143. To Dr. Franz Witt
[1874?]
I look forward with eager interest to the realisation of your scheme to found a Catholic School of Music. The numerous and important services you have rendered as composer, conductor, teacher, promoter and president of the Cacilien-Verein proclaim and mark you as pre-eminently fitted to organize and direct this highly important kind of School. I should wish that Hungary, my fatherland, might set a good example, and might offer you, my very dear friend, an honorable and influential post in the Musik- Akademie that was voted for last year in the Chamber. This wish of mine was seconded with cordiality by His Eminence the Cardinal Primate, His Excellency the Archbishop of Kalocsa, Haynald, and H. E. Trefort, the Minister of Public Instruction. Various political circumstances interfered with the plan of starting a Musik-Akademie in Pest; but the idea has by no means been given up, and I have still the hope that you may yet at some future day be called upon to give your powerful assistance in connection with the teaching and practice of Church music in Hungary.
144. To Professsor Carl Riedel
Dear Friend,
As at all preceding Tonkunstler-Versammlungen, you have again this year in Brunswick done the best that was possible. [The Meeting took place in Halle, instead of in Brunswick.] Five concerts sound almost alarming, but the programmes are drawn up and arranged with so much forethought and care that your master- hand and that indescribable "with avec" (as dear Frau Dr. Pohl called it) are at once to be recognised. It certainly was advisable to check the "democratic movements" of the orchestra without interfering with the well-meant "command." That the Sondershausen set continue to prove themselves reliable and friendly I am delighted to hear. I wish all possible success to Erdmannsdorfer's "Schneewittchen." The youthful and captivating Frau Kapellmeisterin Erdmannsdorfer is especially capable of doing justice to Raff's Trio (or Concerto) and other pianoforte pieces. [Pauline Fichtner, who married Erdmannsdorfer, was a pupil of Liszt's, and became court-pianist at Weimar and Hesse.]
Will Bulow be able to be present? We have not written to each other for some time past. Do you know where to address him just now?
In case my Faust Symphony is given at the 5th concert (as your programme announces), I beg you to ask Bulow to be conductor. This work has become his property since he conducted it so magnificently at the Weimar Tonkunstler-Versammlung ('61), when the whole orchestra was amazed and astounded at his fabulous memory. You will remember that not only did he not use a score, but at the rehearsal referred to the numberless letters and double letters with unerring accuracy.
With regard to two other matters I wish: A, that Steinway may have the kindness to lend one of his excellent harmoniums for the Hunnenschlacht, and that the instrument may be so placed as to be invisible to the public and yet distinctly heard. B, that the performance of the Sanctus from the Mass for men's voices be taken from the editio nova (published a few years ago by Hartel), and not from the earlier edition. Here, too, Steinway's harmonium would render excellent service, visible and placed close to the chorus. Perhaps our friend Stade would have the kindness to play the harmonium part of the Hunnenschlacht and of the Sanctus.—
I truly regret that I shall not be able to hear that sublime, grand and overpowering Requiem by Berlioz, nor to attend the Musical Festival in Brunswick. I am physically and mentally very exhausted, and need several months' rest; besides my remaining away from Weimar forbids me from meanwhile visiting any other German towns.—Before the middle of May I shall go direct to Rome, and remain there till the end of the year in my former residence at the Villa d'Este (3-1/2 hours from Rome).