Next week I go to Schillingsfurst, and towards the middle of
August I shall be back at Weimar.
A thousand very cordially affectionate and devoted regards.
F. Liszt
Bayreuth, July 30th, 1873
131. To Eduard von Liszt
Dearest Eduard,
After an absence of 3 weeks I returned here yesterday. I remained first to days in Bayreuth, from August 26th to September 5th, [The dates here ought certainly to be from July 26th to August 5th—as Liszt's letter is dated the 19th of August.] and then the same length of time in Schillingsfurst (with Cardinal Hohenlohe) and at Langenburg (with Prince Hermann Hohenlohe), whither I had the honor of accompanying the Cardinal.
Cosima, Wagner and the five children are in the best of health. The building of the Nibelungen-Theater is progressing famously; if the necessary sum of 300,000 thalers [some 45,000 pounds] of which as yet only about 130,000 have been forthcoming, is got together in time, the performance of the "Festival Drama"—"The Ring of the Nibelung"—is to take place in the summer of '75.
.—. Simultaneously with his theater, Wagner is building a beautiful and exquisitely situated house close to the Hofgarten. The King of Bavaria has given him 20,000 thalers [some 3,000 pounds] for this. Next spring Wagner will take up his abode there.
My intercourse with Cardinal Hohenlohe is always pleasant. He leads a very retired life in Schillingsfurst, receives but few visits and pays only a few, and occupies himself principally in building and arranging a large schoolhouse and an institution for girls under the superintendence of a Benedictine Sisterhood.
Great festivities are being arranged here in honor of the marriage of the Hereditary Grand Duke. On September 6th the entry of the bridal pair, on the 7th a Court concert, on the 8th a Festival-play by Devrient in the theater and a performance of Beethoven's 9th Symphony, etc., etc. I have undertaken to conduct the Symphony and also to play a couple of pianoforte pieces at the Court concert. A second Festival-play, entitled "The Bride's Welcome to the Wartburg," written by Scheffel and set to music by me, is to be given on September 2lSt in the Minnesanger Hall in the Wartburg, where you heard the "Elizabeth" Oratorio.
A few days after this I shall travel to Rome, and remain there 3 or 4 weeks. Before the end of October I shall come to you again for a couple of days before returning to Pest on November 1st.
The dedication-copies of the "Szoszat" and the "Hymnus" for Count Andrassy are not yet ready, it seems. Roszavolgyi (Dunkl) has sent me only a fete ordinary copies of the pianoforte version, and not one of the score. I shall therefore have to wait till November before sending or presenting it to Count Andrassy.
From the Grand Duchess I received 1,000 thalers—but these together with your 500 have all been spent. Be so good as to send me another 300 thalers next week! For my journey to Rome I shall probably, towards the middle of September, again have to ask you for a note of 500 francs. Although I do not go in for any luxuries, money vanishes quickly and readily in my hands.
Heartiest greetings to your wife and children, and au revoir in
Vienna at the end of October.
Faithfully thine,
F. Liszt
Weimar, August l0th, 1873
132. To Franz Servais
Dear Victorious One,
Your letter had been travelling several days in Bavaria before it reached me here yesterday morning. I thank you for letting me take an affectionate part in the success you have obtained, and I wish to keep that part throughout your future successes—and even failures. The latter will not do you any great harm, provided that you know how to keep that attachment to work, and that perseverance in noble ideas, which are the chief heirloom of the artist. Lassen tells me that we are shortly to hear your "Tasso" here: my attentive sympathy is wide awake; so fulfil your promise, dear Franz, by coming before the end of this month, and we will talk at our ease at the Hofgartnerei of our aims and plans.
Please give my respects to your mother, and my cordial remembrances to Joseph and Godebski.
Your affectionate and devoted
F. Liszt
Weimar, August 19th, 1873
133. To Walter Bache
Dear Friend,
Often I am behindhand and stop short of thanks with you, but it is certainly not for want of sincere affection and esteem.
Your "9th Annual Concert" has again shown the worth of your talents and the firm constancy of your character. Now in our artistic world character is still more rare than talent.
You nobly unite the two; it is a pleasure to me to acknowledge it, and to count you amongst the most devoted champions of progress and of musical good sense.
At their head, by right of age and capability, walks imperturbably and gloriously Hans de Bulow.
Will you give him the enclosed letter? and believe me ever, dear
Bache,
Your very cordially affectionate
F. Liszt
Weimar, August 20th, 1873
134. To Max Erdmannsdorfer, Hofcapellmeister in Sonderhausen
[At present Capellmeister in Bremen; he has rendered good service to the cause of the New-German musical tendency both in Germany and Russia.]
Very Dear Herr Capellmeister,
Your friendly invitation for me to attend the performance of your "Schneewittchen" I am unfortunately unable to accept. Owing to the festivities at the Wartburg it is impossible for me to get away next week. Will you kindly convey to the Princess Elizabeth my regrets as well as my most gracious thanks?
On Sunday, September 28th, I shall have the pleasure of thanking you personally in Sondershausen for arranging and carrying out the extraordinary concert programme. It is my special wish that the two "Faust Episodes" should not be separated—even at the risk of wearying the public for a few minutes with the "Nachtlicher Zug." [Two Episodes from Lenau's Faust (Leipzig, Schuberth).] But this piece does not appear to me altogether so bad…
I beg you again to repeat my sincere praise to the Sondershausen artists who played so admirably here last Monday in the 9th Symphony, and remain, very dear Sir, with marked feelings of esteem,
Yours in all friendship,
F. Liszt
Weimar, September 16th, 1873
Kahnt, Gille, J. Schuberth, Lassen and several other friends of mine are going to attend the Sondershausen concerts on the 28th and 29th September.
The Weimar presentation I will bring you.
135. To Otto Lessmann
Dear Friend,
Best thanks for sending Kiel's "Christus"—a work full of spiritual substance, of noble and fine sentiments, and masterly in execution. Riedel proposes to give a performance of it next winter it Leipzig.
With such a clause as Joachim introduces for the "Novitaten- Concerten"—"that only such composers shall be taken into consideration in the programmes whose renown as artistic representatives of the German nation is established"—Handel, Bach, Mozart, nay even Beethoven, would have come off badly in their life-time!
Whether it is appropriate for the Berlin Hochschule to act in so specially a high and mighty manner remains to be seen. Still it is to be expected that such procedure is likely itself to meet with some other restricting "clauses."
Of the arrangement for 8 hands of the Pastorale and March [From Liszt's Oratorio "Christus.">[ which I wish to have from you, you will have already heard from Schuberth. Likewise from Kahnt of the couple of pieces from the "Elizabeth."
Au revoir on Sunday, the 28th September, in Sondershausen, where we shall have a curious (sonderliches) Programme. Receive herewith, dear friend, a special invitation, together with the assurance of my friendly attachment.
F. Liszt
Weimar, September 24th, 1873
I shall bring you back your copy of Kiel's Christus to
Sondershausen.
136. To Kornel von Abranyi
Dear Valiant Friend,
Your letter, and the printed paper of great fame which accompanies it, recalls to me the saying, "La joie fait peur." [Abranyi, who was the Secretary of the Festival Committee which had been formed for the celebration of Liszt's Artist-Jubilee in November 1873 at Budapest, had in their name invited Liszt to take part in this.] Nevertheless I could not suit myself to the role of a coward; I will therefore endeavor to surmount my fear and to make myself worthy to share with my brave compatriots in the joy they have prepared for me.
I beg you, in your capacity of secretary of the Festival Committee, to present my most grateful thanks, in good Hungarian, to the most illustrious and most reverend President, Monseigneur Haynald, [The Archbishop of Kalocsa, afterwards Cardinal, Liszt's friend of many years. (Being interested in the present collection, he promised to contribute to it the letters addressed to him "by the great artist and noble man." His death unfortunately prevented the fulfilment of his promise, and the Archiepiscopal Chapter of Kalocsa did not accede to the request of the editor to be allowed to have these letters.)] and to the members of the Committee.
Baron Augusz had written me word that he would come here in the middle of September, to be present at the "Festspiel" [Festival Play] at the Wartburg. He shall soon receive news from me from Rome, where I shall arrive on Sunday. Schuberth is sending you the score and the piano score of the "Christ," together with the biographical notices for which you asked me. My cousin Eduard will send you the "postscript" immediately.
Cordial friendship and fruitful collaboration.
F. Liszt
Weimar, October 1st, 1873
Herewith the programmes of the 2 concerts at Sondershausen at which I was present. This afternoon I start for Rome,—and on the 1st November shall be at Pest.
137. To Martha Remmert
[A pupil of Liszt's; became later Kammervirtuosin (court-pianist) in Weimar, and lives now in Berlin.]
Pest, December 27th, 1873
Dear Fraulein,
The best "solution" in reply to the ministerial order lies in your hands. Merely play the first page of Henselt's Concerto and no one will doubt that I am very kindly disposed towards you. And I shall be glad to render you further service in your zeal for study and your ambition as a virtuosa. No matter whether I be in Pest or in Weimar.
In all friendliness yours,
F. Liszt
138. To ?
[Autograph without address or date in the possession of Count Albert Amadei in Vienna.—According to him the letter belongs to the year 1873.]
Very dear Fraulein,
Please reply at once per telegram:—"Please do not come.—Liszt does not need or wish to be heard, as he has no one for whom he must strike up."
Tomorrow evening more by word of mouth.
Sincerely yours,
F. Liszt
Monday
139. To Countess Marie Dunhoff in Vienna
[Sketch of a letter in the possession of Herr O. A. Schulz, bookseller in Leipzig.—The addressee, the wife of the German ambassador Von Bulow, lives now in Bucharest.]
[Beginning of January, 1874]
Dear Countess,
You speak to me so eloquently of the merit, talent and superiority of Madame L.B. that I am quite ashamed of not fulfilling her wish subito. But in reality that would be more difficult than she imagines; a "petit morceau de piano" would only be a small part of the matter; the public is a very exacting master, even in its days of favor; the more it gives the more it expects…
Half a dozen such requests as that of Madame L.B. have been addressed to me at Vienna this week. How can one suffice for such a business, which, be it said in passing, is at once outside and far beyond my duties?—At my age one must try to behave reasonably, and to avoid excess; I shall therefore limit myself in Vienna to the one concert of the "Kaiser Franz Joseph Stiftung," [Emperor Francis Joseph Scholarship] which reasons of great propriety, easy to understand, have led me to accept with alacrity. I am told that it will take place on Sunday, 11th January; so be it: I shall willingly conform to the arrangements of the Committee and have no other wish in this matter than…not to inconvenience anybody. [The concert for the "Emperor Francis Joseph Scholarship" did not take place till April; and Liszt did actually play, in the Easter week, for the Countess's protegee, though not in the Concert Room, but in the Palais Auersperg.]
Permit me to hope, dear Countess, that you will not, under the pretext of "discretion," inflict upon me the immense punishment of seeing you less often this time than formerly, and that you will not retract any of your kindness, on which I place the greatest store.
A thousand and a thousand sincere and most respectfully devoted expressions of homage.
F. Liszt
140. To B. Bessel, Music Publisher in St. Petersburg
Horpacs (Chez le Comte Szechenyi), February 2nd, 1874.
Dear Sir,
Pray excuse me for being so late in thanking you,—you and all those who signed the telegram sent to Pest on the occasion of my jubilee fete. I am deeply touched with the noble sentiments it expresses with a chivalrous eloquence, and beg you to convey the tribute of my most sincere gratitude to Messrs. Balakireff, Borodine, Cui, Moussorsky, Rimski-Korsakoff, Scherbatcheff, and Stassoff.
You were kind enough, Sir, to let me see several of their works at Weimar; I appreciate and esteem them highly, and as far as depends on myself I will do all I can to make them known, and shall feel honored thus to respond to the sympathetic kindness which brave colleagues such as these accord to
Their very devoted
F. Liszt
141. To Professor Skiwa in Vienna
[Printed in the Signale, 1874, No. 20.—Skiwa had dedicated his
"Beitrage zur Literatur des Harmoniums" ("Contribution to
Harmonium Literature") to Liszt.]
Very Dear Sir,
Kindly excuse the delay in my sending you my sincere thanks, which I shall very shortly take the liberty of expressing to you personally in Vienna. I shall then also ask you to do me the favor of making me more intimately acquainted with your excellent transcriptions. In reading them through one at once observes the author's masterly style and his care and artistic handling of the characteristic peculiarities of the harmonium, especially in the management of the basses and the mid-voice parts. But still the mere reading your transcriptions does not satisfy me, and I should like to hear them, so as to be able fully to enjoy them.
Herr Bosendorfer will bring you the manuscript of the
"Consolation," the dedication of which is very acceptable to me.
The transcription of this small piece into A major appears to me
very appropriate, and the arrangement excellent.
With marked esteem and friendly thanks,
F. Liszt
Pest, March 2lst, 1874
142. TO C. F. Kahnt, the Music Publisher
[Published in the Neue Zeitung fur Musik, 14th September, 1892.]
Dear Friend,
The day after tomorrow I again go to Vienna, and remain there about a week. In case the "Prometheus" proofs are ready send them to me to my usual address ("Schottenhof bei Hofrath E. v. Liszt") by the middle of Easter week; after that my address will be rather uncertain, as I intend spending a few days in Pressburg and Kalocsa (with Archbishop Haynald), and do not return here till after April 20th. Hence, if the "Prometheus" proofs are not ready within the next few days, do not send them till after my return to Pest (April 21).
Please send the proofs of Mihalovich's songs as soon as possible to the composer, addressed to
"Servitenplatz, im Teleky'schen Haus."
The Vienna concert in the "Palais Auersperg" is announced for Easter Monday, April 6th. The following Sunday, or at latest on Sunday the 19th April, the concert of the "Kirchenmusik-Verein" is to be given in Pressburg, at which I take a part in piano- playing—it is to be hoped for the last time this year!—
I think of remaining here from April 2lst to the beginning of May, and then of wandering straightway to Rome, and to the Villa d'Este.
I wish you in all friendliness a happy Easter, with satisfactory business at the Easter's fair, and remain your sincerely attached
F. Liszt
Pest, March 29th, 1874
Have you sent Countess Oriolla the omitted copy of the "Wartburg
Songs"?
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).
With friendly greetings to your wife, I remain, Yours ever in esteem and sincere attachment,
F. Liszt.
Pest, April 17th, 1874
Accept my best thanks for cancelling my promise to Metzdorff (in regard to the performance of his Symphony).
I agree perfectly, of course, with your desideria fog the Musik- Verein, and hope next year to be able to contribute something towards their realisation.
"In patientia vestra possidebitis animas vestras."
To Kahnt I wrote at once on my return from Pressburg on Monday.
145. To Dom-Capellmeister [Cathedral Conductor] Dr. Franz Haberl in Ratisbon
[This letter, like the subsequent one to Haberl, is a copy of the draft of a letter of Liszt's by Dr. Mirus in Weimar.—Haberl is a distinguished musical scholar (born in 1840).]
[1874?]
Pardon me if I again come with claims upon your kindness. You may know that I am working at an Oratorio on St. Stanislaus, and perhaps might be able to give me some assistance with it by communicating to me the liturgic hymns referring to the feast of St. Stanislaus. The Enchyrydion and Directorium Chori designate the Mass, Protexisti, etc., on May 7th. To receive fuller information from you on this point would greatly oblige me. [Haberl also gave Liszt aural communications regarding the Stanislaus legend. "On one occasion," says Haberl, "Liszt was specially and greatly delighted to hear of the man whom Stanislaus summoned out of the grave as a witness that the field had been paid for, and gave me a sketch of his proposed motives and tone pictures.">[
Pray accept, reverend Sir and friend, the expression of my marked esteem, and believe me yours gratefully and sincerely,
F. Liszt
146. To Professsor Carl Riedel
Dear Friend,
Herzogenberg's [Formerly Director of the Leipzig Bach-Verein, then Kiel's successor at the Berlin Hochschule, which post he lately resigned.] "Deutsches Liederspiel pleases me very much. The very first chorus with its mixed species of tempi 6/4-3/2 and 6/4-3/2 is fresh and pithy, and the whole work seems to me. excellent, pleasant and effective. Hence I should much like to recommend its being performed.
Where does Herzogenberg live? Has he any appointment anywhere? Let me know, when you can, something of his former and present work.
(N.B.—It would be worth while, later, carefully to arrange the
"Deutsches Liederspiel" for orchestra.)
I observe with special pleasure that Grutzmacher has chosen a Suite of St. Saens'. St. Saens will not, however, be able to come,—the less so as a few years ago his appearance in quite a harmless concert in Baden-Baden brought down upon him hideous rebukes and reproaches from the Parisian Press. And the tone in France is not yet more temperate; still it is right that German artists should prove themselves fair and just towards foreigners, and, as long as Auber's and Gounod's Operas are given in all German theaters, I see no good reason against considering and performing other works by French composers. Among modern composers I regard St. Saens as the ablest and most gifted.
I am much satisfied with the choice you have made of my things, dear friend, and thank you cordially for it—at the same time I must express my sincere regret that I am unable to attend the Tonkunstler-Versammlung, and remain, with much esteem, yours most sincerely,
F. Liszt
Pest, May 5th, 1874
147. To Princess Julie Waldburg at Castle Wurzach
Madame La Princesse,
I feel that I am quite inexcusable. You have been so kind as to send me some charming Lieder, and to accompany them with the most gracious lines in the world. How could I fail to thank you for them immediately? What rusticity!—Deign to think of this no longer, Princess; and permit me not to "judge" your songs,— magisterial competency would fail me utterly,—but to tell you that I have read them with much pleasure. The one of which the style and impassioned accent please me particularly is dedicated to Mme. Ehnn—"Liebeshoffnung"; but I do not mean to depreciate the others.
The oriental interval of the augmented fourth, which I scent in the "Mondlied," would be written, I think, more simply thus:—
[Here, Liszt writes a 2-bar musical score excerpt]
and further on
[Here, Liszt writes another musical score excerpt]
(C instead of B-sharp). And to prove to you, Princess, my attention in reading your works, I will venture to observe to you that in the French Romance "Comme a vingt ans" the prosody is neglected in the third couplet. Instead of the printed version (with two syllables omitted) it should run something like this:—
[Here, Liszt writes a 7-bar musical excerpt at the point where the words "Je vis le len—de—main, non plus au hord de l'onde mais as—si—se as che—min la jeune fi—le blonde" are sung.]
If I still had, as in Vienna, the honor of finding myself in your neighborhood, I hope you would grant me a word of indulgence; and meanwhile, Madame la Princesse, I venture to beg you to accept the most respectful homage of
Your very humble and inexcusable servant,
F. Liszt
Pest, May 10th, 1874
148. To Peter Cornelius
Dearest Friend of my Heart,
Again a request. You alone can help me, and give me in German a faithful poetical rendering of Lamartine's "Hymne de l'enfant a son reveil."
Years ago I used to sing this hymn, from my inmost heart, to my three children; you remember them…
And now the composition (what an unknown word for it!) is to appear in print, and the publisher Taborszky in Pest will send you my manuscript together with a copy of the poem. In case any prosodical alterations should seem appropriate, be kind enough to write them down distinctly in notes on a separate sheet of paper.
Tomorrow I travel direct to Rome, and shall spend the summer and autumn in the Villa d'Este (Tivoli). There, at length, our "Stanislaus" shall be pushed forward. [Cornelius translated the text to the Oratorio "Stanislaus.">[
With friendliest greetings to all your circle, I am, dearest
Cornelius, ever your heartily devoted
F. Liszt
Pest, May 16th, 1874
149. To A.F. Eggers in Liverpool
[From a copy of the draft of a letter by Dr. Mirus, Weimar.]
[Villa d'Este, June 21st, 1874]
Dear Sir,
Your friendly communication rests upon a harmless mistake. You do not seem to know that for 26 years past I have altogether ceased to be regarded as a pianist; hence I have for a long time not given any concerts, and only very occasionally played the piano in public, for some very special reason, to aid some charity or to further some artistic object, and then only in Rome, Hungary (my native country), and in Vienna—nowhere else. And on these rare and very exceptional occasions no one has ever thought of offering me any remuneration in money. Excuse me therefore, dear Sir, that I cannot accept your invitation to the Liverpool Musical Festival, inasmuch as I cannot in any way think of wearying the public with my "whilom" piano-playing.
Respectfully yours,
F. Liszt
150. To Walter Bache
Dear and Honored Friend,
I am often with you in kindest remembrance and cordial sympathy with your admirable efforts, but unfortunately I rarely get any letters written to the friends I value most, for my time is wasted with a number of wearisome and useless notes. I have just despatched one of this sort to a Mr. E. in L. The good man invites me to the Festival to be held there, asks me to consider the matter, and even offers me a remuneration in money for playing—without imagining that I have anything else or better to do than to accept such invitations. To me concert tours would be absolutely senseless; to fulfil my duties in Pest and Weimar gives me trouble and interruptions enough. All the other things need not be enumerated.
The summer and autumn (till my return to Pest in January '75) I mean to spend here quietly and at work. Last Monday and Tuesday I had the special pleasure of a visit from Bulow. And we thought of you in all friendship.—Bulow is now going to Salzungen (near Meiningen) for a couple of months, to recover from the terrible fatigues of his concert tour, and next October goes again to London.
Remember me most kindly to Mr. Dannreuther with assurances of faithful attachment, and do me the favor to give the enclosed notes of thanks to Messrs. Hueffer and Gounod.
Our very able and dear patroness, Madame Laussot, told me that you, dear Bache, will probably soon be wandering towards Italy.
A hearty welcome, therefore, to the old place where again is resting your old and sincere friend,
F. Liszt
June 2lst, 1874
(Villa d'Este,—Tivoli, per Roma—Italia.)
151. To Dr. Franz Witt
[Villa d'Este, Early Summer, 1874.]
Much-esteemed Sir and Friend,
The lively recollection I entertain of the truly edifying Church- music performances in Eichstatt under your direction [On the occasion of the 3rd General Assembly of the Cacilien-Verein in Eichstatt, August 1871] increases my regret that I am unable to accept your friendly invitation to the 5th General Assembly of the Cacilien-Verein in Ratisbon (between the 1st and 7th August) [The Assembly was held on the above-mentioned days.]. A wearisome piece of work will keep me here till my return to Pest in January '75. Next summer, however, I hope again to pay you a visit, and to gather excellent precepts and examples from you. Meanwhile I am reading your Essays with peculiar satisfaction, and more especially your com-positions in the "Musica sacra" and the "Fliegende Blatter." "Fliegend" [flying] must here be taken in the higher, angelic sense; in the latter sense O salutaris hostia sounds altogether comforting Musica angelorum, such as pleasantly animates all your Church tone-works.
152. To Dr. Franz Haberl
[A portion of this letter is printed in Dr. Mirus' brochure, "Das Liszt-Museum in Weimar" (1892), which contains many interesting relics of Liszt.]
[Villa d'Este, Early Summer, 1874.]
Much-esteemed Sir and Friend
To my sincere regret I find myself prevented from attending the
Cacilien-Verein in Ratisbon.
The efforts and performances of the Verein I follow with the deepest interest, and anticipate that its promoters—who are so capable, careful and learned—will accomplish all that is truly of advantage in Church music. And in this Ratisbon has for many years past deserved to rank first, and you, my much-esteemed friend, deserve the fullest recognition that can be offered for the abundant services you have rendered in the cause. Accept my grateful thanks for kindly sending Vittoria's Missa pro defunctis, [A six-voiced Requiem given by Dr. Haberl at the 5th General Assembly of the Cacilien-Verein in Ratisbon in 1874, and published in the "Musica divina," Annus II., Tom. I, by Pustet] which was brought to me by the Chaplain of the Anima Church. Will you be so kind as to get Herr Pustet to send me also, through Leukoch, [Perhaps ought to read Leuckart?] "Mannuale breve canticum," etc.? [A little book of Chorales by Joh. Georg Mettenleiter]
In spite of the grievous news of your continued sufferings I do not give up the hope of seeing you here again soon, and of taking all friendly care of you; and you shall not in the least degree be troubled or wearied; merely recruit from your over-exertions by living simply and comfortably amid quiet and congenial surroundings.
Hence I take the liberty again of inviting your Reverence to spend the next months with me here in the Villa d'Este, where you will find rest, quiet and cosiness, mild air, glorious scenery, pleasant walks, good eating, good wine, books, music, pianos to make use of ad libitum, and a temperature mentally agreeable.
Cardinal Hohenlohe requests me to say that you will be heartily welcome, and this message is communicated with unmixed pleasure by your very respectful and sincerely grateful
F. Liszt
153. To Edmund von Mihalovich
Very Dear Friend,
Your Prologue to the Nibelungen in course of performance at the Walhalla-Roszavolgyi has royally amused me. [A joke of Mihalovich, who had nicknamed several mutually known people with the names and characters out of the Nibelungen] I wish that Wagner may find in Messrs. Betz, Scaria, Niemann, etc., interpreters as well suited to their roles as Richter-Wotan, Dunkl-Loge, Abranyi-Thor and Gobbi-Mime.
At Bayreuth "fervet opus" The preparatory piano rehearsals are going on; celebrated artists are growing thick on the ground, like the suitors at Penelope's court. Joseph Rubinstein suspends his commercial occupations, and returns from Cracow to drive the four-in-hand accompaniment of Rheingold. The architects, painters, decorators, machinists, costumiers and their people are continuing their work; therefore, in spite of difficulties and obstacles, the great work of Art of this century—Wagner's Tetralogy of the Nabelungen—will come to pass, and I hope to be present at the first performance with my very dear friends Mi and Do. [Mihalovich was called Mi by Liszt, and Count Apponyi Do.]— Meanwhile let us go on patiently at our own modest work, and endeavor to make it as suitable as possible. Next winter we will make an exchange of our latest sheets of music. I will bring a pretty thick packet to Sir Hagbar. [An Opera by Mihalovich (Hagbar and Sigurd)]
Schuberth promises me the "Geisterschiff" in the autumn; we will then launch it at once with Sgambati, who has just composed several Lieder, exquisite in sentiment. I have recently written, as an Impromptu, without any forethought, an Elegie in memory of Mme. de Moukhanoff, entitled "Schlummerlied im Grabe" [Slumber Song in the Grave.]
Your kind wishes for my repose are being realised here. I pass my days very peaceably, and my evenings alone, in reading, writing or playing. Since the departure of Bulow, who gave me his most eminent company for two days (in the middle of June), I have, so to say, seen nobody. He is now making his villeggiatura at Salzungen near Meiningen, returns to England in the month of November, and will not go to America till the autumn of '75.
Pay me a visit sometimes in thought, dear Mi, and believe me ever your very cordially devoted friend,
F. Liszt
Villa d'Este (Tivoli), July 30th, 1874.
Let me hear something about Do and Horpacs. [An estate of Count
Emmerich Szechenyi, the former Austro-Hungarian ambassador in
Berlin, whom Liszt frequently visited.] I will write to them
later.
154. To Peter Cornelius
[The letter is addressed to Neuenahr, where Cornelius had gone for a water-cure, shortly before his death. The translation of the Cacilia-legend he did not accomplish.]
Dear and valued Friend,
You have again presented me with a marvellous gift. Your German translation of Lamartine's "Hymne de l'enfant a son reveil" is exquisitely successful, and retains all the fragrance and aroma of the original poem.
"Kein Wurmlein vergissest Du…Das Zicklein an Staude und
Beere…Am Milchkrug Mucklein saugt den Saft…Und die Lerche das
Kornlein picket."…
["No worm dost Thou e'er forget…The kid amid the shrubs and berries…The fly that sips the sweetest juice…And the lark that pecks the blade of corn."…]
All and everything fits in so exactly with the music, syllable by syllable, that it seems as if the poem and music had sprung up together. Verily, dear friend, you are an extremely kind and most perfect magician. Now do not be vexed with me if my grateful appreciation of your skill should prove somewhat covetous, and I again ask you to do me a favor. A little French poem of 48 short lines, "Sainte Cecile, Legende," by Madame Emile Girardin (Delphine Gay) is awaiting your poetic courtesy. Allow me to send you my finished composition of this Cacilia, the musical foundation of which is furnished by the Gregorian antiphone: "Cantantibus organis, Caecilia Domino decantabat." It is to be hoped that I have not spoilt it, and I trust to your friendly kindliness to send me a German translation of it before the next Cacilia Festival (22nd November), soon after which it shall be printed, and a performance of it given in Pest.
The delay with the edition of your two Operas I sincerely regret. They deserve much greater appreciation and a much wider circulation than hundreds of others that are printed, and the publication of the pianoforte scores is sure to effect this for them. Meanwhile I am glad that you have made use of my suggestion to base the Overture of the "Barber" on the pleasantly characteristic motive—
[Here, Liszt illustrates with a 4-bar musical score excerpt.]
Next summer we shall meet in Munich.—With hearty thanks, your sincerely attached
F. Liszt
Villa d'Este (Tivoli), August 23rd, 1874
If you should see Frau Schott in Mainz, give her my kindest remembrances. For some time past various manuscripts have been lying ready which I should have liked to hand over to Schott's house of business; but fear that they might arrive at an inopportune moment. The very title, "Drei symphonische Trauer- Oden" ["Three Symphonic Funeral Odes">[ might prove alarming; and besides, the scores—all about 20 pages in length—would have to be published simultaneously with the pianoforte transcriptions (for one or two performers). Well, "we can wait."…
I am working pretty industriously at the "Sanct Stanislaus." Of this you will tomorrow receive a full report—and an urgent request for speedy, energetaeally accentuated pains over the essential but not lengthy alterations of the text.
155. To Ludwig Bosendorfer in Vienna
[Head of the celebrated pianoforte manufactory, now
Commerzienrath (Councillor of Commerce)]
Dear friend,
With my sincere thanks for your interesting reports of the Vienna musical world I would gladly have given you something of the same kind in return. But there is here nothing whatever in the way of novelties or specialities in the way of concerts; be content, therefore, if my letter today mentions only one, but to me a very important artistic item—namely, the frequent use of your piano, which, among other virtues, possesses a wondrous power of not getting out of tune [Unverstimmtheit]. Since its despatch from Vienna not a tuner has touched it, and yet it keeps in beautiful tune, and steadily resists all variations and effects of temperature.
Till the end of January I shall remain quietly at work here; then go direct to Pest—and by the middle of April on to Weimar. My thoughts and efforts require now only peace and seclusion. These are things that suit me best in my old age, and uphold me in spiritual intercourse with my dear and true friends. As such I greet you and your wife heartily and sincerely.
F. Liszt
Villa d'Este, August 28th, 1874
156. To Adelheid von Schorn in Weimar
Dear and Most excellent One,
For our grand coup you come in completely in your role of providence, which you fill with such complete good grace, and with an admirable mastery! I cannot tell you what immense comfort your letter brings me, with its assurance of your speedy arrival in Rome. Try not to delay it beyond the 25th-30th November, and if possible come sooner. Princess Wittgenstein is still very suffering, and has kept her bed entirely for six weeks; your company and the inspirations of your solicitude will do her more good than all the Allo-and Homoeopaths put together.
I beg that you will write to her speedily to announce your coming, for she is ignorant and must be kept in complete ignorance of the plot we have hatched with Princess Marie [The daughter of Princess Wittgenstein.], the happy success of which you will crown. (questions of detail will be easily settled to your satisfaction, in such a manner that the stay in Rome will be thoroughly pleasant to you.
It is understood that you will not mention the question of where you will live to Princess W., who has already only too much worry about her own rooms. In my opinion it would be best for you to go to the Hotel d'Amerique, Via Babuino (close by the house of the Princess and of the one where I live), and to spend some days there, until you see where you can settle yourself comfortably, whether at the Pension (also very near the Babuino) where your cousin Octavie stayed, or elsewhere.
When you reach Bologna, please let me know by telegram on what day you will arrive; I will meet you at the station, and it will be a real joy to me to escort you to your first abode in Rome.
Thank you with all my heart, and yours ever,
F. Liszt
Rome October 12th, 1874 (Vicolo de Greci, 43.)
The Princess is living at Via Babuino 59.
Your letter was only returned to me from Tivoli yesterday evening.
I shall remain here, or at the Villa d'Este, till the end of
January.—
157. To Breitkopf and Hartel
Very dear Sirs,
The kind reception you gave the last sending of my somewhat cumbersome manuscripts and revisions pleased me greatly. I will always gladly do what I can to not increase the publishers' worries, and henceforth print only what has been carefully worked out and will prove tolerably acceptable.
With regard to the form in which the Songs and Wagner- transcriptions are to be published, you may act altogether as you think best. I did certainly think that the convenient and neat edition in small octavo would be preferable (like the last edition of Chopin and my "Etudes transcendantes"): hence in from 5 to 6 little volumes:—
1. Beethoven (The "Adelaide" and other Songs); 2. Mendelssohn (6 Songs); 3. Robert and Clara Schumann; 4. Robert Franz; 5 to 6 (?). Wagner-transcriptions.
This would in no way prevent the songs and pieces of several pages (such as the "Adelaide," Mendelssohn's Songs, the "Tannhauser-March," the "Rienzi-Fantasia," etc.' being sold singly—in the same small 8vo form which, candidly speaking, I always like best. As long ago as the year '39 I induced Haslinger to publish Schubert's songs in an edition of this kind—and at that time it seemed rather a doubtful innovation. Also about placing the words below the music. I wish this, for the sake of the poetical delivery in all of the songs, except the "Adelaide," because the poem roams about rather too freely in rococo style. Let us leave "the flow'ret at the grave" to bloom on quietly without retouching it again.
