray thank M. Tardieu for his obliging intention of reproducing
the article of the Independance upon the first performance of the
St. Elizabeth at Budapest in August 1865. I will tell you by word
of mouth who penned those lines. [This article, which was signed
Remenyi, was written by Frau Cosima Wagner, Liszt's daughter, and
(according to Madame Tardieu's opinion) had "a high interest on
account of its poetical and brilliant conception."]
292. To Franz Servais
Very Dear Friend,
It is a grief to me that you will be conspicuous by your absence
on the approaching occasion of my return to Brussels. The Liszt-
Concert set afloat and directed by you last spring remains one of
my pleasantest recollections during my too long artistic career.
Even at that time you suggested a performance of my "Elizabeth,"
and I did not think that it would take place during your absence.
My approaching second visit to Brussels is entirely one of
gratitude for the sympathetic reception granted to me there at
the concert which you directed--an excellent performance of some
works of mine. Perhaps the "Elizabeth" may likewise be favored by
good luck...M. Lagye has made an excellent French translation of
it.
The one thing important for you, my dear Franz, is to complete
your Ion [The original tile of the Opera now called
"L'Apollonide", which Servais still keeps in his portfolio,
though it is finished.]. This will be your advent as composer,
for a complete and resounding success in which you have the best
wishes of
Yours ever devotedly,
F. Liszt
Weimar, April 22nd, 1882.
Write to me at Brussels, where I shall be from May 1st to 4th,
and address your letter to Zarembski.
293. To Madame Malwine Tardieu
Unless I receive a countermand from you, I shall be in Brussels
on Sunday evening. [The first performance of "St. Elizabeth in
French took place on the 3rd of May. Saint-Saens, Massenet,
Francis Plante, and others besides were present.] I shall take
the liberty of sending you a telegram on the road to give you the
hour of my arrival. It will interest me greatly to hear the
"Herodiade". [Liszt heard Massenet's opea on 2nd of May.] Bulow's
exceedingly witty article on Saint-Saens' "Samson", which Bulow
declares to be the best and most successful of all the Operas
that have been performed for the last fifteen years (excepting
Wagner's),--this article, which creates a sensation and makes a
noise at "Landerneau," will reach you at the same time as these
lines from your affectionate servant,
F. Liszt
Weimar, April 23rd, 1882
294. To Otto Lessmann
I owe you so many thanks, dear, esteemed friend, that I could
never get to the end of them. If the canon form were less
unfamiliar to me, I would dedicate a symphonic Canone perpetuo of
thanksgiving to you.
Our friend Adelheid von Schorn tells me that you are likely to
spend your holidays at Weimar. A hearty welcome to you.
This year the Tonkunstler-Versammlung, at which I am accustomed
to appear as a superfluous necessity ("le superflu, chose si
necessaire," according to Voltaire), ever since the foundation of
these gatherings twenty years ago with Brendel--takes place at
Zurich from the 9th to the 12th July.
Let us go there together, dear friend, from Weimar. I read by
preference your excellent newspaper, and am making a lively
propaganda for it.
Yours gratefully and cordially,
F. Liszt
Weimar, April 23rd, 1882
295. To Frau Charlotte Blume-Arends
Weimar, April 23rd, 1882.
Dear Madame,
Poetry is your domain. As a pretty French verse has it, "Meme
quand l'oiseau marche, on sent qu'il a des ailes" [Even when it
walks, we feel that a bird has wings].--My most cordial thanks
therefore for the gift which you call prosaic, and my best
regards to your husband. It would be charming if you came to
Weimar again. From the middle of June to the 12th of July remains
here uninterruptedly
Yours very truly,
F. Liszt
296. To Freiherr Hans Von Wolzogen
Much-esteemed Freiherr,
Your "Leitfaden" are a salutary enrichment to musical literature.
They essentially promote the spiritual comprehension of the
great, sublime, unique works of Wagner. The "Leitfaden" are
already considered classical, and rightly so, because, as a
masterly piece of work, they establish a school.
Pray accept my very best thanks for the numerous proofs of
kindness you have given me, to correspond in some degree to which
is the wish of
Yours sincerely,
F. Liszt
Weimar, April 25th, 1882
A cordial and friendly meeting at Parsifal!
297. To Frau Heriette Von Liszt in Vienna
Weimar, May 11th, 1882.
My Dear Cousin,
Our dear Hedwig [The daughter of E. von Liszt, who studied a
whole summer under Liszt in Weimar.] has not been forgotten.
Immediately on arriving here I ordered Overbeck's edifying
drawings for her, "The Seven Sacraments," a serious study of
which, as well as of the commentary, is to be highly recommended.
The work is published at Ratisbon; my bookseller here is wont to
do business in Tempo moderato molto commodo. He kept me waiting,
and I had to go to Belgium (on the 30th of April). I only
received the above-mentioned work here yesterday, and send it you
today together with the "Ave Maria" for Harmonium and Meyer's
excellent "Manual of Universal Knowledge." Eduard and Hedwig may
extend their knowledge by means of it.
My Belgian week--from May 1st to 8th, Brussels and Antwerp--was
of the pleasantest. Enclosed are the moderate articles (on the
performance of "St. Elizabeth") by the Brussels Schelle and
Hanslick [In the "Independance Belge"]--Eduard Fetis, the son of
the renowned and meritorious author of the many-volumed
"Biographic universelle des Musiciens" and of the "Universal
History of Music." Thirty years ago I said to that same Fetis
somewhat arrogantly, nay almost insolently: "My aspirations are
directed not merely towards obtaining articles, but rather
towards acquiring a durable position in the History of Art."
Till the beginning of July will remain in Weimar
Yours most cordially,
F. Liszt
P.S.--The arrival of the "Kaiser Virginia" has just been
announced to me. Please send me the little bill.
298. To Camille Saint-Saens
Very Dear Friend,
I am still quite struck with wonder at your "Predication aux
oiseaux de St. Francois." ["St. Francis preaching to the birds."
Composed by Liszt for pianoforte alone. (Roszavolgyi.)] You use
your organ as an orchestra in an incredible way, as only a great
composer and a great performer, like yourself, could do. The most
proficient organists in all countries have only to take off their
hats to you.
I am sending you by this post a parcel of things of mine for
organ. If you should find an opportunity at Brussels of producing
the Introduction to St. Elizabeth, it would, under your fingers,
have the effect I intended.
Cordial thanks for your visit to Brussels, and ever yours in
admiration and friendship.
F. Liszt
Weimar, May 14th, 1882
299. To Madame Malwine Tardieu
Dear Kind Friend, ["Chere bienveillante"]
The telegram Tardieu-Lynen-Lessmann sent from Aix-la-Chapelle has
given me extreme pleasure. [The Tardieus, the Lynens (Antwerp
friends of Liszt), and Otto Lessmann were present at the Musical
Festival at Aix-la-Chapelle.]
My padrone di casa (Lessmann is this through his paper) are
always most excellent.
Daniela de Bulow, my darling granddaughter, writes how kind you
are, and will come with us shortly to Villa "Fantaisie"
(Bayreuth). [She had accompanied her father, Dr. Hans V. Bulow,
who played (under Wullner's conductorship) Brahms' first
Pianforte Concerto, and Beethoven's 15 Variations (on a theme out
of Eroica).]
At "Parsifal" we shall be 30,000; that will be the best chance of
seeing one another again.
The Opera of Hamlet, by Stadtfeld, [The first performance of the
Opera. The composer, a Wiesbaden man (born 1826), had studied at
the Brussels Conservatoire, and died there in 1853.] written in
transition years (50), and twice given here, not without success,
is one of the best that I know of the Meyerbeer-Donizetti genre.
The Wagner invasion is strangely modifying theatrical
requirements at the present time. It is no longer possible to
write a "Hamlet" according to the style of a Duprez, some
absolute tenor with the famous "ut de boitrine," nor to make the
ghost of Hamlet's father benevolently intervene in order to
effect a Trio or Quartet, even of a pretty musical manufacture.
The distinguished work of Stadtfeld belongs, then, to the
theatrical Past, so rich in oblivion...
As you are so kind as to undertake my books, I will ask you to
send me soon the following works:--
1st, Gevaert--History of Music in ancient times 2 volumes.
(Publisher, Annoot Braekmann, at Ghent.)
2nd, Charles Clement--Michael Angelo, Leonardo da Vinci,
Raphael,--a magnificent volume illustrated by 167 drawings.
Price, bound, 15 francs. (Publisher, Hetzel, Paris.)
3rd, J. D. Lewis--"Bons Mots of the Greeks and Romans": 1 volume
in 16--Charavay library. A thousand pardons for thus using and
abusing your amiable kindness.
I have read with pleasure the article in the "Guide Musical" on
the Festival at Aix-la-Chapelle, and beg you to repeat to the
author [Presumably Monsieur Tarideu.] my sincere friendship.
Till our happy meeting at Bayreuth, at the end of July, farewell.
In affectionate gratitude,
F. Liszt
I add the article from the official paper of Weimar on
Stadtfeld's "Hamlet."
Weimar, June 10th, 1882.
300. To the Honorable Committee of the Allgemeine Deutsche
Musikverein
[Printed in Neue Zeitschrift fur Musik, 1882, No. 23.]
Dear Sirs,
The Allgemeine Deutsche Musikverein confers a high distinction on
me by electing me as its Honorary President.
Since the starting of this Verein, 20 years ago, I have the honor
of feeling that I have been of service to it. Its aim is a worthy
one,--the advancement of music and musicians in an unprejudiced
manner, and in accordance with the spirit of the time. Its ways
have always been known as pure and worthy of recognition,
regardless of opposition and silence.
Let us therefore go boldly forwards on our noble road!
Accept, dear Sirs, my heartiest thanks, together with the
assurance that, ever conscious of my task, I remain, with high
esteem,
Yours most faithfully,
F. Liszt
Rome, [June, 1882]
301. To the Commendatore F.von Jagemann at Freiburg in Breisgau
[From a copy of Liszt's in the possession of Otto Lessmann at
Chalottenburg.]
Dear Sir and Commendatore
You ask me if L. Ramann's biography is "classical"? To belong to
the classical means, first of all, to be dead, then to be to the
world immortal. Neither of these is claimed at present by yours,
F. Liszt
Freiburg, July 6th, 1882
302. To Nicolaus Oesterlein in Vienna
[The Addressee was the able founder and possessor of the Richard
Wagner Museum in Vienna, a unique collection, in its way, of
musical and historical importance. The bibliography mentioned in
the letter came out I (at Breitkopf and Hartel's) shortly before
the first performance of "Parsifal."]
My Dear Sir,
I have already heard the praise of your "Catalogue of a Richard
Wagner Library." It will be a pleasure to me to make its
acquaintance, and while awaiting your kind sending of the work
accept thanks for your accompanying lines,
From yours very truly,
F. Liszt
Bayreuth, July 16th, 1882
303. To Kornel von Abranyi
Bayreuth, July 23rd, 1882
Dear honored Friend,
By the same post you will receive the instrumentation of the "A
magyarok istene" for the Musical Festival at Debreczin..--. I beg
the directors carefully to try over the small instrumentation
before the full rehearsal, with the instruments (plus the
brilliant cymbals), without the vocal parts.
The solo trumpeter must perform his part, as a Hungarian Magnate,
in a noble manner, and not blow the trumpet as though it were a
trade.
I also beg that the directors will be so good as to correct any
chance mistakes there may be in my hastily written and unrevised
manuscript score. Though I trouble myself but little about the
spread of my compositions, yet I do not wish them to be offered
to the public in a mutilated form. As I flatter myself that I
possess a sufficient portion of self-criticism, other criticism
remains only valuable and instructive to me.
Your son Kornel is heartily welcome to me at Bayreuth.
I will discuss here with Vegh [Formerly Vice-president of the
Hungarian Academy of Music.] the ministerial affairs of your
"academic, historical manual." The matter will assuredly be
settled to your satisfaction.
Yours most faithfully,
F. Liszt
Wagner's "Parsifal" far surpasses the master-works which the
theater boasts up to the present time. May the public be educated
up to it.
304. To Freiherr Hans von Wolzogen
My dear Freiherr,
Both at and after yesterday's performance of Wagner's "Parsifal"
it was the universal feeling that about this wonder-work it is
impossible to speak.
It has indeed struck dumb those who were so deeply impressed by
it; its sacred pendulum swings from the sublime to the sublimest.
Yours ever,
F. Liszt
Bayreuth, July 27th, 1882
305. To Madame Malwine Tardieu
Weimar, September 12th, 1882
Dear Madame and Friend,
How I reproach myself for the delay in my written thanks! Those
preceding my letter have not been wanting, and your friendly
kindness touches me deeply. Lassen assures me of your indulgence.
He has lately heard at Brussels "l'hymne a la beaute," [By
Benoit. Performed at the Brussels Musical Festival in August
1882] and (between ourselves) did not think it particularly
beautiful. In this kind of music even the greatest masters have
seldom succeeded in freeing themselves from lukewarm
conventionality. This [conventionality] affords matter for
academical prizes such as have been carried off several times by
Madame Louise Collet of inglorious memory.
Our friend Benoit shall follow his vocation of musical "Rubens".
And Gounod's "Redemption"! Ought one to speak of success or non-
success in a work of that kind? Gounod has always kept the
Catholic religious incentive with a turn towards the sublime. His
"Polyeucte" is a witness for him.
May that abominable quibbler and bloodthirsty "doctrinaire,"
Henry VIII., be the means of a brilliant and lasting success to
St. Saens, who richly deserves it; but in the matter of serious
opera the public has reached that blase point which is explained
in the words of Ronge, a naive German reformer:--
"What we have we don't want any more; and what we would have we
don't quite know." Wagner has known how to want and to act--
gloriously, although and because. [Wagner a su vouloir et
perpetrer--glorieusement, quoique et parce que.] His work is
already becoming immortal.
Let us speak of some modest things, concerning your humble
servant. The three Psalms have been admirably translated into
French by Mr. Lagye; I will write my thanks to him fully, as soon
as I have entirely finished the work of adapting the text to the
music. For this it is necessary to modify and rewrite about
fifteen pages, a dozen of which are ready. I shall send the whole
to Kahnt, the publisher, on Sunday next, and shall inform Lagye,
in whose debt I am, of the remainder of the arrangements.
His translations appear to me really excellent, very carefully
made, and prosodically well suited to the music. I only regret to
have to give him so much trouble, but I hope that in the end he
will be satisfied with me. He shall have the second copy of my
"Lieder;" if he succeeds as well in putting them into French as
he has done with the three Psalms, they may with advantage make
their way in Belgium and still farther.
All my articles of musical criticism, lately published by L.
Ramann under the title of "Essays" (Breitkopf and Hartel,
Leipzig), were written in French. Three or four appeared long ago
in the Debats and the Constitutionnel. The most extensive of
these, on Berlioz's "Harold Symphony," was to have been put into
a celebrated review in Paris, but in the fifties it was
considered too eulogistic, and I refused any curtailments for
Berlioz...Consequently this article has only appeared in a German
translation (Neue Zeitschrift fur Musik, Leipzig). What has
become of the original French manuscripts of my complete articles
I don't in the least know. The introduction to Hartel's for which
Mr. Kufferath [Moritz Kufferath, a writer on music, reviewer of
the "Guide musical" (Schott), and translator of many of Wagner's
writings, wanted to translate Liszt's Essays into French.] asks
will not serve his end at all. The only person who could give him
some particulars would be Mademoiselle L. Ramann, my biographer,
who has been for many years past on the look-out for everything
relative to my prose and music. She is the directress of a
Pianoforte School in the Durerplatz at Nuremberg (Bavaria).
Please thank Kufferath for his kind interest, and assure him
that, if I abstain from writing to the firm of Hartel, it is from
no want of willingness on my part. A thousand friendly regards to
your husband, and ever cordial and devoted expressions to
yourself.
F. Liszt
I stay here till the beginning of October.
306. To Otto Lessmann
My Very Dear Friend,
It is only through your kindness that I learn of Hellmesberger's
intention to perform shortly in Vienna a new Mass of my
composition. Hellmesberger has indeed always been very well
disposed towards me, and has frequently conducted the Hungarian
Coronation-Mass in the Hofkapelle, and several of my longer works
at concerts; but it would be rather difficult for him to conduct
a new Mass, because I have not composed one. I should think it
must be the "Missa choralis" (with Organ accompaniment only)...
Here is the list of my Masses, and the order in which they were
composed:--
1. For men's voices (with Organ), Anno 48--Editio nova at
Hartel's.
2. The Gran Mass.
3. Missa choralis (with Organ) at Kahnt's.
4. Hungarian Coronation-Mass (performed at the coronation in
Buda).
5. Requiem for men's voices (with Organ). Rome, latter half of
the sixties. Published by Kahnt.
Perhaps I shall yet write a Requiem at special command. [A
requiem, composed on the death of the Emperor Maximilian of
Mexico, still exists in manuscript.] I beg you to give my thanks
to the friendly publisher of the Symphonic Poem "From the cradle
to the grave," for sending me the pianoforte version of this
composition. Before the end of October I will send Bock the
completed score.
A short piece from Parsifal, "Solemn March to the Holy Grail,"
will reach Schott today at Mainz.
Three weeks longer remains here Yours ever faithfully,
F. Liszt
Weimar, September 16th, 1882,
Ever heartily welcome in Weimar; that is to say, if the visit
suits you as Allegro commodo. It would be dreadful to me to
incommode my friends.
