At the present time I am exclusively engaged in the composition of a "Missa Solemnis." You know that I received, from the Cardinal Primate of Hungary, the commission to write the work for the consecration of the cathedral at Gran, and to conduct it there (probably on the 15th of August).
134. To Dr. Franz Brendel
Sunday, March 18th, 1855
A few words in haste, dear friend, for I am over head and ears in work. First and foremost, my best thanks for your communications, with the request to continue them, even if I cannot always answer the different points thoroughly.
I send you herewith the title of "The Captive" [Song, by Berlioz, for alto voice with orchestra or piano.]—the words must be written under the notes both in French and German. There can be no copyright claimed for this Opus in Germany, as it appeared years ago in Paris. It is to be hoped, however, that Kahnt will not lose by it, as he has only to bear the cost of printing—and in any case it is a suitable work for his shop..—.
To be brief—Panofka's [A well-known teacher of singing and writer on music (1807-88); collaborator of the Neue Zeitschrift.] letter, in your last number, must be regarded as a mystification. In the first few lines a glaring falsehood, founded on facts, is conspicuous, for the Societe de Ste. Cecile has been in existence for years, and was formerly [1848-54] conducted by Seghers [Pupil of Baillot (1801-81)]—not to mention that Berlioz conducted the Societe Philharmonique, where "many Symphonies were performed," for at least a season (of something like four years)—and then as regards Scudo, [Musical critic and journalist in Paris (1806-64)] it must appear incredible to see a man like that mentioned with approval in your paper. It is well known that Scudo has, for years past, with the unequivocal arrogance of mediocrity, taken up the position of making the most spiteful and maliciously foolish opposition, in the revue des Deux Mondes (the "Grenzboten" only gives a faint impression of it), to our views of Art, and to those men whom we honor and back up. (I can tell you more about this by word of mouth.) If Panofka calls that "persuasion and design," I give him my compliments…on his silliness.—
Your views on the characteristic motives are right, and for my part I would maintain them very decidedly against the bornes attacks which they have to bear—yet I think it is advisable not to discuss Marx's book ["The Music of the Nineteenth Century," 1855.] at present.
Yours ever,
F. Liszt
135. To Dr. Franz Brendel