Meanwhile I thank you for having so well listened to the "Elizabeth"; that is a presage to me that we shall meet more than once on the same path, in which I wish you the most complete success. .—.
Believe, dear Monsieur Franz, in my very devoted affection.
F. Liszt
Rome May 21st, 1869
87. To William Mason
Rome, May 26th, 1869
Dear Mr. Mason,
Mr. Seward has given me your kind letter and several of your compositions. These give me a double pleasure in that they prove that you have not lost your time at Weimar, and that you continue to make good use of it elsewhere.
The Etude de Concert (Op. 9) and the Valse Caprice (Op. 17) are of a distinguished style and make a good effect. I shall also sincerely praise the 3 Preludes (Op. 8) and the two Ballades, but with some reservation. The first Ballade appears to me somewhat cut short; it wants I know not what at the beginning and towards the middle (page 7) of something needed to make the melody stand out; and the pastorale of the 2nd Ballade (page 7) figures like a too-cheap piece of "padding."… And, since I am in the vein for criticising, let me ask why you call your "Ah! vous dirai-je, Maman"—"Caprice grotesque?" Apart from the fact that the grotesque style should not intrude into music, that title is unjust to the clever imitations and harmonies of the piece, very charming by the way, and which it would be more suitable to entitle "Divertissement" or "Variazione scherzose."—
As to the Methode, you won't expect me to make a deep study of that. I am much too old for such a thing, and it is only in self- defence that I still work sometimes at the piano in view of the incessant botherations and indiscretions of a heap of people who imagine that nothing would be more flattering to me than to amuse them!—