307. To Otto Lessmann
Dear Friend,
If one wants to be just, he must see that he speaks only with
high respect of Hans von Bulow. His knowledge, ability,
experience are astounding, and border on the fabulous. Especially
has he, by long years of study, so thoroughly steeped himself in
the understanding of Beethoven, that it seems scarcely possible
for any one else to approach near him in that respect. One must
read his commentary on the pianoforte works of Beethoven (Cotta's
edition), and hear his interpretations of them--(what other
virtuoso could have ventured to play the 5 last Sonatas of
Beethoven before the public in one evening?), and follow Bulow's
conducting in the orchestral works of Beethoven. To set one's
back up against such remarkable deeds as these, I call feeble or
malicious nonsense.
Yours ever in friendship,
F. Liszt
Weimar, September 20th, 1882.
308. To Frau Charlotte Blume-Arends
Weimar, September 27th, 1882.
My dear friend,
I thank you again for a beautiful, kind gift--"The Oberammergau
Passion Play," described by Franz Schoberl, a clergyman in
Laibstadt. The little book has been composed with reverence, and
gives an exact description of the Oberammergau production, which
seems to me especially deserving of notice on account of the
agreement between the Old Testament representations--beginning
from Adam and Eve to the Brazen Serpent and further--and their
fulfilment in the facts of the gospel. This agreement is no
simple peasant's invention, but indeed a significant, most
touching parallel, thought out by cultured priests, familiar with
the Christian tradition. The grouping, and the mute performance
of the life-like Old Testament representations and of the
Crucifixion of Christ in Oberammergau, deserve full praise, in
contrast to the music, which is beneath criticism, and very much
spoiled the whole performance for me. And even such esteemed and
highly honored Catholic musicians and divines as F. Witt, Haberl,
etc., protest against such inane musical stuff and rubbish.
Thank you once more, and with heartfelt greetings to you and
yours,
Yours most truly,
F. Liszt
309. To Otto Lessmann
Dear Friend,
At the Musical Festival which I had the honor of conducting some
twenty-five years ago at Aix-la-Chapelle, Hiller, the friend of
my young days in Paris, took up quite a critical attitude against
the conductor and his compositions.
I took no particular notice of his behavior, but I heard that it
displeased many people, who made no secret of it to him. I was
also told that at one of the rehearsals Hiller did not exactly
leave of his own accord. As I was engaged at the conductor's desk
I did not observe the occasion of his leaving, and contented
myself with reading, some days later, his witty report of the
Aix-la-Chapelle Musical Festival in the Cologne paper. My
excellent friend, Freiherr Hans von Bronsart, replied to Hiller's
article with no less wit and with a different opinion. Unhappily
the musical chronicle is overflowing with unresolved discords.
To you, dear friend, I am ever harmoniously,
F. Liszt
Weimar, October 14th, 1882
310. To Otto Lessmann
[Weimar,] November 4th, 1882
Dear Friend,
I shall be delighted if the Tannhauser-Songs [Composed by
Lessmann, transcribed by Liszt for piano, and published by Barth,
Berlin (now Junne, Leipzig)] give you satisfaction. Find a
pianist of the fair sex, or the other sex, in Berlin, who will
set about his task well of playing these songs in public. As far
as I can tell I should think they would bring the player
applause.
I will answer your two questions at once.
Of my "continuously written autobiography" I have as yet heard
nothing. Publishers have frequently asked me to write memoirs,
but I put it off with the excuse that it was more than enough for
me to live through my life, without transcribing it to paper. If
I were married I could certainly dictate somewhat of it to my
wife now and then. But I am glad to keep out of the bothers of
penmanship, which I dislike.
The dramatic performance of the Elizabeth in Cologne is to take
place after my return from Budapest, next April or May. (I have
promised to be present at it.) Yesterday evening I wrote a couple
of lines of thanks and commendation to Herr Duysen, for Fraulein
Spiring, whom you met here [Lives now in Jena]. She is a pianist
and teacher deserving of recommendation, and is trying to
establish herself in Berlin, and I commend her to your good
graces.
With thanks, yours ever,
F. Liszt
Rubinstein is coming to see me next Tuesday after the Leipzig
performance of the "Maccabees."
311. To Madame Malwine Tardieu
Weimar, November 6th, 1882
Dear Friendly One [Chere bienveillante],
I am still detained here, partly on account of a stupid
indisposition,--nothing serious, but disagreeably prolonged. I
make a rule of never bothering my head about my health, and I beg
my friends never to trouble about it.
Thank you for sending the 3rd volume of the correspondence of
George Sand. The long letter of 20 pages to Mazzini, dated the
23rd May, '52, appears to me to be a chef d'oeuvre of judgment
and foresight. In 1852 few political men were placed in a
sufficiently elevated position to rule the fluctuations of
socialism and to understand its necessary value. Mazzini himself
was mistaken in this, as well as in regard to the importance of
the acquisition of universal suffrage. Forgive me for wandering
off thus into political matters, of which I don't understand
anything, and of which it does not concern me to talk. But I will
just quote to you a mot which in 1842 was rather widely spread on
the sly in Petersburg. A fair lady of my acquaintance told me
that the Emperor Nicholas had said to her of me, "As to his hair
and his political opinions, they displease me." I begged the same
lady to transmit my reply, which was as follows: His Majesty has
every right in the world to judge me as seemeth well to him,
nevertheless I venture to beg him not to think that I am an
idiot. Now it would be idiocy on my part to proclaim political
opinions. The Emperor shall know them when he deigns to put
300,000 soldiers at my disposal.--
To return to the letters of George Sand. Those addressed in '52
to Prince Jerome Bonaparte and to Louis Napoleon about the
pardoning of several democrats are in exquisite taste; the genius
of a great heart appears in them. Allow me to beg for the little
account of the books that you have been so kind as to send me,
dear Madame Tardieu, and please add to it the price of the
subscription to the Bien public. I suppose you only took it for
one quarter, and I will not go on with it, not having time to
read half the papers which my profession and my tastes would lead
me to peruse. Besides this my eyes, without having exactly
anything the matter with them, do not any longer adapt themselves
either to reading or writing without reprieve; and by evening I
often feel extremely tired...
Has the Independance Belge spoken of a most interesting and
superb volume,
"The Correspondence and Musical Works of Constantin Huygens"
(17th century), published by Jonckbloet and Land, professors at
the University of Leyden, magnificently edited by Brill at
Leyden?
The work is worthy of notice.
To the kind remarks which the Indpendance has inserted on the
concert of the 23rd October with the Liszt programme, [A Liszt-
concert in the Weimar theater in celebration of his birthday.] I
add the observation that the real title of my "Transcription" of
the "Rakoczy March" should be--"Paraphrase symphonique." It has
more than double the number of pages of Berlioz's well-known one,
and was written before his. From delicacy of feeling for my
illustrious friend I delayed the publication of it until after
his death; for he had dedicated to me his orchestral version of
the Rakoczy, for which, however, one of my previous
transcriptions served him, chiefly for the harmonisation, which
differs, as is well known, from the rudimentary chords usually
employed in the performances of the Tsiganes and other little
orchestras on the same lines. Without any vanity I simply
intimate the fact, which any musician can verify for himself.
At last I have just written to my most honored and more than
obliging collaborator, Mr. Lagye. His excellent French
translation of my four Psalms is being engraved. As soon as it is
out you shall have it.
In about ten days I shall join the Wagners, and shall spend more
than a month with them at the Palazzo Vendramin, Venice.
Cordial regards to your husband, from your
Very grateful and affectionate
F. Liszt
The director of the subscription concerts at Weimar is going to
give Benoit's "La Guerre," and at the next Musical Festival
Benoit's "Sanctus" and "Benedictus" will be heard. [Both these
intentions of Liszt came to nothing, owing to external causes.]
312. To the Editor of the "Allgemeine Musikzeitung," Otto
Lessmann, at Charlottenburg
Dear Mr. Editor,
As I am very much hindered in my work by overmuch sending of
scores, other compositions, and suchlike writings, I beg you to
make it known that I wish in future not to have my attention
claimed in this manner. I have modestly refrained for many years
past from contributing to collections of autographs.
Yours truly,
F. Liszt
Weimar, November, 1882
313. To Adelheid Von Schorn
Monday, November 20th, 1882
Venezia la bella: Palazzo Vendramin.
Dear Friend,
I don't intend you to hear first through others of my safe
arrival here. Thank Heaven! the Wagners and all the family are in
perfect health.
Your brother will write you word from Nuremberg that the method
of whist, so to say invented and certainly perfected by you, is
being spread on to the Durerplatz also under your name at L.
Ramann's. To get rid of all the aces first of all is really
glorious.
With the exception of one incident, which stricter people than
myself would call a regular fleecing on the part of the Custom
House at Milan, whereby I parted with about 70 francs as a fine
for having brought 50 cigars (!), all my journey passed off very
well. At Zurich I met with the same kind reception on the part of
several members of the Committee--with the President of the town,
Mr. Roemer, at their head--as at the Musical Festival last July.
The proprietor of the Bellevue Hotel, Mr. Pohl (no relation to
his namesake at Baden), insisted on my accepting gratis a
charming room, with dinners, suppers and excellent wines. Such
munificence would have given a fit of fever to the late Hemleb of
the Erbprinz, and his associates will scarcely imitate Mr. Pohl's
amiable proceeding. So I will beg you to recommend the very
comfortable Hotel Bellevue, in the front ranks, to any of your
friends and acquaintances who may pass through Zurich. Without
promising that they will be received gratis, I can assure them
that they will find the beautiful view on to the lake, good
rooms, an excellent cuisine, and attentive service. The Duke of
Altenburg and other princes have stayed in it, and inscribed
their names in the hotel album.
Your friend Ada Pinelli is still here with the Princess Hatzfeld,
at Palazzo Malipieri. I shall go and see her tomorrow. I shall,
however, practise great sobriety in the matter of visits. Wagner
does not pay any, and I shall imitate him on this point to the
best of my ability. My illustrious friend has lodged me
splendidly in a spacious apartment of the Palazzo Vendramin,
which formerly belonged to Madame la Duchesse de Berry. Her son,
the Duke della Grazia, is at present the owner of it, and Wagner
is the tenant for one year. The beautiful furniture still bears
the impress of the old princely regime, and is perfectly
preserved. The main inhabited part of the Palazzo Vendramin is in
the best possible condition, so that Wagner did not have to go to
any special expense, not even for stoves and other requisites,
which are often neglected.
Ever since my first stay in 1837 I have been enamoured of Venice:
this feeling will not grow less this time, but quite the
contrary.
Cordial and very devoted friendship.
F. Liszt
Try to learn something about Bulow, and send me word. It was
heart-breaking to me not to see him again at Meiningen.
314. To Freiherr Hans Von Wolzogen
My Dear Freiherr,
.--. Wagner is perfectly within the truth when he says that
without the extraordinary munificence of H.M. the King of Bavaria
the performances of "Parsifal" at Bayreuth would have been
endangered, and only the sympathy of the public, outside the
Wagner Societies, made the continuance of them possible. But does
it follow from this that the Wagner Societies are useless, and
that this is the opportunity for disbanding them? To my thinking,
No, for they keep up a wholesome agitation, and support the
"Bayreuther Blatter," which essentially promote the good cause.
There does not seem to me to be any advantage in changing the
name Society [Verein] into Fellowship [Genossenschaft]. Wagner's
great name and most important personality are what are most
needed here. Moreover the parliamentariness of the Societies will
not be averse to the absolute authority of the creator of so many
immortal works. In merely minor matters variety of opinions may
be made apparent; in all essentials we are really and truly one.
On this account I desire the continuance, consistency, and
increasing welfare of the Societies.--
It goes without saying that Wagner must reign and govern as
legitimate monarch, until the complete outward realization of his
Bayreuth conception--namely, the model performance of his entire
works, under his own aegis and directions at Bayreuth. It behoves
all who sympathise in the historico-civilised culture of Art in
the coming years of the closing 19th century to endeavor to
promote this aim.
When we have attained the end in question let us sing with
Schiller and Beethoven,
"Freude, schoner Gotterfunken!" ["Joy, thou spark from heaven
descending!"]
Accept, dear Freiherr, the assurance of my true and high esteem.
F. Liszt
Venezia, November 24th, 1882
Pray remember me most kindly to your family.
3l5. To Franz Servais
Dear Franz,
Your welcome lines reached me at Weimar and I thank you cordially
for them...
I tell you again, dear Franz, that you were "born with a silver
spoon in your mouth;" after the hearing of your Opera with the
piano the success of a performance will follow.--Don't get
impatient at a little delay; the most illustrious composers,
including Meyerbeer, could not say, like Louis XIV., "J'ai failli
attendre." ["I nearly had to wait."]...But I hope that the saying
"Tout vient a point, a qui sait attendre" ["All comes to him who
can wait."] will be realised in your case without much delay.
Good courage then and Mistress Patience.
Will you remember me very affectionately to Godebski; his
graceful bust, so perfect in its likeness to the never-to-be-
forgotten Madame Moukhanoff, is ever the precious ornament of my
little salon at the "Hofgartnerei" in Weimar.
The large bust of Rossini which Godebski presented to the Grand
Duke ornaments the lobby of the theater, where it blooms like a
god from Olympus. Tell me what works Godebski has been doing
lately.
When next you see Madame Judith Gautier, please express to her
anew the admiring homage of your very faithful
F. Liszt
Venezia, November 26th, 1882
P.S.--Our friends * * * might, I think, do you good service with
M. Vaucorbeil, and could tell him also, as a "by the way," that I
take a lively interest in your work. Would you perhaps think it
advisable to let some fragment of it be given at a public
concert? I am remaining here till New Year's Day with the
Wagners, at the superb Palazzo Vendramin; then I shall return
direct to Budapest.
316. To Adelheid von Schorn
Venezia, December 8th, 1882
Dear Friend,
Your sad news about Bulow's bad state of health are much the same
as his wife gave to Daniela. Let us hope for more reassuring
news!
Here, in Palazzo Vendramin, a peaceful and most united family
life goes on without monotony. But I cannot speak of the things
which touch me most, except clumsily. So it is better to keep
from doing so. The Princess writes to me from Rome that she shall
be delighted to obtain possession of the two water-colors of
Gleichen for the splendid portfolios of drawings belonging to her
daughter, of which the mother, since the years at Weimar, has
regally provided the greater part. These portfolios are among the
finest collections in Europe.
Joukowski [Widely known by his "Parsafal" sketches and the
portraits of Liszt and of Wagner's family], who has been delayed
by a funeral and by the floods, will arrive here today. Neither
funerals nor floods have been able to prevent Lassen from scoring
our Symphonic Intermezzo "Uber allen Zauber Liebe" ["Above all
magic Love"]. I hope Lassen will conduct it at the Court concert
on New Year's Day, and I beg you to go and hear it and let me
know about it. .--.
I beg Gille to send me the volume "Die deutsche Buhne von einem
Weimaraner" ["The German stage, by a Weimarer"]. Do you know who
it is? According to the index he seems to ignore the doings of
the Weimar theater during the last thirty years, which is not
very honorable to a Weimarer, and looks very like a cowardly
action of a low standard.
Your cordially devoted
F. Liszt
Saturday Morning, December 9th
Joukowski arrived last night, and we began at once to sound your
praises.
Daniela has written to you. I will send you the programme of the
performance of Goethe's "Geschwister" ["Brothers and Sisters"],
which will take place tomorrow at Princess Hatzfeld's. Those old
books of operas, such as "Les Indes galantes" ["The gallant
Indies"], and other antiquities, re-edited in Paris, may
peaceably repose at the "Hofgartnerei;" unless you prefer to lend
them to some one who likes works of that kind, which are sought
by some.
317. To Professor Carl Riedel
Dear Friend,
Draseke's "Requiem" is such a first-rate work, and is so likely
to obtain a good reception from the public, that I again
recommend the performance of it at the next Tonkunstler-
Versammlung. Draseke will presumably also agree to it in the end.
Gustav Weber's Trio, Op. 5, published by Siegel, and dedicated to
me, I consider an eminent work, worthy of recommendation and
performance. I am sure you think the same.
I should like to add to the vocal programme of the Tonkunstler-
Versammlung two songs by your name-sake Riedel, now
Hofkapellmeister in Brunswick. [Hermann Riedel, born 1847, made a
special success with songs from Scheffel's "Trompeter von
Sakkingen."] If they should be ascribed to you they will please
you all the better for that. And a propos, why do you let your
valuable, excellent works be so seldom heard in public? I shall
reproach you further with this injustice to yourself when we come
to talk over the programme, and I hope that you won't continue to
overdo your reserve as a composer. Without pushing one's-self
forward one must still maintain one's position, to which you,
dear friend, are fully entitled. Will you be so kind as to tell
Hartel to send me here quickly 25 sheets of to line, and 25
sheets of 12 line music paper (oblong shape, not square) for
cash, together with a few of the small books of samples,
containing all kinds of music paper, which I have recommended
several musical friends of mine here and elsewhere to buy. One
can rub out easily on this paper, which is one of the most
important things--that is to say, unless one tears up the whole
manuscript, which would often be advisable.
A happy Christmas, and a brave New Year '83.
Ever your faithfully attached
F. Liszt
Venezia, Palazzo Vendramin, December 9th, 1882
318. To Arthur Meyer in Paris, Presidet of the "Presse
Parisienne"
[Copied in the Gazette de Hongrie at Budapest, February 1st,
1883]
Monsieur le Directeur,
My telegram of this morning expressed to you my excuses and deep
regret at being unable to be of use in the programme of your
Festival. [Liszt had been asked to take part in a Festival which
was given at the Grand Opera for the benefit of the sufferers
from the inundations in Alsace-Lorraine. "The Dame of Liszt in
France," they wrote, "is synonymous with triumph, and we know
that it is also synonymous with kindness."]
