Accept my best thanks for having admitted into your Neue Zeitschrift Bulow's account of the Musical Festival in Pest. These three articles are a masterly piece of work, and, as your paper has for several years past followed the difficult process of my development as a composer in so kind and careful a manner, I wished specially that the very successful performances of the "Elizabeth" and of the "Dante Symphony" in Pest should receive confirmation in the Neue Zeitschrift.
With regard to the "Elizabeth" I have received offers from Vienna and a few other places; but it is in no way my intention to wage war in a hurry with this work. I shall, therefore, decline the invitations with thanks, and await an opportunity more convenient to myself for the next performance. Whether this may be at the Tonkunstler-Versammlung in Coburg I do not know, and, frankly said, this will depend upon the Duke's bon plaisir. [It was not performed at a Tonkunstler-Versammlung in Coburg.] For my own part I am in no great hurry, as I have heard enough of the work in Pest, and found no alterations to make in it. Then also there is no hurry with regard to its publication, and my reply a short time ago to a willing publisher (who, curiously enough, offered me a respectable honorarium for it!) was, that only by next summer could I decide whether to have it published or not.
Gille has the kind intention of arranging a performance of the "Elizabeth" in Jena as soon as possible. I don't want to enter into a fuller correspondence with him on the subject; but please tell him, in all friendliness, that I regret to be obliged somewhat to check his admirable zeal. Apart from certain considerations of propriety (which I will never disregard in the slightest degree) there is an irremovable difficulty in the matter of the performance itself. It cannot be given in Jena without the co-operation of the Weimar performers. And why plague our dear and excellent Weimar singers and artists, and how—with their many theatrical engagements—could they find the necessary time for studying the parts, for rehearsals?—etc., etc.—
Hence let us give a simple no as regards Jena, and put a sign of interrogation? nay, even two or more??? as regards the Tonkunstler-Versammlung in Coburg, for (as I told you in my last letter but one) we shall there have entirely to submit to the Duke's opinion concerning the larger (or longer) work which is to fill the first day's programme.
(N.B.—"Elizabeth" lasts about three hours, including the intervals. Bulow's conductorship would be indispensable.)
For ten days past I have again been back in the Vatican, and think of remaining here over the winter. At the present moment I am engaged in arranging the Pope's Hymnus, published last month by Bote and Bock for pianoforte as a solo and in duet-form, for chorus (with Italian words). I think something of this piece, for which Kaulbach has made a splendid drawing. If it is performed here you shall hear about it. As soon as possible I mean to set to work with my "Christus Oratorio." Unfortunately I have had to set it aside for a year, as the "Vocal Mass" and other smaller works prevented my doing anything to it. I shall require from six to eight months before I get the "Christus" finished, for I am scarcely half-way through yet.
My health is good, and I can unconcernedly allow people the pleasure of referring to me as "physically broken down" and a "decayed wreck" (as I have been described in the Augsburger Allgemeine Zeitung).
One favor do me at once, dear friend. Request Kahnt to purchase for me the steel-plates (or woodcuts) of Schwind's "Elisabeth- Galerie" in the Wartburg, published in Leipzig by Weigel or Brockhaus, and let them be sent safely, quickly and correctly, addressed to "Herr Baron Anton von Augusz—Szegzard" (Tolnaer Comitat—Hungary). If I am not mistaken, the drawings are published in two parts. The first part contains the pictures of St. Elisabeth's arrival at the Wartburg, the miracle of Roses—up to her death. The second part gives the medallions depicting her works of charity. I wish to send the complete "Elisabeth-Galerie" to Baron Augusz. The price is not high, and the money shall be refunded to Kahnt as soon as I get the bill.
By the way Kahnt would be doing me a favor by presenting "Remenyi," through Roszavogli (Pest), with a copy of Pflughaupt's arrangement for pianoforte and violin of my "Cantique d'amour" and "Ave Maria"—and by granting my humble self a copy also, at his convenience. Remenyi will be glad to play the pieces with Plotenyi and thus make them known, and I would get Sgambati and Pinelli [A Roman violin virtuoso (born 1843), was appointed in 1872 Director of the "Societa musicale romana," in Rome.] to do the same here.
With hearty greetings to your wife,