On July 8th I go from here to Rotterdam. The days of the performances are July 13th, 14th, and 15th. The last number but one of Brendel's paper (June 16th) contains the complete programme. The principal works will be Handel's "Israel in Egypt," Haydn's "Seasons," the Ninth Symphony, and a newly composed Psalm by Verhulst (the royal conductor of the Netherlands, director of the Euterpe Concerts in Leipzig about twelve years ago, and at present director of the Rotterdam Festivals). Roger, Pischek, Formes, Madame Ney, Miss Dolby, etc., have undertaken the solos, and the programme announces nine hundred members. It would be very-nice if you and Remenyi and Hagen [Theodor Hagen, a writer, known as a witty critic of his time under the name of "Butterbrod" [bread and butter] in the signale; died subsequently in America.] could come; in that case you would have to start at once, for on the 13th it begins, and on the 16th I leave Rotterdam—and go for a couple of days to Brussels, where I shall meet my two daughters.
A couple of Murls would look well in Rotterdam, and would make up to me in the best possible way for a lot of Philistinism which I shall probably have to put up with there (by contact with many honorable colleagues and companions in Art)…So, if you possibly can, come. We will then have a Murl-Musical Festival in my room. (N.B.—I shall be staying with Mr. Hope, the banker.)
One has to get accustomed to the London atmosphere, and make one's stomach pretty solid with porter and port. For the rest, musical matters are not worse there than elsewhere, and one must even acknowledge some greatness in bestiality. If you can stand it, I am convinced that you will make a lucrative and pleasant position for yourself in London, and also gain a firm footing for the Murl propaganda ("une, indivisible et invincible") on the other side of La Manche, "ce qui sera une autre paire de manches." (In case you don't understand this joke, Remenyi must explain it to you.) So be of good courage and among good things! However things may be, never make capitulation with what is idle, cowardly, or false—however high your position may become-and preserve, under all circumstances, your Murldom!—
The two pieces from Raff's "Alfred" [Arranged by Liszt for the piano.] have been brought out by Heinrichshofen (Magdeburg), and are dedicated to Carl Klindworth. Write me word how I can send them to you in the quickest and most economical manner—together with the Sonata. [It bore the title, in Liszt's handwriting, "Fur die Murlbibliothek" (for the Murl Library).] The Dante Fantasia will appear in the autumn, with the other pieces of the "Annees de Pelerinage," at Schott's, and I will tell him to reserve a copy for you.
Since you went away I have worked chiefly at my Symphonic Poems, composing and elaborating. The nine numbers are now quite ready, and seven of them entirely copied out. Next winter I intend to publish the scores, which ought to make about a thousand engraved plates. Immediately after my return from Rotterdam I shall set to work on the Faust Symphony, and hope that I shall have it ready written out by February.
Hartel is publishing also a couple of transcriptions from
"Lohengrin" (the Festal March before the third act, with the
Bridal Chorus, Elsa's Dream and Lohengrin's rebuke to Elsa),
which I wrote lately.
A propos of Hartel, haven't you heard anything of your arrangement of the Schubert Symphony? The matter is being delayed rather long, and when I go to Leipzig I will inquire at Hartel's. [The arrangement for two pianos of the C major Symphony was brought out by them.] I have nothing new to tell you of Wagner. Joachim and Berlioz came to see me in May. Hoffmann von Fallersleben has settled here, and we see each other pretty often. His last poems, "Songs from Weymar," are dedicated to me.
Mason went to London a fortnight ago, and will probably come to Rotterdam. Laub is getting married in Bohemia, and brings his wife here in September. Schulhoff was also with me for a day.
Of Rubinstein I will tell you more when there is an opportunity. That is a clever fellow—the most notable musician, pianist, and composer, indeed, who has appeared to me from among the newer lights, with the exception of the Murls. Murlship alone is wanting to him still. But he possesses tremendous material, and an extraordinary versatility in the handling of it. He brought with him about forty or fifty manuscripts (Symphonies, Concertos, Trios, Quartets, Sonatas, Songs, a couple of Russian Operas, which have been given in Petersburg), which I read through with much interest during the four weeks which he spent here on the Altenburg. [Liszt's home] If you come to Rotterdam you will meet him there.
Now farewell, my dear Klindworth, and let me soon hear from you.