91. To Camille Saint-Saens in Paris.
[The celebrated French composer, pianist and organist (born in
Paris 1835) was, as is well known, in sympathy with the New
German School, and fosters, amongst others, the genre of
"Symphonic Poems" made known by Liszt.]
Very honored Friend,
Your kind letter promised me several of your compositions; I have been expecting them, and, while waiting, I want to thank you again for your second Concerto, which I greatly applaud. The form of it is new and very happy; the interest of the three portions goes on increasing, and you take into just account the effect of the pianist without sacrificing anything of the ideas of the composer, which is an essential rule in this class of work.
At the very outset the prelude on the pedal G is striking and imposing: after a very happy inspiration you do wisely to reproduce it at the end of the first movement and to accompany it this time with some chords. Among the things which particularly please me I note: the chromatic progression (last line of the prelude) and that which alternates between the piano and orchestra (from the last bar of page 5—repeated then by the piano alone, page 15); the arrangement of thirds and sixths in demisemiquavers, charmingly sonorous, pages 8 and 9, which opens superbly on the entry of the subject fortissimo; the piquant rhythm
[Figure: Musical score excerpt of the rhythm in 6/8]
of the second subject of the Allegro scherzando, page 25. Possibly this would have gained somewhat by more combination and development, either of the principal subject or of some secondary subject; for instance, a little anodyne counterpoint, it seems to me, would not be out of place on pages 26, 27. etc., etc., and so on. Item for pages 50 to 54, in which the simple breadth of the period with the holding on of the accompaniment chords leaves rather a void; I should like there to be some incidence and polyphonic entanglement, as the Germanic Polyphemuses say. Pardon me this detailed remark, dear Monsieur Saint-Saens, which I only venture to make while assuring you in all sincerity that the total of your work pleases me singularly. I played it again the day before yesterday to Sgambati, of whom Plante [Francis Plante (born 1839), the exquisitely refined Pianist] will speak to you, as of an artist above the common run and even more than ordinarily distingue. He will let the public hear your Concerto next winter, which ought to meet with success in every country.
When is the performance of the "Timbre" ["Le timbre d'argent" (the silver bell), an Opera] to be? I wish it to give you abundantly all the satisfaction that you deserve, and shall only regret that I cannot be present at the performance of it. At my age the role of young composer is no longer suitable—and there would not be any other for me at Paris, as I cannot continue indefinitely that of an old disabled pianist. Thus I have judiciously made up my mind not to trouble myself about my compositions any further than the writing of them, without in the least thinking of spreading them. Supposing that they have any value it will always be found out soon enough either during my life or afterwards. The sympathy of my friends (a very well chosen sympathy, I flatter myself) amply suffices me; the rest of the world may talk in its own way. As to the "Elizabeth" I do not think it is adapted to the Parisian taste. I am moreover very tired of that score through the performances at the Wartburg, Pest and Vienna; and the difficult task of a suitable French translation, plus the rehearsals with a set of artists little disposed to take trouble, frightens me. I much prefer to employ my time in a manner less ungrateful and more agreeable; consequently I shall not put out anybody in Paris, which I shall not visit; and invite you to come and see me in Rome. Here, dear Monsieur St. Saens, we can talk and musiquer [make music] at our ease. Try and procure me this great pleasure soon, and believe fully in my sentiments of high esteem and devoted affection.
F. Liszt
Rome, July 19th, 1869