I must unfortunately again trouble you to send me all the proofs. It is a matter of great moment to me to have the things arranged as accurately and as appropriately for the piano as possible. And for this I require the last proofs, in order finally to revise them in reading and playing them over. (For the printer's consolation be it remarked that no new alterations shall now crop up again; my zeal in correcting shall be confined to making some pedal marks and fingerings.) First of all I should like to try over Sgambati's duet arrangement of the "Ideale" with him; and you will doubtless do me the favor of sending me the proof sheets stitched together before I leave here (at the end of January).—
I leave the matter concerning the small honorarium confidently to your well-known kindly disposition, and remain, very dear Sirs,
Yours respectfully and most obediently,
F. Liszt
Villa d'Este, November 24th, 1874
158. To Count Albert Apponyi in Budapest
[From an undated rough draft of a letter in the possession of Herr O. A. Schulz, bookseller in Leipzig. (The date has been ascertained from a letter to Mihalovich.)—The addressee was the well-known Hungarian statesman.]
[Villa d'Este, December 6th, 1874]
Dear and Very Honored Friend,
Your excellent letter of the 27th November reached me here yesterday evening. I hasten to give you my very sincere thanks, and to add a frank reply on the question of the Academy of Music.
First of all I think the "moyen violent" [violent means] of Huszar, which will deliver us from barren tittle-tattle, is right; let us throw the Seeschlange [sea serpent] into the Danube, and if he wants an epitaph here is one: "It is better to do nothing than to do stupidities."
Now, are we the stupid ones?—The Government is much interested in this affair; the Sovereign's decision has been obtained; I know not what official publication has followed. You yourself, dear Count, have brilliantly persuaded the Chamber of Deputies that the said Academy would be of use in raising Art in Hungary; my necessary humble reserve has been taken by the public as consent.—Is it possible now to take no account of such precedents, and to draw back when it is a question of advancing? I do not think so, and I am quite of your opinion, as wise as it is opportune.
In spite of the difficulties of a position embroiled with divers worries, and in spite of the scantiness of the financial means, we ought to stick to our affirmative position and not in the least to give way.
As to my "personal convenience," which you are good enough to take into such kind consideration, permit me to assure you anew that I aspire to one only blessing—quiet time for work in my own room. Orare et laborare. The point of honor, which no one understands better than yourself, attaches me to Hungary, our country. May I fulfil there all my duty of gratitude!—
I shall be back at Pest (Fischplatz) on the 10th February, and shall rejoice to hear the Ballade of our valiant friend Mihalovich, to whom I shall write tomorrow.
Yours from my heart,
F. Liszt
159. To Edmund von Mihalovich
Dear Excellent Friend,
I wrote the day before yesterday to Do, and was about to continue with a letter to you when a telegram called me subitissimo back to Rome. The thread of my ideas has not been broken on the journey, and I resume our conversation, a trois, on the long gestation—omen of abortion—of the Hungarian Academy of Music.
I trust that my very dear and honored friends will be convinced of my perfect disinterestedness in the question; the idea of an Academy is in no way mine if I become sponsor to it, it will be in self-defence and without any connivance at paternity whatever; I even refuse to help in the procreation of the marmot [brat]; and, far from making myself, before my time, in any way its champion or propagandist, I hesitate over the difficulties which are opposed to its birth. I have explained these many a time to my Budapest friends, and the difficulties have increased rather than diminished during these last three years…
1stly. The financial situation of the country appears to be such that one must scruple to burden the budget with an expenditure beyond urgent needs. My patriotism is sufficiently sincere and lively to counsel me to abstention, including every renunciation that is compatible with my strict duty.
2ndly. It would be a poor luxury to add a third music school to the two schools already existing (meagrely) at Pest. If one cannot emulate with honor the similar establishments of Vienna, Leipzig, etc.—what is the good of troubling any further about it? Now, to give a vigorous impulse to Art among us, we must first unite and fuse into one spirit a set of professors of well- known capability,—a very arduous and ungrateful task, the accomplishment of which demands much intelligence, and a sufficient amount of cleverness and of money.
Other minor, local considerations complicate the matter stilt further; I pass them over in silence today, and will not repeat myself any more except on one point,—my religious devotion to our country and our art. To serve them somewhat, according to the moderate degree of my talent, whether it be in working by myself at my manuscripts (which is what I much prefer), or in cooperating with my friends in public things, this is my simple and exclusive desire, totally removed from the personal pretensions or anxieties of vanity which are wrongly imputed to me.
"Tiszta lelek, tiszta szandek, akar siker, akar nem." ["Pure soul, pure intention, whether the results be favorable or not."— Maxim of Stephan Szechenyi.]
My friends are those who haunt the Ideal; there, dear friend, we "recognise" each other, and shall always do so,—but not "in the mud," illustrated by a fascinating poet, too much celebrated and tainted by the triviality of vulgar applause—Heine. Amongst other things he had predicted that the Cathedral of Cologne would never be finished. "In vain will Franz Liszt give his concerts," etc.—
You know that Wagner is coming to Pest in Lent. It is only right that several of your compositions—especially the last, "Sello"— should be performed in public at that time. Talk the matter over with Richter. I on my side will ring the "Bells." Please beg Abranyi to hurry with the Hungarian translation of Longfellow's poem (the Prologue to the "Golden Legend"), and to follow, not the German translation of the "Pianoforte score," which I have sent to Engesser, but the original English text. [Liszt had set to music the Prologue to the "Golden Legend," under the title "Die Glocken des Strassburger Munsters"—"The Bells of Strassburg Cathedral.">[
Yours in cordial friendship,
F. Liszt
Villa d'Este, December 8th, 1874
I will write tomorrow to the very gracious chatelaine of Horpacs.
160. To Carl Hoffbauer in Munich
[From a copy belonging to Dir. Aug. Gollerich.—Hoffbauer, born in 1850, became in 1872 Director of the Gesang-Verein in Munich, went to Frankfort in 1880, and put an end to his own life. He composed, among other things, the Operas "Cotzzata" and "Demetrius.">[
[End of 1874.]
My hearty thanks for the kindly zeal with which you have taken up the "Christus Oratorio." But a performance of it in Munich appears to me so doubtful, and connected with so much trouble, expense, and difficulty, that I must for the present dissuade you from the undertaking. Besides, it would not be possible for me to accept your invitation for the end of February, as several engagements will keep me in Pest till Easter. And, if ever you give a performance of the Christus in Munich, I should much like to be present. As yet the whole work has been only twice heard, in Weimar and Pest (in May and last November, '73).
In reply to your inquiry, I must mention Herr and Frau von Milde and Frau Dr. Merian as specially well acquainted with and capable of taking the solo parts.
Accept the assurance of my utmost gratitude for your eagerness to give a performance of the Christus in Munich.
Most respectfully and sincerely yours,
F. Liszt
101. To Edmund Von Mihalovich
Very Dear Friend,
In spite of the legion of Dessoff, calm plains or storms, go on roaring bravely in the waters of the "Phantom Ship." Even should we not succeed in arriving safely in port, and should we meet no other Senta than Her Highness Madam Criticism, it matters not; those who follow us in the same waters of the Ideal will be more fortunate…
"Et quasi cursores vitai lampada tradunt!"—
We will talk about all this fully in February, in the Fischplatz.
Will you be so kind as to send the enclosed letter to my gracious and admired translator of the "Chopin"—Mme. la Comtesse Ottilia Wast? [A translation into Hungarian from the old edition of the book.]
Further, I beg that you will recommend Taborszky to publish before Easter my St. Francois de Paule, which our very dear friend Albert Apponyi has been good enough to adorn with his poetry,—and also "L'hymne de l'enfant a son reveil," which Taborszky must have received in November (with the German words by Cornelius and the addition of a harp part).
Schuberth has been seriously ill. I shall be after him to bring out your Geisterschiff [Phantom Ship] without any more delay.
A revoir in six weeks, and always
Very cordially yours,
F. Liszt
Villa d'Este, December 29th, 1874
On the occasion of the Wagner concert in Pest I should like my
"Bells" to ring, and beg Abranyi to attune the Hungarian
Klingklang [ding-dong] of them speedily and beautifully.
[Liszt's "Glockengelaute" (Bell-ringing) consisted in this—that he played the Beethoven E Concerto at the Wagner concert in Pest. He allowed himself to be persuaded to do this, as people were afraid that, on account of the high prices, the concert would not be full.—The "Bells of Strassburg Cathedral" were not performed.]
162. To Carl Hoffbauer in Munich.
[From the copy of a draft of a letter by Dr. Minis.]
[Probably Pest, at the beginning of 1875.]
Very Dear Sir,
Your last letter exhibits so convincing a character of truth and noble-mindedness that I sincerely rejoice at the prospect of becoming personally and in spirit better acquainted with you. And first of all be assured of my special interest in your Opera "Comata." Whatever I may be able to do as regards a representation of it in a theater I shall not fail to do. In Munich we will read the score over together, and discuss further details.
Of your persistence in wishing to have the "Christus" performed I wrote to Schuberth yesterday, and shall in full confidence leave the whole matter to your considerate zeal. You will best know whether and how a successful performance can be made possible, and please therefore arrange matters altogether according as you think fit. I beg you merely to let me know the day you fix upon some 10 or 12 days previously, and address me to Pest (at Easter), if earlier to Weimar, and I will then come for the full rehearsal.
[The performance took place on the 12th April, 1875. As a result of this King Ludwig II ordered a separate performance in the Court theater, and this again was followed by a public one.]
Respectful greetings to the poetess of the "Comata," and believe me, with marked esteem, yours gratefully and sincerely,
F. Liszt
163. To Professor Julius Stern in Berlin
Dear Friend,
For years past and again lately I have been very much indebted to you. Our eminently learned and dear friend Weitzmann [Theorist and contrapuntist in Berlin (1808-1880)] told me of the careful rehearsals, and of the admirable manner in which you conducted the Faust Symphony. Owing to critical circumstances and negativings I have, as a rule, to dissuade people everywhere from giving performances of my scores. All the more pleasantly am I affected by the goodwill of the few friends who carefully and courageously march on in front.
Therefore, while offering you my sincerest thanks, I beg you to excuse my not being just now able to accept the tempting invitation to Berlin.
Yours most respectfully and sincerely,
F. Liszt
Rome, February 4th, 1875
(Next week I return to Pest, and at the beginning of April go to
Weimar, where I should be delighted to welcome you again.)
164. To Count Albert Apponyi
[From a rough copy of a letter in the possession of Herr O. A.
Schulz, bookseller in Leipzig.]
February 18th, [1875?]
This morning the Politische Volksblatt [The Political People's- Paper] brings me your portrait, my honored and dear friend. The notice accompanying it pleases me only in so far as it predicts a great future for you, based on your very evident merits and great talents. People are agreed upon your great height ("Haupteslange")—all the better, for it corresponds to the height of your character, and I bet a hundred to one that you will never combat "the spirit of the times" ("Herr von Zeitgeist und Frau von offentliche Meinung," [Mr. Spirit of the Times and Mrs. Public Opinion.] as the honorable Count Gozzi ceremoniously said), except when you meet with stupidities and adventures on which this spirit of the times is astride.
A friendly invitation for tomorrow evening at the house of
Your very devoted and grateful
F. Liszt
165. To Johann Von Herbeck
Very Dear Friend,
My sincere thanks for your letter; gladly would I follow your very kind and "unselfish" request. To say "nay" to my friends always comes hard to me. But how can I act otherwise in face of the negativings of critics? And why should I not prefer abiding my time in peace alone?
Now-a-days an artist is reckoning without his host if he places honest faith in the public. For people now-a-days hear and judge only by reading the newspapers.
I mean to take advantage of this in so far that the leading and favorite papers of Vienna, Pest, Leipzig, Berlin, Paris, London, etc.—which abhor my humble compositions and have declared them worthless and objectionable—shall be relieved of all further outward trouble concerning them. What is the good of performances to people who only care to read newspapers?
Hence, dear good friend, let the "Gran Mass" [Herbeck, however, did have them performed.] and the "Glocken" ["Die Glocken des Strassburger Munsters"—"The Bells of Strassburg Cathedral">[ remain unperformed in Vienna, where (in Easter week) you shall receive a visit from yours most warmly and gratefully,
F. Liszt
Budapest, March 3rd, 1875
166. To Eduard Von Liszt
Dearest Eduard,
Give Lenbach my kindest thanks, and at the same time ask him to send his extremely poetical portrait of Frau von Moukhanoff here soon in honor of the noble lady and of the musical Commemoration Festival which we have announced for the middle of May. [Liszt dedicated an Elegie to the memory of this gifted lady.]
Tomorrow morning early I go to Hanover; my address there till May 29th [This must mean the 29th April.] will be: "at Freiherr von Bronsart's, Intendant of the Hoftheater." On Saturday is the performance of the "Elizabeth," and on the 29th the concert for the benefit of the Bach monument.
My gracious Grand Duke is very urgent about my speedy return; I shall, therefore, probably spend only 8 or 10 days at Schloss Loo (from the 2nd to the 12th May), and then return here forthwith.
The Tonkunstler-Versammlung is to be held in Dresden at the end of June. I long for some rest and quiet work.
Thine with all my heart,
F. Liszt
Weimar, April 22nd, 1875
167. To Adelheid Von Schorn in Rome
Dear Excellent One,
I come to keep you company a little in your convalescence,—far advanced, I hope, so as to be something like a complete cure. For a tisane [A soothing drink] I offer you some news of your cara patria. There are few variations at Weimar: the Grand Duke and Grand Duchess remain there till the end of June; the Emperor of Russia is announced for the 25th June; the Hereditary Highnesses are going to the waters (Marienbad and Pyrmont) in a few days, and will return before the Grand Duke's fete (24th June); Gutschen Watzdorf is going on his own account independently to Carlsbad, Mme. de Loen to Reme (in Westphalia).
At the theater a tempered, but lively activity; during these latter weeks a new Drama by Otto Roquette has been given—Der Feind im Hause. [The enemy in the house.] The subject is taken from the quarrel of the Colonna in Rome; the success of the piece will not occasion any fresh quarrels; nor will that of two new Operas that I have seen—Der Widerspanstigen Bezahmung [The subduing of the refractory ones.] by Gotz and Golo of Scholz, which have come inopportunely into competition with Schumann's Genoveva—a work which has been taken up again with marked success this year (after it had been prudently ignored for twenty years—except at Leipzig and Weimar) at Leipzig and Wiesbaden. Other theaters will mix themselves up with it, in spite of the non-success of Genoveva at Vienna, where it was put on the stage in the winter of '74 with a most praiseworthy luxury of decoration and costumes.
At the time of the performance which I conducted, and that is some twenty years ago, I said: Genoveva is musically the sister of Fidelio; only Leonora's pistol is wanting.
Tristan and Isolde, announced here for the 15th and 19th May,…have remained at Munich with M. and Mme. Vogel, who have lost a child. Loen [The Weimar Intendant] and all the public are very much put out at this untimely mourning; possibly the Vogels will be able to come towards the end of June; I don't reckon on it much, but have written to them on the subject at Loen's request. If they accept, the Commemoration Matinee of Mme. Moukhanoff will take place between the two performances of Tristan, and the "Tempelherrenhaus" in our park has been chosen by us as the spot for this musical commemoration. I will send you the programme.
Meanwhile here is that of Saturday last at the "Orchestral School"—a very useful establishment, well adapted to our modestly proud situation of Weimar, and which Muller-Hartung conducts according to my wishes. [The concert "in honor of Liszt's first visit to the School" consisted entirely of works by him.] Bruch's Odysseus—a musical illustration of Preller's admirable pictures in the Weimar museum—was performed last Thursday, conducted also by Muller-Hartung.
Lassen is in the middle of composing some fine choruses for the two "Fausts," which Devrient is intending to get up here in two evenings, in conformity with his new scenic arrangement.
Very cordially yours,
F. Liszt
Weimar, May 17th, 1875
168. To Eduard von Liszt
Dearest Eduard,
.—. The day after tomorrow I join the Duke of Weimar's party at Schloss Wilhelmsthal, and shall remain there several days. After that I should have liked to wait upon Cardinal Hohenlohe in Schillingsfurst; but His Eminence is at present at Bad Ragaz (Switzerland) undergoing some after-cure for a foot-trouble, the result of some accident he met with last winter. When I receive his answer I shall so arrange things that my visit to Schillingsfurst is paid as is agreeable in tempore opportuno.
From the 3rd to the 15th August I shall be in Bayreuth; after that I shall this year end with Weimar (without playing "Tannhauser" there, as a guest!) at the Carl-August Festival on September 3rd, for which I have written a short and simple chorus in popular style, the text of which is furnished by King David: "The Lord preserveth the souls of His saints, and light is sown for the righteous."
In contemplating this light in all humility,
I am, in true affection,
Thine,
F. Liszt
Weimar, July 17th, 1875
Enclosed are a few words for our Marie. If I had to choose a cousin I should choose her. Hence I confess my innermost elective-affinity with papa and daughter.
Lenbach's wondrously inspired portrait of Madame Moukhanoff will tomorrow be sent back to Vienna to the Countess Coudenhoven.
169. To Louis Kohler
Very Dear Friend,
Merit and success, in your case, would seem always to stand in perfectly delightful harmony. Best thanks for your kindly letter and for sending your Opus 147: "Technische Kunstler-Studien" ["Technical Artist-Studies">[. And although I am more disposed to turn away from than towards Methods and Pedagogics, still I have read this work of yours with interest. The entrance of the pedal after the striking of the chords as indicated by you at the beginning of page 3, and as consistently carried through by you almost to the utmost extreme, seems to me an ingenious idea, the application of which is greatly to be recommended to pianoforte players, teachers and composers—especially in slow tempi.
I regret that we are geographically so far apart; but sympathetically I remain in sincere esteem and in all friendliness yours,
F. Liszt
Schloss Wilhelmsthal, July 27th, 1875
My friendly greetings to your very talented pupil Alfred Reisenauer. Perhaps you may be coming to Weimar again shortly; I should be pleased to hear this.
One line in your friendly letter I answer herewith: proud of my Konigsberg title of doctor, and anxious to do it credit, I willingly refrain from giving performances of my humble compositions anywhere.
170. To Carl Hillebrand in Florence
[The celebrated author of "Zeiten, Volker und Menschen" ["Times, People and Mankind">[ and other works; born 1820; lived, from 1870 until his death, in Florence, where a memorial tablet, in gratitude to his memory, was erected over his house in the Lung' Arno.]
Dear and Very Honored Friend,
Your friendly letter leaves me a good hope…for next year. I have just transmitted your thanks and the data relative to our concerted idea to the Grand Duke, who arrived at Ostend on Thursday last, with his daughters, his son and his daughter-in- law. Their Royal Highnesses return to Weimar the 1st September for the fete of Carl August, which the Emperor and Empress of Germany will solemnise with their presence. Monseigneur tells me to invite you to it. I observe to him that you will probably be detained elsewhere; nevertheless, if you should come to Germany at that moment, be assured that you will be warmly welcomed and received at the Court of Weimar.
The monument of Carl August will be inaugurated on the 3rd September. The ceremony of the "Toison d'Or" ["Golden Fleece">[, at which the Emperor will be the sponsor of his brother-in-law, our Grand Duke, will take place on the 4th. Then T.R.H. will leave Weimar, and my poor self return to the Villa d'Este (towards the middle of September) for as long a time as my very dear compatriots will allow of it. They press me strongly to return to Pest on the 1st November; before obeying them I shall come and see you at Florence.
Please count always on the feelings of sincere and high esteem of your very cordially devoted
F. Liszt
Bayreuth, August 2nd, 1875
The papers keep you au courant of the marvels of Wagner's theater here. The performances (announced for the month of August '76) of the Tetralogy, "Der Ring des Nabelungen," will be the chief event of dramatic Art, thus royally made manifest for the first time in this century in its ensemble and unification of Poetry, Music, Acting, and their decorations of Painting and mise-en-scene.
There is not merely the chance, but the guarantee of a grand and striking success, in view of the sublimity of the work itself, and also of the enthusiasm which it already excites amongst the numerous staff of artists chosen to interpret it. In spite of the difficulties of this new transcendental style of Wagner, the preparatory study and rehearsals are an enchantment for the singers and the musicians of the orchestra.
By the 18th August I shall be back at Weimar, and shall stay there till the 6th September.
To Madame Laussot my tender and grateful regards.
171. To Adelheid von Schorn
Dear Excellent One,
It is not without regret that I have given up the very sincere pleasure of meeting you now at Nuremberg. If you remained there till towards the middle of September I should come and ask you what commissions you have for Rome, where I expect to arrive before the 20th September.
Here we are sailing in the full tide of the marvels of art. Every day, morning and evening, one act of the "Ring des Nibelungen" is rehearsed in Wagner's new theater. The enthusiasm of the whole staff of singers and orchestral players, to the number of about 150, is as sincere as it is abundant, and everything augurs for next year some prodigious performances of the immense and sublime work which royally dominates all contemporary Art, including the former works of Wagner.
Cosima sends you a thousand affectionate messages, and is expecting to see you at the time of the definite succession of the Nibelung-Ring in the month of August 1876. You were present at the laying of the first stone of the monument, and must not be absent at the crowning moment. .—.
Mme. de Schleinitz is staying here a fortnight longer, and is living at the castle. She keeps herself continually at the highest diapason of grace and charm, without ever missing the opportunity of effectually obliging her friends.
A revoir soon, dear and very excellent one; and ever from my heart your devoted
F. Liszt
Bayreuth, August 7th, 1875
I shall be back at Weimar by the 18th August.
172. To Dr. Franz Witt
[Probably August or September, 1875]
Much-esteemed Friend,
While greatly regretting to hear of your indisposition and thanking you sincerely for your last letter, I now ask you: How are you going to answer the ministerial communication of Trefort?—Are you willing to render important help as regards Church music in Hungary? Superfluous words are unbecoming to me; let us onward and act; and may your noble and stimulating influence be granted to Hungary. Assuredly you will find there admiration, affection, and the necessary assistance in the great services you will render.
In a word: Come to us, and let us work together in Budapest!
173. To Lina Ramann
[Authoress of "F. Liszt als Kunstler und Mensch" ("F. Liszt as Artist and Man"), 2 vols. (Leipzig, Breitkopf and Hartel, 1880 and 1887)]
Dear Friend,
Thanks to your care I had excellent and very inspired company during my two days' journey from Nuremberg to Rome. Your parallel "Bach and Handel" delighted me more than the famous landscapes of the Brenner. Allow me specially to praise your fine insight into and correct interpretation of the various musical forms of culture from the Motet to the Mass and the Oratorio.
Some portions also of the "Allgemeine musikalische Erzieh-und Unterrichtslehre" [Universal Musical Instruction] pleased me—(in spite of my inaptitude in things pedagogical), especially the main idea of the work:—that musical instruction should not be separated from, but form a part in, the course of education; a relevant thought, the practical application of which will essentially benefit, and prove useful to, art as well as education.
Again my cordial thanks for the hours at Nuremberg, and best greetings to the amiable comrades in art Fraulein Ida and Auguste.
Yours respectfully and sincerely,
F. Liszt
Rome, September 28th, 1875
174. To Eduard von Liszt
Rome, September 29th, 1875
Dearest Eduard,
Wherever we may be we ever remain one in heart. Probably I shall be in Budapest as early as the middle of November, on account of the Musik-Akademie, which it is my duty to shape in accordance with the standard of somewhat difficult local circumstances. Appointments have already been made by the Minister Trefort: Franz Erkel as Director, Volkmann as Professor of Composition, and Abranyi as Secretary. Witt and Bulow had the first offers from Trefort: unfortunately Witt is still too ill, and Bulow could not come till later, after his return from America. Of course Bulow would have received the largest possible sphere of action—somewhat the same as he occupied in Munich, where, for a couple of years, he acted as Director of the Conservatoire in the most successful manner…
All hearty greetings to your circle, and believe me ever your gratefully and sincerely attached
F. Liszt Address: 43, Vicolo dei Greci, Roma (Italia). Till the beginning of November I stay here or at the Villa d'Este, and then travel direct to Pest.
Pray send me news of our dear and amiable Marie.
175. To Kornel von Abranyi
Dear Friend,
A thousand thanks for your letter with its weighty contents. [Abranyi had informed Liszt that the Hungarian Landes-Musik- Akademie—which had been called into existence by Trefort, the Minister of Education—had already been organised and was shortly to be opened, and that Liszt was invited to the inauguration ceremony.] All things considered, it does not appear to me advisable to hurry my return. As I did this year, I mean next year also to reach Pest towards the middle of February—in time for Lent and the concert season. By that time the work at the Musik-Akademie ought to have fairly established itself.
I gladly undertake to conduct a pianoforte-class for virtuosi and teachers,—first of all from the 1st March to Easter 1876. And should the undertaking give indications of proving a success, I would be willing to devote several months a year to this species of instruction in the Musik-Akademie of Budapest.
I look forward to being on the best and most cordial terms with Erkel. [Franz Erkel (born 1810), a celebrated Hungarian composer, at that time Director of the Musik-Akademie and Capellmeister at the National Theater in Pest. Died 15th June, 1893] Also with Volkmann and the other professors.
As regards the very worthy Secretary, I rejoice to labor with him as next-door neighbor (on the Fischplatz, where assuredly we shall not dry up "like fish out of water"), and remain always
His grateful and truly attached friend,
F. Liszt
Villa d'Este, October 14th, 1875.
My friendly greetings, please, to Engessers, Zimay, Siposz, [All were Hungarian musicians] and to our dear composer of the "Liszt- Cantata," Gobbi.
176. To Walter Bache
Highly Esteemed and Dear Friend,
Hearty thanks for your kindly remembrance of the 22nd October.
With regard to the "Elizabeth" performance (at your "Twelfth Annual Concert" on the 24th February) I am somewhat anxious on account of the great exertions and expense which the performance will entail upon you. Still I will not make any further objection to your characteristically firm incorrigibleness in your steadfast wish and endeavor to do the utmost possible for the good of your old friend, now 64 years of age.
To Frau Blume (whom I often called upon in Rome) please give my friendliest remembrances. If the part of Elizabeth does not displease her she is certain to give an excellent interpretation of it.
I am most glad to grant friend Banz the permission he desires, and am grateful to him for his kindly sentiments.
Till the middle of February I shall stay here—and then go direct to Budapest—and remain your faithfully attached
F. Liszt
Villa d'Este, October 26th, 1875.
In case you receive direct news of Von Bulow, please let me know.
177. To Eduard von Liszt
Most Dear Friend,
Your letters are as full of heart as they are of mind. They both comfort and exalt me. My prayers always include you. May the "Supreme Spirit" strengthen us!
For me to appear at the opening of the Musik-Akademie in Pest on November 7th, is, I think, neither necessary nor desirable. It will be better that the undertaking (the official part of which I did not call into existence!) should be more fully started before I take any part in it. Hence till the middle of February I remain at the Villa d'Este (quietly finishing a few compositions) and then return direct to Pest.
Herbeck is said to have promised to conduct a concert there. I trust we may meet in friendship on the "Fischplatz" during Lent. How could he manage to have the Gran Mass performed in the Burgkapelle? The dimensions of the work require rather a goodly amount of space for chorus and orchestra…Next summer it is proposed to give a grand concert-performance of the Gran Mass in Dusseldorf (where they have a splendid hall, admirably adapted for musical festivals). I shall look for your report of the Vienna performance.
As regards the "Prometheus," I beg you to fix with Her-beck that in Vienna the new improved edition, published by Kahnt (Leipzig), shall be used, and get him to procure it from Kahnt: pianoforte score, full score, and voice parts. If Herbeck should entertain any doubt about the new edition on account of the expense, I shall be quite ready to settle the small "difference" with a few gulden, which you will advance me for the purpose. [Eduard von Liszt managed Liszt's money affairs for him.]
I am very anxious that this "Prometheus"—who is ready to "unchain" himself next summer in Dusseldorf and at the Musical Festival at Altenburg—should not again be a failure in Vienna, after his late want of success there.—
Give Kulke my best thanks for his excellent essay with its kindly sentiments (in the Vaterland of September 17th); I am specially pleased with the close: "In the same way as Sebastian Bach could not conceive a musical thought in any other way than from a contrapuntal point of view, Liszt cannot conceive a theme in any other way than from a thematic point of view," etc.
Heartiest greetings to all your circle: Marie will always prove herself noble and firm.
Your faithfully attached
F.L.
(Villa d'Este) October 31st, 1875
178. To Madame Jessie Laussot
Very Dear and Kind Friend,
Although I scarcely know how sufficiently to express my gratitude to you for all the proofs of friendship you have constantly shown me during twenty years, I am quite convinced that no misunderstanding would ever be possible between us. You know my good intentions from the outset, and in case of necessity you divine them with the heart's most penetrating and delicate intelligence.
I add to my thanks for your last letter a request which you will certainly grant, by assuring our very honored friend Hillebrand of my sincere devotedness. In addition, assure him also that my zeal in serving my gracious master, the Grand Duke of Saxony, will never be used to the detriment of any one, and that I especially take into consideration the proprieties appropriate to the merits and position of individualities that I esteem and love.
So then we will discuss "academicamente," at your house in
Florence (after my return from Hungary, towards the middle of
February), the subject of Hillebrand's spending some months each
year at Weimar.
This could be brought about under reciprocally pleasant conditions; I confess that I take a rather egotistical interest in it…but without failing in the duties of friendship.
In a week's time, Mdlle. Adelheid de Schorn accompanies her aunt- -"the Lady Abbess von Stein"— back to Germany. She will bring you two or three books of music from me.
Sgambati has finished a second, very remarkable Quintet (for
Piano and Strings), which will soon be heard in Rome.
Zarembski (whom I introduced to you) works valiantly, and deserves to be reckoned as an unusually excellent pianist of the first rank.
A revoir in February, and yours very devotedly,
F. Liszt
Villa d'Este, November 17th, 1875
If you should see the Jaells before their concerts in Rome, give them my most affectionate remembrances.
179. To Eduard von Liszt
My Honored Friend,
What you felt at the performance of the Gran Mass has extremely rejoiced me. "He who loves understands."
Give Herbeck my warmest thanks for the carefulness of the rehearsals and performance of this work, about which I allowed myself to make the remark (in Paris 1866), to a personage of the very highest rank, that "it had been more criticised than heard."
On no account would I press Herbeck to give a performance of the "Prometheus-choruses"; according to my thinking, it would be better to wait and see how these choruses are done next spring in Dusseldorf and at the Tonkunstler-Versammlung in Altenburg before bringing them back to Vienna. I should also like to be present at the Vienna performance, which will not be possible tha's winter. I shall probably only be able to stay one day with you (at the beginning of April). I almost doubt whether the "Hunnenschlacht" could be performed amongst the "Philharmoniker" [lovers of harmony] without defeat to me. Nevertheless, "vincit qui patitur."
Heartiest greetings to our Franz, who will prove himself worthy of you.
Most faithfully thy
F. Liszt
(Villa d'Este, Tivoli) November 26th, 1875
.—. As I already told you, I shall remain here till the middle of February, and then return direct to Budapest. From next April I am threatened with much travelling about. My threefold domicile, Pest, Weimar and Villa d'Este, and all that is connected with it, makes my life very onerous. Even the well- known consolation, "Tu l'as voulu, Georges Dandin" [it is your own doing], fails me…Still there is hope in the proclamation "Et in terra pax, hominibus bonae voluntatis."
Once more thanks for your kind intercession in my friend Vincenz Kirchmayer's [Liszt's former travelling companion in Spain and Portugal during the forties, and especially recommended by Liszt to his cousin Eduard.] affairs. When the decision has been given let me know it.
180. To Hans Schmitt, Professor at the Conservatorium of Music in Vienna
[Well known as an excellent teacher of the pianoforte, also as a writer on music]
[End of 1875]
My Dear Sir,
It is well known how much mischief is done to the piano both with hands and feet. May your instructive pamphlet on the right use of the pedal duly benefit pianoforte players. [Footnote: "The Pedal of the Piano." Vienna, Doblinger (3rd ed. 1892).] With best thanks for sending me the pamphlet, I remain
Yours respectfully,
F. Liszt
181. To Kornel von Abranyi
Dear Honored Friend,
In the affairs of the Academy of Music I had till now simply to wait. [The opening of the Academy of Music had taken place meanwhile in the middle of November, 1875.] Now comes the time when a different, an active line of conduct presents itself to me. I shall always endeavor to come up to the expectations of my friends. First of all in the middle of February we begin our peaceful academical conferences, and, as I have already written to you, I willingly undertake, from the 1st March, to conduct a pianoforte class (for virtuosi and teachers)—provided that Erkel and you, dear friend, agree to this harmless proposal. My further activity in the Royal Hungarian Academy of Music had better be favored, measured and decided by the circumstances. I can only lay claim to be the well-intentioned zealous servant of Art and of Hungary.
Please to give Erkel my heartiest thanks for the Liszt-paragraph in the "Inaugural Address." The kindly confidence which Erkel has reposed in me for more than 30 years shall never be abused.
The notice "Count Geza Zichy, President, and Bartay, Director of the Pest Conservatorium," affects me very pleasantly. Engesser's constancy in conducting the Liszt-Verein [Engesser founded the Liszt-Verein in Pest (for mixed voices)] particularly rejoices me. Is Gobbi's Cantata come out? Friendly greetings to the composer and recently "well-known composer of album-leaf waltzes," from your old, truly attached
F. Liszt
Villa d'Este, January 20th, 1876
(Before my arrival—16th February—I will telegraph to you from
Venice, where I shall visit Count Imre Szechenyi.) In case there
were anything to write to me, address, till February 5th, Rome,
Vicolo dei Greci, 43.