It would certainly be an honor to me to take part in it, and I am
by no means oblivious of the gratitude I owe to Paris, where my
youthful years were passed. Moreover it would be, it seems to me,
a becoming thing that, after the generous and striking sympathy
shown by Paris--also by a festival at the Grand Opera--to my
compatriots on the occasion of the inundation of Szeged, an
artist from Hungary, who has been favored by so much French
kindness, should make his public acknowledgments at your
approaching grand performance.
Unfortunately my age of 72 years invalidates me as a pianist. I
could no longer risk in public my ten fingers--which have been
out of practice for years--without incurring just censure. There
is no doubt on this point; and I am perfectly resolved to abstain
from any exhibition of my old age at the piano in any country.
Please accept, Monsieur le Directeur, my thanks and best
compliments.
F. Liszt
Budapest, January 28th, 1883
319. To the Composer Albert Fuchs
Your "Hungarian Suite" [For Orchestra, dedicated to Liszt] is an
excellent and effective work. While springing from the musical
ground of Hungary, it nevertheless remains your own property, as
there are no imitations or used-up ornamentations in it, but
rather much new employment of harmonies, and always a national
coloring. For the dedication you are heartily thanked by
F. Liszt
Budapest, February 4th, 1883
320. To Saissy, Editor of the "Gazette de Hongrie in Budapest
[From a rough copy in the possession of Herr O. A. Schulz,
bookseller in Leipzig.]
I come to ask your advice, dear Monsieur Saissy; please give it
me quite frankly, without any reserve, and tell me whether you
think it is an opportune moment for my letter (which I enclose),
relative to my pretended animadversion against the Israelites, to
be published or not. If you think it is, I beg you to insert it
in the next number of the Gazette de Hongrie; otherwise it shall
remain unprinted, as I shall not send it to any other paper.
As the proverb says, "Silence is gold"; but perhaps, under the
given circumstances, in view of the serious question of the
Israelites in Hungary, it would be better to speak in the current
silver money in the papers.
Let us rectify errors, and remain modest but not timid. In
faithful devotion,
F. Liszt
Budapest, February 6th, 1883
321. To The Editor of the "Gazette de Hongrie"
[Published in the Gazette de Hongrie of February 8th, 1883,
Budapest. A translation of it also appeared in German papers;
amongst others, in Lessmann's Allgemeine Musikzeituug, at the
wish of the Master, who was annoyed with the aspersion against
himself of having promoted the Antisemitic movement.]
Mr. Editor,
It is not without regret that I address these lines to you; but,
as there has been some report spread here about my pretended
hostility to the Israelites, I ought to rectify the mistake of
this false report.
As is well known in the musical world, many illustrious
Israelites, Meyerbeer first and foremost, have given me their
esteem and friendship, and the same in the literary world with
Heine and others.
It seems to me that it would be superfluous to enumerate the many
proofs I have given, during fifty years, of my active loyalty
towards Israelites of talent and capacity, and I abstain in like
manner from speaking of my voluntary contributions to the
charitable institutions of Judaism in various countries.
The motto of my patron saint, St. Francois de Paule, is
"Caritas!" I will remain faithful to this throughout my life!
If, by some mutilated quotations from my book on the Gipsies in
Hungary, it has been sought to pick a quarrel with me, and to
make what is called in French une querelle d'Allemand, I can in
all good conscience affirm that I feel myself to be guiltless of
any other misdeed than that of having feebly reproduced the
argument of the kingdom of Jerusalem, set forth by Disraeli (Lord
Beaconsfield), George Eliot (Mrs. Lewes), and Cremieux, three
Israelites of high degree.
Accept, Sir, etc.,
F. Liszt
February 6th, 1883
322. To Rich and Mason in Toronto
[From a rough copy in the possession of Herr O. A. Schulz,
bookseller in Leipzig]
[1883]
Dear Sirs,
The Rich and Mason Grand Piano which you have so kindly sent me
here is a pattern one. And as such will artists, judges, and the
public recognise it.
Together with my hearty thanks I wanted at the same time to send
you the Liszt portrait for which you wished. It was painted by
Baron Joukowski, son of the highly honored tutor and friend of
Alexander II., a man who will also be ever famous in Russian
literature. Now, however, this Liszt portrait has been such a
success that they wanted to have a second one like it for the
Joukowski Museum. The painter kindly consented to the request,
which has necessitated a delay of 2 to 3 months in my sending off
the first portrait to Toronto.
Joukowski had also prepared the sketches for the "Parsifal"
scenery in Bayreuth, which were followed by a successful
performance.
Excuse, dear Sirs, the delay in my acknowledgments, and accept
the assurance of my high esteem.
F. Liszt
323. To Madame Marie Jaell in Vienna
[Autograph in possession of Herr Commerzienrath Bosendorfer in
Vienna.--The addressee was the widow of Alfred Jaell, and was a
pianiste and composer in Paris.]
Chere Admirable [Dear Admirable One],
I give you at once a most cordial welcome to Budapest. Have you
already made your arrangements for concerts here? Can my very
excellent friend Bosendorfer be of use to you as an agent? To my
regret I am not in a position to help you in that, on account of
my being so very decidedly out of touch with the principal
concert arrangers of the neighborhood, who impertinently make a
pitiable trade for the benefit of Art...the art of their own
pocket and predominance.
To our right speedy meeting! Will you let me make acquaintance
with your new compositions, and accept the homage of my admiring
sympathy and affection?
F. Liszt
Budapest, February 12th, 1883
Have you had anything to do with a serious and really
distinguished composer,--Rendano? He is giving his concert in
Vienna one of these next days.
324. To Adelheid Von Schorn
If you were here, dear friend, you would perhaps find means to
put into some sort of order the hundreds of letters that rain
upon me from everywhere. These bothers and burdens of the
amiability with which I am credited are becoming insupportable,
and I really long, some fine day, to cry from the housetops that
I beg the public to consider me as one of the most disagreeable,
whimsical and disobliging of men.
To our cordial meeting at Weimar in the early days of April.
Ever your very affectionate and grateful
F. Liszt
Budapest, February 14th, 1883
325. To Otto Lessmann
Your sad news [After Wagner's death on the 13th February] pierces
my heart. Worthily have you said of the great, undying hero of
Art, "May the memory of him lead us on the right road to truth!"
I abstained from going at once to Venice and Bayreuth, but no
sensible man will on that account doubt my feelings. Until
Passion Week I remain here; then according to what my daughter
arranges I shall either go to Bayreuth or elsewhere, wherever my
dearly beloved daughter may be.
Hearty thanks, dear friend, for your satisfactory, truthful
adjustment of my position, which is neither a doubtful nor a
cowardly one, in the Jewish question.
The watchword and solution of that question is a matter for the
perseverance of the Israelites and for the all-ruling Divine
Providence.
Yours faithfully and gratefully,
F. Liszt
Budapest, February 18th, 1883
I shall send that number of your weekly paper (16th February) to
Cardinal Haynald, my gracious patron of many years' standing--who
was also the President of the Liszt-Jubilee Festival in Budapest.
326. To Lina Ramann
My very dear Friend,
Ever since the days of my youth I have considered dying much
simpler than living. Even if often there is fearful and
protracted suffering before death, yet is death nonetheless the
deliverance from our involuntary yoke of existence.
Religion assuages this yoke, yet our heart bleeds under it
continually!--
"Sursum corda!"
In my "Requiem" (for men's voices) I endeavored to give
expression to the mild, redeeming character of death. It is shown
in the "Dies irae," in which the domination of fear could not be
avoided; in the three-part strophe
"Qui Mariam absolvisti,
Et latronem exaudisti,
Mihi autem spem dedisti"
lies the fervent, tender accent, which is not easily attained by
ordinary singers...The execution is also made more difficult by
the 2 semitones, ascending in the 1st Tenor, and descending in
the 2nd Tenor and 1st Bass. Progressions of this kind are indeed
not new, but singers so seldom possess the requisite crystal-
clear intonation without which the unhappy composer comes to
grief.
Our 3rd Elegie, "The funeral gondola" ("la gondola funebre"),
written unawares last December in Venice, is to be brought out
this summer by Kahnt, who has already published my 2 earlier
Elegies.
Heartfelt greetings to your respected collaborators, and ever
yours gratefully,
F. Liszt
Budapest, February 22nd, 1883
327. To Madame Malwine Tardieu
Dear Benevolent One,
To great grief silence is best suited. I will be silent on
Wagner, the prototype of an initiatory genius.
Thank you cordially for your telegram of yesterday. [On the
success of Saint-Saens' Opera "Henry VIII." at the opera in
Paris] No one rejoices more than I in the success of Saint-Saens.
There is no doubt that he deserves it; but fortune, grand
sovereign of doubtful manners, is often in no hurry to array
herself on the side of merit.
One has to keep on tenaciously pulling her by the ear (as Saint-
Saens has done) to make her listen to reason.
Be so good as to send me the number of the Independance with the
article on "Henry VIII." I will ask M. Saissy, the director of
the Gazette (French) de Hongrie, professor of French literature
at the University of Budapest, to reproduce this article in his
Gazette. Saissy is one of my friends; consequently he will
publish what is favorable to "Henry VIII."
Saint-Saens has sent me the score of his beautiful work "La Lyre
et la Harpe." Alas! everything that is not of the theater and
does not belong to the repertoire of the old classical masters
Handel, Bach, Palestrina, etc., does not yet gain any attentive
and paying consideration--the decisive criterion--of the public.
Berlioz, during his lifetime, furnished the proof of this.
Please give my love to your husband, and accept my devoted and
grateful affection.
F. Liszt
Budapest, March 6th, 1883
With regard to Lagye, I am contrite. Various things which I had
to send off with care have prevented me from going on with the
revision of the French edition of my Lieder. It shall be done
next month.
328. To Ferdinand Taborszky, Music Publisher in Budapest
Dear Taborszky,
As it is uncertain whether I shall still be alive next year, I
have just written an Hungarian "Konigslied" [Royal Song]
according to an old mode, for the opening of the New Hungarian
Theater in Radialstrasse.
Herewith is the manuscript for pianoforte, two hands, and the
score with text by Kornel Abranyi [German translation by
Ladislaus Neugebauer] will follow in Easter week.
The publishing of my "Konigslied" ought not to take place till
the first performance in the new theater in '84,
Until then we will keep quiet about it.--
Yours in all friendship,
F. Liszt
Budapest, March 11th, 1883
329. To Baroness M. E. Schwartz
[Autograph in the Liszt Museum at Weimar]
Budapest, March 22nd, 1883
Dear and most excellent One,
[Chere excellentissime]
It is really extraordinary that after so many years of constant
practice in works of mercy you are not ruined. Your life seems to
me one vast symphony of generosity, munificence, charities, gifts
and attentions as delicate as they are costly. To begin with,
there are Garibaldi and his people, and to continue indefinitely
there are those poor German fellows, ill at Rome, and buried
there at your expense; and then the fighting Cretans, the infirm
people in your hospital at Jena, the societies for the protection
of animals, etc., etc.
I admire you and bow before your perpetual kindnesses and
goodness,--all the more because you exercise them unobtrusively,
as it were in the shade, without any flourish of trumpets and
drums.
Do not scold me for having divided the gift you confided to me
for the sufferers from the inundations at Raab. 300 florins were
amply sufficient for them, and the other 300 florins of your 50
pounds sterling were well employed for the children's gardens (an
admirable institution of Frobel's), of which Madame Tisza, the
wife of the President of Council of the Ministers of Hungary, is
the president in this country.
I send you herewith Madame Tisza's thanks (in Hungarian, with a
German translation), and the receipt of Count Thun,--supreme
Count (an ancient title still preserved,--"Obergespan" in German)
of the Committee of Raab.
I preferred to send your gift in the name of Madame E. de
Schwartz, and not to mix up your nom de plume of Elpis Melena
with it. Pardon me this innocent bit of arbitrariness.
Shall I see you again, my very dear friend, this summer at
Weimar? I hope so, and I remain sempper ubique
Your grateful and attached
F. Liszt
From the middle of April until August I shall stay at Weimar,
with the exception of some excursions of a few days' duration.
Please let me know a couple of weeks beforehand when your
friendly visit will take place.
330. To Baroness Wrangel in St. Petersburg
[This lady had begged Liszt for a contribution to an album which
it was intended to present to Henselt on the occasion of a
festival in honor of his having been 25 years General Music
Inspector of the Imperial Schools in St. Petersburg, Moscow, etc.
This is Liszt's answer.]
Madame la Baronne,
For thirty years past I have entirely abstained from adding to
collections of autographs and of writing my name in any albums
whatever. Nevertheless I willingly make an exception today, while
thanking you for your kind words, and begging you to transmit to
my honored friend A. Henselt the short copy enclosed herewith.
A renowned diplomatist once said to me, "To princes one should
offer only flowers gathered from their own gardens."
Henselt belongs to the princes, and will accept the souvenir of
one of the most beautiful flowers of his own noble gardening.
Very humble respects.
F. Liszt
Weimar, May 20th, 1883
[Liszt adds a postscript to this letter where he writes a musical
score excerpt of the Larghetto form Henselt's Concerto:]
"Albumblatt" for Henselt.
Motive of the wonderful Larghetto in A. Henselt's Concerto.
Larghetto.
[Here, Liszt illustrates with a musical score excerpt of the main
theme of the Larghetto.]
For 40 years the composer's admiring and truly attached
Weimar, May, 1883
F. Liszt
331. To Mason and Hamlin in Boston
[Printed in Gottschalg's "Urania"]
My dear Sirs,
For what a magnificent Organ I have to thank your kindness! It is
worthy of all praise and admiration! Even average players could
attain much success on it.--I should gladly have kept this
splendid instrument in my own house, but, alas! there is not
sufficient room for it. It is now looking grand in the large room
of the Orchestral School here, an institution of importance, the
excellent director of which is Herr Professor and
Hofcapellmeister K. Mueller-Hartung--he has published some
beautiful Organ Sonatas and plays them no less beautifully.--On
the evening of its opening two renowned organists played upon it,
the Court organist A. W. Gottschalg (the publisher of the
considerable Organ repertoire, etc., etc.), and the town organist
B. Sulze, who has attained a great name through many valuable
compositions and transcriptions.--I shall probably have a visit
this summer from Prof. Dr. Naumann from Jena, Walter Bache from
London, and Saint-Saens from Paris, who, according to my opinion,
continues to be the most eminent and extraordinary king of
organists. I shall not fail to beg the three above-mentioned
virtuosi to make a closer acquaintance with your organ. For the
rest it shall not be misused and shall remain closed to ordinary
players.
Accept, etc.,
F. Liszt
Weimar, June 12th, 1883
332. To Madame Malwine Tardieu
Chere Bienveillante,
Thank you for the very agreeable news of the resumption and
continuation of the performances of "Henry VIII." No one wishes
Saint-Saens, more than I do, all the success that he grandly
deserves, both in the theater and in concerts.
In the matter of concerts, those of the Meiningen orchestra,
under Bulow's conductorship, are astonishing, and very
instructive for the due comprehension of the works and the
rendering of them. I send you a copy of some lines written to a
friend; these will give you my impression,--one which you would
share if you heard these concerts of the highest artistic
lineage.--The parallel between the "Sigurd" of Reyer [Performed
for the first time on 7th January, 1884, at the Theater de la
Monnaie, Brussels.] and the "Siegfried" of Wagner is ingeniously
traced by your husband, and renders good preparatory service to
the success of the performances of "Sigurd." As to the
"Nibelungen" tetralogy of Wagner--it shines with an immortal
glory. In the course of the winter season the Weimar theater will
give Gevaert's "Quentin Durward." Lassen will take the utmost
pains in directing the study and performance of it. To my regret
I shall not be able to be present at the premiere here, as I am
obliged to be at Budapest before the middle of January.
Please give Tardieu the cordial love of
Your much attached
F. Liszt
Weimar, December 14th, 1883
Yet another young pianist, but one of the best kind,--M. Siloti,
a Russian by birth, and of good education. He was said to be the
best pupil of Nicholas Rubinstein before he came to work with me.
He obtained a marked success at Leipzig lately, which he will
continue next week at Antwerp. In spite of my aversion to letters
of introduction, I am giving him a couple of words for the
Lynens, and I recommend him to your kind attention.
333. To Casar Cui
Very Honored Friend,
It is well known in various countries in what high esteem I hold
your works. As I am convinced that the "Suite" of which you speak
will prove itself worthy of your preceding compositions, I feel
that I am honored by the dedication, and thank you for it with
gratitude. Your musical style is raised far above ordinary
phraseology; you do not cultivate the convenient and barren field
of the commonplace...Doubtless form in Art is necessary to the
expression of ideas and sentiments; it must be adequate, supple,
free, now energetic, now graceful, delicate; sometimes even
subtle and complex, but always to the exclusion of the ancient
remains of decrepit formalism.
At Meiningen, where Bulow's admirable conducting is working
wonders of rhythm and nuances with the orchestra, I lately had
the honor of a conversation with the Grand Duke Constantine
Constantinowitch, on the actual development of music in Russia
and of the well-known capacity of its courageous promoters. His
Imperial Highness justly appreciates their serious worth, their
noble character and intense originality; consequently, dear
Monsieur Cui, the Grand Duke accords full praise to your talents
and deserts. I take pleasure in repeating this to you, at the
same time renewing to you the assurance of my very sincere
regard.
