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

by Franz Liszt

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!—