182. To Eduard von Liszt
(Villa d'Este,) January 23rd, 1876
My Dear Beloved Friend,
Your letter has deeply affected me. I preserve it in the secret cell of the heart, where the last words of my dear mother remain- -and give me consolation. I cannot thank you in words. My thanks rise in prayer to God. May His blessing ever be with your generosity and constancy in all that is good.
At the "Decisions of the Court of Cassation" (the 2nd October and 16th November) you spoke so forcibly and beautifully clearly about blasphemy, and of the symbol of redemption, the crucifix— and thus truly fulfilled the teaching of our Savior: "Thesaurizate autem vobis thesauros in Coelo." Let us continue to the end, dearest Eduard, in the love of Christ!
I absolutely wrote the "Hunnenschlacht" for the sake of the hymn "Crux fidelis." Kulke in a very generous manner determined on the production of this work in Vienna. For very many years Kulke has always been well-affected towards me. I enclose a few lines of thanks which I beg you to hand to him. His "Moses before Pharaoh" I have, alas, not the power to compose. To compose philosophy and politics in music appears to me an all-too-difficult task. I almost doubt whether it could be accomplished.
Heartiest greetings to your family, and most truly yours,
F. Liszt
I shall arrive in Pest again in the middle of February.
183. To Dr. Eduard Kulke in Vienna
My Dear Sir,
During long years you have constantly shown me so much kindness that I cannot sufficiently thank you for it. I am also ashamed not to compose better works, so as to make the kindly interpretation of them more easy and pleasanter to you. Nevertheless all the more valuable is your insight and indulgence.
The "feathered thief" [A comedy by the addressee, a well-known and meritorious author, and sent by him shortly before to Liszt.] reconciles me with the "newspaper geese." It will, without plagiarism, win its laurels on the stage. The dialogue and action are full of humor and wit…and the final catastrophe of the thrashing must make an impression on the public.—
Excuse me, my dear Sir, if I do not feel myself equal to the task of an Old-Testament Oratorio. [Kulke had sent a poem, "Moses before Pharaoh," to Liszt in Rome, with the question whether he would be inclined to make it the subject of an Oratorio.] Michael Angelo represented his Moses mighty and horned (perhaps as a most excellent ideal forerunner of Pope Julius II.?); Rossini sang exquisitely the "preghiera di Mose," with which Europe is still enraptured; and Marx's Oratorio Moses, less well-known, contains many excellent parts.
"Non omnia possumus omnes." My humble self can do but little, and remains most humbly grateful to the "Caritas Christi."
With especial regards and thanks, yours most truly,
F. Liszt
Villa d'Este, January 23rd, 1876
184. To Marie Lipsius
My Honored Patroness,
Your kind promise to translate the "Chopin" into beautiful German rejoices me extremely. Hearty thanks for it. I will soon send the revised (French) copy, and I hope the work will be easy and pleasant to you. In the 3rd edition of "Musikalische Studienkopfe" I lately read "Berlioz"—an excellent characterisation and recognition of this extraordinarily great master, who perhaps hovers more in the untrodden regions of genius than anywhere else.
The addition of the "index" is a valuable completion of this third edition. Its success augurs well for what will follow.
With much respect and gratitude,
F. Liszt
(Villa d'Este,) February 3rd, 1876
185. To August von Trefort, The Hungarian Minister of Education in Budapest
[Printed in the Pester Lloyd of that date.—Addressee died 1888.]
Herr Minister,
Although I scruple to weary the extraordinary good-will which the public of Budapest has evinced towards me, I nevertheless make so bold as to offer the assistance of my two hands for the concert shortly to be given in aid of the sufferers by the floods, if Your Excellency is of opinion that this could still be at all useful. In the year 1838, when I returned for the first time to Vienna, I gave my first concert there in aid of the sufferers by the inundation at Pest. It will be a comfort to me if I can now close my protracted career as virtuoso by the fulfilment of a similar duty. [The concert in aid of the sufferers by the floods in Budapest took place with Liszt's co-operation on the 13th March, 1876] I remain, until death, Hungary's true and grateful son.
Your Excellency's most obedient
F. Liszt
Budapest, March 1st, 1876
186. To Walter Bache
Honored and Dear Friend,
You, in your London "Annual Concerts," have for 12 years worked more wonders than I was able to compose in the "Rosenwunder" [Rose miracle] of Elizabeth. Hearty thanks for your account of the 12th concert, and all the exertions connected with it! I beg you to present my most respectful compliments to Mrs. Osgood ("Elizabeth"), and, before all, to Constance Bache, the kind translator of the Legend.
Entirely approving of the use of the mute in the passage
[Here, Liszt illustrates with a musical score excerpt]
and during the chorus of angels, remains, in sincere esteem for the steadfast conductor and friend Walter Bache, his faithful and grateful
F. Liszt
Budapest, March 8th, 1876
187. To Madame Jessie Laussot,
Dear excellent Friend,
The Commander Casamorata has written to me again about the fete of Bartolomeo Cristofori. I have replied to him that my answer had been already received by you in the month of January '75, and that I can only repeat the same excuses. I copy the last lines of my letter to Casamorata that you may have the exact particulars:- -
"Without reckoning that for more than thirty years I have not belonged to the active lists of pianists and only desire the honorable repose of an invalid, I permit myself to remark that the duty of celebrating the inventor of the pianoforte in Italy belongs by preference to Italian pianists of note, such as M. Buonamici (in Florence) and M. Sgambati (in Rome), etc."—
In conclusion, I scarcely could leave Germany all this summer (except for the visit to the Chateau de Loo), and I shall probably be obliged to return to Hungary after Bayreuth, where I hope still to find you.
Yours very devotedly,
F. Liszt
Budapest, March 18th, 1876
188. To Dr. Leopold Damrosch in New York
[Draft of a letter from a copy by Dr. Mirus in Weimar.—Addressee (1832-1885) came to Weimar in 1855 as a violinist under Liszt, went to Breslau in 1858, and in 1871 to New York, where he had great success and influence as a conductor.]
April 15th, 1876
My dear honored Friend,
You have recommended our young friend Max Pinner to me. He shows himself to be an excellent artist, and I have become much attached to him [Pinner died young.] I beg you to accept through him the renewed expression of my former faithful friendship.
Your beautifully conceived and nobly executed work "Ruth" I have read with sympathetic interest and pleasure. I will not fail to suggest its performance in Germany.
How shall I thank you for the edifying goodwill which you manifest towards my compositions? Your intelligent enthusiastic conducting of my scores prevents any one noticing the defects of the composition.
A hearty greeting to your wife, and with warmest esteem ever yours,
F. Liszt
189. To Friedrich von Bodenstedt
[From a copy by Director Aug. Gollerich in Nurnberg.—Addressee, who died in April 1892, the poet of Mirza Schaffy]
June 8th, 1876
My very honored Friend,
Your very agreeable and genial friend, Frau Major von L., sends the September leaflet about the concert in Hanover. A thousand thanks for it. .—.
On the occasion of my happy 50 years' jubilee you rejoiced me with a poem, of which Iam proud. You have admirably succeeded in coaxing such poetical euphony from an old worn-out instrument like my humble self.
Au revoir in Hanover, and friendly greetings to your family.
With thanks, yours sincerely,
F. Liszt
190. To the Music Publisher Bessel
Sir,
Although the music which you have been so obliging as to send me through Mr. Kahnt has not yet reached me, I hasten to assure you again of the strong interest which I take in the works of the new Russian composers—Rimski-Korsakoff, Cui, Tschaikowski, Balakireff, Borodine—which you edit. You know that lately, at the Tonkunstler-Versammlung at Altenburg, the Ballade "Sadko" was well performed and received. Next year I shall propose that other works of the above-named Russian composers be produced. They are worth serious attention in musical Europe.
When you return to Weimar in July I shall better express to you my thanks and regards.
F. Liszt
Weimar, June 20th, 1876
Kindly give the accompanying note to Mr. Cui.
191. To Prince Carl Lichnowsky
[Communicated to the Musical Chronicle, 20th February, 1888, by
A. Gollerich.—Addressee is the brother of Liszt's intimate
friend, Prince Felix Lichnowsky, who, as a member of the
Parliament of Frankfort, fell on the Heath at Bornheim
(Bornheimer Haide), a sacrifice to the Revolution of 1848.]
Your most Serene Highness and Friend,
In old attachment I thank you heartily for your kind lines. The most grateful recollections ever bind me to the House of Lichnowsky. Your highly endowed father and your admirable brother Feliz showed not less kindness to me, than Prince Carl Lichnowsky showed before that to the young Beethoven, who dedicated his Opus I. (3 Trios) to the Prince Lichnowsky, and felt himself quite at home in the so-called Krzizanowitz "Palace," and in the Castle of Gratz. [Krzizanowitz is Lichnowsky's inherited estate in Prussian Silesia, the Castle of Gratz his dominion in Austrian Silesia. Franz Liszt like Beethoven, was a guest in both these places.] May it be permitted, dear Prince, to find you again there (perhaps next year) to
Your faithful and most devoted
F. Liszt
June 21st, 1876
192. To Hofcapellmeister Max Erdmannsdorfer
Very honored Friend,
Thanking you very much for your kind invitation, I shall willingly come next Sunday, and rejoice that I shall again hear a special Sondershausen concert. Berlioz's "Harold-Symphony" is to me an old, ever-fresh recollection: the Sondershausen orchestra played it capitally at the first Festival of the "Music of the Future" in Ballenstedt, which I conducted.
Send me soon the whole printed programme. Can you already conduct
Wagner's new "Fest Marsch?"
I beg for Bulow's "Nirwana," if possible, and in case there should be room for anything, not long, of mine, I would most modestly suggest the Symphonic Poem "Hamlet," which I never heard. Most friendly greetings to your wife, and believe me always
Yours most sincerely,
F. Liszt
Weimar, June 27th, 1876
I suppose the concert takes place on Sunday afternoon, so that the visitors from Weimar can get back here again?
Which train, in the lately altered railway guide—as I was told yesterday—will bring me in tempo (non rubato) [in time—not broken] to Sondershausen and back?—
193. To Kornel von Abranyi
Dear honored Friend,
Best thanks for your letter. Please to make my apologies to the mayor Herr Karoly and to the Festival Committee in Szegedin. [The town of Szegedin and the Hungarian Vocal Society had begged Liszt's active sympathy for the Musical and Singers' Festival about to be held in that place. Karl Wagner was president of the Festival Committee.] With reference to the first invitation to Szegedin (last March) I made the observation immediately that "During the whole month of August I belong to Bayreuth." Consequently it is no fault to remain there,—if the principle is correct.
Now, dear faithful friend, I invite you once again to come hither. The "Festival-Play" is of the very most serious historical significance…So do come at the latest from the 27th till the 30th August for the third series of these stupendous performances of the "Nibelung's Ring." The Montecuculi-an matters will be gladly arranged for you here [i.e. the expenses.] by
Your old, most sincerely faithful
F. Liszt
Bayreuth, August 6th, 1876
194. To Richard Wagner
[Autograph of this curiosity in possession of Herrn
Commerzienrath Bosendorfer in Vienna.]
Incredible One,
Hast thou a moment's time for the Leipzig "affaire"? then please come down here (where Herr Neumann now is) to thine own
F. L.
[Bayreuth, August, 1876]
[This referred to the performance of the "Nibelungen" in Leipzig, striven for by Angelo Neumann and interceded for by Liszt, for which purpose the former came to Bayreuth.—Wagner wrote in pencil on Liszt's letter as follows:—
"Still more incredible One!
"I am in my shirt-sleeves and under no circumstances inclined to give my work to Leipzig or anywhere else!
"Love me!
Thy
R. W.">[
195. To the Kammersangerin [Private Concert Singer to the Court] Marie Breidenstein in Erfurt
[Died 1892. She dedicated herself with satisfaction to the rendering of Liszt's compositions, and was also his pupil for piano.]
Dear honored One,
Perhaps the Schubert songs with my most modest instrumentation would suit somewhere in your programme. Here are the printed scores with the orchestral parts. "Gretchen" and "Erlkonig" have been much used and are played out. This is not so much the case with the "Young Nun"; and Mignon's wonderful song, "So lasst mich scheinen bis ich werde" [So let me seem till I become], is scarcely heard—or appreciated!
But if you will once more spare me an hour in Weimar, I will accompany these 4 instrumented Schubert-Songs for you.
Next Saturday departs from here
Your sincerely devoted
F. Liszt
Weimer, Monday, September 18th, 1876
N.B.—The instrumentation compelled me to a few little different readings in Schubert's four songs: on this account the singer must go by my score-edition as regards the rests and the very slight alterations.
196. To Camille Saint-Saens
Very Dear Friend
In sending you today the transcription of your "Danse macabre," I beg you to excuse my unskilfulness in reducing the marvellous coloring of the score to the possibilities of the piano. No one is bound by the impossible. To play an orchestra on the piano is not yet given to any one. Nevertheless we must always stretch towards the deal across all the more or less dogged and insufficient forms. It seems to me that Life and Art are only good for that.
In sincere admiration and friendship,
Your very devoted
F. Liszt
Hanover, October 2nd, 1876
197. To Professor L. A. Zellner, General Secretary of the Conservatoire of Music in Vienna
[From a copy of a draft by Dr. Mirus in Weimar.]
October 3lSt, 1876
Honored Friend,
Be so very kind as to convey my sincere thanks to Directors Mosenthal and Herbeck for the friendly communication about the Beethoven-Monument Concerts in Vienna next March. A few weeks earlier I beg you to send me the programmes, to which Beethoven's Concerto in E-flat major, and also as a Finale, in case the "Hammerclavier" appears admissible, the "Choral Fantasia," will willingly be added with his old hands by
Your faithful and most obedient
F. Liszt
198. To Hans Richter, Conductor of the Royal Opera in Vienna
[From a copy by Dr. Mirus in Weimar.-Addressee (born 1843 in
Hungary) the renowned conductor, since 1876, of the Bayreuth
Festspiel, and, in addition to his opera work in Vienna,
conductor of the Philharmonic Concerts there and of the Richter-
Concerts in London.]
November 10th, 1876
I thank you most sincerely for your friendly intention of giving my Beethoven-Cantata in the performance at the Royal Opera House for the benefit of the monument to Beethoven. By today's post you will receive the whole printed score, together with a separate edition of the orchestrated Andante (from the B-flat major Trio), which shines, like a guiding star, above my insignificant work. The Cantata was published by Kahnt, Leipzig, in the year 1870, and was also first brought out in Weimar, then in Pest, on the occasion of the Beethoven Jubilee Celebration. If, my dear Sir, the orchestration to some extent pleases you, I should advise you to take up this alone in your programme on the 15th December.
The remaining movements might meet with many hindrances in Vienna…and, frankly, I have become altogether somewhat shy as regards the performance of my compositions. Although I quietly endure their foregone want of success with prevailing criticism, it is my duty not to let my friends be injured by it.
Once again hearty thanks for your goodwill and meritorious conducting of Wagner.
F. Liszt
199. To Breitkopf and Hartel
Dear Sirs,
Your communication to me of the 25th October has been very much delayed, owing to my change of residence several times during the past weeks. There is surely no need to assure you that I never thought of causing any unpleasantness at all to any one—more especially judicially [The publisher of "Tannhauser" had tried to make out that Liszt's arrangement of the March was a "piracy.">[ In particular my connection with your very honorable house for more than 30 years has ever been most simple and honest. This is also shown by my two quoted letters of the 17th February and 3rd April, 1853, with reference to the publication by your firm of the "Tannhauser and Lohengrin pieces," whose publication at that time I was quite "the agreement" with Richard Wagner in suggesting.
Certainly I could not, without injuring the Tannhauser March, go all through the original, loading it with shakes, and here and there adding arpeggios. However, if "connoisseurs" will look through my transcription in detail, they will easily discover that neither the variation on the principal theme, nor the modulating of the second, nor in any manner the whole setting of the pianoforte arrangement, could be found fault with as a "piracy."
With much esteem,
Very sincerely yours,
F. Liszt
November 12th, 1876
Budapest (where I stay the whole winter)
200. To Constantin Sander, Music Publisher in Leipzig
[Autograph in possession of M. Alfred Bovet in Valentigney.]
Very honored Sir,
Best thanks for kindly sending me the "collected writings of Hector Berlioz" and some novelties of your firm. The compositions of Tschaikowsky interest me. A few of my pupils here play his Concerto and several of his pieces really capitally. I have also recommended Riedel to include Tschaikowsky's Symphony in the programme of the next Tonkunstler-Versammlung.
Otto Reubke's arrangement of the Schubert Quartet [In A minor, published by Sander (F. E. C. Leuckart).] for one performer on the pianoforte seems to me well done, though the 3rd bar of the first Allegro should stand thus,—
[Here, Liszt illustrates with a musical score excerpt]
because in the latter case the important E of the melody cannot be held on, etc.—
I know the manuscript of an excellent arrangement of Schubert's D minor Quartet for 2 hands, the author of which, a man of very high standing, I do not today mention by name. But should you be inclined to publish this Quartet (arranged for 2 hands on the P.F.) I will gladly give you further particulars.—
By today's post you receive my last revision of Berlioz's "Symphonie fantastique." I have added two remarks to the title which I beg you to notice and adhere to. Thus "Piano Score"—not "Arrangement."…Then it is absolutely necessary to insert the whole programme of Berlioz, French and German, in your 2nd edition (on the 1st page after the title-page). If necessary my friend Richard Pohl will give you the original French text and the translation.
With sincere regard, yours in all friendship,
F. Liszt
Budapest, November 15th, 1867
P.S.—I keep the copy of the Witzendosf edition for a while, and send you today only the Paris edition, together with the last proof copy of the "Symphonie fantastique."
201. To Breitkopf and Hartel
November 23rd, 1876
Dear Sir and Friend,
Before Herr W. Juranyi handed me your letter I had replied to the earlier communication from your esteemed house with reference to the same matter.
Accept once again the assurance that I lay great stress upon the continuation of our friendly relations, which have now existed for 36 years. As far as this depends on me it shall never cease.
Your letter contains two proposals:—
1. To recommend Wagner to sign a legal document.
This is entirely opposed to my peaceable practices.
2. To prepare an enlarged version of the transcription of the "Tannhauser-March."
Acquiescing in this, I will send you the day after tomorrow a couple of pages of notes [musical] for the purpose of an enlarged edition. I cannot decide whether these acquire a legal value, but in any case they prove to you, dear Sir, my sincere readiness.
My "Wagner-Transcriptions," by-the-by, were not in any way a matter of speculation to me. Appearing at the beginning of the fifties, when only the Weimar theater had the honor of performing "Tannhauser," "Lohengrin" and the "Flying Dutchman," such transcriptions only served as modest propaganda on the inadequate Piano for the sublime genius of Wagner, whose radiating glory now and henceforth belongs to the Pride of Germany.
With high esteem most sincerely yours,
F. Liszt
Budapest, November 23rd, 1876
202. To the Music Publisher Constantin Sander
Very honored Sir,
You have rightly guessed that Herr von Keudell's "excellent" transcription of Schubert's D minor Quartet is finished. It now only remains for you to write to His Excellency, that you may put this work in your window.
Reubke has succeeded very well with the B minor Rondo of Schubert, only, to my thinking, he should add the now indispensable pedal marks to it. By the same post I send you his manuscript together with a few remarks, and beg you to thank Reubke for his friendly dedication, and also to compliment him especially on the refined and beautifully effective carrying out of the subject—
[Here appears notated four measures of the theme.]
Yours most truly,
F. Liszt
Budapest, November 29th, 1876
203. To Vera Timanoff
[First Tausig's pupil (also Rubinstein's for a little while), from 1875 she studied every summer with Liszt as long as he remained in Weimar. In 1880 she became pianist to the Court at Weimar.]
Dear Virtuosa,
I telegraphed immediately to you at Laibach, to tell you to come without ceremony. Your talent is such that it would convert even the Turks, and I assure you that the audience at the Pest concerts will be delighted to applaud you. As to the title which you propose to take, I think it is too modest for you, but there would be an excess of modesty on my part in saying anything against it…so let us be reciprocally proud of it and don't let us advertise it!
A revoir soon,—and always
Your affectionately devoted
F. Liszt
Budapest, November 29th, 1876
Be so kind as to give my most cordial regards to Monsieur and
Madame Bosendorfer.
204. To Otto Reubke at Halle-on-the-Saale
[Now Music Director at the University there]
Dear Herr Reubke,
Your Arrangement [of Schubert's B minor duet for pianoforte alone] pleases me uncommonly. I beg you to notice the alterations I have made on the accompanying sheet of music-paper. This version is not quite so much like the original as yours, but, as the great thing is to bring out a fortissimo, we may well allow inaccuracies of this kind in favor of the performer and of effect.
You are requested to add to your excellent Arrangement of the
Schubert Rondo much pedal and some fingering,
By your warmly attached
F. Liszt
Budapest, November, 1876
205. To Marianne Brandt, Kammersangerin in Berlin
December 3rd, 1876
Dear honored Friend,
What is always very pleasant and dear to me is your goodwill. With my hearty thanks for it I send today the little notice. "Jeanne d'Arc au bucher" ["Joan of Arc at the Stake">[ came out a few months ago at Schott's (Mainz). This short dramatic Scena can be sung with either pianoforte or orchestral accompaniment. The chorus is conspicuous by its absence. Johanna [Jeanne] alone has to perform. N.B.—Only the second edition (published 1876) is to be used; not the first, which also came out at Schott's 30 years ago. Schott sent me no copy of it; it was too much trouble for Berlin to correspond with Mainz via Budapest. Herr Capellmeister Mannstadt [Now Capellmeister at the Court theater in Wiesbaden.] will therefore be so kind as to order the "Johanna" (full score and piano score) at Schott's, if you really have the goodness to sing it. [It was done in honor of Liszt's presence in Berlin, which was celebrated by the performance of some of his works.] There might possibly be special feelings now in Berlin against it, in spite of Schiller's Tragedy, "Die Jungfrau von Orleans." Therefore think the matter over.
For years past I have been mostly obliged to dissuade people from the performance of my large works. The general public usually goes by what is said by the critics, whose most prominent organs among the newspapers are hostile to me. Why should I go into useless quarrels and thereby compromise my friends? Peace and order are the first duties of citizens, which I have doubly to fulfil both as honorable citizen and artist.
As for the rest, dear friend, if it suits you to sing any one of my musical compositions, be assured of the sincerest thanks of
Yours most truly,
F. Liszt
206. To the Committee of the Beethoven Monument in Vienna
[From a copy by Dr. Mirus in Weimar]
December 10th, 1876
Honored Gentlemen,
Rejoiced to be able to help you, I will work with you with a full heart and both hands in the concert for the Beethoven Monument.
Allow me to answer your friendly remark about the performance of Beethoven's Choral Fantasia thus,—that I should not think of performing any other work at this concert than one absolutely written by Beethoven, and consequently my share in the concert programme will consist of the E-flat major Concerto. [It did not consist of that. Liszt did after all play the Pianoforte Part of the Choral Fantasia, Op. 80.]
I beg you will kindly communicate to the honored Secretary of the
Committee, Herr Zellner, my hints with regard to the Beethoven
Scholarship in Leipzig.
Accept, Gentlemen, the expression of my high esteem.
F. Liszt
207. To Eduard von Liszt
Budapest, January 2nd, 1877
Dearest, Most Honored Cousin,
I always remain faithful to thee in heartiest agreement with thy thoughts and feelings. Every year brings us nearer to the fulfilment of our hope in Jesus Christ the Savior!
"He that endureth to the end shall be saved!"—
I am now quite recovered from my little attack. If there were nothing worse in this world than sprained legs and physical suffering, one could be quite satisfied. Moreover I belong to the very favored and happy ones, even as regards physical suffering.
There is nothing particular going on here which I need mention. Four times weekly I have a class for pianists and pianistes, native and foreign. Half a dozen of these distinguish themselves and will be able to grow into capable public artists. Unfortunately there are far too many concerts and concert- players. As Dingelstedt quite truly said, "The theater is a necessary evil, the concert a superfluous one." I am trying to impress this sentence on my disciples of the Hungarian Academy of Music.
As you know, Budapest possesses three musical Institutions: the Conservatorium (which has existed 36 years and counts several hundred scholars), the Hungarian Theatrical School, and the new and still small Academy of Music. An excellent younger friend of mine, Count Geza Zichy, is president of the Conservatorium; an older one, Count Leo Festetics, president of the Theatrical School; and my humble self acts in the same position at the Academy of Music, whose Director Franz Erkel and General Secretary Abranyi proceed most zealously and judiciously. I have only pleasant relations with them both, and the Minister Trefort is already well-disposed towards me, because he knows that I save him unnecessary annoyance and expense. Most likely the Academy of Music will in two years' time be so flourishing that there will be more to say about it; in the meantime let us study—and be silent. .—.
Heartiest greetings to thy family, and au revoir in Schottenhof [Eduard Liszt's home in Vienna.] in the middle of March, on the occasion of the "Beethoven-Monument Concerts."
Thy
F. Liszt
The Christmas week has beggared me. Be so good as to send me very quickly 500 gulden, for I have hardly 60 left.
208. To Walter Bache
Truly, dear Bache, you are a wonder-working friend. Your persevering trouble, exertions, expenditure of time and money for the production of my bitterly-criticised compositions in London during the past fifteen years, are among the most uncommon occurrences in the annals of Art. Once again heartiest thanks; please also to thank Mr. Manns properly for his excellent conducting of "Mazeppa." Things of that kind are awkward both for conductors and performers. But how can one go on making music with what is idly convenient, even when this is raised into importance under the guise of being classical?
Hueffer's translation of Wagner's letter pleases me. Friendly greeting to Hueffer [Musical author in London, lately deceased] and Dannreuther [Musician in London] from
Your grateful and very devoted
F. Liszt
Budapest, March 9th, 1877
At the beginning of April I shall be back in Weimar. I am pleased that you included the old "Loreley," with fresh orchestral accompaniments, in your concert programme. Give my respectful compliments to the friendly singer Mrs. Osgood.
209. To Eduard von Liszt
Weimar, July 3rd, 1877
Dearest Eduard,
For some weeks I have been much on the go and disturbed in many ways. Several musical performances occasioned me to go about in the neighborhood. On the 17th June some portions of the "Christus Oratorio" were splendidly sung in the Thomaskirche (Leipzig) by the Riedel Verein. Last Friday "Elizabeth" came brilliantly to the fore again in Eisenach, and yesterday Gille, my untiring friend of many years' standing, arranged a large concert of sacred music (with several items of mine), at which I was present.
I do indeed regret that I am not able to accept in person the kind invitation of my beloved nephew Franz for his wedding-day. It would be much better for me to be more with you all!…Enclosed are a few words to Franz. Arrange for my proxy as a witness at the marriage ceremony. Whoever is chosen by you will be worthy and right to me: as for me I should choose my friend Bosendorfer.
I go the day after tomorrow to Berlin for two days; then I am bidden farther and nearer till the end of July. I shall respectfully announce to the Frau Furstin [Princess] my arrival in Rome—beginning of August. Please send me here on the 20th July the money for the journey, and something over—about 1200 marks [about 60 pounds]. I must not have any other debts except moral ones. Our name Liszt in the Hungarian language means Flour: we will provide good wheaten meal "ex adipe frumenti" with thee, Franz, and thy children.
Truly devoted,
F. L.
.—. I shall visit you in the middle of November on the return journey from Rome to Pest,—where I think of spending the winter, as formerly.
Heartiest greetings to your wife and Marie.
210. To Ludwig Bosendorfer
Honored Friend,
You have been just as much a pianoforte maker as I have been, and still remain, alas! an almost posthumous pianoforte player.
My friend Berlioz asked: "Do you believe that I can listen to music for my pleasure?" Nevertheless we intend to continue our Music and Piano "for our good pleasure."
Thanks for letter and telegram.
Heartily devoted,
F. Liszt
Weimar, July 12th, 1877
211. To Edmund von Mihalovich
.—. In order to obtain this performance [Of Mihalovich's Opera "Hagbar.">[ I think it necessary and indispensable (as I have already told you) that you should lay a regular siege in person to the Intendant, the Capellmeister, and the singers, male and female, of the theater which you choose.
The new serious Operas are now regarded with suspicion and are in disgrace everywhere. Several trials have been made of them here and there of late years. In the happiest of them the public applauded warmly during the first performances, and abstained from attending the following ones. Consequently the coffers remained empty: ergo, it is the receipts which prove real success. If Wagner's marvellous chefs d'oeuvre hold their own in the repertoire, it is because they make money and continue to draw even a large contingent of detractors. .—.
Weimar, July 20th, 1877
Towards the middle of August I shall be in Rome, and shall stay at the Villa d'Este until my return to Pest in November.
212. To Kornel von Abranyi
Weimar, July 28th, 1877
Honored Friend,
Dear Secretary-General of the "Zene Akademia," [i.e. Academy of Music of the Country.] Sincere thanks for your significant communication, which I answer immediately, point by point. [Abranyi had informed Liszt, as President of the Academy, of the course of instruction (1877) and concerts, and had also asked him for his opinion on several Art questions.]
1. The conclusion of the year '77 with the examination concerts (25 to 28 June—and the "Magyar Hangverseny" [An Hungarian Concert.] on the 30th June) has been very gratifying. Let us rejoice in the praiseworthy performances of Messrs. Juhasz, Agghazi, Swoboda, and of the ladies Frau Knapp, Fraulein Lepessy, [The above-mentioned were favorite pupils of the Master at the Academy.] etc., in Counterpoint, Harmony, Composition, Aesthetics, Hungarian music and the indispensable Piano-playing.
The work best praises the Master: in like manner do the pupils, when preparing themselves for pre-eminence, praise their teacher. The "Zene Akademia" has not to work for the universally usual kind of musical study, but has indeed a weightier, higher task to fulfil.
2. The publication of your "Academic lectures" I had especially recommended to His Excellency Minister Trefort. "Suitable teaching and departmental books" printed in the Hungarian language are inaccessible. You, my honored Secretary-General, have to look after that,—and the Minister will certainly support your scientific-patriotic work for the use and benefit of learners and teachers at the "Zene Akademia"—and further, in all Hungary.
3. As to the "Plan of classes in the department for Church music, Singing and Organ," I can now only repeat my previously expressed wish that the right and able person of good working capability may be found for conducting these classes. Neither invalids nor dabblers may officiate at No. 4, Fischplatz!—[Liszt's house, and, for the time, the locale of the Academy.] If unfortunately the right reverend Herr F. Witt should continue unable to fill the post offered to him in Budapest, I shall propose that the new director should come for a year on trial. And a complaisant sort of Protection is thereby to be avoided, for the matter in question is nothing less than the worthy thriving and culture of Church music in Hungary.
4. I consider as necessary the appointment of an experienced Pianoforte Professor, one who is pushing forwards, and who will be able to relieve our highly honored Director Herr F. Erkel of a part of his very meritorious but excessive exertions. Meanwhile I protest strongly against desiring to have a professorship without salary. Fees with honor; judicious restrictions without beggarly management; otherwise we shall come to grief.
5. I beg that my "jubilee-stipend," entrusted to me in the most honorable manner by the municipality of Budapest, may next year ('78) be apportioned to the same artists as this year. I will gladly sign all the papers having reference to this. Looking forward to the speedy appearance of your Study of Harmony, and of the collected writings of our never-to-be-forgotten friend Mosonyi, together with his biography and Abranyi's new compositions, and greeting your laudable and persistent endeavors in the cause of Art with sympathetic recognition,
I remain, with best regards, yours truly,
F. Liszt
Next week I journey farther—shall be in Rome by the middle of August—and in November in Pest, where I intend to spend the winter again. Write to me in September: my address will be Villa d'Este, Tivoli, (presso) Roma, Italia.
I beg you to give the enclosed lines to Frau Knapp.
213. To the Music Publisher Constantin Sander
Very dear Sir,
I shall have much pleasure in preparing the re-discovered manuscript of the "Harold Symphony" (Score for Piano and Alto [viola]) for the dress and in entrusting it to you. Send me the manuscript soon, together with the original score of Berlioz, which is necessary for the accurate revision of the arrangement. My fee shall be a moderate one, as I am pleased that your firm is going to publish this arrangement, which was finished in Switzerland forty years ago. I would have made it public long since, if the manuscript had not been lost.
Sincerely yours,
F. Liszt
Villa d'Este, Tivoli (near Rome), September 5th, 1877
Please send with it a copy of the excellent Trio of Edward Napravnik. My friend Sgambati will produce it publicly in Rome, and make it a success.