F. Liszt
Weimar, December 30th, 1883
A young Russian pianist, M. Siloti, who has been brought to a
high state of virtuosity by the lessons and example of Nicholas
Rubinstein, is now gaining a real success in Germany. When he
comes to Petersburg I recommend him to your kindness.
334. To Otto Lessmann
Weimar, January l0th, 1884
Dear Friend,
The remarkable concerts of the Meiningen Court orchestra led me
to the attempt to write a "Bulow March." I send you herewith a
Preface to this, and also an article (in French), in the form of
a letter, on my impressions in Meiningen. Will you insert both
these in your paper? Also kindly translate the French letter.
[It follows here after the Preface in the original. A German
translation of it appeared in Lessmann's Allgemeine Musikzeitung
on the 18th January, 1884, under the title of "Letter to a
friend."]
Faithfully yours,
F. Liszt
I shall stay ten days to a fortnight longer in Weimar on account
of the severe illness of Achilles [Liszt's servant].
Preface to the Bulow March:
For thirty years Hans von Bulow has been expressing and actively
furthering everything that is noble, right, high-minded and free-
minded in the regions of creative Art. As virtuoso, teacher,
conductor, commentator, propagandist--indeed even sometimes as a
humorous journalist--Bulow remains the Chief of musical progress,
with the initiative born in and belonging to him by the grace of
God, with an impassioned perseverance, incessantly striving
heroically after the Ideal, and attaining the utmost possible.
His conducting of the Meiningen Court orchestra is a fresh proof
of this. To that same orchestra this "Bulow March" is dedicated
in high esteem for their model symphonic performances, by
F. Liszt
Weimar, January, 1884
Meiningen, December, 1883
At seven o'clock people were at the rehearsal of the Beethoven
concert. Under Bulow's conducting the Meiningen orchestra
accomplishes wonders. Nowhere is there to be found such
intelligence in different works; precision in the performance
with the most correct and subtle rhythmic and dynamic nuances.
The fact of the opera having been abolished at Meiningen by the
Duke some twenty years ago is most favorable to the concerts. In
this way the orchestra has time to have a fair number of partial
and full rehearsals without too much fatigue, as the opera work
has been done away with. Bulow is almost as lavish of rehearsals
as Berlioz would have been if he had had the means to be...The
result is admirable and in certain respects matchless, not
excepting the Paris Conservatoire and other celebrated concert-
institutions. The little Meiningen phalanx, thanks to its present
General, is in advance of the largest battalions. It is said that
Rubinstein and some others have expressed themselves
disapprovingly about some of the unusual tempi and nuances of
Bulow, but to my thinking their criticism is devoid of
foundation...
Besides the programme of the Beethoven concert, in the morning
there was an extra seance of the orchestra for the performance of
the Overtures to "King Lear" (Berlioz) and to the
"Meistersinger," my march "Vom Fels zum Meer," the "Ideales," and
Brahms' Variations on a theme of Haydn. Always the same and
complete understanding in the ensemble and the details of the
scores,--the same vigor, energy, refinement, accuracy, relief,
vitality and superior characteristics in the interpretation.
An extraordinary thing! the most difficult Quartet of Beethoven,
one which on account of its complications never figures on any
programme, the grand fugue, Op. 133, is played by the Meiningen
orchestra with a perfect ensemble. On a previous occasion I also
heard at Meiningen Bach's celebrated Chaconne played in unison
with a real virtuosity by some ten violins.
F. Liszt
335. To Felix Mottl, Hofcapellmeister at Carlsruhe
[The addressee, born in 1856, has been since 1880 at Carlsruhe,
where he was recently appointed to the post of Court opera
conductor, and since 1886 one of the conductors of the Bayreuth
Festivals. He is one of the most important conductors of the
present day, and has also come forward as a composer.]
My Very Dear Friend,
You have done a noble artistic deed in reinstating Cornelius's
charming Opera "The Barber of Bagdad." I hardly know of any other
comic opera of so much refined humor and spirit. This champagne
has the real sparkle and great worth.
The one-act arrangement seems to me the most propitious. As in
Carlsruhe so elsewhere it will make its way. Write about this to
Hans Richter. "The Barber of Bagdad" might perhaps, in one act,
become a stock-opera in Vienna, and then return once more to
Weimar, where, at the first performance long ago, they behaved so
ill about it.
Friendly thanks, and yours ever,
F. Liszt
Budapest, February 8th, 1884
336. To Frau Hofrathin Henriette von Liszt
My Very Dear Cousin,
This time I was not able to have a thorough rest in Vienna. Such
an extra [luxury] is hardly my lot anywhere. My life is one
continued fatigue. Some one once asked the celebrated Catholic
champion Arnauld (the Jansenist) why he did not allow himself
some rest. "We have eternity for that," answered he.
I hear for the first time through you of a cousin or niece, Mary
Liszt, a concert giver. Concert givers have frequently misused
our name by playing under it in provincial towns. A pianist in
Constantinople, Herr Listmann, apologised to me for having
knocked off the second syllable of his name. On this account he
received a valuable present from the then Sultan Abdul Medgid. .-
-.
Farewell till our next meeting in Easter week, dear cousin, from
yours ever affectionately,
F. Liszt
Budapest, February 8th, 1884
One, and even two, letters from the Princess in the month of
January have been lost.
337. To Camille Saint-Saens.
Very Dear and Most Excellent Friend,
Before I received your kind letter I had intimated to Baron
Podmaniczki, the Intendant of the theater of Budapest, that he
ought to esteem it an honor to give your Henry VIII.--a frightful
personage in history, but brilliantly illustrated by your
beautiful music [an Opera by Saint-Satins]. The inauguration of
the new theater will take place at the end of September with the
St. Etienne, a new Opera by Erkel, the popular dramatic composer
par excellence in Hungary. His Huvtyadi Laszlo was performed 250
times, and his "Bankban" more than 100, without ever over-
reaching the mark. Two other works are promised after the St.
Etienne, so that your Henry VIII. cannot appear till '85, for it
still has to be translated into Hungarian.
I spoke about it in Vienna to his Excellency Baron Hoffmann, the
Intendant of the Imperial Theaters. He told me that your work is
going to be given shortly at Prague, and that he will send his
own conductor, M. Jahn, there, in order that it may be better
looked after. I beg that you will send the piano score of Henry
VIII. at once to M. le directeur Jahn (very influential), with a
few polite lines; also to do the same to M. Erkel Sandor (son of
the composer), conductor of the National Opera of Budapest.
Address to him "Theater National," Budapest.
Very much vexed to be unable to make a place for one of your
grand works--such as your superb Mass or some Poeme symphonique--
in the programme of our next Tonkunstler-Versammlung at Weimar
from the 23rd to the 28th May. Sauret is going to play your third
Concerto, and I will send you this overloaded programme. If you
came to hear it, it would be a very great pleasure to
Your admiringly and cordially attached
F. Liszt
Weimar, April 29th, 1884
338. To Otto Lessmann
[Weimar,] May 7th, 1884
Dear Friend,
The motto of my Oratorio "Stanislaus" is "Religion and
Fatherland." In the fragment (Orchestral Interlude) which will be
given here at the next Tonkunstler-Versammlung the whole meaning
of the work is made plain. [This remained unfinished, as is well
known.]
Farewell till our speedy meeting.
Ever faithfully yours,
F. Liszt
339. To Camille Saint-Saens
Very dear Friend and Confrere,
I refused to suspect that there could be any ill-will against you
at Budapest. Nevertheless I think it is strange and most unjust
that your dramatic and symphonic works have not yet taken the
place which is due to them in Hungary. I have explained myself
clearly about them several times, but the theater menage, and
even that of the Philharmonic Concerts, is formed outside of my
influence. They are quite ready to accord me a general
consideration, with the exception of arranging particular cases
otherwise than I wished. For many people doubtful profits and
manoeuvres contrary to their dignity exercise an irresistible
attraction. The idea of honor seems to them too troublesome.
I shall not desist in the least from my conscientious propaganda
of your 'Henry VIII' and other of your works. The new theater at
Budapest will open (at the end of September) with the 'Roi St.
Etienne', [King Stephen] a grand Hungarian Opera by Erkel
(senior). After that Baron Podmaniczky, the Intendant, has
promised to give a new Opera by Goldmark, also Hungarian in
subject, and another by Delibes. The "Henry VIII." should appear
somewhere between these three. Its performance at Prague will
determine that at Vienna, which will be soon, I hope. His
Excellency Baron Hoffmann, the Intendant of the Imperial Theaters
in Vienna, told me that he would send his artistic and musical
conductor (at the Opera), M. Jahn, to Prague. It depends on the
opinion of this person whether "Henry VIII." is given at Vienna.
When you come again to Weimar you are sure to be received there
with sympathy, gratitude and sincere admiration by your old
attached friend,
F. Liszt
Weimar, May 18th, 1884
Thanks for the photograph. You will find it well placed here near
a charming bust. The Court and town of Weimar keep their
affectionate and kind sentiments towards you.
340. To Walter Bache
Dear honored Friend,
I am very gladly in accord with all your doings, and only protest
against the sacrifice you have in the noblest manner made for my
severely criticised works.
The English edition of the "Elizabeth Legend" with your sister's
translation delights me.
Tell Mr. Alfred Littleton he can send me the proof-sheets (bound)
of the piano edition, and the score, to Weimar. Along with this
the 4 four-hand pieces (published by Kahnt) might also be
published. Would it be well perhaps to begin with these? Arrange
about this as you like with Mr. Littleton. I have only to correct
the proofs, which will quickly follow.
If you think it would do, I shall also add to the English edition
a little Preface, in the form of a letter--addressed to Walter
Bache.
By the same post today I send you the complete enormous programme
of the Tonkunstler-Versammlung (going through 25 years). This
evening they begin with the acting performance of the "Elizabeth
Legend."
Auf Wiedersehen! [To our next meeting!]
I shall stay at Bayreuth from July 5th till the middle of August,
and then come back to Weimar.
Faithfully and gratefully,
F. Liszt
Weimar, May 23rd, 1884
I have told Kahnt all that concerns himself in your letter.
341. To the Composer Carl Navratil in Prague
Dear Herr Navtatil,
I write in haste to tell you that Smetana's [Bohemian composer
and pianist (1824-84).] death has moved me deeply. He was a
genius. More in my next. In haste.
F. Liszt
Weimar, May 30th, 1884
342. To Baron Friedrich Podmaniczky, Intendant of the Hungarian
Opera in Budapest
[From a rough copy in Liszt's own handwriting in the possession
of Abranyi]
[1884]
Monsieur le Baron,
I have begged my friend M. de Mihalovich to lay before you a
proposition, the fate of which depends on the committee that
directs the orders for the sculptures of the new National
Hungarian Theater.
In my humble opinion it would be unjust, and even ungrateful, to
exclude from them the likenesses of two composers of high
distinction, the late Mosonyi and Franz Doppler.
A charming Opera of Mosonyi's of elevated taste, "Szep Ilonka"
["The fair Helen": its subject, like that of his other Opera
"Almos," was taken from Hungarian history], has been performed
here some dozen times with success, and was then consigned to
oblivion in the oubliettes of the administration. Another greater
dramatic work by Mosonyi, "Almos," has remained in manuscript,
although Baron Orczy, your predecessor as Intendant, had some
idea of producing it.
The whole of the brave musical activity of Mosonyi at Budapest is
most honorable and meritorious, as much by his teaching as by his
numerous compositions of Church music, orchestral music, and
piano music. Many of his Hungarian pieces remain classical, as
opposed to the current wares, supposed to be of this same kind,
more frequently heard (at the present time in Vienna).
Franz Doppler has left the best possible remembrance of his rare
talents and qualities at Budapest, where during many years he
fulfilled the duties of conductor to the theater, and shone by
his virtuosity (very celebrated in Europe) as a flute player--an
instrument which Frederick the Great condescended to use.
Doppler's Operas "Beniowszky" and "Ilka" were favorably received;
and up to the present time "Ilka" is the only Hungarian opera
admitted to the repertoire of several theaters in Germany.
Besides this Doppler has also written two acts of the "Elizabeth"
[The opera "Elizabeth," composed by Franz Erkel and Doppler, was
performed at the National Theater in 1857], by which Her Majesty
the Queen of Hungary was entertained at the theater of Budapest.
I venture then, Monsieur le Baron, to recommend you to see about
the desirability of placing two fine reliefs of Mosonyi and
Doppler [The reliefs adorn the vestibule of the opera house.] in
a suitable position in the new theater in the Radialstrasse, and
beg you to accept the expression of my high esteem and sincere
devotion.
F. Liszt
343. To Freiherr Hans von Wolzogen
Dear Freiherr,
My admiration remains unlimited for the sublime genius of Wagner.
What blissful creative power and influence has he not, ever
active from "Tannhauser" to the "Ring des Nibelungen" and the
marvellous "Parsifal."--
The Art of our century finds its foundation and glory therein.
The little that I have written in letters about Wagner is at the
service of the public.
With highest esteem yours most truly,
F. Liszt
Weimar, June 18th, 1884
To our friendly meeting in Bayreuth in the middle of July.
344. To the Concert-Singer Auguste Gotze
[Daughter of Professor Franz Gotze, and--as one of the first
singing mistresses of the present day--the inheritor of his
school; she is also a talented singer, reciter, and dramatic
poetess. She lives at Leipzig.]
Dear Friend,
In honor of you I will willingly endeavor to add the melodramatic
accompaniment to Felix Dahn's poem. ["Die Mette von Marienburg"
[The Matins of Marienburg] Liszt's intention remained, alas,
unfulfilled.] This short work will only require a few hours but I
can seldom get any free hours for working...All sorts of
interruptions keep me from writing.
Hearty greetings to your charming colleague, Fraulein von
Kotzebue.
High esteem from your friendly
F. Liszt
Weimar, June 22nd, 1884.
345 To Kornel von Abranyi
Dear, excellent Friend,
The best person to make a suitable instrumentation of the
"Rheinweinliedes" [Rhine-wine-song] for the Miskolcz Musical
Festival will be our friend C. Huber. [Carl Huber, conductor of
the Hungarian Provincial Singers' Union, died 1885.] This chorus
for men's voices was written in Berlin in the year '42, and
performed there several times, and afterwards in Leipzig also,
about which a "querelle d'Allermand" [groundless quarrel] soon
reached me in Paris.--
To bear and forbear is ever our life's task.
As I have marked on the accompanying copy, on pages 3, 5, 7,
instead of D-flat, G-flat in the 2nd tenor, the C, F
[Here, Liszt illustrates with a musical score excerpt showing a
cadence in B-flat]
is to remain.
The Gazette de Hongrie [Gazette of Hungary], and still more the
Budapester Tageblatt [Budapest daily paper], in which your son
Kornel is a collaborator, gave me the tidings of the election
doings in the cara patria.
Without in the least taking part in politics, yet I take that
interest in them which it behoves every not uneducated man to do;
and I rejoice that Kornel Abranyi, junior, is taking his seat in
Parliament.
Heartily, faithfully yours,
F. Liszt
Weimar, July 1st, 1884
From the 12th July till the middle of August I shall be at
Bayreuth.
Tell Huber to do the instrumentation of the "Rheinweinlied" quite
freely, according to his own will and what he thinks best,
without a too careful attention to the printed piano
accompaniment.
345A. To Madame Malwine Tardieu
[Autograph in possession of Constance Bache]
Dear kind Friend,
I have spoken to you several times of my excellent friend--of
more than 20 years--Walter Bache. He maintains himself worthily
in London as an artist of worth, intelligence, and noble
character. His sister has made a remarkable translation of the
"Elizabeth" into English.
Receive the Baches (who pass a day in Brussels) in a friendly
manner.
Cordial devotion,
F. Liszt
Bayreuth, August 9th, 1884
Tomorrow evening I shall be back at Weimar, and shall probably go
to Munich for the second series of the "Nibelungen" performances
(28th August).
Please give my cordial regards to Tardieu.
346. To the Music Publisher Rahter in Hamburg
Dear Herr Rahter,
Best thanks for kindly sending me the Russian "Fantasie" by
Naprawnik--a brilliantly successful concert-piece--and the
Slumber Songs by Rimsky-Korsakoff, which I prize extremely; his
works are among the rare, the uncommon, the exquisite.--The piano
edition of his Opera "Die Mainacht" [The May Night] has either
not reached me or else has got lost.--Send it me to Weimar
together with a second copy of Naprawnik's Russian "Fantasie,"
which is necessary for performance.
Many of my young pianists will be glad to make this "Fantasie"
known in drawing-rooms and concerts.--
With friendly thanks,
F. Liszt
Munich, August 28th, 1884
347. To Richard Pohl
[Printed in the Allgemeine Deutsche Musikzeitung of 24th
October,1884.]
My very dear Friend,
I have long wanted to repeat my hearty thanks to you for the
faithful, noble devotion which you have always bravely and
decidedly shown to the Weimar Period of Progression in the years
1849-58. The third volume of your collected writings "Hector
Berlioz" affords another proof of this devotion, which is highly
to be valued in contrast with the far too general wishy-washy
absence of opinion.
After the unheard-of success of more than 20 performances of "The
Damnation of Faust" by the concert societies of Lamoureux,
Pasdeloup, Colonne, in the same season in Paris--not counting the
theater, for which this work is not suitable, the French Berlioz
literature is increasing. You know Hippeau's octavo book "Berlioz
Intime," which is shortly to be followed by a second, "Berlioz
Artiste." I wish this to profit by your work.
