65. To Dr. Franz Brendel
Dear Friend,
I have nothing to find fault with in the sketch of the Altenburg programme except that my name occurs too often in it. I am afraid of appearing obtrusive if several works of mine are produced at every Tonkunstler-Versammlung. Certainly the repetition of the 13th Psalm might be permissible and even advantageous to myself, as you kindly remark; also I should not care to raise any protest against the chorus "An die Kunstler," and simply because it has hitherto been more screamed at than heard, for it has been accounted one of my most culpable heresies to have set these words of Schiller's to music after Mendelssohn, and indeed without copying Mendelssohn and without humoring the customary taste of Vocal Societies. Parenthetically be it said that Schiller and "Manhood's dignity" forbade me to make this composition any pleasanter. I dreamt a temple and not a kiosk!—
If you run the risk of giving this Artists' Chorus in Altenburg I must beg the conductor to take all possible care in rehearsing it—and to aim at the most dignified composure in the performance. Like reverberating marble-pillars must be the effect of the singing!—
Please thank Stade [Director of the Court orchestra, and Court organist in Altenburg (born 1817); he was a friend of Liszt's for many years.] most warmly for his friendly intention to play one of my Organ pieces. He will probably choose either the Variations on the Basso continuo of Bach's Cantata "Weinen, sorgen, seufzen, klagen" ("Weeping, grieving, sighing, lamenting")—or the BACH- Fugue.
Discuss the matter again with Riedel and Stade, as to whether 3 items by Liszt on the programme are not too much. I will gladly yield to your decision, and wish only there were more prospect of my being able to attend this Tonkunstler-Versammlung. However I cannot say anything definite about it till June.
Sgambati gives a concert next week in Florence. On his return at the end of April it will be decided whether he can undertake the journey to Altenburg or will have to remain here all summer.
Sgambati is decidedly not an artist for a watering-place, although as a virtuoso his talent is extraordinary and undoubtedly effective. He plays Bach, Beethoven, Chopin, Schumann, and my most troublesome things with perfect independence and in a masterly style. His artistic tendencies and sympathies are altogether "new-German." This winter we heard two of his larger works: a Pianoforte-Quintet and a Nonet for strings. Both of these deserve to be brought out by our Musik- Verein.
Ad vocem of the dedication of Seifritz's Overture, you have come to the right resolution in dedicating the 2nd year's issue of the Almanack to Prince Hohenzollern. I likewise approve of the following numbers being dedicated to the Princes in whose capitals the Tonkunstler-Versammlungen are held.
The first number of the Almanack seems to me very successful. But the historical Calendar might gain in interest by omissions and additions. Mediocre local celebrities such as "H.S. in E., T.D. in B., L.A. in L.," etc., etc., do not need to figure as historical. As little do a couple of first performances that were given in Weimar under my conductorship. See to it, dear friend, that more important data are collected in good time, and that superfluous data are rejected.