214. To Adelheid von Schorn at Weimar
Dear and honored One,
When one is at a loss what to say or write, well—one tries to help oneself with music. Enclosed I forward you the song of your noble-hearted mother: "Ach, was ist Leben doch so schwer!" [Ah, why is life so burdensome!] My setting is so managed that you will easily master it, as well in the singing as in the accompaniment. [Published in the 8th book of Songs under the title "Sei still" ("Be still")]
Faithfully yours,
F. Liszt
Rome, September 15th, 1877
215. To Breitkopf and Hartel
Honored Sirs,
.—. May my slight share in your edition of Chopin's works, which nearly all belong to your firm, be of use to you. I remarked before how little really remains to be done to Chopin's compositions, as he himself, with praiseworthy and exceptional accuracy, added every possible instruction to the performer—even to the pedal indications, which in no other author appear so frequently.—Your collaborators will certainly find accuracy and authenticity of the original text in Karl Klindworth's Moscow edition of Chopin. I chose the "Etudes," because the first volume was dedicated to me, and the second too for the matter of that (at that time). I gladly dispense with a revision of both, and beg you particularly, dear Sirs, not to expose me to an unseemly rivalry. I will always maintain a most peaceful attitude towards my honored colleagues, and, wherever they please, allow their influence and opinion to have free play.
According to your letter, you repudiate the idea of "an instructive edition with other additions" of Chopin's works. Are then the directions for fingering also to be omitted?…All the more undisturbed will the leisure of the collaborators be.—
Last week I sent you the corrections of the "Triomphe funebre du Tasse," as well as the "Impromptu." Tomorrow "Heroide funebre" (for four hands) will follow, and very soon I am expecting the "Hunnenschlacht," which completes all the arrangements for four hands of the 12 "Symphonic Poems." A complete edition of them in 3 or 4 volumes (as you may judge best) will be a pleasure to me.
In spite of the much criticising, ignoring, and denunciation, which these things have had to suffer for 20 years, they are perhaps not yet quite done to death.
I beg you to add the Prefaces and Poems (French and German) to the edition for four hands, as well as to the scores, and also to the further editions for 2 pianos. The same with regard to the transcription for piano of the "Triomphe funebre" (Italian and German), because, as a matter of fact, a well-disposed programme composer uses such hints more than is generally supposed. Of course the dedication of the "Impromptu"—"a Madame la Baronne Olga de Meyendorff, nee Princesse Gortschakoff"—must not be left out.
With distinguished respect,
Your obedient
F. Liszt
Villa d'Este, September 26th, 1877
Till the end of October my address will be: 43, Via dei Greci,
Roma (Italia). From the middle of November: Budapest (Hungary).
216. To Frau Ingeborg von Bronsart in Hanover
Dear Kind Friend,
I am much touched by your charming letter, and grieved at not being able to accept your friendly invitation. That would certainly be more agreeable than to attend to all sorts of duties; but, since three parts of these are self-imposed, I am all the more bent upon fulfilling them; and, in order to keep faith with myself, I am returning to Budapest before the middle of November, and shall remain there till April. Perhaps I am less useless there than elsewhere; it is an idea or an illusion of mine.
What excellent and beautiful things the two Hans are going to do at Hanover! [Hans von Bulow had been appointed Hofcapellmeister in Hanover, where Hans von Bronsart was Intendant of the theater.] It is a matter of lively joy to me, and next summer I hope that my ears will benefit by the new musical regime all in honor of Art, and the example of which will be of service and bear fruit far and wide.
Last week I forwarded from the author to your address a copy of Sgambati's Quintet, dedicated to Bulow; and also a Fugue (preceded by a grand Prelude and ending in a Chorale—the same which Guido d'Arezzo made use of to name the six notes of the gamut: "Ut queant taxis resonare fibris, etc.!"…One of the two Hans will tell you the rest of the hymn, which is always chanted on the 24th June, the feast of St. John the Baptist).
Once on a time you used to cultivate fugues with maestria: will that of Sgambati seem to you classical enough? I almost doubt it, since in these matters your strictness is extreme. In consequence of H.M. the Queen of the Netherlands being in mourning, the "auditions" at the chateau of Loo do not take place this year. I shall therefore go straight from here to Pest.
Please give my love to your children, and believe me to be for all time the heartily devoted friend of their papa and mamma.
F. Liszt
(Villa d'Este,) October 2lst, 1877
217. To Eduard von Liszt
Dearest Eduard,
.—. I am told that one or two newspapers announce that I am going to Paris. I have no thought of doing so, and am moreover very weary of travelling. What I should prefer would be to remain firmly fixed in one place, it matters not what, village or city, till my end, and to go on as quietly as possible with my work. As this is not permitted to me, I try at least to avoid unnecessary perambulations, do not go (in spite of various invitations) to Paris or London, and keep within that already far too extensive and troublesome triangle, Pest, Weimar, Rome!—So I shall again spend the next four months here, and then, at the beginning of April, pay you a week's visit.
Write and tell me where my dear cousin Marie is. [She had shortly before married Baron von Saar, an officer.] Is her husband established in Wiener-Neustadt, and in what capacity?
How are our Franz in Graz and his wife?
Heartiest greetings to the Frau Generalissimus-Procuratorin
[Eduard v. L. had in December 1875 become General Procurator.
Liszt called his wife in joke "Generalissima" or "Generalin.">[
from your heartily and faithfully affectionate
F. Liszt
Budapest (Fischplat 4), November 23rd, 1877
All friendly greetings to Bosendorfer.
218. To Jules de Zarembski
[A highly gifted pupil of Liszt, born in 1854 in Russian Poland, died in 1885 at Brussels, where he was Professor in the Conservatoire.]
Dear Friend,
Thinking that you would spend some weeks at Berlin, I sent the day before yesterday a letter for you to our friend Bosendorfer, begging him to have it punctually delivered to you. This letter enclosed another, which you will remit to Paris to Madame la Comtesse Taida Rczewazska. She promised me lately at Rome to take an interest in your success at Paris, and I assured her that your talent and intellectual gifts would not make her patronage irksome. Therefore be careful not to give me the lie, and to show yourself of an amiable disposition at Countess Rczewazska's.
I forgot to ask her where she lives in Paris; but you will find out without difficulty from some compatriot, or from other people of the world, which is society. Enclosed are a few lines of introduction to the illustrious, indefatigable and unageing publicist, Emile de Girardin. They say of him in joke that he has an idea every day. If he were to reach the age of Methuselah ideas would certainly never fail him.
At one time there used to be music in his salon; he understands
it quite as well as the late M. Thiers or the Marechal MacMahon.
However, if M. de Girardin invites you, play there, as I did when
I was last in Paris (in the year '66).—
An excellent recipe against unjust criticisms (of the kind like that of M. X. which you quote to me) is to criticise oneself thoroughly before and after—and finally to remain perfectly calm and follow one's own road!
Cordially yours,
F. Liszt
Budapest, December 13th, 1877
An enthusiastic account of your success at Vienna was given me by
Mme. Tony Raal, who yesterday evening played Tausig's
"Zigeunerweisen" admirably at a concert of M. de Swert. [A
Belgian violoncellist, recently deceased]
219. To Madame Jessie Laussot
Dear and most excellent Friend,
Your "intrigues" are noble, salutary, beneficent, and would win every advantage in the broad light of day. To take my part in them, at your command, is one of my most agreeable duties.
[Mme. Laussot was trying to obtain the nomination of Antonio Bazzini, the excellent violinist and composer (born 1818), as director of the Conservatoire at Milan, and begged Liszt to support this choice through the German ambassador Baron Keudell in Rome, which he did. Bazzini however did not at that time receive the office, which he at present holds.]
I sent my letter direct to Rome to Baron de Keudell yesterday..—. Bazzini deserves the post of director of the Conservatoire at Milan, which ought to be offered to him at the first onset.
Your most heartily devoted
F. Liszt
Budapest, January 29th, 1878
Our friend Mihalovich will give you news of Budapest. As elsewhere, I am absorbed here in the most difficult of tasks—to put up with myself. Happily I receive plenty of help; noble friendships and dear and beautiful memories light up the path which I still have to follow before I reach the grave.
220. To Madame Jessie Laussot
Dear and Excellent Friend,
Under present circumstances (indicated in your note of this evening) I doubt whether your just and noble efforts will attain their end. [Refers to the as yet unsuccessful candidature of Bazzini for the directorship of the Milan Conservatoire. See the preceding letter.]
Without pretending to Catonism, it is a good thing to attach oneself to good causes, whether favored by the gods or not.
"Victrix causa diis placuit."…So, if you are vanquished on the battle-field between the Cathedral and the Conservatoire of Milan, I shall remain on your side, in spite of my reasonable leaning towards Caesar, and the lawful inheritors of his idea,…not towards the others, please, because that would drag me too low and roll me in the mire.
From my heart your old servant and friend,
F. Liszt
Budapest, February 3rd, 1878
221. To the Music Publisher B. Bessel
Dear Sir,
You have been unusually parsimonious in only sending me a single copy of the Ballade of Count Tolstoy. ["The Blind Bard." Liszt wrote the melodramatic piano accompaniment to it (1874).] Allow me then to make use of this copy to indicate the version which I think should be put into the arrangement for piano (alone without declamation). I add, the necessary notes and alterations, for you to publish or not, as you think best, the version subjoined. I have no claim to the sale of my wares, and am only manufacturing them…for the honor of Castile!—Count Tolstoy understood this sentiment; he only has to make a bargain: that is why I have sung with Tolstoy his Ballade of the "Blind Bard," hoping too for "peace" at last "for all noble boyars." [Slavonic noblemen.] You sent me some other publications of your house: "six morceaux pour piano" by Liadoff; they are pleasantly refined; and the "Russian national songs edited by N. Rimsky-Korsakoff," for whom I feel high esteem and sympathy. To speak frankly, Russian national music could not be more felt or better understood than by Rimsky- Korsakoff. His notation of the "popular songs" is most intelligent and most musical; and the accompaniment and harmonies seem to me admirably adequate. If you publish the version for piano of "Tolstoy's Ballades" I beg you to send me the proofs beforehand.
A thousand affectionate compliments.
F. Liszt
Budapest, March 11th, 1878
Please send me in any case half a dozen copies of the "Ballade," already printed, to Weimar, where I remain from mid-April till the end of July.
222. To Walter Bache
Very honored and dear Friend,
I have always to be thanking you; it is from my heart, and will ever be so.
The programme of your fourteenth "Annual Concert" is again an act of courage; particularly in London, where my compositions meet with all manner of obstructions—almost more than elsewhere, from the Leipzig Gewandhaus down to many greater and smaller Gewandhausler.
It stands clearly written, a hundred times over, that I cannot compose; without indulging in unseemly protests against this, I quietly go on writing, and set all the greater store by the constancy of some of my friends, particularly Walter Bache, for the stout-* heartedness which till fourteen times fourteen he has for so many years displayed.
In the introduction to your fourteenth Programme F. Niecks
[Friedrich Niecks, Professor of Music at the University of
Edinburgh; the writer of the excellent work "F. Chopin as Man and
Musician">[, a propos of F. Liszt, said very truly:—
1. "Form is an abstract idea."
2. "A harmonic combination or progression may be against the rules of a system," etc.
3. "Programm-music is a 'legitimate genre of the art.'" [Portion in quotes (' ') written in English by Liszt]
Give Niecks my sincere thanks; also to Mr. Manns and courtoisement Miss Williams [The well-known vocalist Miss Anna Williams]. The "Funeral Pyre of Joan of Arc" will, I trust, have done away with her coolness.
With regard to the Tempi I am very yielding in my small pieces, and gladly allow well-disposed artists to decide this.
Sophie Menter-Popper was recently here and will probably (middle of May) play in Sir Benedict's model monster-concert, which for forty years has wielded the sceptre of London successes. Call on my honored friend Sophie Menter—a rarely natural and excellently schooled musical individuality. You will feel yourself quite at home with her, and I told her this beforehand. Yours affectionately,
F. Liszt
Budapest, March 19th, 1878
From the middle of April till the end of July I remain in Weimar; later, at the end of August, I go again to the Villa d'Este.
223. To Professor Dr. Ludwig Nohl
Honored and dear Friend,
Of the many pictures of the remarkable group of cypresses in the Villa d'Este your brother's [Max Nohl, painter] beautiful poetical drawing is my favorite. For the present of this and the inscription on it I thank you most heartily. I attempted (last October) to put down on music paper the conversation which I frequently hold with these same cypresses. ["Au Cypres de la Villa d'Este" [To the Cypress of the Villa d'Este). 2 numbers. Schott, Mainz.] Ah! how dry and unsatisfactory on the piano, and even in the orchestra,—Beethoven and Wagner excepted—sounds the woe and the sighing [Das Weh and Wehen] of almighty nature!—
Nevertheless I will most modestly show you this Cypress-Memento at the piano when we next see each other—I hope in Vienna, where I am staying during the first week of April with my dear cousin as usual. Afterwards I go to Bayreuth and Weimar.
Sincerely yours,
F. Liszt
Budapest, March 20th, 1878
224. To Professor Dr. Siegmund Lebert
Honored Friend,
Quite excellent so. Let us divide the revision of the Cotta edition of the 4-handed Schubert, and for your part look after all the Sonatas, "Lebenssturme," Scherzi, etc.—If you wish it, a few pedal marks. and fingerings shall willingly be added to the Variations Op. 10 and 82. Send me both works to Weimar, with the rest of Schubert's Waltzes for four hands, which show more creative power than many big compositions—old or new.
With the few Schubert pieces send me also the scopes of the Beethoven Concertos and their accompaniments, arranged for a second piano by Moscheles. My arrangement I will forward you at the beginning of August. Meanwhile I beg you to give the Freiherr von Cotta my most grateful thanks.
Very respectfully yours,
F. Liszt
Budapest, March 27th, 1878
From the middle of April till the end of July I remain in Weimar.
225. To Edmund von Mihalovich
Very dear Friend,
I most sincerely feel with you in your grief. "Non ignara mali"…for I too have wept at the grave of my mother.
A sad but well-written book, "Stello" ("Consultations of the black doctor"), depicts the sufferings and death of three young poets,—Millevoye, Andre Chenier, Chatterton,—gathered home before they had acquired glory here below.
In these moving pages of Alfred de Vigny he asks, "What is one to think of a world which one enters with the hope of seeing one's father and mother die?"…Prayer alone can answer this question. Let us then pray our heavenly Father that His Will may be done on earth as it is in heaven, and that the work of our life may be ever conformed to the Divine Will.
Ever yours,
F. Liszt
Bayreuth, April 13th, 1878
226. To Kornel von Abranyi
.—. What could I write to you about Wagner's "Parsifal?" The composition of the first act is finished: in it are revealed the most wondrous depths and the most celestial heights of Art.
Ever very sincerely yours,
F. Liszt
Bayreuth, April 14th, 1878
227. To Frau Ingeborg von Bronsart
Dear Kind Friend,
If you have not already done so, you will end by having a bad opinion of your old and very affectionate servant. My share of free locomotion is very limited. Having arrived at Weimar last Wednesday I could not pack off again immediately without inconvenience. I must therefore await a favorable week for my Hanover wish. In May "Rheingold" is to be given here, and St. Saens's "Dalila" again, which I wish to hear and see. Monseigneur the Grand Duke assured me yesterday that this work made a success at its first performances; and several people, who often hold a contrary opinion, agree in their praises of "Dalila."
From the 13th to the 15th June (Whit week) a Tonkunstler- Versammlung is announced at Erfurt. It will seem pale as compared with that of Hanover of last year; but I want to be present at it, considering my unvarying interest in the work undertaken by the late Brendel and bravely continued by Riedel and Gille. After having said A, and even B and C, I ought to go through the whole alphabet.
Formerly, in the first period of your success, I had the pleasure of applauding and admiring you at the old theater of Erfurt. Now there is a new and very handsome one, I am told, with more than 1100 seats; besides that a new concert room which I do not know, any more than I do the theater. I dare not invite you to favor them with your presence, but if you should come with Hans it would be charming.
The next time I see X. I shall come upon him to show himself an editor rather than a shopkeeper ("Kramer") in the little negotiation of which you speak.
A thousand sincere wishes for the finishing of "Hiarne" [The Opera composed by Frau von Bronsart, which was given for the first time in 1892 in Berlin with great success.] and my constant and very devoted homage to the persevering composer.
F. Liszt
Weimar, Saturday, April 20th, 1878
228. To Eduard von Liszt
Dearest and most honored Cousin,
The accompanying copy of the Budapest telegram will tell you that I must go to Paris probably at the end of May. I had indeed refused several private invitations to visit the Paris Exhibition; for years past both long and short journeys-unless there is some special reason for them—have been inconvenient, difficult and repugnant to me. It was on that account that I told you and others of my having given up the collective-wonder of Paris.
Now the telegram from Trefort and Szapary (President of the
Hungarian Exhibition in Paris) alters my negative decision.
Without ever talking twaddle about patriotism, yet in all modesty
I will not be wanting where there is something to be done for
Hungary.
[The telegram, dated 21st April, is as follows: "Abbe Franz Liszt, Weimar. Universal wish that you should represent Hungary in International Jury of Paris Universal Exhibition. Jury begins on 1st June, lasts about 2 to 3 weeks. Please accept confidential mission, and wire reply immediately to Presidential Bureau, Handelsministerium, Budapest. Minister Trefort. Count Julius Szapary."
To this Liszt replied: "Most ready for service, Liszt begs for full particulars of his duties.">[
As soon as my duty in Paris as an Hungarian Member in the International Jury is fulfilled I shall return here. I have promised to be present at the Tonkunstler-Versammlung in Erfurt in the last week of June, and on the 8th July Weimar celebrates the jubilee of the 25th year of the accession of the Grand Duke.
.—. I shall be much pleased to make the acquaintance of Herr Adalbert Goldschmidt. I have several times hankered after the score or pianoforte score of his grand work "Die Todsunden" ["The Mortal Sins">[, which, so I am told, has not yet appeared in print. Is the composer staying long in Hanover? Probably I shall go to see Bulow and Bronsart there immediately after the Erfurt Tonkunstler-Versammlung, at the end of June.
You remember that I categorically dissuaded Fraulein Remmert from giving an orchestral concert in Vienna. In spite of that she had it announced and advertised,…and in the end there only came of it a vexatious mancando, perdendosi!
Ah! the artist-world is full of troubles! Thy faithful and heartfelt-devoted
F. Liszt
Weimar, April 26th, 1878
229. To Hofconcertmeister Edmund Singer
Dear Honored Friend,
Your charming, gifted illustration of my little Quelle [spring] [Liszt's "Au bord d'une source" (Annees de Pelerinage), for three violins concertante (Schott, Mainz)] delights me anew. The three violins flow, splash, bubble and sing—and sound like rainbow colors.
With friendly thanks for this Artist-gift, I remain your ever respectfully obliged
F. Liszt
Weimar, May 10th, 1878
230. To Adolf von Henselt in St. Petersburg
[The "German Chopin," as Henselt has been called (1814-1889), lived in St. Petersburg from the year 1838, where, after Liszt's first visit there in 1842, they became warm friends. Henselt sent his "interpretation" of Liszt's Lucia-Fantasia to the latter "for correction." The above letter is in answer to that.]
My Honored Friend,
The original works of Adolf Henselt's are the noblest jewels of
Art. One longs for more of them…
By-the-by, when Henselt gives a hope of arranging, "interpreting," "making an effect with" other compositions, he succeeds so admirably that the public,
the pianists, and the compositions in question are thereby enriched and favored. Even my little "Lucia"-transcription has gained much by throe "interpretation," dear friend. Hearty thanks for this reminiscence of our Petersburg intimacy.
The proof-copy I simply sent back to you, unaltered and nothing crossed out, as all the various readings are admirably suitable, and henceforth I leave it to your good pleasure to decide about the publishing. (In Russia Hofmeister's German copyright holds good, does it not? . . .)
Tomorrow I go to Paris, and will observe there your recommendation of the Russian instrument.
Many of your admirers frequently tell me about you; above all Zschocher and Topfer. You come backwards and forwards to Dresden and Leipzig; why not also to Weimar?…Answer this modest question in person here to throe old and most faithful
F. Liszt
Weimar, June 5th, 1878
231. To Eduard von Liszt
[Weimar, June 6th, 1878]
Dearest Eduard,
Adalbert Goldschmidt has brought you Weimar news. I consider his "Todsunden" a remarkable Art-work. If the composer maintains himself on these heights in his next Opera his name will become famous in spite of all the critics…
Nowadays, more than ever, the public thirst for Opera alone. Everything else in music is nonsense to them. There is a French saying—"There is some one who is wittier than Mr. de Voltaire; that is everybody"—and when all the world gets a fancy into its head one must certainly consider it either reasonable, or stupid,—but necessary—
With With regard to the delay of the Jury (Class 13, "Instruments de Musique") I go to Paris next Sunday, 8th June, remain there till the 19th, and return here on the 20th June on account of the Erfurt Musical Festival…
Thy faithful, loving
F. Liszt
To simplify our correspondence call me also "Dearest Franz."
My Grand Duke much wishes to have the photograph of your son-in- law's cousin, the poet Saar. Send me this speedily.
232. To Professor Carl Riedel
Dear Friend,
The further carrying out and arranging of the Erfurt programme I lease to your long-tried and complete mastery.
I once more recommend Borodin's Symphony; the quartet parts that are wanting can certainly be speedily written out next week (at my expense).
The study of the numerous works will offer no difficulties in
Sondershausen; there they are accustomed to step boldly forward.
Friend Riedel conducts my 13th Psalm; Bulow undertakes the two Faust-episodes (in case these are not struck out, as I did advise you to do); and I retain the "Hungaria" and Bronsart's Concerto; but for several reasons I beg that my name may not be put on the programme as conductor.
I told Concertmeister Kompel [A pupil of Spohr's; died not long ago at Weimar] and L. Grutzmacher [Solo violoncellist] (the Weimarer) yesterday that Bulow wishes to play the Bronsart Trio with them. Both gentlemen are quite agreed about this.
If Frau Erdmannsdorfer would play some other brilliant piano piece (not of my composition), rather than the often-heard Hungarian Fantasie, I should prefer it, just because the programme already contains too many Liszt things, and I could not myself bear the false appearance of making use of the Tonkunstler-Versammlungen for bringing forward my compositions…
My real feeling on this matter has been known to you for years past.—
Early on Saturday, at half-past nine, I go direct from here to
Paris—and on the 2lst June arrives in Erfurt
Yours ever with sincere esteem,
F. Liszt
Weimar, Thursday, June 7th, 1878
My Paris address (from the 10th to the 18th June) will be: Maison
Erard, Rue du Mail, 13.
Do publish the programme in the next number of the Zeitschrift; two or three slight alterations will not matter in the least.
233. To Vera Timanoff
Dear illustrious One,
I don't know how you will manage to adapt the "Sonnambula" to your little hands; they will have to trot about on the roofs in the style of somnambulists.
A revoir, wide awake, the day after tomorrow,—and a thousand affectionate and devoted regards.
F. Liszt
Thursday [Summer, 1878]
234. To Eduard von Liszt
Dearest Eduard,
I have very little in the way of musical matter to tell you about my stay in Paris from the 9th to the 18th June. I scarcely found time to hear the two last acts of Gounod's "Faust" at the Grand Opera. I was prevented from attending concerts by invitations and visits elsewhere. But I was able to follow attentively the plain- song during High Mass at Notre Dame on Trinity Sunday, together with a very intelligent friend, R. P. Joseph Mohr (Societate Jesu), a competent judge and promoter of Church music.
Hanslick—who showed himself friendly to me in Paris—will report in the Neue Freie Presse concerning the 13th class (musical instruments, etc.), of which he is vice-president.
Madame Erard placed at my disposal a princely suite in her house, Rue du Mail, 13 (with which Spiridion [Liszt's valet] I was quite satisfied); a carriage also in addition. Thanks to this hospitality my expenses were very much diminished, and I only required 1500 francs..—.
My old friend Belloni has also proved himself most faithful this time in Paris, and saved me many expenses. It is wonderful how honest and disinterested he remains, with all his constant contact with the artist-world!—
Immediately on my return I went to Erfurt for the Tonkunstlcr- Versammlung (from the 22nd to the 25th July). The whole affair went off well. I send you in addition the whole programme. Bulow played in a marvellous and masterly manner.
Everything in Weimar is now in a state of commotion over the
Ducal-Jubilee-Festivities, which begin the day after tomorrow.
The King of the Netherlands, the King of Saxony, Prince Friedrich
Carl of Prussia, several reigning German Dukes and foreign
Princes are expected. Our Emperor and King is sending Prince
Windischgratz with congratulations to the Grand Duke. Victor
Scheffel (the author of "Ekkehard," the "Trompeter von
Sackingen," the "Bergpsalmen," etc.) has written the Festival
Play, which is to be performed in the theater here on the 9th
July. My "Carl-Alexander" March, which was published 20 years ago
(by Bote and Bock) in Berlin, is to serve as Prelude.
For 30 years past I have been incrustated into the Royal house of
Weimar, and shall remain faithful to it.—
My dearest cousin Marie wrote me a loving, witty note with respect to the photograph of her cousin, Ferd. von Saar, which I wanted for my Grand Duke. I will write my thanks to Marie shortly. Send the accompanying lines to Franz in Gratz; I am congratulating him, in them, that you are now grandpapa.
Heartfelt greetings to the Generalissima.
Thy
F.L.
Weimar, July 6th, 1878
235. To Robert Franz
[A facsimile appeared in the "Musikalisches Wochenblatt." Liszt worked untiringly, like no other of his contemporaries in art, to make the great German Master of Song, Robert Franz (1815-1892), understood and appreciated (See "Robert Franz." Gesammelle Schriften, IV.); and, when increasing deafness prevented this artist from practical musical work, Liszt founded the fund in his honor.]
My Much-Honored Friend,
How beautiful, how deep, how fervently and truly finished are, once more, your "Six Songs" (Opus 48)!
Heartfelt thanks far so kindly sending them. You well know that for thirty years past your genius—a fixed star in German lyrics- -has been sincerely admired by your ever most faithful
F. Liszt
Weimar, July 12th, 1878
236. To Kornel von Abranyi
Dear and Honored Friend,
On arriving here yesterday evening I found your letter, together with the enclosure to Minister Trefort, which I return immediately to you, signed. Agghazy deserves to be helped, because his hands and his head are very musically endowed. [Agghazy (now teacher of pianoforte playing at Stern's Conservatorium in Berlin) received a stipendium from the Hungarian Government, through Liszt's intercession, in order to make a livelihood in Paris.] Juhasz and he will certainly do honor everywhere to the Budapest Academy of Music. Agghazy must have some letters of introduction for Paris. Advise him to ask for there from Minister Trefort, Ministerial-Counsel Hegedus Friedrich Harkany and Count Geza Zichy. Before his departure I will send him a few lines to Madame Erard, and to my loyal old friend Belloni, who is ever ready to do me a service.
I need scarcely ask, dear Abranyi, how you have passed your summer. The chief thing is to hold out steadfastly, and you show this in the noblest manner by your unwearied, meritorious endeavors after the high goal of Art. "Perseverons!"
I think of staying here till the beginning of January, and of returning then direct to Budapest. First of all I must finish a little extra work: as soon as the new setting of the text for the dramatic Oratorio "Der heilige Stanislaus," which Baron Dingelstedt has kindly promised me, comes to hand the composition shall proceed. I am often quite anxious about further writing of music, but I do not give it up, although I do not imagine at all that I can express that which floats before my mind. But my self- dissatisfaction finds ample consolation in the ever-fresh joy at the master-works of the Past and Present:—most of all in Wagner's majestic word-tone-creations. King Ludwig II. of Bavaria rightly addressed "to the Tone-poet Master Richard Wagner."—
Hearty greetings to your family, and ever yours
Sincerely and gratefully,
F. Liszt
September 13th, 1878 (Villa d'Este, Tivoli)
The loss of Augusz touches me most painfully. Since the first performance of the Gran Mass, more than twenty years ago, we have been one in heart. He it was also who especially decided me to carry out my wish to settle myself in Budapest.
After the opening of the new Academical Course write to me about it.
237. To Eduard von Liszt
Dearest Eduard,
I give my heartiest thanks to the highly-honored friendly Frau
General for writing at your dictation.
We take the heartiest interest here in your recovery. It is to be hoped you are already on the best road to vigor.
My dearest cousin Marie has now happily made me a great-uncle.
Enclosed are two words of thanks to Marie.
I am now waiting for the new setting of the poem of "Stanislaus" from Dingelstedt in order to take up my interrupted composition again—I want at least a year and something over to finish it.
Meanwhile I have not quite lost my time. In the last two months I have completed a "Via crucis" (the 14 Stations) and pretty full responses to the 7 Sacraments (for Chorus and Organ). I rejoice [to think] that I shall play them to you on the 2nd April, '79, at the Schottenhof.
Thy faithful
F. Liszt
Rome, November 4th, 1878
238. To Freiherr Hans von Wolzogen in Bayreuth
[The well-known writer on Wagner and publisher of the Bayreuther
Blatter]
Highly-honored Baron,
The October number of your Bayreuther Blatter brought me the highest intellectual gift. [Wagner's Essay "The Public in Time and Space">[ No temporal ruler can bestow one like it. The estimation of it lays me all the more under an obligation to that true humility with which I have long and most devoutly paid homage to our incomparable master, Richard Wagner.
Accept my sincere thanks for the friendly words in remembrance of the performance of the Dante Symphony in your house, and kindly recall to the good graces of the Frau Baronin von Wolzogen.
Yours most respectfully and devotedly,
F. Liszt
November 15th, 1878 (Villa d'Este, Tivoli)
239. To Eduard von Liszt
.—. I take a hearty interest in the improvement of your health. You are the younger, the more sensible and useful of us two; therefore you should outlive me many years in good health.
I have been dreadfully industrious with my music-writing since the middle of September. I sit and walk in it like one possessed!
The "Via crucis" (now finished) has brought me back to a long- cherished idea—namely, the composition of choruses to be made use of at Church festivals during the giving of the 7 holy sacraments; thus 7 pieces of music of about a hundred bars each. These have now been 8 days at the copyist's, and, according to my thinking, are not quite a failure. If you also think this it will heartily rejoice
Your most faithfully devoted
F. Liszt
November 2lst, 1878
[Tivoli]
This evening I shall be in Rome, and will have this letter and the signed enclosure attended to at the post.
Hearty greetings and thanks to the dear Frau Generalissima.
240. To Eduard von Liszt
Budapest, January 22nd, 1879
Dearest Eduard,
.—. On Sunday, the 12th January, His Holiness was so gracious as to give me, for the second time, a private audience. I will tell you shortly, by word of mouth, the friendly sentiments of the Pope towards me.
I spent last Wednesday evening in Gorz with Frau Baronin Augusz, and arrived again at Fischplatz, No. 4., early on Friday. The roof is already on the new Music Academy building, Radialstrasse, and is said to look very well. In November of this year I shall inhabit it.
My friends in Budapest, Abranyi, Mihalovich, Count Albert Apponyi, Count Geza Zichy and several others, are strongly and heartily attached to me. Archbishop Haynald only comes to Pest in the beginning of January. I was not caught in the other base spider's web. "Honesty is the best policy!"
Bosendorfer called on me yesterday and told me of the intention of the Vienna Friends of Music to perform the "Gran Mass" at the end of March. If Bosendorfer's intimations are correct I am not disinclined to conduct this performance, although for many years I have refused all such invitations—and only a little while ago to London, Aix-la-Chapelle, Berlin, etc. I should be rejoiced if at last the "Gran Mass" had a fair hearing in Vienna.
A hearty greeting to Frau Generalissima from thy faithfully devoted
F. Liszt
Looking forward to our speedy meeting at the end of March.
[It did not come to pass. Councillor E. von Liszt died on the 8th
February, 1879. "It is for me a constant sorrow at the heart that
Eduard is no longer with us," wrote Liszt to the widow a year
after Eduard's death.]
241. To Ludwig Bosendorfer
Dear and honored Friend,
I take your friendly hint by enclosing these lines to Hellmesberger; please to give them to him. During many years, in Vienna, Weimar and Budapest, Hellmesberger has always shown himself kindly disposed towards me. In ingratitude there is, alas, only too much rivalry; the matter grows contemptible, and contemptible people like to find amusement in it. My nature absolutely forbids me such despicable behavior. Count Geza Zichy tells me, dear friend, that he expects you shortly. Perhaps you will come with Hellmesberger to our Kunstlerabend [Artists' Evening] here on the 7th March, when we shall be honored by the fine composer and splendid virtuoso, my excellent friend, Saint- Saens.
Count Zichy writes you the rest about the Klausenburg journey.
A hearty greeting to your wife.
Truly devoted,
F. Liszt
Budapest, February 19th, 1879
I have just received Zellner's letter. Give him my hearty thanks for it.
Sophie Menter went to Warsaw the day before yesterday, and gives a concert there tomorrow with her husband Popper,—and afterwards in St. Petersburg,
242. To Adolf von Henselt
Very dear Friend,
Hast thou still pleasure in beautiful, distinguished virtuoso piano-playing? If so then go and hear the eminent pianiste Frau Menter. She brings thee the hearty greeting of thy old friend
F. Liszt
Budapest, February, 1879
243. To Marie Lipsius
My dear Friend,
Hearty thanks for your dear lines of sympathy. The loss of my cousin and most intimate friend Eduard von Liszt is a deep grief to me. You wish for the dates of the Budapest and Vienna concerts; for this I was obliged to ask the help of my excellent friend Kornel Abranyi. He knows these and other things far better than I. For ten years he edited the Hungarian musical paper, and now officiates as General Secretary and Professor at the Royal Academy of Music in Budapest, the Director being Franz Erkel, and my humble self the President.
Here is the result of Abranyi's researches, by which it is evident that I have neither been idle nor used anything for my own benefit.
At the same time let it be mentioned to the praiseworthy and amiable authoress of "Musikalische Studienkopfe," La Mara, that since the end of '47 I have not earned a farthing by pianoforte playing, teaching or conducting. All this rather cost me time and money.