In reading the first volume I was painfully affected by several
passages out of Berlioz's letters, in which the discord and
broken-heartedness of his early years are only too apparent. He
could not grasp the just idea that a genius cannot hope to exist
with impunity, and that a new thing cannot at once expect to
please the ancient order of things.
For the rest, there lies in his complaints against the Parisian
"gredins et cretins" [fools and scoundrels], whom he might also
find in other places, a large share of injustice. In spite of his
exaggerated leniency in favor of a foreign country, the fact
remains that up to the present time no European composer has
received such distinctions from his own country as Berlioz did
from France. Compare the position of Beethoven, Weber, Schubert,
Schumann, with that of Berlioz. In the case of Beethoven the
Archduke Rudolf alone bespoke the "Missa solemnis." The profit
from his rarely given concerts was small, and at the last he
turned to the London Philharmonic Society for support.
Weber acted as Court conductor in Dresden, and wrote his Oberon
at the invitation of London.
Schubert's marvellous productiveness was badly paid by the
publishers; other favorable conditions had he none.
Schumann's biography testifies no patriotic enthusiasm for his
works during his lifetime. His position as musical conductor at
Dusseldorf was by no means a brilliant one...
It was otherwise with Mendelssohn, who had private means, and
who, by his delicate and just eclecticism, clinging to Bach,
Handel, and even Beethoven, obtained continual success in England
and Germany. King William IV. called him to Berlin at the same
time with Cornelius, [This means the painter Cornelius.--Trans.]
Kaulbach, Schelling, and Meyerbeer, which he did not enjoy any
better than Leipzig.
I make no further mention of Meyerbeer here, because he owes his
universal success chiefly to Paris. It was there that all his
Operas, from "Robert" and "The Huguenots" to his posthumous
"L'Africaine," were first performed--with the exception of "Das
Feldlager in Schlesien" [The Camp in Silesia], which also
sparkled later in Paris as "L'etoile du Nord."
Now let us see how things went with Berlioz in his native land.
Like Victor Hugo, he was, after three times becoming a candidate,
elected a member of the "Institute of France,"--similarly
(without any candidature) to be librarian of the Conservatoire;
he was also a collaborator of the highly esteemed "Journal des
Debats" and officer of the Legion of Honor.
Where do we find in Germany similar proofs of distinction? Why,
therefore, the bitter insults of Berlioz against the Paris
"gredins" and "cretins"? Unfortunately it certainly never brought
Berlioz an out-and-out theatrical success, although his nature
leaned that way.
I send you herewith Reyer's feuilleton (Journal des Debats, 14th
September) regarding the latest brochure by Ernst "upon Berlioz."
With hearty thanks, yours most truly,
F. Liszt
Weimar, September 12th, 1884
348. To Sophie Menter
My dear Friend,
My few days' stay at your fairy-like castle Itter [In Tyrol.]
will remain a magic memory.
When you have signed the Petersburg Conservatorium contract let
me know. You know, indeed, that I very much approve of this turn
and fixing of your brilliant artistic career. It requires no
excessive obligations, and will be an advantage to you.
Friendly greetings to the New School from your faithful admirer
and friend,
F. Liszt
Weimar, September 13th, 1884
I am here till the end of October. Later on I shall visit my
friends Geza Zichy and Sandor Teleky in Hungary.
349. To Baron Friedrich Podmaniczky, Intendant of the Royal
Hungarian Opera in Budapest
[Printed in the Pester Lloyd (evening paper of 27th September,
1884).--Liszt having sent Podmaniczky a Royal Hymn for the
opening of the New Hungarian Opera House instead of a Festal
Prelude, which the latter had requested, Podmaniczky wrote to the
Master on the 17th September, 1884, that the motive of the hymn
having been borrowed from a revolutionary song would prove an
"unsurmountable obstacle" to its performance. The letter was also
signed by Alexander Erkel as conductor. Whereupon Liszt wrote the
above reply.]
Dear, Hochgeborener [Many of these titles have been left in their
original language, being unused in England, and having no
equivalent with us.--Trans.] Herr Baron,
To your letter dated the 17th of this month I have the honor of
replying as follows: that the song "Hahj, Rakoczy, Bercsenyi" was
not unknown to me is shown by the piano edition of my "Hungarian
royal hymn" published by Taborsky and Parsch, on the title-page
of which stand the words "After an old Hungarian air." I learned
to know this song from Stefan Bartolus's Anthology, and it took
hold of me with its decided, and expressive and artless
character; I at once provided it with a finale of victory, and
without troubling my head further about its former revolutionary
words I begged Kornel Abranyi, jun., for a new, loyal text with
the refrain "Eljen a kiraly," so that my "Royal hymn" might
attain its due expression both in words and music.
Transformations are nothing rare in Art any more than in life.
From countless heathen temples Catholic churches were formed. In
the classic epoch of Church music--in the 16th century--many
secular melodies were accepted amongst devotional songs, and in
later times the Catholic antiphones were heard as Protestant
Chorales. And this went yet further, not excepting Opera, in
which Meyerbeer utilised the Chorale "Eine feste Burg" for a
stage effect, and in "L'Etoile du Nord" consecrated the "Dessauer
Marsch" into the Russian National hymn. A revolutionary tendency
is commonly ascribed to the universally known and favorite
"Rakoczy March," and its performance has been more than once
forbidden.
Music remains ever music, without superfluous and injurious
significations. For the rest, God forbid that I should anywhere
push forward either myself or my humble compositions. I leave it
entirely to your judgment, hochgeborener Herr Baron, to decide
whether my "Royal hymn" shall be performed in the new Hungarian
Opera House or not. The score, as also the many orchestral and
vocal parts, are to be had at the publishers, Taborsky and
Parsch.
I beg you, Sir, to accept the expression of my high esteem.
F. Liszt
Weimar, September 21st, 1884
[To this Alex. Erkel made the proposal that Liszt's "Konigslied"
("Royal Song"), instead of being performed at the opening of the
new theater on the 27th September, should be given at an "Extra
Opera performance." The Master consented, but did not appear at
this first performance of his work, which took place on the 25th
March, 1885, and met with tremendous applause.]
350. To Walter Bache
[This letter is published, as a Preface, in the English edition
of Liszt's "St. Elizabeth."]
Very honored Friend,
For some twenty years past you have been employing your beautiful
talent as a pianist, your care as a professor and as a conductor
to make my works known and to spread them in England. The task
seemed an ungrateful one, and its want of success menacing, but
you are doing it nobly, with the most honorable and firm
conviction of an artist. I renew my grateful thanks to you on the
occasion of the present edition of the "Legend of St. Elizabeth,"
published by the well-accredited house of Novello. [The
translator of the English edition (Constance Bache) has also
translated many of Liszt's songs into English.]
This work, which was performed for the first time in 1865 at
Budapest, has been reproduced successively in several countries
and languages. Let us hope that it will also meet with some
sympathy in England.
Your much attached
F. Liszt
Weimar, October 18th, 1884
351. To the Composer Mili Balakireff, Conductor of the Imperial
Court Choir in St. Petersburg
Very honored, dear Confrere,
My admiring sympathy for your works is well known. When my young
disciples want to please me they play me your compositions and
those of your valiant friends. In this intrepid Russian musical
phalanx I welcome from my heart masters endowed with a rare vital
energy; they suffer in no wise from poverty of ideas--a malady
which is widespread in many countries. More and more will their
merits be recognised, and their names renowned. I accept with
gratitude the honor of the dedication [to me] of your Symphonic
Poem "Thamar," which I hope to hear next summer with a large
orchestra. When the 4-hand edition comes out you will greatly
oblige me by sending me a copy. From the middle of January until
Easter I shall be at Budapest.
Please accept, dear confrere, the expression of my high esteem
and cordial attachment.
F. Liszt
Weimar, October 2lst, 1884
352. To Countess Louise de Mercy-Argenteau
[Known through her zealous propaganda, in Belgium and France, of
the music of the New Russian School. After the death of her
husband (1888), Chamberlain of Napoleon III., she left her native
land of Belgium and removed to St. Petersburg, where she died in
November 1890.]
October 24th, 1884
Certainly, my very dear and kind friend, you have a hundredfold
right to appreciate and to relish the present musical Russia.
Rimski-Korsakoff, Cui, Borodine, Balakireff, are masters of
striking originality and worth. Their works make up to me for the
ennui caused to me by other works more widely spread and more
talked about, works of which I should have some difficulty in
saying what Leonard once wrote to you from Amsterdam after a song
of Schumann's: "What soul, and also what success!" Rarely is
success in a hurry to accompany soul. In Russia the new
composers, in spite of their remarkable talent and knowledge,
have had as yet but a limited success.--The high people of the
Court wait for them to succeed elsewhere before they applaud them
at Petersburg. A propos of this, I recollect a striking remark
which the late Grand Duke Michael made to me in '43: "When I have
to put my officers under arrest, I send them to the performances
of Glinka's operas." Manners are softening, and Messrs. Rimski,
Cui, Borodine, have themselves attained to the grade of colonel.
At the annual concerts of the German and Universal Musical
Association (Allgemeiner Deutscher Musik-Verein) they have, for
many years past, always given some work of a Russian composer, at
my suggestion. Little by little a public will be formed. Next
year our Festival will take place in June at Carlsruhe. St. Saens
is coming; why not you, too, dear friend? You would also hear
something Russian there.
When you write to St. Saens, please tell him of my admiring and
very constant friendship. By the work of translation which you
have bravely undertaken, I think that you are doing wisely and
skilfully in freeing yourself from the bondage of rhyme, and in
keeping to rhythmic prose. The important point is to maintain the
lyric or dramatic accent, and to avoid the "desastreuses salades
de syllabes longues et breves, des temps forts et faibles"
[disastrous mess of long and short syllables, and of the strong
and weak time]. The point is to make good prose without any other
scruples whatever. It is said that M. Lamoureux is admitting the
"Steppes" by Borodine into one of his programmes. We shall see
what sort of a reception it will have. For the rest, I doubt
Lamoureux's venturing so soon on the Russian propaganda. He has
too much to do with Berlioz and Wagner.
Do not let yourself be disconcerted either by the "ineffable"
carelessness, or by the square battalions of objections such as
these: "It is confusion worse confounded; it is Abracadabra"
[Senseless jabber.]--etc.
Without politeness or ceremony I tell you in perfect sincerity
that your instinct did not lead you astray the day when this
music so forcibly charmed you. Continue, then, your work with the
firm conviction of being in the right path.
Above all I beg that you will not falsely imagine that I am
taking hold of the thing wrong end foremost. When you knock I
shall not merely say, Enter, but I myself will go before you. To
return to Paris and show myself off there as a young composer or
to continue the business of an old pianist in the salons does not
attract me in the least. I have other things to do elsewhere.
Faithful homage.
F. Liszt
P.S.--I do not know what date to put to these lines. I wrote the
first page on the receipt of your bewitching letter. I meant to
reply to it in full, but all sorts of pressing obligations and
botherations intervened...I have also been to the inauguration of
the statue of Bach at Eisenach, illustrated by three concerts,
composed exclusively of numerous works of Bach's (the Mass in B
minor first and foremost); then I was present at a more curious
concert at Leipzig: on my return I had a severe attack of
illness, which prevented me for several days from writing. In
short, this letter ought to have reached you three weeks ago.
Tomorrow, 25th October, I leave Weimar, and shall not return here
till after Easter. If you condescend to continue writing to me,
please address to Budapest (Hungary) till the end of November. A
prompt answer shall follow.
F. Liszt
353. To Madame Malwine Tardieu
Budapest, December 7th, 1884
Dear Kind Friend,
Really and truly when it sometimes happens that I obtain success
I rejoice less over that than over the success of my friends.
Thank you for the pleasant tidings of the brilliant success of
Ossiana [Madame Marie Jaell, the well-known artiste, a friend of
Liszt's.] at Godard's concert. .--.
You do not tell me where the little notice appeared (with my name
at the heading) which you were so good as to send me. [In the
Gaulois, from the pen of Fourcaud, and, later, in the Album of
the Gaulois, to which the most celebrated tone-poets had
contributed a piece of music as yet unpublished.] One of my works
is mentioned in it with the greatest eulogy--the Gran Mass--which
was so unhappily performed at Paris in '66, and more unhappily
criticised then...The mistake I made was not to have forbidden a
performance given under such deplorable conditions. A
philanthropic reason, which is valueless in matters of Art, kept
me from doing so. I did not wish to deprive the fund for the poor
of the assured receipts of more than 40,000 francs. Pardon me for
recalling this vexatious affair, which makes me all the more
sensible of the flattering attention which the same work is
receiving.
To my great regret the performances of Henry VIII. by our very
valiant friend St. Saens, which were to have taken place at
Weimar and Budapest, are put off. Mediocrity, as Balzac said,
governs even theaters. Anyhow its power must sometimes be
intermittent. Please say many cordial things to your husband from
your much attached
F. Liszt
On Wednesday I shall be in Rome, and back here towards the middle
of January.
354. To Freiherr Hans Von Wolzogen
Dear Freiherr,
Hearty thanks for your kind letter. To include me in your noble,
zealous, high-minded efforts in matters for the glorification of
Wagner and according to the wishes of his widow, is to me ever a
duty and an honor.
Faithfully yours,
F. Liszt
Rome, December 18th, 1884
355. To Camille Saint-Saens
[End of 1884 or beginning of 1885.]
Very Dear Friend and Companion in Arms,
Your sympathy for the "Salve, Polonia" [Orchestral Interlude from
the unfinished Oratorio Stanislaus. It was given at the
Tonkunstler-Versammlung in Weimar in 1884, at which Saint-Saens
was present.] makes me quite happy. Still writing music, as I am,
I sometimes ask myself at such and such a passage, "Would that
please St. Saens?" The affirmative encourages me to go on, in
spite of the fatigue of age and other wearinesses.
If you do me the honor of playing one of my compositions at the
Carlsruhe Festival please choose which it shall be: perhaps the
Danse macabre [Dance of Death] with orchestra; or--which I think
would be better, for the public would rather hear you alone--the
Predication aux oiseaux [St. Francis preaching to the birds,
followed by Scherzo and March. [Saint-Saens did not go to
Carlsruhe.]
Cordial wishes for the year '85, and ever your admiringly
attached
F. Liszt
Give my best remembrances from Budapest to Delibes.
356. To Countess Mercy-Argenteau
What wonders you have just accomplished with your Russian concert
at Liege, dear admirable one! From the material point of view the
Deaf and Dumb and Blind Institutions have benefited by it;
artistically, other deaf and dumb have heard and spoken; the
blind have seen, and, on beholding you, were enraptured.
I shall assuredly not cease from my propaganda of the remarkable
compositions of the New Russian School, which I esteem and
appreciate with lively sympathy. For 6 or 7 years past, at the
Grand Annual Concerts of the Musical Association ("Allgemeiner
Deutscher Musik-Verein"), over which I have the honor of
presiding, the orchestral works of Rimsky-Korsakoff and Borodine
have figured on the programmes. Their success is making a
crescendo, in spite of the sort of contumacy that is established
against Russian music. It is not in the least any desire of being
peculiar that leads me to spread it, but a simple feeling of
justice, based on my conviction of the real worth of these works
of high lineage. I do not know which ones Hans von Bulow, the
Achilles of propagandists, chose for the Russian concert he gave
lately with the Meiningen orchestra, of an unheard-of discipline
and perfection.
I hope Bulow will continue concerts of the same quality in
various towns of Germany.
The best among my disciples, brilliant virtuosi, play the most
difficult piano compositions of Balakireff, etc., superbly. I
shall recommend to them Cui's Suite (piano and violoncello).
Considering the rarity of singers gifted at once with voice,
intelligence and good taste for things not hackneyed,--there is
some delay in regard to the vocal compositions of Cui, Borodine,
etc. Nevertheless the right time for their production will come,
and for making them succeed and be appreciated. In France your
translation of the words will be a great help, and in Germany we
must be provided with a suitable translation.
A portion of the articles which you kindly sent me upon your
concert at Liege shallbe inserted in the Neue Zeitschrift fur
Musik. I shall endeavor to find another paper also, although my
relations with the Press are by no means intimate.
Rahter, the musical editor at Hamburg, and representative of
Jurgenson in Moscow, will offer you in homage three of my Russian
transcriptions,--Tschaikowsky's "Polonaise"; Dargomijsky's
"Tarentelle" with the continuous pedal bass of A, A; and a
"Romance" of Count Michel Wielhorsky. Let us add to these the
"Marche tscherkesse" of Glinka, and, above all, the prodigious
kaleidoscope of variations and paraphrases on the fixed theme
[Here, Liszt illustrates with a musical score excerpt]
It is the most seriously entertaining thing I know; it gives us a
practical manual, par excellence, of all musical knowledge;
treatises on harmony and composition are summed up and blended in
it in some thirty pages, which teach the subject very fully--
above and beyond the usual instruction.
My very amiable hosts at Antwerp, the Lynens, have invited me to
return there this summer at the time of the Exhibition, of which
M. Lynen is the president. I am tempted to do so after the
Carlsruhe Festival, as I keep a charming remembrance of the
kindness that was shown to me in Brussels and Antwerp.
In about ten days I return to Budapest, whence you shall receive
a photograph of the old, sorry face of your constant admirer and
devoted servant,
F. Liszt
Rome, January 20th, 1885
A pertinacious editor keeps asking me for my transcription of
Gounod's "Ste. Cecile." If amongst your old papers you should
find the manuscript of it, will you lend it me for a fortnight,
so that it may be copied, printed, and then restored to its very
gracious owner?
