Letters of Franz Liszt -- Volume 2 / from Rome to the End

by Franz Liszt

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

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