Since the year '47 I only played in public twice in Rome—'63 and '64—at the gracious command of Pope Pius IX.; often in Budapest later on, twice in Vienna, once in Pressburg and Oedenburg (my native town) as a child of the country. Nowhere else. May my poor pianoforte performing at last come to an end! It has long been a torment to me. Therefore—Amen!—
On the occasion of the celebration of their Majesties' silver wedding I shall have the honor, in accordance with the invitation of the Gesellschaft der Musikfreunde [Society of friends of music,] of conducting the "Gran Mass" in Vienna on the 8th April (the Tuesday before Good Friday). Performances of this Mass (after the first at Gran in '56) took place in Pest, Prague, Vienna, later in Leipzig and Amsterdam, in '66 in Paris, and again in Amsterdam, as also in '77 in Weimar and Dusseldorf, the latter under the conductorship of Ratzenberger. This Mass has also been heard in America.
In conclusion also the following memoranda for La Mara: Without a written engagement, yet indeed morally bound, since '71 I spend several months of every winter in Budapest, from April to July in Weimar, then the autumn months, and more, chiefly in the Villa d'Este near Rome, where His Eminence Cardinal Hohenlohe affords me the kindest reception. There I wrote the "Christmas-tree," the "Via Crucis," the "Responses to the Seven Sacraments," etc. These three works are quite ready, and indeed beautifully copied, as well as the "Cantico del Sole" of the marvellous St. Francis of Assisi. Their publication troubles me little, for they are not suitable to the usual musical customs and trade…
So why bargain with them?
I have only fragmentarily sketched the Oratorio "Stanislaus," but wish to finish it, which will take at least a year.
My "Technical Piano-Exercises"—improperly advertised in the papers as "Pianoforte-School"—still require a few months for revision and arrangement with fingering, etc., but could come out next year if I have no hindrances.
Accept, my dear friend, my sincere and grateful attachment.
F. Liszt
Budapest, March 2nd, 1879
The middle of April I shall be in Weimar again
244. To Otto Lessmann
My dear Friend,
The enclosed programme proves to you that in spite of all fatigue my invalided piano-playing still contributes in a small degree to the relief of the sufferers of Szegedin.
[According to the programme, Liszt played Schubert's "Funeral
March"; "To the memory of Petofi," and "Cantique d'Amour" of his
own composition, as well as, with Mihalovich, Schubert's
Fantaisie (C major) for two pianofortes.]
To assist in other concerts than in this country would not become me, and I have already declined many invitations of that sort with excuses and thanks.
For the celebrations preceding the silver wedding of their
Majesties I shall have the honor of conducting the "Gran Mass" in
Vienna on the 8th April ("Society of the friends of music").
To our speedy meeting in Weimar, and ever yours in all friendship,
F. Liszt
Budapest, March 23rd, 1879
245. To Von Trefort, the Hungarian Minister of Instruction
[From a copy in the possession of K. v. Abranyi.]
Monsieur le Ministre,
I learn through M. Abranyi that Your Excellency continues to show your solicitude for the Royal Academy of Music at Budapest. The work of this institution is to serve Art in Hungary, and thus to help, in this connection, in making your patriotic, grand intentions fruitful. My colleagues at the Academy of Music are of one mind and devoted in their activity.
I permit myself to recommend once more particularly to your kindness M. Abranyi. He perseveres in his meritorious career as writer, theorist, composer, translator, professor, and Magyar character of the noblest stamp. The evidence of his merits will assuredly be recognised in many languages by a heap of laudatory phrases…after his death. A brilliant obituary is assured to Abranyi, but I hope that Your Excellency will accord him the modest satisfaction that he claims while he is alive.
I have the honor to be, Monsieur le Ministre, your very humble and very devoted servant,
F. Liszt
Weimar, May 12, 1879
246. To Walter Bache
Very honored, dear Friend,
Hearty thanks for your letter and for letting me see Manns's Commentary on the "Hunnenschlacht." Please give to Manns the accompanying short explanation of the idea of my "Symphonic Poem." In spite of my spending several hours in letter-writing almost every day, it is impossible for me to be regarded as a punctual correspondent. Intelligent and kindly-disposed persons will excuse me, and the many others I can scarcely entertain any longer, because I don't require any such entertainment! [Play upon the words "wirthschaften" (to manage) and "Wirthschaft" (housekeeping, or a public house]
Next Whit-week "Tonkunstler-Versammlung" in Wiesbaden. On the 5th June Bulow conducts the first concert there, at which Bronsart's beautiful and valuable "Fruhlings-Fantasie," Billow's music to Shakespeare's "Julius Caesar," and my "Faust Symphony" will be performed. Bulow kindly plays the piano the same evening, and has chosen Tschaikowsky's Concerto. Besides this his favorite pupil Schwarz produces several "Etudes transcendantes." [By Liszt] Till the middle of July I stay here. Then Bayreuth, and at the end of August Villa d'Este. To Frau Jessie Hillebrand and her husband [who were just then in London] give heartfelt and faithful devotion, with respectful thanks, from
Theirs in old friendship,
F. Liszt
Weimar, May 25th, 1879
[The explanation, accompanying this letter, of the idea of the
"Hunnenschlacht" is as follows:]
Kaulbach's world-renowned picture presents two battles—the one on earth, the other in the air, according to the legend that warriors, after their death, continue fighting incessantly as spirits. In the middle of the picture appears the Cross and its mystic light; on this my "Symphonic Poem" is founded. The chorale "Crux fidelis," which is gradually developed, illustrates the idea of the final victory of Christianity in its effectual love to God and man.
247. To Ludmilla Schestakoff
Madame,
Your illustrious brother Glinka is one of the well-chosen admirations of my youth. His genius has been known to me ever since the year 1842; and at my last concert in St. Petersburg (in '43) I played the "Marche tscherkesse" from "Russlan and Ludmilla," and a brilliant transcription by Vollweiler of several themes from the same Opera.
Glinka remains the Patriarch-prophet of music in Russia.
With my sincere thanks to you for sending me the beautiful score of "Russlan," carefully edited and well arranged by Messrs. Rimsky-Korsakoff, Balakireff and Liadoff [The score was published in 1879.], I beg you to accept, Madame, the expression of very respectful homage of your very humble servant,
F. Liszt
Weimar, June 14th, 1879
248. To Alexander Borodin, Caesar Cui, Anatolie Liadoff and Nicolas Rimsky-Korsakoff in St. Petersburg
Very Honored Gentlemen,
You have done a work of serious value under the form of a jest. Your "Paraphrases" charm me: nothing can be more ingenious than these 24 Variations and the 16 little pieces upon the favorite and obligato subject
[Here, Liszt writes a 4-bar musical score excerpt of the main theme of the 24 Variations]
In short, here we have an admirable compendium of the science of harmony, of counterpoint, of rhythms, of figuration, and of what in German is called "The Theory of Form" (Formenlehre)! I shall gladly suggest to the teachers of composition at all the Conservatoires in Europe and America to adopt your "Paraphrases" as a practical guide in their teaching. From the very first page, the Variations II. and III. are true gems; and not less the other numbers continuously, up to the grotesque Fugue and the "Cortege" which crown the whole work gloriously. Thanks for this dainty feast, gentlemen, and I beg that when any one of you brings out a new composition he will let me know it. My most lively, my highest and most sympathising esteem has for many years been assured to you; pray accept also the expression of my sincere devotion.
F. Liszt
Weimar, June 15th, 1879
249. To Capellmeister Professor Jos. Bohm in Vienna
Honored Herr Vereinsleiter [Conductor of a Verein (Society)], I follow your edifying endeavors in the Cacilien-Verein with sincere interest. It seems singular that they should stumble on obstacles. What is in question? Innovations?…By no means. The noblest Conservatism remains the essence and aim of the Cacilien- Verein; it merely demands a serious study and proper performances of the most dignified classical authors in Church music, Palestrina and Lassus at the head. Nothing can reasonably be objected to this, and you may confidently maintain, dear sir, that "recognition must take place and the good cause prove victorious."
I beg you will put down my name as a subscriber to your "Vienna journal for Catholic Church music," [Professor Bohm was at that time the editor of it, and had invited subscriptions for a monument to the musical historian Ambros.] and have the numbers which have already appeared addressed to me in Weimar.
Be so good as to employ the enclosed hundred florins for the gravestone of my highly esteemed friend the late A. W. Ambros.
Yours with all esteem,
F. Lizst
Weimar, June 22nd, 1879
250. To Vera Timanoff
A hearty welcome to you, Illustrissima, and pray tell M. Sauret that I shall be delighted to make closer acquaintance with him. I greatly admired his superb talent in Vienna.—You know my rule never to bother anyone, and least of all artistes; but if M. Sauret should feel inclined to play something at the Hofgartnerei this morning, it would give me great pleasure.
In any case I invite him to come (at eleven) with you, and I shall request you to fulfil your promise of captivating us by your performance (not by dancing, but by your superior fingering) of Rubinstein's Ballet, "Feramors."
Yours affectionately,
F. Liszt
Sunday Morning [Summer, 1879]
251. To Adolf von Henselt
Very dear friend,
Our meeting once more is a cordial pleasure to me. According to your last letter, you purposed arriving on the 19th inst. Why delay? Still, arrange it entirely according to your own convenience. Only allow me to make one observation: on Wednesday evening, 23rd July, I am invited by somebody where a refusal would be wrong and stupid. But if you were favorably inclined, our extra three-handed whist might be quite well arranged at the house of this somebody.
[Henselt was in Weimar the 19th and 20th July. "We played together, not on the piano, but certainly half a dozen games of whist, of which I fortunately lost five at least," wrote Liszt to Fraulein von Schorn.]
Your version with the grace note [passing note?] B flat pleases me best.
[Figure: musical example, two bars]
[The two bars of music refer to C. M, v. Weber's "Episodic Thought," which Henselt had transcribed for piano and amplified; he published it in March, 1879, dedicating it to "his friend Franz Liszt." Henselt at first meditated calling it "Hymn of Love." But Liszt found the term rather too highflown for this favorite melody. "Episodic thought is more suitable," he wrote, and so that title remained.]
In expectation of seeing you, and in faithful and admiring friendship,
Weimar, July 12th, 1879
F. Liszt
252. To Dr. Siegmund Lebert
Dear friend,
I keep a long-standing promise today, by sending you the 3 last Concerti by Beethoven arranged for 2 pianos. This arrangement is distinctly different from all other existing arrangements of the same Concerti for 2 pianos. Till now it has been the habit of arrangers to content themselves with setting the Tutti (or better, the orchestral parts) for the 2nd piano only, leaving the 1st to rest entirely or to support the 2nd according to inclination. By this a grievous disproportion in the effect of the orchestra parts is induced, let alone the fact that some of the arrangements are exceedingly scanty.
In my opinion this sort of proceeding belongs to the past and is hackneyed. What good is there it the first player sitting there at all, if he does not know how to take part in the whole? Ergo, I had to occupy him almost constantly.
As a matter of course I have not altered a single note of Beethoven's original version (of the so-called Soli parts), and have only added a tolerable amount of indications for pedal and fingering, for the convenience of pupils and teachers.
2 identical copies (printed on 4 lines—excepting the Cadenzas) are necessary for the performance of this arrangement.
It may prove useful and effective, as well in studing at the "homely fireside" and in musical schools, as also in performances in small concerts (where there is no orchestra), in Conservatoires, at examination: and drawing-room performances.
The chief title stands on the first page; on the 2 following ones are remarks for the printer, which I leave to your masterly hand as a pedagogue, dear friend, to render more distinct and to complete. With special regard I remain always yours sincerely,
F. Liszt
Rome, September 25th, 1879
I have great pleasure in the perusal of the 2nd edition of
Weitzmann's "History of Pianoforte Playing."
253. To Professor Bassani in Venice
[A well-known teacher of the pianoforte in Venice, and friend of
Liszt's]
Much-esteemed Colleague,
You are so forcibly exceptional a person, and prove this by truly uncommon musical and poetical works.
Mademoiselle Giuli has already written to tell you the lively pleasure I have had in hearing her play one of your compositions remarkably well; several others, for piano or for the voice, deserve a similar success, and will obtain it as soon as they are known.
Pray accept, dear Monsieur Bassani, the very sincere esteem and sympathy which is offered to you, together with best wishes for the extension and widespread fame of your "Armonie dell' Anima," by
F. Liszt
(Villa d'Este) October 28th, 1879
254. To the Composer Anatolie Liadoff in St. Petersburg
Dear Sir,
All your compositions bear the stamp of distinction and of good taste. This one is charmed to find again in the "Arabesques" you are kind enough to send me. Pray accept my thanks and the expression of my very sincere and devoted esteem.
F. Liszt
(Villa d'Este,) December 25th, 1879.
255. To Frau Reisenauer-Pauly in Rome
[The mother of Liszt's pupil, Alfred Reisenauer]
Dear Madame,
My best thanks for your kind notice of the Roman concert of January 23rd. It seems to me that "populations necessiteuses" [distressed population] would have been better on the programme than "populations affamees" [starving population] of Silesia.
Mendelssohn's excellent Concerti always hold their ground without risk, especially since Berlioz's witty article (published nearly 30 years ago), according to which they are occasionally performed by the pianos alone, without further trouble on the part of the pianist.
While taking affectionate part in the success achieved by your son Alfred, whose talents are duly valued by me, I remain, dear Madame,
Yours truly,
F. Liszt
Budapest, January 30th, 1880.
My cordial greetings to Madame Helbig.
256. To Professor Klindworth in Moscow
Much-esteemed dear Friend,
My sincere thanks for your masterly arrangement of Chopin's Concerto. [The Concerto in F minor; score, orchestral parts and arrangement for 2 pianos published by Jurgenson (Moscow) and Bock (Berlin).] You showed me the first movement of it some years ago in Munich. I consider the modifications in the instrumentation and in the piano part successful. As much transparency as possible should be preserved in the melodious parts.
I conclude that you will impress on M. Jurgenson the necessity of not giving way to the ancient careless abuses of publishers in the 2-piano edition. Thus four lines and two identical copses are requisite for performance.
As leader and head of the now numerous Chopin-Editors, your excellent Jurgenson-Edition authorises you to advance a proudly modest "Sic vos non vobis."
Au revoir this summer in Hall, dear Klindworth. Give my kind regards to your wife.
Yours faithfully,
F. Liszt
Budapest, February 16th, 1880
The last corrected proofsheets of Tschaikowsky's Polonaise dedicated to you leave by today's post addressed to Jurgenson.
257. To the Kammervirtuoso Professor Hermann Scholtz in Dresden
[Pianist and composer (born 1845, pupil of Bulow and
Rheinberger), is especially famous as an admirable player of
Chopin.]
Much-esteemed Sir and Friend,
I have sincere pleasure in praising and recommending your Chopin- Edition. To Klindworth belongs the merit of having preceded you by his intelligent and practical work. Your publisher, Peters, might be advised in the next thousand copies he issues of the Chopin-Edition signed Hermann Scholtz:—
A. Not to fill up the first volume with Waltzes. Why make this paltry concession to the trifling requirements of the drawing- room? Chopin's Waltzes are certainly charming, elegant and full of invention…still his Polonaises and Mazurkas have a far higher importance.
Chopin is the bewitching musical genius in which the heroically chivalrous Polish nationality finds expression. This chief characteristic ought to be distinctly emphasised in classifying his works. So, first volume: Polonaises, Mazurkas and the Fantasia upon Polish motives.
B. The clear notation of the melodies (indicated by tails turned upwards!), as in the Klindworth-Edition, should be maintained.
C. In works having an orchestral accompaniment an arrangement of that accompaniment for a second piano ought to be printed under the Solo part of the first piano.
(The brains of most pianists become addled by the usual editions, where the essentially melodious and rhythmical character, nay often even the correct bass, is wanting.)
D. This is again addressed to Mr. Peters. He ought not to withhold from the audience your admirable version of the Recitative in the Adagio of the F minor Concerto for Piano Solo, and should add these few pages to your Chopin-Edition.
Yours faithfully,
F. Liszt
Weimar, April 29th, 1880
255. To Sophie Menter
Dear Friend,
The signature of the telegram front Rome announced to me your return to "Hungaria." I met friend Bosendorfer the day before yesterday in Frankfort: we began at once of course to talk about Sophie Menter and her new thickly-leaved Petersburg laurels. Similar plants will bloom for you everywhere according to the capacity of the soil, and will always shade your artistic peregrinations through Europe and America.
Give my kindest regards to Neuschul, from yours cordially,
F. Liszt
Weimar, May 26th, 1880
259. To Jules de Zarembski
Dear Friend,
You have made an excellent choice; and M. Gevaert also. The Brussels Conservatoire keeps in the first ranks: its very active and intelligent Director will take good care not to allow it to degenerate or to sink into idleness; on the contrary, he gives and will give it an entirely progressive impulse. You will have to see that your piano class does honor to the Conservatoire, to its head and to your own name. This will take some years to do; therefore, persevere.
Your three studies are most uncommon, remarkable and successful. The second, in F minor, might be signed Chopin. This exceedingly high praise does not imply that you have in any way been guilty of plagiarism, for in your works original power is manifest.
Perhaps there may be a slight falling-off towards the middle of the third Study; still this does not disturb the total good impression.
When we are chatting together again about music I will explain to you viva voce my antiquated ideas concerning the whys and wherefores of matters belonging to our profession.
I am sending Simon at Berlin at once the good copy of your three Studies. He has sent me the rather bad one of your Mazurkas for two performers. These I played over with the Baroness von Meyendorff yesterday evening. She begs me to tell you our very favorable opinion of these charming productions of your Polish muse.
I am telling Simon that publishers cannot do better than bring out works of value such as Zarembski writes.
Pray, dear friend, present the sincere regards to Mme. Zarembska of your cordially attached
F. Liszt
Weimar, June 1st, 1880
I am just sending off the copies of the Studies and Mazurkas to
Simon.
260. To Professor Bassani
Dear Friend,
Your "Studio sinfonico" is fine poetry in music. It reminds me of Venice when I was twenty. The solemn, sad motive (5/4) corresponds to the lagoons and to the gloomy stroke of their waves round the Bridge of Sighs: the other subject soars on high accompanied by the gentle sound of the belfries, announcing, as it were, from a distance the joyfulness of divine hopes.
My cordial sympathy and friendship.
F. Liszt
Weimar, June 4th, 1880
261. To Marie Lipsius
Dear Friend,
Hearty thanks for your persistent kindness; "Carmen" has just arrived, and I now beg you to find out for and send to me another tale of Merimee's, called "Les ames du Purgatoire" [Souls in Purgatory]. It narrates the adventures of Don Juan de Marana, immortalised by Mozart and Lord Byron. Grabbe has also turned his poetical attention towards this mauvais sujet, and gives him as a companion to Faust, which might perplex His Excellency von Goethe.
I hope soon to see you either in Leipzig or Weimar.
Ever yours gratefully,
F. Liszt
Weimar, June 10th, 1880
Tomorrow I shall write to Hartel's that the edition of my "Gesammelte Schriften" could not do better than begin with your excellent version of the "Chopin."
262. To Kornel von Abranyi
Highly Esteemed Dear Friend,
My hearty thanks for the dedication copy of your charming "Nocturnes." "Near the chapel" and "Starry night" belong to my most select intimate Programme.
Aladar Juhasz needs but health to stand forth and hold his own as an excellent artist, virtuoso and composer. The matter of his stipend is now arranged—as we wished it. Juhasz will certainly also greatly distinguish himself at the Klausenburg Musical Festival. My lines of introduction to Trefort, the Minister, must no longer be presented to His Excellency as mustard after dinner. The less scribbling and gossiping the better. "Vitam impendere vero."—
I request that the two accompanying letters in Hungarian may be answered by the General Secretary of the Royal Hungarian National Academy of Music, Abranyi Kornel, in my name. Before I left Budapest we read together the polyphone tattoo by J. K., and I then requested you to make the composer understand that Meyerbeer's far-famed "Rataplan, Rataplan, plan, plan" (in the "Huguenots") is quite enough henceforth for the audience.
Do not delay any longer returning his score to J. Beg Herr P. A. to excuse me for not being a millionaire.
Till the end of July remains in Weimar Yours most faithfully and gratefully,
F. Liszt
Weimar, June 20th, 1880
263. To Freiherr Hans von Wolzogen
Highly esteemed Freiherr and Friend,
.—. Wagner has shown and taught us triumphantly "what style is." You explain the mighty matter admirably in your last writing, dear Sir. That a "School for the culture of style in Bayreuth" should be established, is wished by no one more seriously than by
Yours most sincerely,
F. Liszt
Weimar, July 28th 1880
149. To Friedrich Hofmeister, Music Publisher in Leipzig
Weimar, August 17th, 1880
Dear Sir,
For the last twenty years or more Kirchner has known how sincerely I esteem his compositions. I rejoice to see that he continues adding to their number with freshness and vigor, and am much obliged to you for sending me his "Toys," "Caprices," "Leaves," etc., which you have brought out.
Yours truly,
F. Liszt
265. To Baroness Helen Augusz, Sister of Mercy in Graz
[Daughter of Liszt's late friend, Baron Anton Augusz, of Szegzard in Hungary]
Most revered Sister of St. Vincent de Paule,
Pray always dispose of my feeble services. I am writing to the Baroness de Roner according to your instructions, and request that you will send her the enclosed lines.
M. Tirindelli's [Professor at the "Liceo Marcello" in Venice; violinist and composer.] abilities deserve attention, consideration and encouragement. This you have well understood, and it will be a pleasure to me to second you.
How can I be of use to him?
By recommending him to some publisher in Germany?
Does he intend to travel and give concerts? Your protege, M. Tirindelli, may count upon my sincere readiness to oblige him: the only thing I ask is, that he should write me distinctly in what way I can be of service to him. Yesterday I took the liberty of noting several alterations in his melody "All' Ideale," his Mazurka, and in the Adagio of the Trio which pleases you by its fine feeling.
By the way, this Adagio has been so badly copied that another less faulty one will have to be made before sending it to print. By this same post you will receive the three works with my alterations.
Having arrived here last Saturday, I shall remain at the Villa d'Este till New Year. In the middle of January will return to Budapest
Your very respectful and devoted servant,
F. Liszt
Rome, September 1st, 1880
The most convenient address for me during the next months is:
Albergo a Via Alibert, Roma.
266. To Madame A. Rubinstein
Allow me, dear Madame Rubinstein, to dedicate to you my transcription of your husband's charming and very famous Lied. To the very conservative burden "Ach! wenn es doch immer so bliebe" [Ah! could it remain so for ever!] I add that what will certainly always remain as now is, your most respectfully and affectionately obedient servant,
F. Liszt
(Villa d'Este,) October 24th, 1880
267. To Frau Amalie von Fabry in Budapest
Dear Madame,
I do not know whether I talk too much; but I certainly write too little to those who remain constantly in possession of my sincere gratitude. I crave your kindly indulgence therefore for my involuntary shortcomings.
Through your nephew Imre [Baron Augusz, son of Anton Augusz. He died at an early age.] I hear that his mother, Baroness von Augusz, has been so good as to look at my new dwelling in the Academy of Music, and that the arrangement of it, as yet unknown to me, meets her approval. The solicitude you have shown, Madame, in this matter—as well as in other similar ones in the Palatingasse and Fischmarkt during the last 8 years—I beg to acknowledge with warmest thanks. It never enters my head to make exaggerated pretensions with regard to my residential requirements. Decency without display continues to be the right thing for me. I only have one wish at all times: never to be a trouble to my friends anywhere.
It will be agreeable to me if Fanny feels disposed to undertake my modest household service again this winter. She adapts herself well to it with her pretty smiling face.
Pray accept, dear Frau von Fabry, the renewed expression of my old devoted affection.
F. Liszt.
Villa d'Este, Tivoli, November 1st, 1880
On the 15th January I shall again arrive at Budapest.
268. To Frau Anna Benfey-Schuppe
[Autograph belonging to Herr Fritz Donebauer at Prague.—The addressee is an authoress residing at Weimar.]
Dear Madam,
A thousand apologies. I ought long ere this to have written you and my esteemed friend, Dr. Benfey, a letter of thanks, and to have sent your sheetful of questions back answered. [The answers follow in the letter.] Pray excuse this delay.—
I frankly confess that the title of the pamphlet, "Beethoven and Liszt," [Alludes to a pamphlet contemplated by the late husband of the lady addressed.] at first frightened me. It called to my mind a reminiscence of my childhood. Nearly fifty years ago, at the Jardin des Plantes in Paris, I used often to notice a harmless poodle keeping company in the same cage with a majestic lion, who seemed to be kindly disposed towards the little chamberlain. I have exactly the same feeling towards Beethoven as the poodle towards that forest-king.
With sincere thanks and regards,
Yours, F. Liszt
November 11th, 1880 (Villa d'Este, Tivoli)
At the end of September, Breitkopf and Hartel sent my own duet arrangements of my twelve "Poemes Symphoniques" at my request to Gottschalg (Weimar). This copy is intended for Dr. Benfey. Gottschalg will likewise willingly place the scores of the "Dante" and "Faust" Symphonies, as well as the arrangement for two pianos of both these works, at your disposal.
The names of the greatest performers figure in the Court concerts, such as, Joachim, Ernst, Vieuxtemps, Bulow, Rubinstein, Bronsart, Tausig, Madame Viardot-Garcia, etc., etc. A few of these concerts were conducted by Berlioz, and their programmes in every case contained nova et vetera (as prescribed in the gospel).
During my direction of the Opera at Weimar, from '49 to '58, the following works were performed there, together with the standing repertoire of Mozart's, Weber's, Rossini's, Meyerbeer's Operas, etc.
February '49 "Tannhauser;" August 28th, '50, "Lohengrin" (first performance); later on "The Flying Dulchman," and Wagner's splendid edition of Gluck's "Iphigenia in Aulis."—Berlioz's "Benvenuto Cellini;" Schumann's "Manfred" (first performance), Raff's "King Alfred," two of Lassen's Operas, Spohr's "Faust" (with the recitatives), Sobolewski's "Comala," Dorn's "Nibelungen" (first performance), etc., etc.—Finally, Peter Cornelius' "Barber of Bagdad"—the last operatic performance which I directed there.
This short list will suffice for your purpose of the pamphlet; to it we may add that several Oratorios and Symphonic works were performed under my direction, such as Marx' "Moses," Rubinstein's "Paradise Lost," Schumann's "Paradise and the Peri" and his concluding scenes in "Faust," etc.; as for Symphonies, the Great Pyramid—Beethoven's "Ninth" (for Goethe's Jubilee in '49), nearly all Berlioz's Symphonies and Overtures, besides other Symphonies and Overtures by Schumann, Raff, Hiller, Bronsart, Joachim, Bulow, etc., most of which were at that time scarcely known or entirely new.
You might obtain better and more detailed information concerning musical life at Weimar (from '49 to '58) from some who took part in it either as performers or friends, especially Gille, Lassen, Gottschalg, Grosse (trombone-player and contrapuntist), Wahlbrull, Milde and his wife, and Fran Dr. Emilie Merian, than from the theater archives.
I have no doubt, moreover, that the present Intendant, Baron von Loen, will readily permit you to inspect the archives of the theater and see any programmes of the Court concerts of that time which may still be forthcoming. You may likewise count upon the obliging readiness of Lassen and Muller-Hartung in making your pamphlet known.
During my summer stay in Weimar in latter years, some pianists have taken to coming there regularly who play my Symphonic Poems well and willingly. I am not able to name any of those who come during the winter. Ask Lassen and Muller-Hartung about this. Enclosed you will find an introduction from me to Madame Merian. She sings my songs with fervent intelligence, from heart to heart.
F. Liszt
November 11th, 1880 (Villa d'Este)
269. To the Committee of the Antwerp Musical Society
Very Honored Gentlemen,
The expression of my sincere gratitude for your very kind letter has been delayed owing to a circumstance which was independent of my will.
I am acquainted with the high character which the Antwerp Musical Society bears; many of those who were present at your Festivals in 1876, '77, and have spoken to me in the liveliest terms of praise of those great musical performances, of the far-famed merits of your director, Peter Benoit, of his Rubens Cantata and of his Oratorio [La Guerre, De Oorlog.] recently sung at Brussels on the occasion of the national commemoration by 900 members of your Society. Greatly flattered by your invitation, I hope, Gentlemen, that my answer to it may not appear discourteous to you. Allow me to decline the honor of directing the Festival you have in view for 1881 and to be present at it as a simple listener. Should any work of mine have been admitted to your programme, I would fain request M. Peter Benoit [One of the chief representatives of Belgian national music (born 1884), Director of the Antwerp Conservatoire] to conduct it, since for the last fifteen years I have declared myself unfit for this work in all countries.
My engagements keep me at Budapest till Easter. After that time I shall be charmed to have the opportunity of assuring you again personally at Antwerp of the sentiments of high consideration and distinguished esteem with which I remain,
Yours faithfully,
F. Liszt
November 16th, 1880 (Villa d'Este,) Tivoli
[The Lisztt-Festival given by the Societe de Musique d'Anvers took place on the 26th May, 1881, under Benoit's direction, in Antwerp. The programme comprised the Gran Mass; the E flat Concerto, played by Fran Falk-Mehlig; the Dance of Death, played by Zarembski; Mignon and other songs, sung by the ladies Kufferath and Schauenburg; and the Preludes.
In a second Festival-Concert on 29th May, arranged by Liszt's former pupil F. von Servais and Jules de Zarembski, Tasso and the Faust Symphony, the Concerto Pathetique (played by M. and Mme. Zarembski), and "Loreley" with orchestra (Mdlle. Kufferath) were performed. Gevaert, the celebrated musical savant, apostrophised Liszt in the opening speech as "the incomparable Virtuoso whose prestige has never been surpassed, nor even equalled; the prolific and inspired composer, who in the numerous domains of Art which he has touched has opened new roads, explored new shores, and left everywhere the luminous imprint of his bold and innovating genius; the eminent head of a School, who may without exaggeration be described as the initiator, par excellence, of the musical movement of our epoch; one of those rare favorites of the gods for whom posterity begins even during their life-time," etc.]
270. To Sophie Menter
Dear, Highly Valued Friend,
If I rightly understand your letter and telegram you are soon going to Paris and London, and also soon coming to Rome. When?— tell me this clearly. A Roman Sophie Menter Concert is easily arranged and will be a great pleasure for me.
Although introductions from me are quite superfluous for you, I beg you to consider them always at your disposal. The best person to safeguard your interests with the German Ambassadors in France and England will be Frau Grafin Schleinitz. Alter, shorten and improve anything you like in the Fantaisie on the Huguenots. Pieces of this sort ought only to be brought forward by super- eminent virtuosi—Sophie Menter, for instance. The transcriber then hardly serves as "Klecks." [Klecks is the name of Mme. Menter's favorite cat.]
Yours cordially,
F. Liszt
December 2nd, 1880 (Villa D'este, Rome)
Maybe you will tell me yourself soon in Rome where I am to send the letters; if not, send me your address. I shall remain here till January 5th and be at Budapest on the 15th.
271. To Dr. Friedrich Stade in Leipzig
[Musical writer (born 1844) in Leipzig]
Very Dear Sir and Friend,
Your transcription of "Gretchen" [Out of Liszt's Faust Symphony.] for pianoforte and harmonium is capital, just as I wished. I only take the liberty of very slightly altering it, and have added ten bars at the end, which are to be henceforth inserted in the score and in my own arrangements of the Faust Symphony. [They follow herewith in the orchestral movement, according to Dr. Stade's copy.]
If you will kindly take the trouble to arrange the entire Faust Symphony for two performers on one piano, I shall be greatly indebted to you. [This was done.] Deal as freely as possible with the figurations and also with the distribution among the seven octaves of the odious keyboard. It seems to me that what may be more laterally accurate ought often to give way to what sounds better and even to what is more convenient for the players at the piano.
Thanking you once more, I remain,
Yours most cordially,
F. Liszt
Rome, December 11th, 1880.
We will play your duet arrangement together before it is published, in Weimar—next spring.
[Here, Liszt illustrates with Musical score excerpts]
272. To Professor S. Jadassoiin in Leipzig
[Composer (born in 1831), teacher at the Leipzig Conservatoire since 187l]
Dear Sir,
Your setting of the 100th Psalm is nobly religious in feeling and excellent in style. The working out of the choruses is masterly throughout, from beginning to end; a passage which comes out with especial brilliancy is that on pages 14, 15-19, 20, "with rejoicing," where the trombones, and then the trumpets and trombones, joyously repeat the subject of the fugue in augmentation.
The Arioso too which follows, "He made us," is most fervent in expression. There is a fine field here for beautiful contralto voices to rejoice in.
My sincere thanks, dear sir, for the dedication of this excellent work. I shall recommend it for performance to such of my friends as are conductors; above all, to Hofcapellmeister Muller-Hartung, whom I shall request to bring out your Psalm at Weimar.
Yours sincerely,
F. Liszt
Villa d'Este, January 10th, 1881
273. To Frau Reisenauer-Pauly in Konigsberg
Dear Madam,
It is one of my duties to deal sparingly in letters of introduction. Still I am quite willing to repeat my opinion that your son Alfred is a highly gifted and brilliantly aspiring pianoforte-player.
Should this conscientious opinion enable him to obtain further recommendations, he is free to make use of it.