February and March my address--Budapest, Hungary.
357. To Camille Saint-Saens.
Very honored, dear Friend,
In order not to become too monotonous I won't thank you any more.
Nevertheless your transcription of my Orpheus for Piano, Violin
and Violoncello charms me, and I beg that you will send it either
to Hartel direct, so that he may publish it at once, or else to
yours very gratefully, so that I may remit it to him, after
having had the pleasure of reading and hearing it at Budapest,
whither, by next Thursday, will have returned
Your much-attached fellow-disciple,
F. Liszt.
Florence, Tuesday, January 27th, 1885.
Goodbye till we meet in May at Carlsruhe.
358. To Madame Malwine Tardieu.
I am writing to the director of our "Musik-Verein" to write to
you, dear friend. You will tell Mademoiselle Kufferath, better
than any one else can, how agreeable it will be to everybody, and
to myself in particular, if she takes part in the concerts at
Carlsruhe--in the last days of May. [This did not come to
anything. Saint-Saens' "Deluge," in which she was to have sung,
was not performed at Carlsruhe, and meanwhile Fraulein Kufferath
married and gave up her artistic career.]
Our "Musak-Verein" has not the advantage of material wealth;
nevertheless we have existed bravely for 25 years without getting
into debt, and faithfully put in practice our principal rule,
which is to perform every year in different towns the valid works
of contemporary composers of any country whatsoever (exclusive of
works for the theater, with the exception of occasional vocal
numbers). This rule, which is difficult to maintain, considering
the expenses and the difficult preparations, distinguishes us
from other musical societies and gives us the character of
pioneers of progress. We have not been behindhand with the group
of composers of young Musical Russia, Rimsky-Korsakoff, Borodine,
Cui, etc., for we have been giving their works for four years
past.
The very gracious Countess of Mercy-Argenteau has been making
them known lately at Liege, with a brilliant success, quite
justified by the qualities of the works and the charm of the
patroness.
Will you, dear friend, be so kind as to express my
acknowledgments to Mr. de Fourcaud, [Musical and Art
Correspondent of the Paris Gaulois, with outspoken Wagner
tendencies and opinions.] and accept the expression of my cordial
affection?
F. Liszt.
Budapest, April 6th, 1885.
In a few days I shall be back at Weimar.
359. To Lina Ramann.
[Weimar] April 27th, 1885.
I am sending you at once, my very dear friend, the volumes of
scores which I have by me in Weimar. [Works of Palestrina's.] The
celebrated Missa Papoe Marcelli is not amongst them, but can
easily be found; the last edition of it by Amelli, Milan, the
editor-in-chief of the Church-Music paper there. I got him to add
a few indications of expression because, according to my opinion,
without such indications any further editions of Palestrina and
Lassus--the two great Cardinals of old Catholic Church-music--
would serve only for reading, and not for actual performances. Of
course no one can fix with absolute certainty the figures to the
basses of Palestrina and Lassus; yet there are determining points
from which one can steer.
The best model of all is and will continue to be--Wagner's
arrangement of Palestrina's "Stabat Mater"--with marks of
expression and plan of the division of the voices into semi-
chorus, solos, and complete chorus.
Wagner made this model arrangement at the time when he was
conductor in Dresden. It appeared 15 years later, published by
Kahnt. It is to be hoped that people will gradually regulate
themselves by this with judgment--and time.
Faithfully yours,
F. Liszt
360. To Camille Saint-Saens
Thank you cordially, my very dear friend, for the concession you
are willing to make to me.
The Society of Musicians, in which I have taken part for 25
years, holds to the principle of producing the works of living
Symphonic composers of all countries. I claim then your superior
and continued share in it, and remain your admiring and attached
friend,
F. Liszt
Weimar, May 8th, 1885
361. To Alexander Siloti
[Well known as one of the most gifted pupils of Liszt, and one of
the first pianists of the present day. Born 1863, and lives now
in Paris]
In Weimar it is wisest to keep oneself negative and passive.
Therefore, dear Siloti, attempt no "Liszt-Verein."
[In consequence of the above letter the Liszt-Verein (Liszt
Society) was not founded in Weimar, as Siloti intended, but in
Leipzig in 1885, where it has flourished brilliantly under the
direction of Professor Martin Krause.]
With thanks, yours truly,
F. Liszt
May, 1885
362. To the Composer J.P. von Kiraly in Eisenstadt
[From a copy by Director Aug. Gollerich in Nuremberg.]
Dear Friend,
Ninety years ago my father was preparing for his duties as book-
keeper to Prince Nikolaus Esterhazy in Eisenstadt. At that time
he often took part, as an amateur, among the violoncellos in the
Prince's frequent Court concerts, under the conductorship of the
happy great master Josef Haydn. My father often told me about his
intercourse with Haydn, and the daily parties he made up with
him. In 1848 I visited the dear, affectionate Father Albach at
the Franciscan monastery of Eisenstadt, and dedicated to him my
Mass for men's voices, which will be brilliantly performed here
very shortly. May the simple, artless genius of Haydn ever rule
over the Eisenstadt Kindergarten conducted by your daughter.
"Joke and earnest!" Bravo, friend! The work honors the master who
knows so well the Muses. In Oedenburg and Eisenstadt surely every
one will subscribe. At the beginning of July I shall send you a
small contribution for the Kindergarten. Perhaps later on I shall
be able to do more; unfortunately I am anything but well off, and
must content myself with a small amount.
F. Liszt
Antwerp, June 5th, 1885
363. To Ferdinand Taborszky, Music Publisher in Budapest
Antwerp, June 8th, 1885
Very dear Friend,
From Weimar, where I shall once more be in ten days' time, you
will receive at the beginning of July some short Hungarian
pianoforte pieces, which I shall orchestrate later on, entitled:
To the memory of
Stephan | Szechenyi
Franz | Deak
Josef | Eotvos
-----------------------
Ladislas | Telek
Michael | Vorosmarti
Alexander | Petofi
The last piece has already been published by Taborszky, but must
have a few more concluding bars in the new edition.
"Mosonyi's Trauerklange" (Mosonyi's funeral music), which you
have already had by you for fifteen years, shall make No. 7. Our
friend Mosonyi, so excellent and full of character, and so pre-
eminent a musician, must also not be forgotten.
The seven numbers make altogether sixty pages of print. All the
new pieces are perfectly ready, written out in manuscript, only
requiring a copyist, whom I cannot find while I am on my journey.
[Liszt's intention to orchestrate the pieces remained
unfulfilled.]
When I send you the manuscripts I will write all further
particulars with regard to the publishing of them.
First of all, dear friend, will you be so kind as to go to my
house with Frau von Fabry? I stupidly forgot there--in the
bedroom, not in the salon--the beautiful and revised copy of a
composition for piano and violin or violoncello, together with
the transcription of the same for pianoforte alone. The title is
"La lugubre Gondola" (the funeral gondola). As though it were a
presentiment, I wrote this elegie in Venice six weeks before
Wagner's death.
Now I should like it to be brought out by Fritzsch (Leipzig),
Wagner's publisher, as soon as I receive it from you in Weimar.
[Published by Frizsch] Hearty greetings to your family.
Ever faithfully yours,
F. Liszt
364. To Alfred Reisenauer
Dear Friend and Art-Comrade,
I beg you to send me here, in manuscript, your capital
orchestration of the 3rd Mephisto-waltz. Don't take the trouble
to alter anything in this manuscript or to write anything new;
send it me just as I have seen it. When it has been copied the
printed edition will follow, with the name of Reisenauer attached
to it.
In all friendship,
F. Liszt
Weimar, September 1st, 1885
365. To the Editor of the "Allgemeine Musikzeitung," Otto
Lessmann, in Charlottenburg
[Was published in the Allgemeine Musikzeitung of September 1885]
Dear Mr. Editor,
With regret, and a firm conviction, I repeat to you in writing
that Theodor Kullak's forgetfulness ought to be made good by his
heirs. Otherwise it would be severely denounced as unfaithfulness
to his position as an artist. A fortune of several millions
gained by music-teaching ought not to remain buried without any
regard to music students. Unless the heirs prefer to found a
Kullak-Scholarship, I consider that they are in duty bound to
endow the four existing musical scholarships--those in the names
of Mozart, Mendelssohn, Meyerbeer, Beethoven--with 30,000 marks
each: total 120,000 marks.
With well-known opinions, mindful of the artist's standing, I am
yours truly,
F. Liszt
Weimar, September 5th, 1885
366. To Casar Cui
Very honored Friend,
The very gracious propagandist, the Countess of Mercy-Argenteau,
has already received a transcription of your brilliant
"Tarentelle." I will send a second copy of it to Bessel
(Petersburg), and shall ask him to give it to you, trusting that
you will not disapprove of the few liberties and amplifications
that I have ventured to make in order to adapt this piece to the
programmes of virtuosi pianists.
Sincere feelings of esteem and attachment.
F. Liszt
Munich, October 18th, 1885
367. To Countess Mercy-Argenteau
Dear admirable Propagandist,
It is your habit to write the most charming letters in the world.
Before receiving your last I had sent you from Weimar my
transcription of Cui's "Tarentelle." If you will condescend to
illustrate it with your fingers it will receive its full meed of
light.
I am sure you will be so kind as to send my note to Cui, who, I
hope, will not be vexed with the varying readings and
amplifications I have ventured to make, with a view of bringing
the pianist still more forward. In this kind of transcription
some sort of distinction is wanted.
Tomorrow evening I shall be in Rome,--Hotel Alibert. Please send
me word there of your safe receipt of the manuscript.
Constant homage, admiring and sincere.
F. Liszt
Innsbruck, October 24th, 1885
368. To Eduard Reuss in Carlsruhe [Pianist, pupil of Liszt's.]
My dear Friend,
Thanks and praise for your capital orchestral arrangement of the
"Concerto pathetique." It appears to me effective, well-
proportioned, and done with a refined and due understanding of
it. I had but little to alter in it; but some additions to the
original are desirable, in order to allow full scope to the piano
virtuoso. ["This 'Concerto Pathetique' seems to me a murderous
piece, with which first-rate virtuosi can make an effect," writes
Liszt, on the 10th November, to Reuss.] Hence, in different
places, there are altogether somewhere about fifty to sixty bars
which I add to your manuscript. The beginning is also to be ten
bars sooner, and the ending to conclude with twenty-two bars
more.
I hear an orchestration of the same "Concerto pathetique" spoken
of, as having been produced in Moscow. I do not know it myself,
and after yours there is no use in it. I received in Weimar,
almost simultaneously with yours, a letter from Joseffy in New
York, begging me to instrumentate the piece. I shall answer him
very soon that your score is already completed, and that he is to
apply to my friend Eduard Reuss if he is disposed to perform the
"Concerto" with orchestra in America. [Joseffy played the
"Concerto Pathetique" in this form from a copy, in the spring of
1886, in New York.]
Enclosed is my recommendation to Hartel with regard to the
publishing. Send it together with your manuscript, of which it is
not necessary to make a copy--only my scribbling of the additions
must be copied out clean and clearly on an extra sheet.--
Probably Hartels will not show themselves disobliging. If they
undertake the publication I should still like to read through the
last proof-sheets.
The most charming recollection remains to me of Carlsruhe.
[Namely, of the "Tonkunstler-Versammlung" of the "Allgemeine
Deutsche Musikverein," from the 27th May to the 1st June, 1885.]
The Grand Duke was so gracious and truly kind!--
Assure your wife of my sincere attachment.
Faithfully yours,
F. Liszt
Hotel Alibert, Rome, November 4th, 1885
369. To Breitkopf and Hartel
[This is Liszt's last autograph letter to the Firm; a later one
on the same subject (on the 16th June, 1886) is only signed by
him]
My dear Sirs,
Although your shop is already saddled with two editions of my
"Concerto pathetique," I recommend you most particularly the
excellent orchestral arrangement of the same piece, [By Eduard
Reuss. It was published by Breitkopf and Hartel.] to which I have
added some bars for more completion, which should also be
included in the possible (?) later piano editions.
The poet and the writer often make alterations. With the
engraving of music this is more difficult, though not entirely to
be put aside.
With esteem,
F. Liszt
Rome, November, 1885
370. To Walter Bache
My very dear Friend,
Certainly your invitation takes precedence of all others. So
choose the day that suits yourself and I will appear. Without
Walter Bache and his long years of self-sacrificing efforts in
the propaganda of my works my visit to London were indeed not to
be thought of.
Do you know your namesake (without the final E), Herr Emil Bach,
Prussian Court-pianist? I enclose herewith a second letter, which
I have answered, as I did the first, that I must not be the
occasion of expense and inconvenience to any one. Orchestral
concerts are expensive everywhere, especially in London.
Consequently I cannot encourage Emil Bach's project, and can only
dissuade him from putting it into execution. Send me word about
this.
Gratefully and faithfully yours,
F. Liszt
Rome, Hotel Alibert, November 17th, 1885
Mr. Stavenhagen, [Now one of the most celebrated pianists] a
pianist and musician of real talent, wants to come out in London,
and is writing to you on this subject.
370a. To Walter Bache
My very dear Friend,
It is fixed then: Thursday, 8th April, Ricevimento [Reception] at
Walter Bache's house. Enclosed is the letter of the Philharmonic
Society, together with the rough copy of my reply which I send
off today. Please observe the postscript:
"If, in the concert at which one of my Symphonic Poems will be
performed, Mr. Walter Bache would play some Pianoforte
composition of mine, that would give me great pleasure. I permit
myself to give this simple hint without the slightest desire of
influencing your programme, which it is for you to fix."--
I am quite of your opinion, dear friend. The accented poaht of my
coming to London is to be present at the "Elizabeth" performance.
It was this that decided my coming, and it is to be hoped it will
be a success. [It was given on the 6th April, 1886, under the
conductorship of Mackenzie. Bache had already given it in London
in 1876.]
I have answered Emil Bach's first and second letters to the
effect that I should not wish to involve any one in expense, and
that consequently I must dissuade him from giving an orchestral
Liszt concert. Beg Littleton personally to make my wish quite
clear to Herr Emil Bach, that his proposed concert should not be
given. .--.
Faithfully yours,
F. Liszt
November 26th, 1885
I have just received a second letter from the "Philharmonic
Society."--To my answer to the first (sent yesterday) I have
nothing to add.
370b. To the Philharmonic Society
Very honored Directors,
Much flattered with your kind intention to admit one of my
"Poemes Symphoniques" on to the programme of the Philharmonic
Society, during my stay in London, I beg you to accept my sincere
thanks.
Will you please choose, according to your own pleasure, the work
which suits you best, and also ask your "conductor," Sir Arthur
Sullivan, from me, to direct it?
For twenty years past I have been quite outside of any work as
orchestral conductor and pianist.
Distinguished consideration and loyal devotion.
F. Liszt
Rome, November 26th, 1885
P.S.--If, in the concert at which one of my Symphonic Poems will
be performed, Mr. Walter Bache would [etc., see quotation in
previous letter].
371. To Countess Mercy-Argenteau
Dear admirable Propagandist,
Herewith is a different rendering of the shake, with an
indication to the left hand of the motive which is then taken up
again in full. This new shake is a little awkward to do, but not
too troublesome. Will you be so kind as to send it to Cui, and
beg him to be my emissary to the editor of the original of Cui's
brilliant "Tarantelle," for the publication of the transcription?
To my regret the smallness of my income obliges me to leave no
stone unturned to make money out of my transcriptions, [La
modicite de man revenu m'oblige a faire fleche, non pas de tout
bois, mais de fagots de mes transcriptions. The literal
translation is, "Obliges me to utilise, not the wood, but the
faggots of my transcriptions," the point of the sentence turning
upon the French idiom "faire fleche de tout bois," which in
English is rendered by a totally different idiom.--Trans.] for
which I am now paid in Germany, Russia, France, at the rate of
from twelve to 1500 marks apiece, for the copyright in all
countries.
Observe that I choose works to be transcribed, and refuse myself
to any other demands. This year, for instance, I have confined
myself to the volume that you condescend to accept--and that you
will, I hope, bring to the light by the diamonds and pearls of
your fingers.
Mr. Bessel therefore only has either to send me 1200 marks in
payment, or else to return me the manuscript without being
ashamed.
Most humble and constant homage.
F. Liszt
Rome, November 21st, 1885
When you have sent me word of the result of the negotiation with
Bessel, I will write my thanks and acknowledgments to Cui.
N.B.--The new shape should be printed as an Ossia, above the old
one.
372. To Camille Saint-Saens
Very honored Confrere and very dear Friend,
I shall certainly be in London the first week in April. With
regard to my visit to Paris I am still very undecided, as I do
not wish to expose myself to discomfiture like that which I had
to go through in '66. [Liszt's scruples were removed; as is well
known, he went to Paris, and found himself indescribably feted
there. The triumphs of his youth were repeated once more in the
evening of his life.]
Everywhere and always I shall be happy and proud of your
collaboration, and remain your sincere admirer and devoted
friend,
F. Liszt
Rome (Hotel Alibert), November 28th, 1885
I shall remain here till the middle of January. This summer Mme.
Montigny [Mme. Montigny-Remaury, an excellent pianist; retired
into private life on her second marriage in Vienna] spoke to me
of her marriage, which has now taken place. M. de Serres gave me
the impression of an honest man who adores his wife. I have no
news of the newly married couple.
There is nothing more witty than your remark on the perpetual
youth of composers in Paris. In your company, dear friend, I
would gladly be of the party, in spite of my seventy-four years.
