Draseke is coming very shortly through Weymar from Lucerne. I will tell him your wish in confidence. It is very possible that he would like to go to Vienna for a time. I have not the slightest doubt as to the success of your lectures, in conjunction with the musical performance of the works.—I would merely advise you to put into your programme works which are universally known—as, for instance, several Bach Fugues (from "Das wohltemperierte Clavier"), the Ninth Symphony, the grand Masses of Beethoven and Bach, which you have so closely studied, etc. [The proposed lectures did not come off.]
Well, all this will come about by degrees. First of all a beginning must be made, and this will be quite a brilliant one with the three Sonatas. Later on we will muster Quartets, Symphonies, Masses, and Operas all in due course!
A propos of operas, how are you getting on with the "Barbier" and the publication of the pianoforte edition? Schuberth told me for certain that printing would begin directly they had received the manuscripts. Don't delay too long, dearest friend—and believe me when I once more assure you that the work is as eminent as the intrigue, to which it momentarily succumbed, was mean-spirited.
Schuberth has no doubt told you that I want to make a transcription of the Salamaleikum. But don't forget that another Overture is inevitably NECESSARY, in spite of the refined, masterly counterpoint and ornamentation of the first. The principal subject
[Figure: Musical example of the principal subject.]
must begin, and the "Salamaleikum" end it. If possible, bring in the two motives together a little (at the end). In case you should not be disposed to write the thing I will do it for you with pleasure—but first send me the complete piano edition for Schuberth. The new Opera can then afford to wait a while, like a "good thing"—only may weariness at it remain long absent [Untranslatable play on the words Weile and Langeweile]!—In order that you may not have a fit of it in reading this letter, I will at once name to you the magic name of Rosa [Rosa von Milde, the artist and friend of Cornelius, who wrote poetry upon her]…
In consequence of an insinuating intimation of our mutual patroness, I have still to add the excuses of our good friend Brendel to you. When I have an opportunity I will tell you in person about the Prologue disturbances at the Leipzig Tonkunstler Versammlung. Pohl had also supplied one—but the choice was given over to Frau Ritter, and she chose her good "Stern," whose prologue was indeed quite successful and made a good effect. But oblige me by not bearing any grudge against Brendel, and let us always highly respect the author of "Liszt as a Symphonic Writer"!—
A thousand heartfelt greetings from your faithful
F. Liszt
Weymar, August 23rd, 1859