Yours sincerely,
F. Liszt
Budapest, January 29th, 1881
274. To Dionys von Pazmandy, Editor of the Gasette de Hongrie
[This letter is printed in French in the Gazette de Hongrie, but is only known to the Editor in the German translation (Neue Zeitschrift fur Musik?).]
Dear Sir and Friend,
You want to know my impression of yesterday's Bulow Concert? Yet it must have been yours, that of all of us, that of the whole of the intelligent audiences of Europe. To define it in two words: admiration, enthusiasm. Bulow was my pupil in music five-and- twenty years ago, as I myself, five-and-twenty years before, had been the pupil of my much respected and beloved master, Czerny. But to Bulow it was given to do battle better and with greater perseverance than I did. His admirable Beethoven-Edition is dedicated to me as the "fruit of my tuition." Here however it was for the master to learn from the pupil, and Bulow continues to teach by his astonishing performances as virtuoso, as well as by his extraordinary learning as a musician, and now too by his matchless direction of the Meiningen Orchestra.—Here you have the musical progress of our time!
Yours cordially,
F. Liszt
Budapest, February 15th, 1881
275. To Frau Colestine Bosendorfer in Vienna
[The wife of the celebrated pianoforte-maker, who died young]
Not to see you in Vienna this time, Madame, was a grief to me. It cast, as it were, a melancholy shadow over my stay there, which otherwise was brightened by so cordial a reception.—
I am accompanied by the roses without thorns of my pleasant recollections of you, and my hearty and respectful devotion remains unaltered.
F. Liszt
Weimar, Easter Sunday, April 17th, 1881
Have the kindness to repeat to Bosendorfer the assurance of my very cordial friendship.
276. To the Most Honorable Committee of the Wagner-Verein, Berlin
Addressed to Professor Otto Lessmann.
Gentlemen,
A distinction such as that which was conferred upon me yesterday by the Berlin "Wagner-Verein" and by the audience has seldom been received by the highest masters in the musical art, among whom I can only count as an apprentice.
["Les Preludes" and "Festklange," the former under Lessmann's, the latter under Mannstadt's direction, had been performed in the winter garden of the Central Hotel before a numerous audience assembled by invitation. Between the two symphonies, Marianne Brandt sang "Jeanne d'Arc au bucher," and Heinrich Ernst some of Liszt's songs. A banquet concluded the festival.]
Accept my warmest thanks for the "Liszt Festival Concert" of Sunday, 24th April; it remains as a joyous incentive to lifelong continuous work with
Yours respectfully,
F. Liszt
Berlin, Monday, April 25th, 188l
277. To Kornel von Abranyi
Weimar, May 13th, 1881
My Dear Friend,
Rather more than half of my concert-engagements for this year have now been fulfilled. The two performances of "Christus" in Berlin and Freiburg were admirable; the Liszt-Concerts in Freiburg and Baden-Baden likewise; in the first of these the three-part hymn "L'enfant au reveil" was also given, charmingly sung by deliciously clear voices. By way of a rehearsal of this piece the ladies gave a morning serenade in honor of me at the house of my friendly hosts the Rieslers, whose villa will remain most pleasantly in my remembrance. Felix Mottl conducted the Liszt concert in Baden-Baden with "Mazeppa," the "Mephisto- Waltz," the "Hunnenschlacht," and three pieces from the Oratorio "Christus" in a most praiseworthy manner. Bulow's Liszt-evening in Berlin glorious as at Pest and Vienna..—.
I shall stay here till Sunday, 22nd May. On the 24th I shall be at Antwerp. On the 26th is the performance of the "Gran Mass" there.
I am very glad that the Committee of the Musical Festival has chosen just this particular work, which has hitherto been more talked about and abused by the critics than heard. Of course I had left the programme entirely to the discretion of the Committee, for I really have no wish to recommend any work of my own for performance anywhere. My mission is to work on unpretendingly and without troubling myself about advancement.
Yours faithfully,
F. Liszt
My best regards to your wife and sons. I will send you programmes
from Antwerp and Brussels. I shall be back here again on the 4th
June. From the 9th to the 12th June Tonkunstler-Versammlung in
Magdeburg.
278. To Kornel von Abranyi,
Much Esteemed, Dear Friend,
The second copy (with the additional few hundred bars) of the score of my second Mephisto-Waltz is admirably done. Thank Gyula Erkel very particularly in my name for it. I request his acceptance of the enclosed forty florins, as a slight remuneration for the time he has spent on it. I depend upon your firm friendship, which has stood the test of so many years, to find a delicate mode of presenting them to him. The score of the second Mephisto-Waltz will be published next autumn by Furstner (Berlin), and then performances can take place at Budapest and elsewhere.
I am writing to our esteemed Director of the Royal Hungarian Academy of National Music, Franz Erkel, to have Chickering's grand pianoforte, as an excellent and kind gift from America, placed in the music-hall in the Radial-Strasse. This piano, as well as the whole of my possessions in Budapest, will belong to the Royal Hungarian Academy of Music at my death, which is not far off. Correctness remains the motto of
Yours most faithfully,
F. Liszt
Weimar, May 22nd, 1881.
Tomorrow evening I shall be at Antwerp. The Committee there have decided for the Gran Mass to be performed on the 26th May without any pressure on my part. Therefore Eljen Hungaria—in all countries. You may address to Weimar in the beginning of June.
279. To Frau Charlotte Blume-Arends
[A pupil of Liszt's now in Berlin.]
Weimar, August 29th, 1881
Dear Madam,
A good deal of irregularity has crept into my housekeeping during my long indisposition. Your kind letter only reached me yesterday. Thank you heartily for it; I accept the office of godfather. So your son is to be named Franz, and to walk the waters of life firmly and serenely, trusting securely in God, like my patron Saint Francois de Paule, whose motto is: "Caritas." I have long been wishing to thank you by letter for the charming present which decorates my study in the new wing of the Musical Academy at Pest. That elegant work of art is greatly admired by my numerous visitors. It would be charming, were the amiable donor to return and inspect it. The remembrance of you is still vivid in Pest.
Best compliments to your husband from
Yours gratefully and truly,
F. Liszt
I hope to be quite recovered in ten days, and shall then go to
Rome.
280. To Otto Lessmann
Weimar, September 8th, 1881
Dear Friend,
I have still to undergo a supplementary treatment of baths and sweatings. [In consequence of a fall, Liszt had been seriously ill all summer.] This I shall do at Weimar. From the 21st to the 30th September I shall be at Bayreuth, and from October till New Year in Rome.
I am sending off the duet version of my Symphonic Poem "From cradle to grave" to Bock to day. .—. I shall send him the score from Bayreuth, because just now I am not able to work more than a few hours a day continuously.
There is so much admirable music written that one is ashamed to write any more. With me it only happens in cases of urgency and from inner necessity.
Thanking you heartily,
Yours ever,
F. Liszt
281. To Francois Auguste Gevaert, Director of the Brussels Conservatoire
[Celebrated Belgian music teacher and composer, born 1828]
Very Honored, Dear Friend,
Among the recollections of my long artistic life one of the dearest to me is that of your kind sympathy. I cherish sincere gratitude for it, of which I should be glad to give you a proof. Allow me, to begin with, to dedicate to you the Symphonic Poem I have just written, which was suggested by a drawing by Michel Zichy entitled "From the cradle to the grave."—The score is short enough, and, it seems to me, free from superfluous repetition.
Lassen has spoken to you about the performance of your Quentin Durward at Weimar. The Grand Duke desires it to take place; his Theater-Intendant, Baron von Loen, was preparing for it, and the singers are certain to take great pains and show all alacrity in performing their several parts well.
To my own regret, in which his Royal Highness shares, as well as his theater company and the audience, the performance has to be adjourned; for the German translation is not forthcoming, and some dawdling on the part of your publisher throws obstacles in the way. Let him soon turn over a new leaf. As for the German translation, I particularly recommend to you my friend Richard Pohl (who is living at Baden-Baden, where he is editor-in-chief of the local newspaper of that charming place). Pohl is distinguished by great musical intelligence and cleverness in translating, of both of which he has given proof in Berlioz's Beatrice and Bennedict and Saint-Saens' Samson.
Lassen and Baron Loen will continue to correspond with you concerning the mise-en-scene of Quentin Durward at Weimar. Small towns have but small successes to offer. You are entitled by right to both large and small ones. Accept them.—
I do not scruple to ask a favor of you, my dear friend. The decoration of the Order of Leopold arrived at a time when I was ill in bed. It was accompanied by a few complimentary lines from the Secretary of the Foreign Office, Baron de Lambermont, as well as by the official document which was to be signed by me. It would have been my most agreeably imperative duty to have thanked Baron de L., and to have expressed my lively feelings of gratitude for this royal favor. This I could not immediately do, owing to the state of my health, which did not allow of my writing, and still renders that occupation very difficult. Add to this that a good deal of disorder had got into my household; several letters and manuscripts have been mislaid, and, notwithstanding all my endeavors, I have not been able to find Baron de L.'s lines again or the document they enclosed. I therefore beg you, dear and highly esteemed friend, to present my apologies to the Baron, and to ask him to send me a duplicate of the document I have to sign. My address from 22nd September to 2nd October will be: Bayreuth (Bavaria); after that, Via and Hotel Alibert, Rome.
Yours, in high esteem and cordial friendship,
F. Liszt
Weimar, September 19th, 188l
282. To Francois Auguste Gevaert
Highly Honored Master and Dear Friend,
Thanks to your kind help I have at last put my business with Baron Lambermont in order and have just written him a letter of very grateful acknowledgment.
Permit me to revenir a nos moutons. Panurge has nothing to do with them, nor has the honorable biscuit-seller of the Gymnase, still less his peaceable neighbor, your publisher Mr. Grus. What we want is the score of your "Quentin Durward" and composer's consent to the performance of it at Weimar. The Grand Duke's Theater-Intendant undertakes the payment of the German translator, my old friend, Richard Pohl, who will certainly take great pleasure in performing his task in the most satisfactory way possible. Baron Loen and Lassen will correspond with you concerning the performance, which is intended to take place in December '82.
My cordial thanks for your favorable acceptance of my dedication. Some months are still necessary for the copying and publishing of the score together with the orchestral parts. Before this is finished 1 will send you the printed pianoforte arrangement for one and for two performers.
Be good enough, dear friend, to give my affectionate regards to Madame Gevaert and to your sons, and ever count upon my very grateful devotion.
F. Liszt
Bayreuth, October 8th, 1881
I shall be in Rome in eight days.
283. To Eduard von Mihalovich
Dearest Friend,
I must be found guilty [of negligence?]. I do not apologise. My aversion to letter-writing has grown excessive. But who could answer more than two thousand letters a year without becoming an idiot?
I have been ailing a good deal for the last three months. As soon as there was an improvement, something else appeared. Do not let us mention this any more, for you know how little my health occupies my thoughts, and how disagreeable it is to me to hear it talked of. In short, I feel sufficiently recovered to set out for Rome the day after tomorrow. My very dear granddaughter Daniela goes with me, and will remain till the beginning of January. This is a providential pleasure on which I did not count at all, but for which I thank the good angels.
I will tell you by word of mouth the minor reasons which prevented me from sooner communicating your two splendid scores and the pianoforte duet arrangements of them to the publishers, Breitkopf and Hartel. Your fine manuscripts have at last reached Leipzig, and you will soon have a letter from the present proprietors of the ancient and illustrious house Breitkopf and Hartel, with their conditions for publication, which will be their ultaiytalunz. They are aware of the sincere interest I take in your works, and will, I trust, share it, without leading you into any expense.
Stern [Adolph Stern in Dresden, author of the libretto.] has given me fairly good news as to the preparations for the performance of your Haubar at Dresden. Young composers are always too impatient.—
Pray remember me cordially to our excellent friends the Veghs,
Albert Apponyi, Madame d'Eotvos and her daughter, Mademoiselle
Polyxena, and…I was just going to add the name of a charming
woman with whom I am out of favor.
Yours ever,
F. Liszt
Bayreuth, October 8th, 1881
My address from the middle of October to the lst of January: Via and Hotel Alibert, Rome.
You are held in affectionate remembrance at Wahnfried. Wagner is finishing the instrumentation of the 2nd act of Parsifal, and gives it his most passionate attention. We shall have something new, marvellous, unheard of, to hear.
M. Humperdink, the lucky triple laureate of the three scholarships, "Mozart," "Meyerbeer," "Mendelssohn," is at work here copying the score of Parstfal; [E. Humperdink, born in 1854, made Wagner's acquaintance in 1880 at Naples, and at the first performance of Parsifal conducted the choruses from on high and the music on the stage. He has been teacher at the Barcelona Conservatoire since 1885.] Joseph Rubinstein [Born 1847 in Russia, he lived a great deal in Wagner's society after 1872, and took an active part in the rehearsals for the Bayreuth Festival Performances in 1875 and 1876, He died by his own hand the 15th of September, 1884, at Lucerne.] is continuing his arrangement of it for piano at Palermo just now, and will complete it later on at Bayreuth. Other artists on the high road to celebrity are also employed in copying this same Opus magnum, the performance of which we shall applaud in July 1882. It will be a next to miraculous and highly fashionable pilgrimage.
P.S.—The busybody Spiridion has been so careless as to carry off a little gold watch of mine that I had merely given him leave to wear while he was in my service. Please ask Spiridion to give you this watch on New Year's Day. You will return it to me about the middle of January 1882, when I go back to Budapest.
284. To Jules de Zarembski
Dearest Friend,
I have rarely done a minor work—big ones bother me—with as much pleasure as that of setting your two Galician Dances for Orchestra. It is quite finished, with a few additions of which I hope you will not disapprove; but my scrawl of a manuscript cannot possibly be sent you: therefore I have asked Friedheim [One of the most pre-eminent among the younger pupils of the Master.] to undertake to copy it, and I will send you this copy before the New Year. If the publisher Simon is inclined to publish this orchestration I will let him have it for a thousand marks; if not, keep it yourself; and make any use you like of it; first of all at the concert in which you are going to bring forward your own compositions exclusively. I wish I could be present at it, and on this occasion I renew to you the sincere and sympathetic esteem in which I hold your noble and rare talents. They will fructify by means of perseverance.
Friedheim's copy will reach you in time to have the parts copied and to add the necessary nuances. Please send me a programme of the concert of which Zarembski as composer is to fill the list. The other programme you are meditating, to be devoted to my works for the pianoforte, seems to me to be too long; this is a defect for which I can only be very thankful to you, and yet I am going to ask you to reduce your recital to the average proportion. An hour and a half of pianoforte music of mine, however admirably played, is more than sufficient.
M. Becquet, President of the Brussels Musical Society, writes to me concerning the performance of my Elizabeth, and M. Radoux, Director of the Liege Conservatoire, likewise. I fear the translation of the libretto and its proper adaptation to the work will be impediments. Nevertheless, if your friend Franz Servais were good enough to undertake the work of revision and of intelligent adaptation to the vocal parts, I should be more easy in my mind, and should only wish to look through the whole before the publisher, Kahnt, prints the French version under the German original. I am now writing this to M. Becquet. Pray give my cordial regards to Franz Servais and my grateful remembrances to Maitre Gevaert.
Enclosed are the photographs with signature for MM. Dumon and Dufour; to which I add a third (recently taken in Rome) for yourself.
I am honored, flattered, and also…overwhelmed by numbers of letters. I have received more than a hundred during the last six weeks; I should have to give ten hours a day to letter-writing if I were to attempt to pay my debts of correspondence: this I cannot do. Even the state of my health, which is not bad but forbids any continuous occupation, is opposed to it. Besides, when my old mania for writing music lays hold of me—as is the case just now—I feel quite unable to use my pen in any other way. I therefore beg you to convey my apologies and very affectionate thanks to M. and Mme. Tardieu for the kindness they show me.
I hope to repeat all this to them personally, for it is not said that I shall not return to Brussels, although travelling is becoming arduous for me. M. Tardieu's present of spirituous liquid has restored me several evenings during my work,…which may be superfluous, but completes what has gone before.
Your very devoted friend,
F. Liszt
Rome, December 4th, 1881
I remain here till the first week in January at Via and Hotel
Alibert.
285. To Camille Saint-Saens
Much-Esteemed Dear Friend,
You are not one of those who are easily forgotten, and you have won your fame valiantly. My feelings of sincere admiration and gratitude have followed you for many years; they are confirmed and increased by the proofs you give of constant and active sympathy.
I wrote to you last summer from Magdeburg on the occasion of the festival. Your remarkable work "La Lyre et la Harpe" figured on the programme; a delay in the translation and in the study of the choruses obliged me, to my great regret, to defer the performance of it till next summer, when the Tonkunstler-Versammlung, which is honored by your active membership and has just named me its Honorary President, will again meet.
Before Christmas Furstner, the publisher, will send you, from me, three copies (score and arrangements for pianoforte solo and duet) of my second Mephistopheles Waltz, dedicated to Camille Saint-Saens. I thank you cordially for giving it so hearty a welcome. No one more than myself feels the disproportion in my compositions between the good-will and the effective result. Yet I go on writing—not without fatigue—from inner necessity and old habit. We are not forbidden to aspire towards higher things: it is the attainment of our end which remains the note of interrogation, being in this something like the end to the Mephistopheles Waltz on b, f—
[Here, Liszt illustrates with a musical score excerpt]
intervals which are indicated in the first bars of the piece.
You intimate the friendly desire that I should revisit Paris. Travelling at my age becomes burdensome, and I greatly fear that I should be found out of place in capitals like Paris or London, where no immediate obligation calls me. This fear does not make me less grateful towards the public, and especially towards my Parisian friends, to whom I acknowledge myself to be so greatly indebted. Besides, I should not like completely to give up the thought of ever seeing them again, although the deplorable performance of the Gran Mass in 1866 left a painful impression upon me.
This is easily explained on both sides. Nevertheless, it would be too much for me in future to expose myself to such misapprehensions. Without false modesty or foolish vanity I cannot allow myself to be classed among the celebrated pianists who have gone astray in composing failures.
By the way, allow me to ask a question. If I were to return to Paris, would you feel disposed, dear friend, to repeat your former offence by conducting any of my works in I know not what orchestral concert? I dare not ask you to do it, but, supposing that a favorable opportunity should occur, I should be very proud to be present. Meanwhile be so good as to remember me very kindly to Viscount Delaborde, and to thank your colleague of the Institute, Massenet, sincerely for his telegram. He will excuse me for not answering him at once. To fulfil the duties of a correspondent is an insoluble problem for your very grateful and devoted friend,
F. Liszt
Rome, December 8th, 1887.
256. To Ludwig Bosendorfer
Very Dear Friend,
I was raised to a very exhilarated state of mind by the many tokens of sympathy and friendship on the 22nd October. [Liszt's 70th birthday.] To give it expression, I wrote several pages of music, but no letters at all. Antipathy to letter-writing is becoming a malady with me…Have the kindness to beg my friends in Vienna to excuse this. Perhaps I may yet live long epough to prove my affection to them in a better way than by words. My health does not preoccupy me at all; it is fairly good and only requires care, a thing which is at times irksome to me.
As usual for the last 10 years, I shall return to Budapest in the middle of January '82.
My best regards to your wife.
Yours faithfully and gratefully,
F. Liszt
Rome, December 8th, 1881
I repeat especially my hearty thanks to Zellner.
287. To Pauline Viardot-Garcia
[The great singer, who still teaches in Paris, was Liszt's pupil for piano.]
Most Illustrious and Gracious Friend,
A woman distinguished by her shrewdness and talents, the authoress of several volumes which have had the good fortune to pass through several editions, has asked me for a line of introduction to you. I have told her what she and all the world besides already knows: that Pauline Viardot is the most exquisite dramatic singer of our time, and besides this a consummate musician and a composer of the most delicate and lively intelligence. To which opinion, as merited as it is universal, Madame X. is prepared to give ample and elegant expression in a notice she meditates publishing upon you.
Pray give a kind reception to your new correspondent, and keep a friendly remembrance of your old and most devoted admirer,
F. Liszt
Rome, December 12th, 1881
288. To Madame Malwine Tardieu in Brussels
[The wife of the chief editor of the Independance Belge]
How good of you, Madame, to make such ready allowance for my delays and shortcomings in correspondence. It is a disagreeable infirmity of mine not to be able to write longer and better letters. Your last kind lines delighted me, and I thank you for them most affectionately. The brilliant success of Massenet's Herodiade [The first performance of the Opera took place at the Theater de la Monnaie in Brussels, 19th December, 1881.] gives me sincere pleasure; all Paris, after having applauded the work on its first appearance at Brussels, will be all the more ready to applaud it again in Paris itself. For my own part let me confess to you quite in a whisper that I am inclined rather to hold back with respect to certain love-scenes, which, it seems, are necessary on the stage, when introduced into biblical subjects. They jar on my feelings—excepting in our admirable and valiant friend St. Saens' Dalila, where he has made a glorious love duet which is quite in place; for Dalila and Samson are bound to give themselves to the devil for love's sake, whilst in Massenet's Magdalen and Herodfade the whole thing is merely conventional…theatrical.
Pray forgive me, Madame, for this opinion, which is slightly pedantic, but without any pretension. When you see Madame Viardot again, tell her that I still cherish an enthusiastic recollection of her—a typical Orpheus, Fides and Rosina,—and, besides, an enchanting composer and a pianist full of ingenious dexterity. Have you heard anything of her daughter, Madame Heritte? Do you know her remarkable setting of Victor Hugo's "Feu du Ciel"? Monsieur Becquet [President of the Brussels Musical Society (since dissolved).] has sent me an excellent French translation of my Elizabeth, [By Gustave Lagye.] quite adapted to the sense and rhythm of the music. When this Legend of St. Elizabeth was first performed at Budapest (end of August 1865) the Independance Belge published a most flattering article on the work. .—.
Pray remember most kindly to M. Tardieu your affectionate and devoted servant,
F. Liszt
Rome, January 20th, 1882.
Zarembski has received my orchestration of his charming "Danses
Polonaises." ["Danses Galiciennes.">[
289. To Colonel Alexander Wereschagin
[The brother of the celebrated painter; formerly adjutant to the
Russian General Skobeleff, also an author.]
Dear M. de Wereschagin,
I am very grateful to you for sending me the photograph of one of your brother's admirable pictures. His "Forgotten" is a dismal, ghastly symphony of crows and vultures; I understand it, and deeply enter into his marvellous inspiration.
Be so good as to tell your brother how great is my admiration for his genius, and accept, dear Sir, the expression of my best and most devoted regards.
F. Liszt
Budapest, February 5th, 1882.
290. To the Kammervirtuosin Martha Remmert
Dear Martha,
Enclosed are the various readings [Varianten] to my "Todtentanz." [Dance of Death.] I noted them down after hearing the piece last May for the first time with Orchestra at the Antwerp Musical Festival (played by Zarembski in a masterly way). The brief alterations are easy to insert into the instrumental parts, for they only apply to the Horns, and consist in the addition of 7 bars; the rest are pauses in the orchestra while the pianoforte solo continues.
All is accurately indicated in the enclosed copy, so that, should the publisher Siegel (Leipzig) feel disposed to add a complementary sheet to the score, it might be easily printed from this copy. I should not like to trouble Siegel about this; but I authorise you, dear Martha, to communicate the complementary pages A, B, C, to Siegel. [The alterations alluded to did not appear in print.]
I wish you all the success you deserve in your concert productions, and remain always, Yours sincerely,
F. Liszt
Budapest, February 20th, 1882.
291. To Madame Malwine Tardieu
Dear Madame,
You were beforehand with me in knowing that the performance of my
St. Elizabeth is to take place, for the first time in French, at
Brussels on Sunday, 30th April. If the date is not changed, I
shall arrive on the 27th for the last rehearsals.
I hardly venture to accept the hospitality you are so good as to offer me, from delicacy; if, however, you help me ever so little to overcome my scruples, they will vanish. A thousand thanks for the good news you give me of the success of "Samson" and of other works by St. Saens in Germany. He has possessed my admiring friendship for many years.
My very affectionate and grateful regards.
F. Liszt
Budapest, April 11th, 1882
I shall return to Weimar in about ten days, where I shall expect to receive the printed programme from M. Becquet, which is to fix my arrival in Brussels.
Pray thank M. Tardieu for his obliging intention of reproducing the article of the Independance upon the first performance of the St. Elizabeth at Budapest in August 1865. I will tell you by word of mouth who penned those lines. [This article, which was signed Remenyi, was written by Frau Cosima Wagner, Liszt's daughter, and (according to Madame Tardieu's opinion) had "a high interest on account of its poetical and brilliant conception.">[
292. To Franz Servais
Very Dear Friend,
It is a grief to me that you will be conspicuous by your absence on the approaching occasion of my return to Brussels. The Liszt- Concert set afloat and directed by you last spring remains one of my pleasantest recollections during my too long artistic career. Even at that time you suggested a performance of my "Elizabeth," and I did not think that it would take place during your absence. My approaching second visit to Brussels is entirely one of gratitude for the sympathetic reception granted to me there at the concert which you directed—an excellent performance of some works of mine. Perhaps the "Elizabeth" may likewise be favored by good luck…M. Lagye has made an excellent French translation of it.
The one thing important for you, my dear Franz, is to complete your Ion [The original tile of the Opera now called "L'Apollonide", which Servais still keeps in his portfolio, though it is finished.]. This will be your advent as composer, for a complete and resounding success in which you have the best wishes of
Yours ever devotedly,
F. Liszt
Weimar, April 22nd, 1882.
Write to me at Brussels, where I shall be from May 1st to 4th, and address your letter to Zarembski.
293. To Madame Malwine Tardieu
Unless I receive a countermand from you, I shall be in Brussels on Sunday evening. [The first performance of "St. Elizabeth in French took place on the 3rd of May. Saint-Saens, Massenet, Francis Plante, and others besides were present.] I shall take the liberty of sending you a telegram on the road to give you the hour of my arrival. It will interest me greatly to hear the "Herodiade". [Liszt heard Massenet's opea on 2nd of May.] Bulow's exceedingly witty article on Saint-Saens' "Samson", which Bulow declares to be the best and most successful of all the Operas that have been performed for the last fifteen years (excepting Wagner's),—this article, which creates a sensation and makes a noise at "Landerneau," will reach you at the same time as these lines from your affectionate servant,
F. Liszt
Weimar, April 23rd, 1882
294. To Otto Lessmann
I owe you so many thanks, dear, esteemed friend, that I could never get to the end of them. If the canon form were less unfamiliar to me, I would dedicate a symphonic Canone perpetuo of thanksgiving to you.
Our friend Adelheid von Schorn tells me that you are likely to spend your holidays at Weimar. A hearty welcome to you.
This year the Tonkunstler-Versammlung, at which I am accustomed to appear as a superfluous necessity ("le superflu, chose si necessaire," according to Voltaire), ever since the foundation of these gatherings twenty years ago with Brendel—takes place at Zurich from the 9th to the 12th July.
Let us go there together, dear friend, from Weimar. I read by preference your excellent newspaper, and am making a lively propaganda for it.
Yours gratefully and cordially,
F. Liszt
Weimar, April 23rd, 1882
295. To Frau Charlotte Blume-Arends
Weimar, April 23rd, 1882.
Dear Madame,
Poetry is your domain. As a pretty French verse has it, "Meme quand l'oiseau marche, on sent qu'il a des ailes" [Even when it walks, we feel that a bird has wings].—My most cordial thanks therefore for the gift which you call prosaic, and my best regards to your husband. It would be charming if you came to Weimar again. From the middle of June to the 12th of July remains here uninterruptedly
Yours very truly,
F. Liszt
296. To Freiherr Hans Von Wolzogen
Much-esteemed Freiherr,
Your "Leitfaden" are a salutary enrichment to musical literature. They essentially promote the spiritual comprehension of the great, sublime, unique works of Wagner. The "Leitfaden" are already considered classical, and rightly so, because, as a masterly piece of work, they establish a school.
Pray accept my very best thanks for the numerous proofs of kindness you have given me, to correspond in some degree to which is the wish of
Yours sincerely,
F. Liszt
Weimar, April 25th, 1882
A cordial and friendly meeting at Parsifal!
297. To Frau Heriette Von Liszt in Vienna
Weimar, May 11th, 1882.
My Dear Cousin,
Our dear Hedwig [The daughter of E. von Liszt, who studied a whole summer under Liszt in Weimar.] has not been forgotten. Immediately on arriving here I ordered Overbeck's edifying drawings for her, "The Seven Sacraments," a serious study of which, as well as of the commentary, is to be highly recommended. The work is published at Ratisbon; my bookseller here is wont to do business in Tempo moderato molto commodo. He kept me waiting, and I had to go to Belgium (on the 30th of April). I only received the above-mentioned work here yesterday, and send it you today together with the "Ave Maria" for Harmonium and Meyer's excellent "Manual of Universal Knowledge." Eduard and Hedwig may extend their knowledge by means of it.
My Belgian week—from May 1st to 8th, Brussels and Antwerp—was of the pleasantest. Enclosed are the moderate articles (on the performance of "St. Elizabeth") by the Brussels Schelle and Hanslick [In the "Independance Belge">[—Eduard Fetis, the son of the renowned and meritorious author of the many-volumed "Biographic universelle des Musiciens" and of the "Universal History of Music." Thirty years ago I said to that same Fetis somewhat arrogantly, nay almost insolently: "My aspirations are directed not merely towards obtaining articles, but rather towards acquiring a durable position in the History of Art."
Till the beginning of July will remain in Weimar
Yours most cordially,
F. Liszt
P.S.—The arrival of the "Kaiser Virginia" has just been announced to me. Please send me the little bill.
298. To Camille Saint-Saens
Very Dear Friend,
I am still quite struck with wonder at your "Predication aux oiseaux de St. Francois." ["St. Francis preaching to the birds." Composed by Liszt for pianoforte alone. (Roszavolgyi.)] You use your organ as an orchestra in an incredible way, as only a great composer and a great performer, like yourself, could do. The most proficient organists in all countries have only to take off their hats to you.
I am sending you by this post a parcel of things of mine for organ. If you should find an opportunity at Brussels of producing the Introduction to St. Elizabeth, it would, under your fingers, have the effect I intended.
Cordial thanks for your visit to Brussels, and ever yours in admiration and friendship.
F. Liszt
Weimar, May 14th, 1882
299. To Madame Malwine Tardieu
Dear Kind Friend, ["Chere bienveillante">[
The telegram Tardieu-Lynen-Lessmann sent from Aix-la-Chapelle has given me extreme pleasure. [The Tardieus, the Lynens (Antwerp friends of Liszt), and Otto Lessmann were present at the Musical Festival at Aix-la-Chapelle.]
My padrone di casa (Lessmann is this through his paper) are always most excellent.
Daniela de Bulow, my darling granddaughter, writes how kind you are, and will come with us shortly to Villa "Fantaisie" (Bayreuth). [She had accompanied her father, Dr. Hans V. Bulow, who played (under Wullner's conductorship) Brahms' first Pianforte Concerto, and Beethoven's 15 Variations (on a theme out of Eroica).]
At "Parsifal" we shall be 30,000; that will be the best chance of seeing one another again.
The Opera of Hamlet, by Stadtfeld, [The first performance of the Opera. The composer, a Wiesbaden man (born 1826), had studied at the Brussels Conservatoire, and died there in 1853.] written in transition years (50), and twice given here, not without success, is one of the best that I know of the Meyerbeer-Donizetti genre. The Wagner invasion is strangely modifying theatrical requirements at the present time. It is no longer possible to write a "Hamlet" according to the style of a Duprez, some absolute tenor with the famous "ut de boitrine," nor to make the ghost of Hamlet's father benevolently intervene in order to effect a Trio or Quartet, even of a pretty musical manufacture. The distinguished work of Stadtfeld belongs, then, to the theatrical Past, so rich in oblivion…
As you are so kind as to undertake my books, I will ask you to send me soon the following works:—
1st, Gevaert—History of Music in ancient times 2 volumes. (Publisher, Annoot Braekmann, at Ghent.)
2nd, Charles Clement—Michael Angelo, Leonardo da Vinci, Raphael,—a magnificent volume illustrated by 167 drawings. Price, bound, 15 francs. (Publisher, Hetzel, Paris.)
3rd, J. D. Lewis—"Bons Mots of the Greeks and Romans": 1 volume in 16—Charavay library. A thousand pardons for thus using and abusing your amiable kindness.
I have read with pleasure the article in the "Guide Musical" on the Festival at Aix-la-Chapelle, and beg you to repeat to the author [Presumably Monsieur Tarideu.] my sincere friendship.
Till our happy meeting at Bayreuth, at the end of July, farewell.
In affectionate gratitude,
F. Liszt
I add the article from the official paper of Weimar on
Stadtfeld's "Hamlet."
Weimar, June 10th, 1882.
300. To the Honorable Committee of the Allgemeine Deutsche Musikverein
[Printed in Neue Zeitschrift fur Musik, 1882, No. 23.]
Dear Sirs,
The Allgemeine Deutsche Musikverein confers a high distinction on me by electing me as its Honorary President.
Since the starting of this Verein, 20 years ago, I have the honor of feeling that I have been of service to it. Its aim is a worthy one,—the advancement of music and musicians in an unprejudiced manner, and in accordance with the spirit of the time. Its ways have always been known as pure and worthy of recognition, regardless of opposition and silence.
Let us therefore go boldly forwards on our noble road!