373. To Eugen d'Albert
[The most important and many-sided of the younger pupils of
Liszt]
Admired, Dear "Albertus Magnus,"
Thank you for the dedication of your worthy, noble, effective
Concerto, which I have again read through with special pleasure,
and heard played by Stavenhagen.
Is no edition of it for two pianofortes come out? I think such
editions are desirable--almost indispensable. They are also much
used now.
Congratulating you on your happiness in becoming a father, with
best regards to your wife,
Yours most truly,
F. Liszt
Rome, December 26th, 1885
370. To Sophie Menter
Kind Diplomatist and Very Dear Friend,
I am writing my most humble thanks to the Grand Duke Constantine
for his gracious invitation, together with the very kindly
intentioned consideration of my age and failing eyesight--and
especially my unfitness for pianoforte playing and orchestral
conducting. This deters me from making any pretensions to a fee;
but you know, dear friend, that my small income would not be
sufficient to pay for lodging and a carriage in Petersburg. From
the 1st to the 12th April I am detained in London. If it is not
too late then, to Petersburg comes
Yours ever most faithfully,
F. Liszt
Rome, December 30th, 1885
In the middle of January I return to Budapest. Friendly greetings
to the New School, whom I will beg to assist me as a veritable
privy council in Petersburg. From the next letter of the Grand
Duke Constantine I await the decision whether my journey to
Petersburg in the middle of April is accepted or not.
375. To Eduard Reuss
My Dear Friend,
Still some slight alterations and amplifications in the "Concerto
pathetique."
The drum rhythm
[Here, Liszt illustrates with a 2-bar musical score excerpt]
appears to me too risky; if the drummer comes down plump on it
he will spoil the whole piece. Let's therefore put
[Here, Liszt illustrates with 3-bar musical score excerpt]
This rhythm will serve us twice as a transition,--and at the end.
Before the end of this month I shall be in Budapest, and at the
beginning of April in London, for the "Elizabeth" performance
(St. James's Hall) under Mackenzie's conducting.
Faithfully yours,
F. Liszt
Rome, January 10th, 1886
376. To Walter Bache
My Very Dear Friend,
They seem determined in London to push me to the Piano.
I cannot consent to this in public, as my seventy-five-year-old
fingers are no longer suited to it, and Bulow, Saint-Satins,
Rubinstein, and you, dear Bache, play my compositions much better
than what is left of my humble self.
Perhaps it would be opportune if friend Hueffer would have the
kindness to let the public know, by a short announcement, that
Liszt only ventures to appear as a grateful visitor, and neither
in London nor anywhere else as a man with an interest in his
fingers.
In all friendship yours,
F. Liszt
Budapest, February 11th, 1886
77. To the Countess Mercy-Argeneau
Very Admirable and Admired One [Tres admirable et admiree],
Your most amiable letter did not reach me without some delay, for
I took about ten days to make the journey from Rome to Budapest.
Madame Falk writes to me also of the concert at Liege, but I fear
I shall only have excuses to offer. On the 20th March I shall be
in Paris, where the "Gran Mass," too much criticised, and even
hissed by some low fellows (at the Pasdeloup concert in '66), is
to make its reappearance at St. Eustache on the 25th March. This
time M. Colonne will conduct it, and I am assured that it will be
better understood now...
Invariable homage,
F. Liszt
Budapest, February 17th, 1886
Very affectionate thanks for the invitation of Argenteau. Whether
I can avail myself of it must remain in abeyance for your very
humble servant, old and enfeebled.
378. To Sophie Menter
Dear and Respected Diplomatist,
Eight days before the 19th April (Russian style) I will be in
Petersburg. I entreat you to make as little ceremony as possible
for my humble self. The two programmes appear to me all right; I
will tell you when I get to Petersburg what my small part in them
will be. On the 19th April, then, "Elizabeth;" on the 23rd a
concert.--Tell the Committee to address their invitation to me,
for the two performances, to "Novello and Co., Music Publishers,
1, Berners Street, London." From the 1st to the 12th April I am
Novello's guest. How does it stand with regard to my lodging in
Petersburg, for which my inadequate means will not suffice?--From
you, dear friend, I shall expect to hear something definite in
London.--However honorable for me were the invitation to Warsaw I
could not comply with it now. My return to Weimar is requisite
before the end of May, on account of the Tonkunstler-Versammlung
at Sondershausen.
Heartily and truly yours,
F. Liszt
Argenteau [Liege], March 18th, 1886
Enclosed are some lines and the photographs that friend Zet
wished for.--To write anything further under the photographs for
the use of the newspaper I consider quite superfluous. Excess
does not suit me at all.--
379. To the Countess Mercy-Argenteau
Westwood House, Syndenham (Near London, Where Everything is
Distant).
Wednesday, April 14th, 1886
Very Dear President and Brave Russophile Propagandist,
The second performance of the "Elizabeth," which is fixed for
next Saturday, at the Crystal Palace, detains me here some days
longer than I had anticipated.
From Tuesday next till Easter Tuesday I have asked for the kind
hospitality of the Lynens (at Antwerp).
There is still some talk of the "Elizabeth" at the Trocadero on
the 30th April. If you were not to be there it would be an
affront to your very humble and admiring old servant,
F. Liszt
This time I shall stay at the Munkacsys' (Avenue Villiers, 53).
(In great haste.)
359. To Alexander Ritter in Meiningen
Antwerp, April 20th, 1886
My Very Dear Friend,
Heartfelt thanks for the dedication. Your "fauler Hans" [Ritter's
Opera, "Der faule Hans"--"Lazy Hans"] has nothing lazy in it.
With its graceful, refined wit it is excellent company for our
dear "Barber of Bagdad," which I shall shortly recommend Baron
Loen (Weimar) to take up again in conjunction with the "fauler
Hans."
Faithfully,
F. Liszt
In the middle of May I shall be back in Weimar. Give my
respectful greetings to your wife.
381. To Frau Amalie von Fabry
My Dear Friend,
I wish my rooms in Budapest to remain closed during my absence.
[Many inquisitive people were fond of going and having a look
round, so that Liszt was obliged to prohibit it.] For the rest,
His Excellency Minister Trefort must give his own commands. There
is no risk of his meeting with any opposition from my humble
self. I shall not pass this summer much quieter than the winter
and the spring. Next week I shall be at the Musical Festival at
Sondershausen; then here again until the 30th June.
My granddaughter, Daniela von Bulow, is to be married on the 3rd
July, at Bayreuth, to the highly esteemed Art-historian Thode.
After that, I shall stay from the 5th to the 18th July with my
dear, excellent friends the Munkacsys, at their castle of Colpach
(Luxemburg). I shall be present at the entire cycle of the
Parsifal and Tristan performances at Bayreuth, from the 20th July
till the 23rd August.
I am already more than half blind; perhaps I shall not have to
wait long for the rest...
Ever faithfully yours,
F. Liszt
Weimar, May 27th, 1886
382. To Madame Malwine Tardieu
Weimar, May 29th, 1886
My sight is going, dear friend, and I can no longer write without
difficulty.
Cordial thanks for your letter, and farewell till we meet at
Bayreuth, at the performances of Parsifal and Tristan.
Your very affectionate
F. Liszt
I shall be at Bayreuth on the 3rd July--the wedding day of my
granddaughter Daniela.
From the 4th to the 18th July my excellent friends the Munkacsys
will be my hosts at their castle of Colpach (Luxemburg), whence I
shall return to Bayreuth, to stay there till the last performance
on the 23rd August.
Would you send me Victor Hugo's "Le theater en liberte"? We will
settle our accounts at Bayreuth.
383. To Eduard Reuss
My Dear Friend,
The weakness in my eyes is increasing, and on that account I
cannot write to you "mano propria." I wish to bring good luck to
Wilhelm Franz. Meanwhile I thank you heartily for making me
godfather.
In sincere friendship yours most truly,
F. Liszt
Sondershausen, June 5th, 1886
384. To Frau Reuss-Belce, Opera-Singer to the Court of Baden
My Dear Lady,
The thanks which I have just expressed to your husband I double
to you, as you have played the principal part in the family-drama
of Wilhelm Franz.
With the most heartful wishes for the continued prosperity of
parents and child I remain
Yours most truly,
F. Liszt
Sondershausen, June 5th, 1886
385. To Eduard Reuss
Very Dear Friend,
I have just received the enclosed reply from Hartel. Send him,
therefore, the score with the Piano part, and recommend him to
print this complete score--not the orchestral score alone--if
possible by next October, that is to say, end of September. Then,
for the present, two copies of the complete score will be wanted
for performance--one for the conductor and one for the soloist
who has so long had to play the Piano part out of the score,
until you, perhaps with little delay, arrange the orchestral part
for a second Piano, and the Concerto comes out in an edition like
the E-flat Concerto.
Yours in all friendship,
F. Liszt
Weimar, June 22nd, 1886
N.B.--On the 1st July I am leaving here for a couple of months.
386. To Sophie Menter
Bayreuth, July 3rd, 1886
My very dear Friend,
Tomorrow, after the religious marriage of my granddaughter
Daniela von Bulow to Professor Henry Thode (Art-historian), I
betake myself to my excellent friends the Munkacsys, Chateau
Colpach, Grand Duchy of Luxemburg.
On the 20th July I shall be back here again for the first 7-8
performances of the Festspiel [Festival Play]: then, alas! I must
put myself under the, to me, very disagreeable cure at Kissingen,
and in September an operation to the eyes is impending for me
with Grafe at Halle.
For a month past I have been quite unable to read and almost
unable to write, with much labor, a couple of lines. Two
secretaries kindly help me by reading to me and writing letters
at my dictation.
How delightful it would be to me, dear friend, to visit you at
your fairy castle of Itter! But I do not see any opportunity of
doing so at present. Perhaps you will come to Bayreuth, where,
from the 20th July to the 7th August, will be staying
Your heartily sincere
F. Liszt
[This was the very last letter written by the Master's hand. He
returned in bad health from Colpach to Bayreuth. Yet once again
he heard "Parsifal" and "Tristan" then he lay down upon his
death-bed, and at 11 o'clock on the night of the 31st July his
great soul had passed away into everlasting peace.]
******************************
Supplement of Some Letters Received During The Printing:
387 To Hofmarschall Freiherr Von Spiegel In Weimar
[Autograph in the Liszt-Museum at Weimar.]
Monsieur Le Grand Marechal,
I am very happy to learn through you that Her Imperial Highness
the Grand Duchess has deigned to accept with kindness my
translation of the beautiful work of Beethoven which I have
permitted myself humbly to offer to her. For musicians, the
original of this work marks the summit of perfection of the
classical style (an extremely arbitrary designation, in my
opinion) among non-symphonic instrumental compositions.
Beethoven--as well as many great geniuses in the history of Art--
is like the ancient Janus; one of his two faces is turned towards
the past, the other towards the future. The Septet to a certain
extent marks the point of intersection, and is thus unreservedly
admired both by the devotees of the past and the believers in the
future.
On this account I thought there was a suitability in paying my
respectful homage to Her Imperial Highness by means of it, until
such time as I should be allowed to place a longer work at her
feet, and one which will more particularly express my personal
gratitude.
It is only yesterday that the very flattering lines of Your
Excellency have reached me. It is therefore not my fault that I
have not sooner replied to the gracious request which you are
pleased to make me with reference to my journey to Weimar.
Without any doubt I eagerly accept Your Excellency's invitation
for the month of October. Allow me only to beg you to be so good
as to let me know whether you consider it will be best for me to
arrive at the beginning or end of the month. Not being entirely
master of my time, I should be particularly glad to know from you
the most favorable week.
I have the honor, Monsieur le Grand Marechal, to be, with
respect, Your Excellency's very humble and obedient servant,
F. Liszt
Paris, September 30th, 1841
19, Rue Pigalle (Permanent Address).
388. To Eugenio Gomez, Organist of the Cathedral at Seville
[Autograph, without address, in the Liszt-Museum in Weimar. The
addressee (born 1802) was both pianist and composer.]
You have been pleased, my dear Monsieur Gomez, to ask my
perfectly frank opinion of your "Melodies harmonisees," and-quite
frankly [Liszt uses the same expression--tout franc--in each
case.]--I am much embarrassed by it, for it is in vain I turn
them over and over again; on every side I find only compliments
to make you about them. It is true that you could not doubt their
sincerity any more than you could the real merit of your work. It
is needless to speak of the modesty of true talent; this modesty
cannot go to the extent of foolishness, and the Artist and
supreme Architect of the spheres gives us Himself the example of
this legitimate satisfaction which the consciousness of having
done well brings us, by rejoicing over His work each day of the
Creation.
One defect, nevertheless, and a very grave defect, which I have
discovered in your "Harmonies" by dint of searching, is, that
there are only 12 instead of 24 or 48--as all true lovers will
wish. Make haste, my dear Monsieur Gomez, set yourself to work,
and repair as quickly as possible this unpardonable defect in
your labor; and, while extending it to the utmost, think
sometimes of your most affectionate and devoted servant,
F. Liszt
389. To Madame(?).
[Autograph, without address, date, and conclusion, in the Liszt-
Museum at Weimar.]
[Sevilla, end of December, 1844]
You have not told me too much of the wonders of Seville, Madame,
and, nevertheless, you could hardly have told me beforehand of
that which I have found the most charming--the letter from
Mademoiselle Caroline. Thanks to her charming lines, I found
myself in the best possible frame of mind for the enjoyment of
all imaginable chefs d'oeuvre, and I could not have been more
disposed to admiration and wonderment! During the ten days which
I have just spent in Seville I have not allowed a single day to
pass without going to pay my very humble court to the cathedral,
that epic of granite, that architectural Symphony whose eternal
harmonies vibrate in infinity!--
One cannot use any set phrases about such a monument. The best
thing to do would be to kneel there with the faith of the
charcoal-burner (if one could do so), or to soar in thought the
length of these arches and vaulted roofs, for which it seems that
there is even now "no longer time"!--As for me, not feeling
myself enough of the charcoal-burner or of the eagle, I am
constrained to stand with my nose in the air and mouth open.
Nevertheless my prayer sometimes climbs up like useless ivy,
lovingly embracing those knotted shafts which defy all the storms
of the genius of Christianity.
Whatever you may think of my enthusiasm for your cathedral, it is
a fact that I have been entirely absorbed by it during the ten
days I have spent in Seville; so much so, that it was only on the
evening before my departure that I could prevail on myself to
visit the Alcazar.
In truth, if one might wish for the re-introduction of the
bastinado, it would be to apply it exclusively to those malicious
wretches who have dared to besmear so many ravishing flights of
fancy, so many fairy-like vagaries, with lime and plaster.
What adorable enchantment and what hideous devastation!
The heart expands--and then contracts at every step. Little do I
care for the gardens (which, by the way, slightly resemble the
ornamental gardens of a priest); little do I care even for the
baths of Maria Padilla, which, in fact, have slightly the effect
of an alkaline; but what outlines, what harmonious profusion in
these lines, what incredible voluptuousness in all this
ornamentation! Would that I could send them you in this envelope,
such as I have felt and devoured them with my eyes!
Here are, indeed, many marks of admiration, and you will
certainly smile at me, will you not, Madame? But what can I do?
And how, after that, can I speak to you of myself and my paltry
individuality?
390. To Madame (?)
[Autograph sketch of a letter, without address, date, and
conclusion, in the Liszt-Museum at Weimar.]
[Probably beginning of 1845]
What are your travelling plans for this winter, Madame? Mine are
quite unsettled. I did not succeed in leaving Spain, and the fact
is that, being well, there is no sense in searching for better
elsewhere.The only thing that provokes me is the necessity in
which I am placed of having to give up the rest of my duties at
Weymar for this winter. But I shall try to take a brilliant
revenge in the course of this very year.
In spite of our agreement I have not sent you the bulletin of my
peaceful victories in the arena of Madrid [Liszt gave concerts in
the Teatro del Circo in Madrid from October till December
1844.](and elsewhere), because you know that there are certain
things which are moreover very simple, but which I cannot do.
More than once, nevertheless, I have regretted you in your
founder's loge--the first in front--and I have turned to that
side in expectancy of the inciting bravos which used to begin
before all the others at the brilliant passages!
La Melinetti will doubtless have given you my ancient news from
Pau! Poor woman, with her luxury of a husband (a superfluity
which was not in the least a necessary thing for her), and her
little impulsive ways,...she has really promised me to be at
length reasonable, steady, and deliberate. I hope she will keep
her word. With a little wit, behavior, and tact, she could make
herself a very good position in Pau. Mme. d'Artigaux, [When
unmarried, as Countess Caroline St. Criq, sixteen years before
this time, she had possessed Liszt's whole heart, while hers
belonged to him. But the command of her father, Minister St.
Criq, separated eir ways, because he--was only an artist. Liszt
thought of her in his last Will, but she left this world before
him, at the beginning of the seventies.] who is the most ideally
good woman I know, takes a real interest in her. Several other
people sincerely wish her well--it only depends on herself to
take a good position there--but unfortunately she is too
outspoken, and inclined to play tricks.
What do you know of the elegaic and seraphic Chopin? I wrote a
few lines from Pau to Mme. Sand, but my letter hardly asked for a
reply, and she has, moreover, better things to do.