Accept, dear Sirs, my heartiest thanks, together with the assurance that, ever conscious of my task, I remain, with high esteem,
Yours most faithfully,
F. Liszt
Rome, [June, 1882]
301. To the Commendatore F.von Jagemann at Freiburg in Breisgau
[From a copy of Liszt's in the possession of Otto Lessmann at
Chalottenburg.]
Dear Sir and Commendatore
You ask me if L. Ramann's biography is "classical"? To belong to the classical means, first of all, to be dead, then to be to the world immortal. Neither of these is claimed at present by yours,
F. Liszt
Freiburg, July 6th, 1882
302. To Nicolaus Oesterlein in Vienna
[The Addressee was the able founder and possessor of the Richard Wagner Museum in Vienna, a unique collection, in its way, of musical and historical importance. The bibliography mentioned in the letter came out I (at Breitkopf and Hartel's) shortly before the first performance of "Parsifal.">[
My Dear Sir,
I have already heard the praise of your "Catalogue of a Richard Wagner Library." It will be a pleasure to me to make its acquaintance, and while awaiting your kind sending of the work accept thanks for your accompanying lines,
From yours very truly,
F. Liszt
Bayreuth, July 16th, 1882
303. To Kornel von Abranyi
Bayreuth, July 23rd, 1882
Dear honored Friend,
By the same post you will receive the instrumentation of the "A magyarok istene" for the Musical Festival at Debreczin..—. I beg the directors carefully to try over the small instrumentation before the full rehearsal, with the instruments (plus the brilliant cymbals), without the vocal parts.
The solo trumpeter must perform his part, as a Hungarian Magnate, in a noble manner, and not blow the trumpet as though it were a trade.
I also beg that the directors will be so good as to correct any chance mistakes there may be in my hastily written and unrevised manuscript score. Though I trouble myself but little about the spread of my compositions, yet I do not wish them to be offered to the public in a mutilated form. As I flatter myself that I possess a sufficient portion of self-criticism, other criticism remains only valuable and instructive to me.
Your son Kornel is heartily welcome to me at Bayreuth.
I will discuss here with Vegh [Formerly Vice-president of the Hungarian Academy of Music.] the ministerial affairs of your "academic, historical manual." The matter will assuredly be settled to your satisfaction.
Yours most faithfully,
F. Liszt
Wagner's "Parsifal" far surpasses the master-works which the theater boasts up to the present time. May the public be educated up to it.
304. To Freiherr Hans von Wolzogen
My dear Freiherr,
Both at and after yesterday's performance of Wagner's "Parsifal" it was the universal feeling that about this wonder-work it is impossible to speak.
It has indeed struck dumb those who were so deeply impressed by it; its sacred pendulum swings from the sublime to the sublimest.
Yours ever,
F. Liszt
Bayreuth, July 27th, 1882
305. To Madame Malwine Tardieu
Weimar, September 12th, 1882
Dear Madame and Friend,
How I reproach myself for the delay in my written thanks! Those preceding my letter have not been wanting, and your friendly kindness touches me deeply. Lassen assures me of your indulgence. He has lately heard at Brussels "l'hymne a la beaute," [By Benoit. Performed at the Brussels Musical Festival in August 1882] and (between ourselves) did not think it particularly beautiful. In this kind of music even the greatest masters have seldom succeeded in freeing themselves from lukewarm conventionality. This [conventionality] affords matter for academical prizes such as have been carried off several times by Madame Louise Collet of inglorious memory.
Our friend Benoit shall follow his vocation of musical "Rubens".
And Gounod's "Redemption"! Ought one to speak of success or non-
success in a work of that kind? Gounod has always kept the
Catholic religious incentive with a turn towards the sublime. His
"Polyeucte" is a witness for him.
May that abominable quibbler and bloodthirsty "doctrinaire," Henry VIII., be the means of a brilliant and lasting success to St. Saens, who richly deserves it; but in the matter of serious opera the public has reached that blase point which is explained in the words of Ronge, a naive German reformer:—
"What we have we don't want any more; and what we would have we don't quite know." Wagner has known how to want and to act— gloriously, although and because. [Wagner a su vouloir et perpetrer—glorieusement, quoique et parce que.] His work is already becoming immortal.
Let us speak of some modest things, concerning your humble servant. The three Psalms have been admirably translated into French by Mr. Lagye; I will write my thanks to him fully, as soon as I have entirely finished the work of adapting the text to the music. For this it is necessary to modify and rewrite about fifteen pages, a dozen of which are ready. I shall send the whole to Kahnt, the publisher, on Sunday next, and shall inform Lagye, in whose debt I am, of the remainder of the arrangements.
His translations appear to me really excellent, very carefully made, and prosodically well suited to the music. I only regret to have to give him so much trouble, but I hope that in the end he will be satisfied with me. He shall have the second copy of my "Lieder;" if he succeeds as well in putting them into French as he has done with the three Psalms, they may with advantage make their way in Belgium and still farther.
All my articles of musical criticism, lately published by L. Ramann under the title of "Essays" (Breitkopf and Hartel, Leipzig), were written in French. Three or four appeared long ago in the Debats and the Constitutionnel. The most extensive of these, on Berlioz's "Harold Symphony," was to have been put into a celebrated review in Paris, but in the fifties it was considered too eulogistic, and I refused any curtailments for Berlioz…Consequently this article has only appeared in a German translation (Neue Zeitschrift fur Musik, Leipzig). What has become of the original French manuscripts of my complete articles I don't in the least know. The introduction to Hartel's for which Mr. Kufferath [Moritz Kufferath, a writer on music, reviewer of the "Guide musical" (Schott), and translator of many of Wagner's writings, wanted to translate Liszt's Essays into French.] asks will not serve his end at all. The only person who could give him some particulars would be Mademoiselle L. Ramann, my biographer, who has been for many years past on the look-out for everything relative to my prose and music. She is the directress of a Pianoforte School in the Durerplatz at Nuremberg (Bavaria).
Please thank Kufferath for his kind interest, and assure him that, if I abstain from writing to the firm of Hartel, it is from no want of willingness on my part. A thousand friendly regards to your husband, and ever cordial and devoted expressions to yourself.
F. Liszt
I stay here till the beginning of October.
306. To Otto Lessmann
My Very Dear Friend,
It is only through your kindness that I learn of Hellmesberger's intention to perform shortly in Vienna a new Mass of my composition. Hellmesberger has indeed always been very well disposed towards me, and has frequently conducted the Hungarian Coronation-Mass in the Hofkapelle, and several of my longer works at concerts; but it would be rather difficult for him to conduct a new Mass, because I have not composed one. I should think it must be the "Missa choralis" (with Organ accompaniment only)…
Here is the list of my Masses, and the order in which they were composed:—
1. For men's voices (with Organ), Anno 48—Editio nova at Hartel's.
2. The Gran Mass.
3. Missa choralis (with Organ) at Kahnt's.
4. Hungarian Coronation-Mass (performed at the coronation in Buda).
5. Requiem for men's voices (with Organ). Rome, latter half of the sixties. Published by Kahnt.
Perhaps I shall yet write a Requiem at special command. [A requiem, composed on the death of the Emperor Maximilian of Mexico, still exists in manuscript.] I beg you to give my thanks to the friendly publisher of the Symphonic Poem "From the cradle to the grave," for sending me the pianoforte version of this composition. Before the end of October I will send Bock the completed score.
A short piece from Parsifal, "Solemn March to the Holy Grail," will reach Schott today at Mainz.
Three weeks longer remains here Yours ever faithfully,
F. Liszt
Weimar, September 16th, 1882,
Ever heartily welcome in Weimar; that is to say, if the visit suits you as Allegro commodo. It would be dreadful to me to incommode my friends.
307. To Otto Lessmann
Dear Friend,
If one wants to be just, he must see that he speaks only with high respect of Hans von Bulow. His knowledge, ability, experience are astounding, and border on the fabulous. Especially has he, by long years of study, so thoroughly steeped himself in the understanding of Beethoven, that it seems scarcely possible for any one else to approach near him in that respect. One must read his commentary on the pianoforte works of Beethoven (Cotta's edition), and hear his interpretations of them—(what other virtuoso could have ventured to play the 5 last Sonatas of Beethoven before the public in one evening?), and follow Bulow's conducting in the orchestral works of Beethoven. To set one's back up against such remarkable deeds as these, I call feeble or malicious nonsense.
Yours ever in friendship,
F. Liszt
Weimar, September 20th, 1882.
308. To Frau Charlotte Blume-Arends
Weimar, September 27th, 1882.
My dear friend,
I thank you again for a beautiful, kind gift—"The Oberammergau Passion Play," described by Franz Schoberl, a clergyman in Laibstadt. The little book has been composed with reverence, and gives an exact description of the Oberammergau production, which seems to me especially deserving of notice on account of the agreement between the Old Testament representations—beginning from Adam and Eve to the Brazen Serpent and further—and their fulfilment in the facts of the gospel. This agreement is no simple peasant's invention, but indeed a significant, most touching parallel, thought out by cultured priests, familiar with the Christian tradition. The grouping, and the mute performance of the life-like Old Testament representations and of the Crucifixion of Christ in Oberammergau, deserve full praise, in contrast to the music, which is beneath criticism, and very much spoiled the whole performance for me. And even such esteemed and highly honored Catholic musicians and divines as F. Witt, Haberl, etc., protest against such inane musical stuff and rubbish.
Thank you once more, and with heartfelt greetings to you and yours,
Yours most truly,
F. Liszt
309. To Otto Lessmann
Dear Friend,
At the Musical Festival which I had the honor of conducting some twenty-five years ago at Aix-la-Chapelle, Hiller, the friend of my young days in Paris, took up quite a critical attitude against the conductor and his compositions.
I took no particular notice of his behavior, but I heard that it displeased many people, who made no secret of it to him. I was also told that at one of the rehearsals Hiller did not exactly leave of his own accord. As I was engaged at the conductor's desk I did not observe the occasion of his leaving, and contented myself with reading, some days later, his witty report of the Aix-la-Chapelle Musical Festival in the Cologne paper. My excellent friend, Freiherr Hans von Bronsart, replied to Hiller's article with no less wit and with a different opinion. Unhappily the musical chronicle is overflowing with unresolved discords.
To you, dear friend, I am ever harmoniously,
F. Liszt
Weimar, October 14th, 1882
310. To Otto Lessmann
[Weimar,] November 4th, 1882
Dear Friend,
I shall be delighted if the Tannhauser-Songs [Composed by Lessmann, transcribed by Liszt for piano, and published by Barth, Berlin (now Junne, Leipzig)] give you satisfaction. Find a pianist of the fair sex, or the other sex, in Berlin, who will set about his task well of playing these songs in public. As far as I can tell I should think they would bring the player applause.
I will answer your two questions at once.
Of my "continuously written autobiography" I have as yet heard nothing. Publishers have frequently asked me to write memoirs, but I put it off with the excuse that it was more than enough for me to live through my life, without transcribing it to paper. If I were married I could certainly dictate somewhat of it to my wife now and then. But I am glad to keep out of the bothers of penmanship, which I dislike.
The dramatic performance of the Elizabeth in Cologne is to take place after my return from Budapest, next April or May. (I have promised to be present at it.) Yesterday evening I wrote a couple of lines of thanks and commendation to Herr Duysen, for Fraulein Spiring, whom you met here [Lives now in Jena]. She is a pianist and teacher deserving of recommendation, and is trying to establish herself in Berlin, and I commend her to your good graces.
With thanks, yours ever,
F. Liszt
Rubinstein is coming to see me next Tuesday after the Leipzig performance of the "Maccabees."
311. To Madame Malwine Tardieu
Weimar, November 6th, 1882
Dear Friendly One [Chere bienveillante],
I am still detained here, partly on account of a stupid indisposition,—nothing serious, but disagreeably prolonged. I make a rule of never bothering my head about my health, and I beg my friends never to trouble about it.
Thank you for sending the 3rd volume of the correspondence of George Sand. The long letter of 20 pages to Mazzini, dated the 23rd May, '52, appears to me to be a chef d'oeuvre of judgment and foresight. In 1852 few political men were placed in a sufficiently elevated position to rule the fluctuations of socialism and to understand its necessary value. Mazzini himself was mistaken in this, as well as in regard to the importance of the acquisition of universal suffrage. Forgive me for wandering off thus into political matters, of which I don't understand anything, and of which it does not concern me to talk. But I will just quote to you a mot which in 1842 was rather widely spread on the sly in Petersburg. A fair lady of my acquaintance told me that the Emperor Nicholas had said to her of me, "As to his hair and his political opinions, they displease me." I begged the same lady to transmit my reply, which was as follows: His Majesty has every right in the world to judge me as seemeth well to him, nevertheless I venture to beg him not to think that I am an idiot. Now it would be idiocy on my part to proclaim political opinions. The Emperor shall know them when he deigns to put 300,000 soldiers at my disposal.—
To return to the letters of George Sand. Those addressed in '52 to Prince Jerome Bonaparte and to Louis Napoleon about the pardoning of several democrats are in exquisite taste; the genius of a great heart appears in them. Allow me to beg for the little account of the books that you have been so kind as to send me, dear Madame Tardieu, and please add to it the price of the subscription to the Bien public. I suppose you only took it for one quarter, and I will not go on with it, not having time to read half the papers which my profession and my tastes would lead me to peruse. Besides this my eyes, without having exactly anything the matter with them, do not any longer adapt themselves either to reading or writing without reprieve; and by evening I often feel extremely tired…
Has the Independance Belge spoken of a most interesting and superb volume,
"The Correspondence and Musical Works of Constantin Huygens" (17th century), published by Jonckbloet and Land, professors at the University of Leyden, magnificently edited by Brill at Leyden?
The work is worthy of notice.
To the kind remarks which the Indpendance has inserted on the concert of the 23rd October with the Liszt programme, [A Liszt- concert in the Weimar theater in celebration of his birthday.] I add the observation that the real title of my "Transcription" of the "Rakoczy March" should be—"Paraphrase symphonique." It has more than double the number of pages of Berlioz's well-known one, and was written before his. From delicacy of feeling for my illustrious friend I delayed the publication of it until after his death; for he had dedicated to me his orchestral version of the Rakoczy, for which, however, one of my previous transcriptions served him, chiefly for the harmonisation, which differs, as is well known, from the rudimentary chords usually employed in the performances of the Tsiganes and other little orchestras on the same lines. Without any vanity I simply intimate the fact, which any musician can verify for himself.
At last I have just written to my most honored and more than obliging collaborator, Mr. Lagye. His excellent French translation of my four Psalms is being engraved. As soon as it is out you shall have it.
In about ten days I shall join the Wagners, and shall spend more than a month with them at the Palazzo Vendramin, Venice.
Cordial regards to your husband, from your
Very grateful and affectionate
F. Liszt
The director of the subscription concerts at Weimar is going to give Benoit's "La Guerre," and at the next Musical Festival Benoit's "Sanctus" and "Benedictus" will be heard. [Both these intentions of Liszt came to nothing, owing to external causes.]
312. To the Editor of the "Allgemeine Musikzeitung," Otto Lessmann, at Charlottenburg
Dear Mr. Editor,
As I am very much hindered in my work by overmuch sending of scores, other compositions, and suchlike writings, I beg you to make it known that I wish in future not to have my attention claimed in this manner. I have modestly refrained for many years past from contributing to collections of autographs.
Yours truly,
F. Liszt
Weimar, November, 1882
313. To Adelheid Von Schorn
Monday, November 20th, 1882
Venezia la bella: Palazzo Vendramin.
Dear Friend,
I don't intend you to hear first through others of my safe arrival here. Thank Heaven! the Wagners and all the family are in perfect health.
Your brother will write you word from Nuremberg that the method of whist, so to say invented and certainly perfected by you, is being spread on to the Durerplatz also under your name at L. Ramann's. To get rid of all the aces first of all is really glorious.
With the exception of one incident, which stricter people than myself would call a regular fleecing on the part of the Custom House at Milan, whereby I parted with about 70 francs as a fine for having brought 50 cigars (!), all my journey passed off very well. At Zurich I met with the same kind reception on the part of several members of the Committee—with the President of the town, Mr. Roemer, at their head—as at the Musical Festival last July. The proprietor of the Bellevue Hotel, Mr. Pohl (no relation to his namesake at Baden), insisted on my accepting gratis a charming room, with dinners, suppers and excellent wines. Such munificence would have given a fit of fever to the late Hemleb of the Erbprinz, and his associates will scarcely imitate Mr. Pohl's amiable proceeding. So I will beg you to recommend the very comfortable Hotel Bellevue, in the front ranks, to any of your friends and acquaintances who may pass through Zurich. Without promising that they will be received gratis, I can assure them that they will find the beautiful view on to the lake, good rooms, an excellent cuisine, and attentive service. The Duke of Altenburg and other princes have stayed in it, and inscribed their names in the hotel album.
Your friend Ada Pinelli is still here with the Princess Hatzfeld, at Palazzo Malipieri. I shall go and see her tomorrow. I shall, however, practise great sobriety in the matter of visits. Wagner does not pay any, and I shall imitate him on this point to the best of my ability. My illustrious friend has lodged me splendidly in a spacious apartment of the Palazzo Vendramin, which formerly belonged to Madame la Duchesse de Berry. Her son, the Duke della Grazia, is at present the owner of it, and Wagner is the tenant for one year. The beautiful furniture still bears the impress of the old princely regime, and is perfectly preserved. The main inhabited part of the Palazzo Vendramin is in the best possible condition, so that Wagner did not have to go to any special expense, not even for stoves and other requisites, which are often neglected.
Ever since my first stay in 1837 I have been enamoured of Venice: this feeling will not grow less this time, but quite the contrary.
Cordial and very devoted friendship.
F. Liszt
Try to learn something about Bulow, and send me word. It was heart-breaking to me not to see him again at Meiningen.
314. To Freiherr Hans Von Wolzogen
My Dear Freiherr,
.—. Wagner is perfectly within the truth when he says that without the extraordinary munificence of H.M. the King of Bavaria the performances of "Parsifal" at Bayreuth would have been endangered, and only the sympathy of the public, outside the Wagner Societies, made the continuance of them possible. But does it follow from this that the Wagner Societies are useless, and that this is the opportunity for disbanding them? To my thinking, No, for they keep up a wholesome agitation, and support the "Bayreuther Blatter," which essentially promote the good cause. There does not seem to me to be any advantage in changing the name Society [Verein] into Fellowship [Genossenschaft]. Wagner's great name and most important personality are what are most needed here. Moreover the parliamentariness of the Societies will not be averse to the absolute authority of the creator of so many immortal works. In merely minor matters variety of opinions may be made apparent; in all essentials we are really and truly one. On this account I desire the continuance, consistency, and increasing welfare of the Societies.—
It goes without saying that Wagner must reign and govern as legitimate monarch, until the complete outward realization of his Bayreuth conception—namely, the model performance of his entire works, under his own aegis and directions at Bayreuth. It behoves all who sympathise in the historico-civilised culture of Art in the coming years of the closing 19th century to endeavor to promote this aim.
When we have attained the end in question let us sing with
Schiller and Beethoven,
"Freude, schoner Gotterfunken!" ["Joy, thou spark from heaven descending!">[
Accept, dear Freiherr, the assurance of my true and high esteem.
F. Liszt
Venezia, November 24th, 1882
Pray remember me most kindly to your family.
3l5. To Franz Servais
Dear Franz,
Your welcome lines reached me at Weimar and I thank you cordially for them…
I tell you again, dear Franz, that you were "born with a silver spoon in your mouth;" after the hearing of your Opera with the piano the success of a performance will follow.—Don't get impatient at a little delay; the most illustrious composers, including Meyerbeer, could not say, like Louis XIV., "J'ai failli attendre." ["I nearly had to wait.">[…But I hope that the saying "Tout vient a point, a qui sait attendre" ["All comes to him who can wait.">[ will be realised in your case without much delay. Good courage then and Mistress Patience.
Will you remember me very affectionately to Godebski; his graceful bust, so perfect in its likeness to the never-to-be- forgotten Madame Moukhanoff, is ever the precious ornament of my little salon at the "Hofgartnerei" in Weimar.
The large bust of Rossini which Godebski presented to the Grand Duke ornaments the lobby of the theater, where it blooms like a god from Olympus. Tell me what works Godebski has been doing lately.
When next you see Madame Judith Gautier, please express to her anew the admiring homage of your very faithful
F. Liszt
Venezia, November 26th, 1882
P.S.—Our friends * * * might, I think, do you good service with M. Vaucorbeil, and could tell him also, as a "by the way," that I take a lively interest in your work. Would you perhaps think it advisable to let some fragment of it be given at a public concert? I am remaining here till New Year's Day with the Wagners, at the superb Palazzo Vendramin; then I shall return direct to Budapest.
316. To Adelheid von Schorn
Venezia, December 8th, 1882
Dear Friend,
Your sad news about Bulow's bad state of health are much the same as his wife gave to Daniela. Let us hope for more reassuring news!
Here, in Palazzo Vendramin, a peaceful and most united family life goes on without monotony. But I cannot speak of the things which touch me most, except clumsily. So it is better to keep from doing so. The Princess writes to me from Rome that she shall be delighted to obtain possession of the two water-colors of Gleichen for the splendid portfolios of drawings belonging to her daughter, of which the mother, since the years at Weimar, has regally provided the greater part. These portfolios are among the finest collections in Europe.
Joukowski [Widely known by his "Parsafal" sketches and the portraits of Liszt and of Wagner's family], who has been delayed by a funeral and by the floods, will arrive here today. Neither funerals nor floods have been able to prevent Lassen from scoring our Symphonic Intermezzo "Uber allen Zauber Liebe" ["Above all magic Love">[. I hope Lassen will conduct it at the Court concert on New Year's Day, and I beg you to go and hear it and let me know about it. .—.
I beg Gille to send me the volume "Die deutsche Buhne von einem Weimaraner" ["The German stage, by a Weimarer">[. Do you know who it is? According to the index he seems to ignore the doings of the Weimar theater during the last thirty years, which is not very honorable to a Weimarer, and looks very like a cowardly action of a low standard.
Your cordially devoted
F. Liszt
Saturday Morning, December 9th
Joukowski arrived last night, and we began at once to sound your praises.
Daniela has written to you. I will send you the programme of the performance of Goethe's "Geschwister" ["Brothers and Sisters">[, which will take place tomorrow at Princess Hatzfeld's. Those old books of operas, such as "Les Indes galantes" ["The gallant Indies">[, and other antiquities, re-edited in Paris, may peaceably repose at the "Hofgartnerei;" unless you prefer to lend them to some one who likes works of that kind, which are sought by some.
317. To Professor Carl Riedel
Dear Friend,
Draseke's "Requiem" is such a first-rate work, and is so likely to obtain a good reception from the public, that I again recommend the performance of it at the next Tonkunstler- Versammlung. Draseke will presumably also agree to it in the end.
Gustav Weber's Trio, Op. 5, published by Siegel, and dedicated to me, I consider an eminent work, worthy of recommendation and performance. I am sure you think the same.
I should like to add to the vocal programme of the Tonkunstler- Versammlung two songs by your name-sake Riedel, now Hofkapellmeister in Brunswick. [Hermann Riedel, born 1847, made a special success with songs from Scheffel's "Trompeter von Sakkingen.">[ If they should be ascribed to you they will please you all the better for that. And a propos, why do you let your valuable, excellent works be so seldom heard in public? I shall reproach you further with this injustice to yourself when we come to talk over the programme, and I hope that you won't continue to overdo your reserve as a composer. Without pushing one's-self forward one must still maintain one's position, to which you, dear friend, are fully entitled. Will you be so kind as to tell Hartel to send me here quickly 25 sheets of to line, and 25 sheets of 12 line music paper (oblong shape, not square) for cash, together with a few of the small books of samples, containing all kinds of music paper, which I have recommended several musical friends of mine here and elsewhere to buy. One can rub out easily on this paper, which is one of the most important things—that is to say, unless one tears up the whole manuscript, which would often be advisable.
A happy Christmas, and a brave New Year '83.
Ever your faithfully attached
F. Liszt
Venezia, Palazzo Vendramin, December 9th, 1882
318. To Arthur Meyer in Paris, Presidet of the "Presse Parisienne"
[Copied in the Gazette de Hongrie at Budapest, February 1st, 1883]
Monsieur le Directeur,
My telegram of this morning expressed to you my excuses and deep regret at being unable to be of use in the programme of your Festival. [Liszt had been asked to take part in a Festival which was given at the Grand Opera for the benefit of the sufferers from the inundations in Alsace-Lorraine. "The Dame of Liszt in France," they wrote, "is synonymous with triumph, and we know that it is also synonymous with kindness.">[
It would certainly be an honor to me to take part in it, and I am by no means oblivious of the gratitude I owe to Paris, where my youthful years were passed. Moreover it would be, it seems to me, a becoming thing that, after the generous and striking sympathy shown by Paris—also by a festival at the Grand Opera—to my compatriots on the occasion of the inundation of Szeged, an artist from Hungary, who has been favored by so much French kindness, should make his public acknowledgments at your approaching grand performance.
Unfortunately my age of 72 years invalidates me as a pianist. I could no longer risk in public my ten fingers—which have been out of practice for years—without incurring just censure. There is no doubt on this point; and I am perfectly resolved to abstain from any exhibition of my old age at the piano in any country.
Please accept, Monsieur le Directeur, my thanks and best compliments.
F. Liszt
Budapest, January 28th, 1883
319. To the Composer Albert Fuchs
Your "Hungarian Suite" [For Orchestra, dedicated to Liszt] is an excellent and effective work. While springing from the musical ground of Hungary, it nevertheless remains your own property, as there are no imitations or used-up ornamentations in it, but rather much new employment of harmonies, and always a national coloring. For the dedication you are heartily thanked by
F. Liszt
Budapest, February 4th, 1883
320. To Saissy, Editor of the "Gazette de Hongrie in Budapest
[From a rough copy in the possession of Herr O. A. Schulz, bookseller in Leipzig.]
I come to ask your advice, dear Monsieur Saissy; please give it me quite frankly, without any reserve, and tell me whether you think it is an opportune moment for my letter (which I enclose), relative to my pretended animadversion against the Israelites, to be published or not. If you think it is, I beg you to insert it in the next number of the Gazette de Hongrie; otherwise it shall remain unprinted, as I shall not send it to any other paper.
As the proverb says, "Silence is gold"; but perhaps, under the given circumstances, in view of the serious question of the Israelites in Hungary, it would be better to speak in the current silver money in the papers.
Let us rectify errors, and remain modest but not timid. In faithful devotion,
F. Liszt
Budapest, February 6th, 1883
321. To The Editor of the "Gazette de Hongrie"
[Published in the Gazette de Hongrie of February 8th, 1883, Budapest. A translation of it also appeared in German papers; amongst others, in Lessmann's Allgemeine Musikzeituug, at the wish of the Master, who was annoyed with the aspersion against himself of having promoted the Antisemitic movement.]
Mr. Editor,
It is not without regret that I address these lines to you; but, as there has been some report spread here about my pretended hostility to the Israelites, I ought to rectify the mistake of this false report.
As is well known in the musical world, many illustrious
Israelites, Meyerbeer first and foremost, have given me their
esteem and friendship, and the same in the literary world with
Heine and others.
It seems to me that it would be superfluous to enumerate the many proofs I have given, during fifty years, of my active loyalty towards Israelites of talent and capacity, and I abstain in like manner from speaking of my voluntary contributions to the charitable institutions of Judaism in various countries.
The motto of my patron saint, St. Francois de Paule, is
"Caritas!" I will remain faithful to this throughout my life!
If, by some mutilated quotations from my book on the Gipsies in Hungary, it has been sought to pick a quarrel with me, and to make what is called in French une querelle d'Allemand, I can in all good conscience affirm that I feel myself to be guiltless of any other misdeed than that of having feebly reproduced the argument of the kingdom of Jerusalem, set forth by Disraeli (Lord Beaconsfield), George Eliot (Mrs. Lewes), and Cremieux, three Israelites of high degree.
Accept, Sir, etc.,
F. Liszt
February 6th, 1883
322. To Rich and Mason in Toronto
[From a rough copy in the possession of Herr O. A. Schulz, bookseller in Leipzig]
[1883]
Dear Sirs,
The Rich and Mason Grand Piano which you have so kindly sent me here is a pattern one. And as such will artists, judges, and the public recognise it.
Together with my hearty thanks I wanted at the same time to send you the Liszt portrait for which you wished. It was painted by Baron Joukowski, son of the highly honored tutor and friend of Alexander II., a man who will also be ever famous in Russian literature. Now, however, this Liszt portrait has been such a success that they wanted to have a second one like it for the Joukowski Museum. The painter kindly consented to the request, which has necessitated a delay of 2 to 3 months in my sending off the first portrait to Toronto.
Joukowski had also prepared the sketches for the "Parsifal" scenery in Bayreuth, which were followed by a successful performance.
Excuse, dear Sirs, the delay in my acknowledgments, and accept the assurance of my high esteem.
F. Liszt
323. To Madame Marie Jaell in Vienna
[Autograph in possession of Herr Commerzienrath Bosendorfer in Vienna.—The addressee was the widow of Alfred Jaell, and was a pianiste and composer in Paris.]
Chere Admirable [Dear Admirable One],
I give you at once a most cordial welcome to Budapest. Have you already made your arrangements for concerts here? Can my very excellent friend Bosendorfer be of use to you as an agent? To my regret I am not in a position to help you in that, on account of my being so very decidedly out of touch with the principal concert arrangers of the neighborhood, who impertinently make a pitiable trade for the benefit of Art…the art of their own pocket and predominance.
To our right speedy meeting! Will you let me make acquaintance with your new compositions, and accept the homage of my admiring sympathy and affection?
F. Liszt
Budapest, February 12th, 1883
Have you had anything to do with a serious and really distinguished composer,—Rendano? He is giving his concert in Vienna one of these next days.
324. To Adelheid Von Schorn
If you were here, dear friend, you would perhaps find means to put into some sort of order the hundreds of letters that rain upon me from everywhere. These bothers and burdens of the amiability with which I am credited are becoming insupportable, and I really long, some fine day, to cry from the housetops that I beg the public to consider me as one of the most disagreeable, whimsical and disobliging of men.
To our cordial meeting at Weimar in the early days of April.
Ever your very affectionate and grateful
F. Liszt
Budapest, February 14th, 1883
325. To Otto Lessmann
Your sad news [After Wagner's death on the 13th February] pierces my heart. Worthily have you said of the great, undying hero of Art, "May the memory of him lead us on the right road to truth!"
I abstained from going at once to Venice and Bayreuth, but no sensible man will on that account doubt my feelings. Until Passion Week I remain here; then according to what my daughter arranges I shall either go to Bayreuth or elsewhere, wherever my dearly beloved daughter may be.
Hearty thanks, dear friend, for your satisfactory, truthful adjustment of my position, which is neither a doubtful nor a cowardly one, in the Jewish question.
The watchword and solution of that question is a matter for the perseverance of the Israelites and for the all-ruling Divine Providence.
Yours faithfully and gratefully,
F. Liszt
Budapest, February 18th, 1883
I shall send that number of your weekly paper (16th February) to Cardinal Haynald, my gracious patron of many years' standing—who was also the President of the Liszt-Jubilee Festival in Budapest.
326. To Lina Ramann
My very dear Friend,
Ever since the days of my youth I have considered dying much simpler than living. Even if often there is fearful and protracted suffering before death, yet is death nonetheless the deliverance from our involuntary yoke of existence.
Religion assuages this yoke, yet our heart bleeds under it continually!—
"Sursum corda!"
In my "Requiem" (for men's voices) I endeavored to give expression to the mild, redeeming character of death. It is shown in the "Dies irae," in which the domination of fear could not be avoided; in the three-part strophe
"Qui Mariam absolvisti,
Et latronem exaudisti,
Mihi autem spem dedisti"
lies the fervent, tender accent, which is not easily attained by ordinary singers…The execution is also made more difficult by the 2 semitones, ascending in the 1st Tenor, and descending in the 2nd Tenor and 1st Bass. Progressions of this kind are indeed not new, but singers so seldom possess the requisite crystal- clear intonation without which the unhappy composer comes to grief.
Our 3rd Elegie, "The funeral gondola" ("la gondola funebre"), written unawares last December in Venice, is to be brought out this summer by Kahnt, who has already published my 2 earlier Elegies.
Heartfelt greetings to your respected collaborators, and ever yours gratefully,
F. Liszt
Budapest, February 22nd, 1883
327. To Madame Malwine Tardieu
Dear Benevolent One,
To great grief silence is best suited. I will be silent on
Wagner, the prototype of an initiatory genius.
Thank you cordially for your telegram of yesterday. [On the success of Saint-Saens' Opera "Henry VIII." at the opera in Paris] No one rejoices more than I in the success of Saint-Saens. There is no doubt that he deserves it; but fortune, grand sovereign of doubtful manners, is often in no hurry to array herself on the side of merit.
One has to keep on tenaciously pulling her by the ear (as Saint-
Saens has done) to make her listen to reason.
Be so good as to send me the number of the Independance with the article on "Henry VIII." I will ask M. Saissy, the director of the Gazette (French) de Hongrie, professor of French literature at the University of Budapest, to reproduce this article in his Gazette. Saissy is one of my friends; consequently he will publish what is favorable to "Henry VIII."
Saint-Saens has sent me the score of his beautiful work "La Lyre et la Harpe." Alas! everything that is not of the theater and does not belong to the repertoire of the old classical masters Handel, Bach, Palestrina, etc., does not yet gain any attentive and paying consideration—the decisive criterion—of the public. Berlioz, during his lifetime, furnished the proof of this.