391. To Madame (?) in Milan
[Autograph in the Liszt-Museum in Weimar]
[1846]
I am at your feet, Madame, and kiss your hands--but it is
impossible not to quarrel with you, and that seriously, over the
last lines of your letter! Through what absence of mind, let me
ask you, could you have written to me, "I do not speak to you of
our affairs because I remember that your sympathies are not with
us"? Frankly, if you were to tell me that I have never played any
but false notes on the piano, and that my calling was that of a
retail grocer, this opinion would offer, to my thinking, a
greater degree of probability. Evidently, in my double character
of citizen and musician, I am not even to exonerate myself from
the fault you [ascribe] to me. Suffer me then not to dwell longer
upon it, and deign for the future to spare me the pain which all
suspicion of this kind would cause me.
Otherwise your letter was a great joy to me; first, as coming
from you; and then, as announcing the realization of a wish, an
idea, to the postponement of which I had resigned myself as well
as I could, but which I had hardly relinquished. Your
Sardanapalus comes in the nick of time, just as the 2000 francs
will be opportune to the poet. The mode of payment is very
simple. Belloni's sister being in Milan, she will have the honor
of calling upon you, and an return for the restoration of the
manuscript she will discharge the total of my debt, viz., two
thousand francs. Allow me only a last request, which is that you
will kindly take the trouble to read the whole libretto through
again, and, if it should be expedient, to communicate to the poet
direct any observations which you consider necessary. The notes
and commentaries which you have added on the margin of Rotondi's
libretto (which I keep very carefully) showed such a complete
virtuosity in this style of subject that one could not possibly
do better than submit with confidence to your decision.--[The
plan of composing an opera "Sardanapalus" occupied Liszt for
years.]
Thanks to God, and to this good star which has let me live many
years pretty uprightly, "as if I were immortal," as you put it,
behold me now since the end of September in last year entirely
out of the circle of concerts--and it does not seem likely that I
shall soon return to this drudgery.--I shall remain in Weymar
till the 15th August; then I shall go and make a tour in the
Crimea by way of the Danube, probably returning by Constantinople
if I can manage it.--
Next spring "Sardanapalus" will be ready,--and I shall perhaps
have to speak to you about another matter at the same time, a
matter about which it is worth while speaking to you.--
Be good enough to acknowledge the receipt of these lines; but
pray spare me abuse, and be pleased to do me the honor of
believing without reserve or restriction in the upright sincerity
of my sympathies, and in my frank and firm good-will to transform
them into acts or deeds, according to circumstances, in the
degree of which I am capable.
Yours ever, with admiration and friendship,
F. Liszt
392. To Frau Charlotte Moscheles (?)
[Draft of an undirected autograph letter in the Liszt-Museum at
Weimar.--Presumably written to the wife of the distinguished
piano-virtuoso and teacher Ignaz Moscheles]
I am most grateful to you, Madame, for wishing to keep me in
remembrance on the occasion of the publication of the Album of
Workers, and I hasten to reply as quickly and as well as I can.
I must, nevertheless, confess to you in all sincerity that I am a
little embarrassed as to the choice to be made among the number
of useless and unusable manuscripts which I should be charmed to
put at your kind disposal. After the Arbeiter Chor [workman's
chorus] and the Arbeiter Marsch [workman's march] with which I
have just gratified two Albums in Vienna, your gracious letter
comes as a surprise rather short of apropos. How malapropos, is
it not? But let us see how to remedy this.--
I thought first of a "Marche funebre" for the use of the bankers;
then of an "Elegie" dedicated to the idle; next of "Jeremiades
Omnibus" [lamentations for all];--but nothing of that sort quite
satisfies me.
In default of perfection, permit me to be satisfied with the
relative best (which will be, it seems to me, a better choice): a
Paraphrase--charitably adapted to the fingers of charitable
pianists who will have the charity to buy and to play it--of
Rossini's "Charite;" which I shall have the honor of sending to
you through Mr. Kistner early in July. An old saying of a very
old Father of the Church would, if needful, justify this choice.
"In things necessary, Unity; in matters doubtful, Liberty; in all
things, Charity!"--
Will you have the goodness, Madame, to remember me very kindly to
my excellent master and friend, Moscheles? and accept again, I
beg you, the expression of my respect, and of my most
affectionate sentiments.
F. Liszt
Weymar, June 22nd, 1848
393. To Heinrich Wilhelm Ernst
[Portions of this, as of the previous letter, were printed in the
"Voltaire."--Addressee the famous violin virtuoso and composer
(1814-1865)]
May 30th, 1849
Dear Friend,
Weymar has not forgotten you, and I hope soon to be able, after
the return of the Hereditary Prince whom we expect for the day of
his fete, by the 24th of May at the very latest, to forward to
you the token of the distinguished remembrance in which you are
held. It pleases me to think that it will be agreeable to you,
and that it will tend to attach you more in the sequel to people
worthy to appreciate you.
I should have desired to tell you sooner of this, but the
inevitable delays in present circumstances postpone more than one
wish.
After the deplorable days in Dresden Wagner came here, and only
departed again in order to escape from a warrant (lettre de
cachet) with which the Saxon government is pursuing him. I hope
that at the present moment he will have arrived safe and well in
Paris, where his career of dramatic composer cannot fail to be
extended, and in grand proportions. He is a man of evident
genius, who must of necessity obtrude himself on the general
admiration, and hold a high place in contemporary art. I regret
that you have not had the opportunity of hearing his
"Tannhauser," which is for me the most lyric of dramas, the most
remarkable, the most harmonious, the most complete, the most
original and selbstwurdig (the most worthy of its country), both
in foundation and form, that Germany has produced since
Weber. Belloni has, I believe, written to you on the subject of
Wagner, to ask for information as to the actual state of the
English Opera in London. I make no doubt that if it were possible
for Wagner to obtain from the directors a tour of performances in
the course of the year for a new work ("Lohengrin," the subject
of which, having reference to the Knights of the Round Table who
went to search for the Holy Grail, is of the most poetic
interest) he would make a great sensation and large receipts by
it. As soon as he tells me the news of his arrival in Paris,
allow me to induce him to write to you direct if his plans do not
change in this matter.
394. To Joseph Dessauer
[Draft of an autograph letter, without address, date, and
conclusion, in the Liszt-Museum at Weimar.]
[Probably at the beginning of the fifties.]
Heartiest thanks for your Songs. I rejoice that you consider me
worthy of a dedication, and I promise you that if we meet again I
will sing you the songs by heart. Perhaps you will bring me again
into such a mood for songs as will impel me to write something of
that sort. My earlier songs are mostly too ultra sentimental, and
frequently too full in the accompaniment.
395. Testimonial for Joachim Raff
[Draft of an autograph letter, without address and date, in the
Liszt-Museum at Weimar]
[Probably at the beginning of the fifties.]
The talents of M. Raff as composer and musician are a fact so
evident and certain, his recent orchestral compositions as well
as his works for voice and piano furnish such forcible proofs of
it, that I consider it superfluous to add to this evidence and to
certify it further.
Having had more opportunity than others, during the few years of
our intercourse, of appreciating his capacities (notably at the
time of the Musical Festival at Bonn for the inauguration of
Beethoven's monument in 1845,-and of those to Herder and Goethe
at Weymar in 1850, etc.), knowing thoroughly both the score of
his four-act Opera "King Alfred," given many times with great
success in Weymar under the author's conductorship, as well as
many of his manuscript works, which I sincerely esteem, I shall
always make it my duty seriously to recommend M. Raff to those of
the Musical Institutes which attach a value to the possession of
an intelligent director and one well acquainted with the
exigencies and the progress of the art.
F. Liszt
396. To Dr. Eduard Hanslick in Vienna
[The renowned musical author and critic (born in Prague in 1825),
professor of the history of music in the University of Vienna.--
The letter refers to the Mozart jubilee concert conducted by
Liszt in Vienna, and to Hanslick's critique, in which he censured
the want of courtesy with which Liszt, who had been invited to
conduct this concert, was treated by the committee and the
public.]
Sir,
The manner in which you have given an account in the Presse of
the two concerts of Sunday and Monday, corresponds entirely with
the opinion which I had of you--and you have proved yourself on
this occasion, according to your custom, an eminent critic and a
perfect gentleman. [The word "gentleman" is in English in Liszt's
letter.]
Permit me to offer you my sincere thanks for the part you have
been pleased to devote to me, and to hope that the coming years,
in bringing us more together, will better enable me to prove the
sincere sentiments of esteem and distinguished regard, the
assurance of which I beg you to accept.
F. Liszt
January 3lst, 1856
397. To the Austrian Minister of the Interior, Freiherr von Bach
[Autograph sketch of a letter in the Liszt-Museum at Weimar. The
Gran Mass was in fact engraved and published by the State
printing-press at Vienna.]
Your Excellency,
The interest and protection which your Excellency extends to the
spiritual interests of the empire permit me to bring forward the
wish and the petition that the Mass which I composed by order of
His Eminence the Prince Primate of Hungary for the Dedication-
Festival of the Basilica at Gran, and performed there on the 3lst
August, may be printed and published in full score and piano
score by the Royal Imperial State printing-press at the cost of
the State.
Without improperly praising my own composition I venture humbly
to express the confidence that the Catholic significance and
spirit which form its groundwork and supplement its modest
porportions would gradually be more propagated and comprehended
by the publication of the work, so that I might hope to have
furnished a not unworthy contribution to Christian Art as well as
to the great Church and Country's Festival of the 31st August.
In the expectation that my request will meet with that assisting
favor which is indispensable to earnest and honest artistic
effort, I have the honor to remain most obediently
Your Excellency's most humble and devoted servant,
F. Liszt
Vienna, September 18th, 1856
398. To (?) in Leipzig
[Draft of an autograph letter, without address, date, and
conclusion, in the Liszt-Museum at Weimar.--The contents refer to
the Orchestral Concert of the Tonkunstler-Versammlung, planned
and carried out at Leipzig in the beginning of June, 1859.]
[Spring, 1859.]
Dear Friend,
At the same time with your letter I received from Brendel fuller
information about the Leipzig preliminaries, to which he will
also receive a fuller reply.
I am not of opinion that the Orchestral concert is to be given up
immediately on account of the negative decision of Rietz. Very
possibly David will undertake to conduct it, and I advise Brendel
to come to a good understanding with him about it. On the other
hand it might be expected, in a case of necessity, that the
Weimar and Sondershausen orchestras would unite to carry out the
Programme. But this latter must be as strictly adhered to as was
formerly determined, and not lose its exclusive character as
"compositions by collaborators of the newspaper only"--Schumann,
Berlioz, Wagner, R. Franz, and lastly my humble self. I cannot
therefore in any respect agree to the concession enjoined by
Brendel, of admitting works of Haydn, Mozart, Beethoven, etc.,
nor do I see the motive of it. As far as the musical is
concerned, I consider it impossible to give such an exceedingly
rich programme on one evening without stupifying the public; that
would go beyond the ill-famed London concerts which last six
hours, not to speak of the fact that we should have to put the
recognised classics far too much in the shade!--But, above all,
such an over-loaded programme is thoroughly unsuitable to the
jubilee-celebration of the Neue Zeitschrift, which on this
occasion [ought] especially to emphasize its just claims and the
progress in Art which it aims at and supports. On this account it
is necessary to adhere to the limits of the programme originally
agreed upon.
Finally, in case insurmountable hindrances should arise to
prevent the carrying out of this same, I have no inclination to
substitute for the Orclaestral-concert one for Chamber-music. But
the word "Evening entertainment" must, as is self-evident, be
entirely dispensed with. Our business is to raise, to educate the
audience, not to amuse them; and if indeed, as Goethe very
pertinently says, "deep and earnest thinkers are in a bad
position as regards the public," we will therefore not so much
the less, but so much the more earnestly maintain this position.
Meanwhile it is advisable to advertise the first evening's
musical performance by the expression Concert in the Gewandhaus,
until we have quite decided whether it shall be a concert with
orchestra, or only with chamber-music. [An orchestral concert
took place in the theater, when compositions by Mendelssohn,
Schubert, and Chopin were, nevertheless, included among the
others.]
N.B.-Please not to communicate these remarks to any one except
perhaps Brendel, as the very outspoken opinions herein about the
Concert-programme must absolutely be kept secret.
399. To Dr. Eduard Hanslick
[The letter refers to Hanslick's notice of Liszt's book "Les
Bohemiens et leur musique," in the Vienna Presse (the old one).]
Sir,
Experience having taught me to regard as a fate attached to my
name the impossibility of publishing anything which does not
instantly gather round it opinions as contrary as they are
forcibly enunciated, I am, although quite accustomed to these
little storms, very sensitive to the kindly judgment of those
who, not letting themselves be influenced by this transitory
impulse, desire to take into consideration what I have written,
with sobriety and composure, just as you have done in your
account of my book "Des Bohemiens."-I am above all extremely
obliged to you for having admitted that, if the requirements of
my subject, and the opinion which after some twenty years of
reflection I have formed of Bohemian music, compel me to
attribute to a nomad people an art thoroughly imbued with a
poetry which could only have been developed in a wandering
nation, I have none the less endeavored to bring into prominence
everything for which this art is indebted to the comprehension
and taste which the Hungarians have always had for the music of
Bohemia. I desire in no way to diminish the merit of the works,
while at the same time I see the impossibility of considering as
emanating from them the expression of sentiments which could not
in their nature belong to them, however sympathetically they were
associated therewith.--
Still, the point which I notice first, in consequence of the very
violent and premature attacks of which I have been the object, is
not the one which I regard as the most important in my volume. As
a matter of fact it would signify little to me as artist to know
whether this music is originally from India or Tartary. That
which has appeared to me worthy the study of an artist is this
music itself, its meaning, and the feelings it is destined to
reproduce.--It is in trying clearly to account for these latter
that I have only found it possible to connect them with people
placed in the exceptional conditions of the Bohemians; and it is
through asking myself what the poetry of this wandering life
would be (a question so often raised), that I have become
convinced that it must be identical with that which breathes in
the Art of the Bohemians. This identity once made evident to my
mind, I have naturally sought to make it felt by and evident to
my readers. The better to succeed in this I have corroborated my
opinion by grouping together as a sort of complement various
suppositions about the question of these sources. But the
scientific side of this question has never been, in my eyes,
anything but very accessory; I should probably not have taken up
the pen to discuss it. If I have raised it, that has been the
consequence, not the aim of my work. Artist, and poet if you
like, I am only interested in seeing and describing the poetical
and psychological side of my thesis. I have sought in speech the
power of depicting, with less fire and allurement possibly, but
with more precision than music has done, some impressions which
are not derived from science or polemics-which come from the
heart and appeal to the imagination.
Poetical and descriptive prose being little used in Germany, I
can easily conceive that, on the announcement of the title of my
book, a set of lectures, rather than a kind of poem in prose,
will be expected. I own that I would never have attempted to
lecture on a subject the materials of which did not appear to me
sufficient for this purpose. How small a number of people,
moreover, would have been interested in learning the little which
it would be allowable to affirm in this case? Whilst the
expression of the innermost and deep feelings, whatever they be,
from the moment that they have been powerful enough to inspire an
art, is never entirely unattractive, even to the more extended
circle which includes not alone musicians, but all those who feel
and wish to understand music. Thanking you once more, Sir, for
the perfect impartiality and clearness with which you have stated
and criticised the compilation of my book, I beg you to accept
this expression of my complete esteem and distinguished
consideration.
F. Liszt
September 20th, 1859
END OF LETTERS OF FRANZ LISZT, VOL. II.
INFO ABOUT THIS E-TEXT EDITION
This volume of "Letters of Franz Liszt" is the second volume of a
2-volume set. The letters were selected by La Mara, and
translated into English by Constance Bache. The edition used was
an original 1894 Charles Scribner edition (New York), printed in
America. Each page was cut out of the book with an X-acto knife
and fed into an Automatic Document Feeder Scanner to make this e-
text; hence, the original book was, well, ruined in order to save
it.
Some adaptations from the original text were made while
formatting it for an e-text. Italics in the original book were
ignored in making this e-text, unless they referred to proper
nouns, in which case they are put in quotes in the e-text.
Italics are problematic because they are not easily rendered in
ASCII text, although, unlike in the first volume, they often add
some useful emphasis to Liszt's expression.
Almost everything occurring in brackets [ ] are original
footnotes inserted into the text. The marking .--. appeared in
the original volumes and indicates points where original material
in the letters was lost or fragmented.
Also, special German characters like U with an umlaut, and French
characters like a's and e's with various markings above them were
ignored, replaced with their closet single-letter equivalents. U
with an umlaut is U, A with a caret above it is A, and so on.
Words altered include Gotze, Tonkunstler, Gluck, Handel and
Bulow, among numerous others.
In addition, the English spellings of words like "honour,"
"colour," "humour," "splendour," "favour," "endeavour" "labour,"
"vigour," "neighbour" "saviour," "behaviour" and "theatre" were
changed into American equivalents like "honor," "color," "humor,"
"splendor," "favor," "endeavor" "labor," "vigor," "neighbor"
"savior," "behavior" and "theater."
This electronic text was prepared by John Mamoun with help from
numerous other proofreaders, including those associated with
Charles Franks' Distributed Proofreaders website. Thanks to M.
Fong, N. Harris, S. Morrison, J. Roberts, R. Zimmerman, P.
Rydzewski, D. McKee, R. Rowe, E. Beach, M. Beauchamp, K. Rieff,
D. Maddock, T. Mills, B. Wyman, J. Hyllegaard, T. McDermott, M.
Taylor, K. Peterson and several others for proof-reading.
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for any non-commercial purpose, and may be included without
royalty or permission on a mass media storage product, such as a
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usage requires permission. The biographical sketch was prepared
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- from Rome to the End" ***
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