Please give my love to your husband, and accept my devoted and grateful affection.
F. Liszt
Budapest, March 6th, 1883
With regard to Lagye, I am contrite. Various things which I had to send off with care have prevented me from going on with the revision of the French edition of my Lieder. It shall be done next month.
328. To Ferdinand Taborszky, Music Publisher in Budapest
Dear Taborszky,
As it is uncertain whether I shall still be alive next year, I have just written an Hungarian "Konigslied" [Royal Song] according to an old mode, for the opening of the New Hungarian Theater in Radialstrasse.
Herewith is the manuscript for pianoforte, two hands, and the score with text by Kornel Abranyi [German translation by Ladislaus Neugebauer] will follow in Easter week.
The publishing of my "Konigslied" ought not to take place till the first performance in the new theater in '84,
Until then we will keep quiet about it.—
Yours in all friendship,
F. Liszt
Budapest, March 11th, 1883
329. To Baroness M. E. Schwartz
[Autograph in the Liszt Museum at Weimar]
Budapest, March 22nd, 1883
Dear and most excellent One,
[Chere excellentissime]
It is really extraordinary that after so many years of constant practice in works of mercy you are not ruined. Your life seems to me one vast symphony of generosity, munificence, charities, gifts and attentions as delicate as they are costly. To begin with, there are Garibaldi and his people, and to continue indefinitely there are those poor German fellows, ill at Rome, and buried there at your expense; and then the fighting Cretans, the infirm people in your hospital at Jena, the societies for the protection of animals, etc., etc.
I admire you and bow before your perpetual kindnesses and goodness,—all the more because you exercise them unobtrusively, as it were in the shade, without any flourish of trumpets and drums.
Do not scold me for having divided the gift you confided to me for the sufferers from the inundations at Raab. 300 florins were amply sufficient for them, and the other 300 florins of your 50 pounds sterling were well employed for the children's gardens (an admirable institution of Frobel's), of which Madame Tisza, the wife of the President of Council of the Ministers of Hungary, is the president in this country.
I send you herewith Madame Tisza's thanks (in Hungarian, with a
German translation), and the receipt of Count Thun,—supreme
Count (an ancient title still preserved,—"Obergespan" in German)
of the Committee of Raab.
I preferred to send your gift in the name of Madame E. de Schwartz, and not to mix up your nom de plume of Elpis Melena with it. Pardon me this innocent bit of arbitrariness.
Shall I see you again, my very dear friend, this summer at
Weimar? I hope so, and I remain sempper ubique
Your grateful and attached
F. Liszt
From the middle of April until August I shall stay at Weimar, with the exception of some excursions of a few days' duration. Please let me know a couple of weeks beforehand when your friendly visit will take place.
330. To Baroness Wrangel in St. Petersburg
[This lady had begged Liszt for a contribution to an album which it was intended to present to Henselt on the occasion of a festival in honor of his having been 25 years General Music Inspector of the Imperial Schools in St. Petersburg, Moscow, etc. This is Liszt's answer.]
Madame la Baronne,
For thirty years past I have entirely abstained from adding to collections of autographs and of writing my name in any albums whatever. Nevertheless I willingly make an exception today, while thanking you for your kind words, and begging you to transmit to my honored friend A. Henselt the short copy enclosed herewith.
A renowned diplomatist once said to me, "To princes one should offer only flowers gathered from their own gardens."
Henselt belongs to the princes, and will accept the souvenir of one of the most beautiful flowers of his own noble gardening.
Very humble respects.
F. Liszt
Weimar, May 20th, 1883
[Liszt adds a postscript to this letter where he writes a musical score excerpt of the Larghetto form Henselt's Concerto:]
"Albumblatt" for Henselt.
Motive of the wonderful Larghetto in A. Henselt's Concerto.
Larghetto.
[Here, Liszt illustrates with a musical score excerpt of the main theme of the Larghetto.]
For 40 years the composer's admiring and truly attached
Weimar, May, 1883
F. Liszt
331. To Mason and Hamlin in Boston
[Printed in Gottschalg's "Urania">[
My dear Sirs,
For what a magnificent Organ I have to thank your kindness! It is worthy of all praise and admiration! Even average players could attain much success on it.—I should gladly have kept this splendid instrument in my own house, but, alas! there is not sufficient room for it. It is now looking grand in the large room of the Orchestral School here, an institution of importance, the excellent director of which is Herr Professor and Hofcapellmeister K. Mueller-Hartung—he has published some beautiful Organ Sonatas and plays them no less beautifully.—On the evening of its opening two renowned organists played upon it, the Court organist A. W. Gottschalg (the publisher of the considerable Organ repertoire, etc., etc.), and the town organist B. Sulze, who has attained a great name through many valuable compositions and transcriptions.—I shall probably have a visit this summer from Prof. Dr. Naumann from Jena, Walter Bache from London, and Saint-Saens from Paris, who, according to my opinion, continues to be the most eminent and extraordinary king of organists. I shall not fail to beg the three above-mentioned virtuosi to make a closer acquaintance with your organ. For the rest it shall not be misused and shall remain closed to ordinary players.
Accept, etc.,
F. Liszt
Weimar, June 12th, 1883
332. To Madame Malwine Tardieu
Chere Bienveillante,
Thank you for the very agreeable news of the resumption and continuation of the performances of "Henry VIII." No one wishes Saint-Saens, more than I do, all the success that he grandly deserves, both in the theater and in concerts.
In the matter of concerts, those of the Meiningen orchestra, under Bulow's conductorship, are astonishing, and very instructive for the due comprehension of the works and the rendering of them. I send you a copy of some lines written to a friend; these will give you my impression,—one which you would share if you heard these concerts of the highest artistic lineage.—The parallel between the "Sigurd" of Reyer [Performed for the first time on 7th January, 1884, at the Theater de la Monnaie, Brussels.] and the "Siegfried" of Wagner is ingeniously traced by your husband, and renders good preparatory service to the success of the performances of "Sigurd." As to the "Nibelungen" tetralogy of Wagner—it shines with an immortal glory. In the course of the winter season the Weimar theater will give Gevaert's "Quentin Durward." Lassen will take the utmost pains in directing the study and performance of it. To my regret I shall not be able to be present at the premiere here, as I am obliged to be at Budapest before the middle of January.
Please give Tardieu the cordial love of
Your much attached
F. Liszt
Weimar, December 14th, 1883
Yet another young pianist, but one of the best kind,—M. Siloti, a Russian by birth, and of good education. He was said to be the best pupil of Nicholas Rubinstein before he came to work with me. He obtained a marked success at Leipzig lately, which he will continue next week at Antwerp. In spite of my aversion to letters of introduction, I am giving him a couple of words for the Lynens, and I recommend him to your kind attention.
333. To Casar Cui
Very Honored Friend,
It is well known in various countries in what high esteem I hold your works. As I am convinced that the "Suite" of which you speak will prove itself worthy of your preceding compositions, I feel that I am honored by the dedication, and thank you for it with gratitude. Your musical style is raised far above ordinary phraseology; you do not cultivate the convenient and barren field of the commonplace…Doubtless form in Art is necessary to the expression of ideas and sentiments; it must be adequate, supple, free, now energetic, now graceful, delicate; sometimes even subtle and complex, but always to the exclusion of the ancient remains of decrepit formalism.
At Meiningen, where Bulow's admirable conducting is working wonders of rhythm and nuances with the orchestra, I lately had the honor of a conversation with the Grand Duke Constantine Constantinowitch, on the actual development of music in Russia and of the well-known capacity of its courageous promoters. His Imperial Highness justly appreciates their serious worth, their noble character and intense originality; consequently, dear Monsieur Cui, the Grand Duke accords full praise to your talents and deserts. I take pleasure in repeating this to you, at the same time renewing to you the assurance of my very sincere regard.
F. Liszt
Weimar, December 30th, 1883
A young Russian pianist, M. Siloti, who has been brought to a high state of virtuosity by the lessons and example of Nicholas Rubinstein, is now gaining a real success in Germany. When he comes to Petersburg I recommend him to your kindness.
334. To Otto Lessmann
Weimar, January l0th, 1884
Dear Friend,
The remarkable concerts of the Meiningen Court orchestra led me to the attempt to write a "Bulow March." I send you herewith a Preface to this, and also an article (in French), in the form of a letter, on my impressions in Meiningen. Will you insert both these in your paper? Also kindly translate the French letter.
[It follows here after the Preface in the original. A German translation of it appeared in Lessmann's Allgemeine Musikzeitung on the 18th January, 1884, under the title of "Letter to a friend.">[
Faithfully yours,
F. Liszt
I shall stay ten days to a fortnight longer in Weimar on account of the severe illness of Achilles [Liszt's servant].
Preface to the Bulow March:
For thirty years Hans von Bulow has been expressing and actively furthering everything that is noble, right, high-minded and free- minded in the regions of creative Art. As virtuoso, teacher, conductor, commentator, propagandist—indeed even sometimes as a humorous journalist—Bulow remains the Chief of musical progress, with the initiative born in and belonging to him by the grace of God, with an impassioned perseverance, incessantly striving heroically after the Ideal, and attaining the utmost possible.
His conducting of the Meiningen Court orchestra is a fresh proof of this. To that same orchestra this "Bulow March" is dedicated in high esteem for their model symphonic performances, by
F. Liszt
Weimar, January, 1884
Meiningen, December, 1883
At seven o'clock people were at the rehearsal of the Beethoven concert. Under Bulow's conducting the Meiningen orchestra accomplishes wonders. Nowhere is there to be found such intelligence in different works; precision in the performance with the most correct and subtle rhythmic and dynamic nuances. The fact of the opera having been abolished at Meiningen by the Duke some twenty years ago is most favorable to the concerts. In this way the orchestra has time to have a fair number of partial and full rehearsals without too much fatigue, as the opera work has been done away with. Bulow is almost as lavish of rehearsals as Berlioz would have been if he had had the means to be…The result is admirable and in certain respects matchless, not excepting the Paris Conservatoire and other celebrated concert- institutions. The little Meiningen phalanx, thanks to its present General, is in advance of the largest battalions. It is said that Rubinstein and some others have expressed themselves disapprovingly about some of the unusual tempi and nuances of Bulow, but to my thinking their criticism is devoid of foundation…
Besides the programme of the Beethoven concert, in the morning there was an extra seance of the orchestra for the performance of the Overtures to "King Lear" (Berlioz) and to the "Meistersinger," my march "Vom Fels zum Meer," the "Ideales," and Brahms' Variations on a theme of Haydn. Always the same and complete understanding in the ensemble and the details of the scores,—the same vigor, energy, refinement, accuracy, relief, vitality and superior characteristics in the interpretation.
An extraordinary thing! the most difficult Quartet of Beethoven, one which on account of its complications never figures on any programme, the grand fugue, Op. 133, is played by the Meiningen orchestra with a perfect ensemble. On a previous occasion I also heard at Meiningen Bach's celebrated Chaconne played in unison with a real virtuosity by some ten violins.
F. Liszt
335. To Felix Mottl, Hofcapellmeister at Carlsruhe
[The addressee, born in 1856, has been since 1880 at Carlsruhe, where he was recently appointed to the post of Court opera conductor, and since 1886 one of the conductors of the Bayreuth Festivals. He is one of the most important conductors of the present day, and has also come forward as a composer.]
My Very Dear Friend,
You have done a noble artistic deed in reinstating Cornelius's charming Opera "The Barber of Bagdad." I hardly know of any other comic opera of so much refined humor and spirit. This champagne has the real sparkle and great worth.
The one-act arrangement seems to me the most propitious. As in Carlsruhe so elsewhere it will make its way. Write about this to Hans Richter. "The Barber of Bagdad" might perhaps, in one act, become a stock-opera in Vienna, and then return once more to Weimar, where, at the first performance long ago, they behaved so ill about it.
Friendly thanks, and yours ever,
F. Liszt
Budapest, February 8th, 1884
336. To Frau Hofrathin Henriette von Liszt
My Very Dear Cousin,
This time I was not able to have a thorough rest in Vienna. Such an extra [luxury] is hardly my lot anywhere. My life is one continued fatigue. Some one once asked the celebrated Catholic champion Arnauld (the Jansenist) why he did not allow himself some rest. "We have eternity for that," answered he.
I hear for the first time through you of a cousin or niece, Mary Liszt, a concert giver. Concert givers have frequently misused our name by playing under it in provincial towns. A pianist in Constantinople, Herr Listmann, apologised to me for having knocked off the second syllable of his name. On this account he received a valuable present from the then Sultan Abdul Medgid. .- -.
Farewell till our next meeting in Easter week, dear cousin, from yours ever affectionately,
F. Liszt
Budapest, February 8th, 1884
One, and even two, letters from the Princess in the month of
January have been lost.
337. To Camille Saint-Saens.
Very Dear and Most Excellent Friend,
Before I received your kind letter I had intimated to Baron Podmaniczki, the Intendant of the theater of Budapest, that he ought to esteem it an honor to give your Henry VIII.—a frightful personage in history, but brilliantly illustrated by your beautiful music [an Opera by Saint-Satins]. The inauguration of the new theater will take place at the end of September with the St. Etienne, a new Opera by Erkel, the popular dramatic composer par excellence in Hungary. His Huvtyadi Laszlo was performed 250 times, and his "Bankban" more than 100, without ever over- reaching the mark. Two other works are promised after the St. Etienne, so that your Henry VIII. cannot appear till '85, for it still has to be translated into Hungarian.
I spoke about it in Vienna to his Excellency Baron Hoffmann, the Intendant of the Imperial Theaters. He told me that your work is going to be given shortly at Prague, and that he will send his own conductor, M. Jahn, there, in order that it may be better looked after. I beg that you will send the piano score of Henry VIII. at once to M. le directeur Jahn (very influential), with a few polite lines; also to do the same to M. Erkel Sandor (son of the composer), conductor of the National Opera of Budapest. Address to him "Theater National," Budapest.
Very much vexed to be unable to make a place for one of your grand works—such as your superb Mass or some Poeme symphonique— in the programme of our next Tonkunstler-Versammlung at Weimar from the 23rd to the 28th May. Sauret is going to play your third Concerto, and I will send you this overloaded programme. If you came to hear it, it would be a very great pleasure to
Your admiringly and cordially attached
F. Liszt
Weimar, April 29th, 1884
338. To Otto Lessmann
[Weimar,] May 7th, 1884
Dear Friend,
The motto of my Oratorio "Stanislaus" is "Religion and Fatherland." In the fragment (Orchestral Interlude) which will be given here at the next Tonkunstler-Versammlung the whole meaning of the work is made plain. [This remained unfinished, as is well known.]
Farewell till our speedy meeting.
Ever faithfully yours,
F. Liszt
339. To Camille Saint-Saens
Very dear Friend and Confrere,
I refused to suspect that there could be any ill-will against you at Budapest. Nevertheless I think it is strange and most unjust that your dramatic and symphonic works have not yet taken the place which is due to them in Hungary. I have explained myself clearly about them several times, but the theater menage, and even that of the Philharmonic Concerts, is formed outside of my influence. They are quite ready to accord me a general consideration, with the exception of arranging particular cases otherwise than I wished. For many people doubtful profits and manoeuvres contrary to their dignity exercise an irresistible attraction. The idea of honor seems to them too troublesome.
I shall not desist in the least from my conscientious propaganda of your 'Henry VIII' and other of your works. The new theater at Budapest will open (at the end of September) with the 'Roi St. Etienne', [King Stephen] a grand Hungarian Opera by Erkel (senior). After that Baron Podmaniczky, the Intendant, has promised to give a new Opera by Goldmark, also Hungarian in subject, and another by Delibes. The "Henry VIII." should appear somewhere between these three. Its performance at Prague will determine that at Vienna, which will be soon, I hope. His Excellency Baron Hoffmann, the Intendant of the Imperial Theaters in Vienna, told me that he would send his artistic and musical conductor (at the Opera), M. Jahn, to Prague. It depends on the opinion of this person whether "Henry VIII." is given at Vienna.
When you come again to Weimar you are sure to be received there with sympathy, gratitude and sincere admiration by your old attached friend,
F. Liszt
Weimar, May 18th, 1884
Thanks for the photograph. You will find it well placed here near a charming bust. The Court and town of Weimar keep their affectionate and kind sentiments towards you.
340. To Walter Bache
Dear honored Friend,
I am very gladly in accord with all your doings, and only protest against the sacrifice you have in the noblest manner made for my severely criticised works.
The English edition of the "Elizabeth Legend" with your sister's translation delights me.
Tell Mr. Alfred Littleton he can send me the proof-sheets (bound) of the piano edition, and the score, to Weimar. Along with this the 4 four-hand pieces (published by Kahnt) might also be published. Would it be well perhaps to begin with these? Arrange about this as you like with Mr. Littleton. I have only to correct the proofs, which will quickly follow.
If you think it would do, I shall also add to the English edition a little Preface, in the form of a letter—addressed to Walter Bache.
By the same post today I send you the complete enormous programme of the Tonkunstler-Versammlung (going through 25 years). This evening they begin with the acting performance of the "Elizabeth Legend."
Auf Wiedersehen! [To our next meeting!]
I shall stay at Bayreuth from July 5th till the middle of August, and then come back to Weimar.
Faithfully and gratefully,
F. Liszt
Weimar, May 23rd, 1884
I have told Kahnt all that concerns himself in your letter.
341. To the Composer Carl Navratil in Prague
Dear Herr Navtatil,
I write in haste to tell you that Smetana's [Bohemian composer and pianist (1824-84).] death has moved me deeply. He was a genius. More in my next. In haste.
F. Liszt
Weimar, May 30th, 1884
342. To Baron Friedrich Podmaniczky, Intendant of the Hungarian Opera in Budapest
[From a rough copy in Liszt's own handwriting in the possession of Abranyi]
[1884]
Monsieur le Baron,
I have begged my friend M. de Mihalovich to lay before you a proposition, the fate of which depends on the committee that directs the orders for the sculptures of the new National Hungarian Theater.
In my humble opinion it would be unjust, and even ungrateful, to exclude from them the likenesses of two composers of high distinction, the late Mosonyi and Franz Doppler.
A charming Opera of Mosonyi's of elevated taste, "Szep Ilonka" ["The fair Helen": its subject, like that of his other Opera "Almos," was taken from Hungarian history], has been performed here some dozen times with success, and was then consigned to oblivion in the oubliettes of the administration. Another greater dramatic work by Mosonyi, "Almos," has remained in manuscript, although Baron Orczy, your predecessor as Intendant, had some idea of producing it.
The whole of the brave musical activity of Mosonyi at Budapest is most honorable and meritorious, as much by his teaching as by his numerous compositions of Church music, orchestral music, and piano music. Many of his Hungarian pieces remain classical, as opposed to the current wares, supposed to be of this same kind, more frequently heard (at the present time in Vienna).
Franz Doppler has left the best possible remembrance of his rare talents and qualities at Budapest, where during many years he fulfilled the duties of conductor to the theater, and shone by his virtuosity (very celebrated in Europe) as a flute player—an instrument which Frederick the Great condescended to use. Doppler's Operas "Beniowszky" and "Ilka" were favorably received; and up to the present time "Ilka" is the only Hungarian opera admitted to the repertoire of several theaters in Germany. Besides this Doppler has also written two acts of the "Elizabeth" [The opera "Elizabeth," composed by Franz Erkel and Doppler, was performed at the National Theater in 1857], by which Her Majesty the Queen of Hungary was entertained at the theater of Budapest.
I venture then, Monsieur le Baron, to recommend you to see about the desirability of placing two fine reliefs of Mosonyi and Doppler [The reliefs adorn the vestibule of the opera house.] in a suitable position in the new theater in the Radialstrasse, and beg you to accept the expression of my high esteem and sincere devotion.
F. Liszt
343. To Freiherr Hans von Wolzogen
Dear Freiherr,
My admiration remains unlimited for the sublime genius of Wagner.
What blissful creative power and influence has he not, ever active from "Tannhauser" to the "Ring des Nibelungen" and the marvellous "Parsifal."—
The Art of our century finds its foundation and glory therein.
The little that I have written in letters about Wagner is at the service of the public.
With highest esteem yours most truly,
F. Liszt
Weimar, June 18th, 1884
To our friendly meeting in Bayreuth in the middle of July.
344. To the Concert-Singer Auguste Gotze
[Daughter of Professor Franz Gotze, and—as one of the first singing mistresses of the present day—the inheritor of his school; she is also a talented singer, reciter, and dramatic poetess. She lives at Leipzig.]
Dear Friend,
In honor of you I will willingly endeavor to add the melodramatic accompaniment to Felix Dahn's poem. ["Die Mette von Marienburg" [The Matins of Marienburg] Liszt's intention remained, alas, unfulfilled.] This short work will only require a few hours but I can seldom get any free hours for working…All sorts of interruptions keep me from writing.
Hearty greetings to your charming colleague, Fraulein von
Kotzebue.
High esteem from your friendly
F. Liszt
Weimar, June 22nd, 1884.
345 To Kornel von Abranyi
Dear, excellent Friend,
The best person to make a suitable instrumentation of the "Rheinweinliedes" [Rhine-wine-song] for the Miskolcz Musical Festival will be our friend C. Huber. [Carl Huber, conductor of the Hungarian Provincial Singers' Union, died 1885.] This chorus for men's voices was written in Berlin in the year '42, and performed there several times, and afterwards in Leipzig also, about which a "querelle d'Allermand" [groundless quarrel] soon reached me in Paris.—
To bear and forbear is ever our life's task.
As I have marked on the accompanying copy, on pages 3, 5, 7, instead of D-flat, G-flat in the 2nd tenor, the C, F
[Here, Liszt illustrates with a musical score excerpt showing a cadence in B-flat]
is to remain.
The Gazette de Hongrie [Gazette of Hungary], and still more the
Budapester Tageblatt [Budapest daily paper], in which your son
Kornel is a collaborator, gave me the tidings of the election
doings in the cara patria.
Without in the least taking part in politics, yet I take that interest in them which it behoves every not uneducated man to do; and I rejoice that Kornel Abranyi, junior, is taking his seat in Parliament.
Heartily, faithfully yours,
F. Liszt
Weimar, July 1st, 1884
From the 12th July till the middle of August I shall be at
Bayreuth.
Tell Huber to do the instrumentation of the "Rheinweinlied" quite freely, according to his own will and what he thinks best, without a too careful attention to the printed piano accompaniment.
345A. To Madame Malwine Tardieu
[Autograph in possession of Constance Bache]
Dear kind Friend,
I have spoken to you several times of my excellent friend—of more than 20 years—Walter Bache. He maintains himself worthily in London as an artist of worth, intelligence, and noble character. His sister has made a remarkable translation of the "Elizabeth" into English.
Receive the Baches (who pass a day in Brussels) in a friendly manner.
Cordial devotion,
F. Liszt
Bayreuth, August 9th, 1884
Tomorrow evening I shall be back at Weimar, and shall probably go to Munich for the second series of the "Nibelungen" performances (28th August).
Please give my cordial regards to Tardieu.
346. To the Music Publisher Rahter in Hamburg
Dear Herr Rahter,
Best thanks for kindly sending me the Russian "Fantasie" by Naprawnik—a brilliantly successful concert-piece—and the Slumber Songs by Rimsky-Korsakoff, which I prize extremely; his works are among the rare, the uncommon, the exquisite.—The piano edition of his Opera "Die Mainacht" [The May Night] has either not reached me or else has got lost.—Send it me to Weimar together with a second copy of Naprawnik's Russian "Fantasie," which is necessary for performance.
Many of my young pianists will be glad to make this "Fantasie" known in drawing-rooms and concerts.—
With friendly thanks,
F. Liszt
Munich, August 28th, 1884
347. To Richard Pohl
[Printed in the Allgemeine Deutsche Musikzeitung of 24th
October,1884.]
My very dear Friend,
I have long wanted to repeat my hearty thanks to you for the faithful, noble devotion which you have always bravely and decidedly shown to the Weimar Period of Progression in the years 1849-58. The third volume of your collected writings "Hector Berlioz" affords another proof of this devotion, which is highly to be valued in contrast with the far too general wishy-washy absence of opinion.
After the unheard-of success of more than 20 performances of "The Damnation of Faust" by the concert societies of Lamoureux, Pasdeloup, Colonne, in the same season in Paris—not counting the theater, for which this work is not suitable, the French Berlioz literature is increasing. You know Hippeau's octavo book "Berlioz Intime," which is shortly to be followed by a second, "Berlioz Artiste." I wish this to profit by your work.
In reading the first volume I was painfully affected by several passages out of Berlioz's letters, in which the discord and broken-heartedness of his early years are only too apparent. He could not grasp the just idea that a genius cannot hope to exist with impunity, and that a new thing cannot at once expect to please the ancient order of things.
For the rest, there lies in his complaints against the Parisian "gredins et cretins" [fools and scoundrels], whom he might also find in other places, a large share of injustice. In spite of his exaggerated leniency in favor of a foreign country, the fact remains that up to the present time no European composer has received such distinctions from his own country as Berlioz did from France. Compare the position of Beethoven, Weber, Schubert, Schumann, with that of Berlioz. In the case of Beethoven the Archduke Rudolf alone bespoke the "Missa solemnis." The profit from his rarely given concerts was small, and at the last he turned to the London Philharmonic Society for support.
Weber acted as Court conductor in Dresden, and wrote his Oberon at the invitation of London.
Schubert's marvellous productiveness was badly paid by the publishers; other favorable conditions had he none.
Schumann's biography testifies no patriotic enthusiasm for his works during his lifetime. His position as musical conductor at Dusseldorf was by no means a brilliant one…
It was otherwise with Mendelssohn, who had private means, and who, by his delicate and just eclecticism, clinging to Bach, Handel, and even Beethoven, obtained continual success in England and Germany. King William IV. called him to Berlin at the same time with Cornelius, [This means the painter Cornelius.—Trans.] Kaulbach, Schelling, and Meyerbeer, which he did not enjoy any better than Leipzig.
I make no further mention of Meyerbeer here, because he owes his universal success chiefly to Paris. It was there that all his Operas, from "Robert" and "The Huguenots" to his posthumous "L'Africaine," were first performed—with the exception of "Das Feldlager in Schlesien" [The Camp in Silesia], which also sparkled later in Paris as "L'etoile du Nord."
Now let us see how things went with Berlioz in his native land.
Like Victor Hugo, he was, after three times becoming a candidate, elected a member of the "Institute of France,"—similarly (without any candidature) to be librarian of the Conservatoire; he was also a collaborator of the highly esteemed "Journal des Debats" and officer of the Legion of Honor.
Where do we find in Germany similar proofs of distinction? Why, therefore, the bitter insults of Berlioz against the Paris "gredins" and "cretins"? Unfortunately it certainly never brought Berlioz an out-and-out theatrical success, although his nature leaned that way.
I send you herewith Reyer's feuilleton (Journal des Debats, 14th
September) regarding the latest brochure by Ernst "upon Berlioz."
With hearty thanks, yours most truly,
F. Liszt
Weimar, September 12th, 1884
348. To Sophie Menter
My dear Friend,
My few days' stay at your fairy-like castle Itter [In Tyrol.] will remain a magic memory.
When you have signed the Petersburg Conservatorium contract let me know. You know, indeed, that I very much approve of this turn and fixing of your brilliant artistic career. It requires no excessive obligations, and will be an advantage to you.
Friendly greetings to the New School from your faithful admirer and friend,
F. Liszt
Weimar, September 13th, 1884
I am here till the end of October. Later on I shall visit my friends Geza Zichy and Sandor Teleky in Hungary.
349. To Baron Friedrich Podmaniczky, Intendant of the Royal Hungarian Opera in Budapest
[Printed in the Pester Lloyd (evening paper of 27th September, 1884).—Liszt having sent Podmaniczky a Royal Hymn for the opening of the New Hungarian Opera House instead of a Festal Prelude, which the latter had requested, Podmaniczky wrote to the Master on the 17th September, 1884, that the motive of the hymn having been borrowed from a revolutionary song would prove an "unsurmountable obstacle" to its performance. The letter was also signed by Alexander Erkel as conductor. Whereupon Liszt wrote the above reply.]
Dear, Hochgeborener [Many of these titles have been left in their original language, being unused in England, and having no equivalent with us.—Trans.] Herr Baron,
To your letter dated the 17th of this month I have the honor of replying as follows: that the song "Hahj, Rakoczy, Bercsenyi" was not unknown to me is shown by the piano edition of my "Hungarian royal hymn" published by Taborsky and Parsch, on the title-page of which stand the words "After an old Hungarian air." I learned to know this song from Stefan Bartolus's Anthology, and it took hold of me with its decided, and expressive and artless character; I at once provided it with a finale of victory, and without troubling my head further about its former revolutionary words I begged Kornel Abranyi, jun., for a new, loyal text with the refrain "Eljen a kiraly," so that my "Royal hymn" might attain its due expression both in words and music.
Transformations are nothing rare in Art any more than in life. From countless heathen temples Catholic churches were formed. In the classic epoch of Church music—in the 16th century—many secular melodies were accepted amongst devotional songs, and in later times the Catholic antiphones were heard as Protestant Chorales. And this went yet further, not excepting Opera, in which Meyerbeer utilised the Chorale "Eine feste Burg" for a stage effect, and in "L'Etoile du Nord" consecrated the "Dessauer Marsch" into the Russian National hymn. A revolutionary tendency is commonly ascribed to the universally known and favorite "Rakoczy March," and its performance has been more than once forbidden.
Music remains ever music, without superfluous and injurious significations. For the rest, God forbid that I should anywhere push forward either myself or my humble compositions. I leave it entirely to your judgment, hochgeborener Herr Baron, to decide whether my "Royal hymn" shall be performed in the new Hungarian Opera House or not. The score, as also the many orchestral and vocal parts, are to be had at the publishers, Taborsky and Parsch.
I beg you, Sir, to accept the expression of my high esteem.
F. Liszt
Weimar, September 21st, 1884
[To this Alex. Erkel made the proposal that Liszt's "Konigslied" ("Royal Song"), instead of being performed at the opening of the new theater on the 27th September, should be given at an "Extra Opera performance." The Master consented, but did not appear at this first performance of his work, which took place on the 25th March, 1885, and met with tremendous applause.]
350. To Walter Bache
[This letter is published, as a Preface, in the English edition of Liszt's "St. Elizabeth.">[
Very honored Friend,
For some twenty years past you have been employing your beautiful talent as a pianist, your care as a professor and as a conductor to make my works known and to spread them in England. The task seemed an ungrateful one, and its want of success menacing, but you are doing it nobly, with the most honorable and firm conviction of an artist. I renew my grateful thanks to you on the occasion of the present edition of the "Legend of St. Elizabeth," published by the well-accredited house of Novello. [The translator of the English edition (Constance Bache) has also translated many of Liszt's songs into English.]
This work, which was performed for the first time in 1865 at Budapest, has been reproduced successively in several countries and languages. Let us hope that it will also meet with some sympathy in England.
Your much attached
F. Liszt
Weimar, October 18th, 1884
351. To the Composer Mili Balakireff, Conductor of the Imperial Court Choir in St. Petersburg
Very honored, dear Confrere,
My admiring sympathy for your works is well known. When my young disciples want to please me they play me your compositions and those of your valiant friends. In this intrepid Russian musical phalanx I welcome from my heart masters endowed with a rare vital energy; they suffer in no wise from poverty of ideas—a malady which is widespread in many countries. More and more will their merits be recognised, and their names renowned. I accept with gratitude the honor of the dedication [to me] of your Symphonic Poem "Thamar," which I hope to hear next summer with a large orchestra. When the 4-hand edition comes out you will greatly oblige me by sending me a copy. From the middle of January until Easter I shall be at Budapest.
Please accept, dear confrere, the expression of my high esteem and cordial attachment.
F. Liszt
Weimar, October 2lst, 1884
352. To Countess Louise de Mercy-Argenteau
[Known through her zealous propaganda, in Belgium and France, of the music of the New Russian School. After the death of her husband (1888), Chamberlain of Napoleon III., she left her native land of Belgium and removed to St. Petersburg, where she died in November 1890.]
October 24th, 1884
Certainly, my very dear and kind friend, you have a hundredfold right to appreciate and to relish the present musical Russia. Rimski-Korsakoff, Cui, Borodine, Balakireff, are masters of striking originality and worth. Their works make up to me for the ennui caused to me by other works more widely spread and more talked about, works of which I should have some difficulty in saying what Leonard once wrote to you from Amsterdam after a song of Schumann's: "What soul, and also what success!" Rarely is success in a hurry to accompany soul. In Russia the new composers, in spite of their remarkable talent and knowledge, have had as yet but a limited success.—The high people of the Court wait for them to succeed elsewhere before they applaud them at Petersburg. A propos of this, I recollect a striking remark which the late Grand Duke Michael made to me in '43: "When I have to put my officers under arrest, I send them to the performances of Glinka's operas." Manners are softening, and Messrs. Rimski, Cui, Borodine, have themselves attained to the grade of colonel.
At the annual concerts of the German and Universal Musical Association (Allgemeiner Deutscher Musik-Verein) they have, for many years past, always given some work of a Russian composer, at my suggestion. Little by little a public will be formed. Next year our Festival will take place in June at Carlsruhe. St. Saens is coming; why not you, too, dear friend? You would also hear something Russian there.
When you write to St. Saens, please tell him of my admiring and very constant friendship. By the work of translation which you have bravely undertaken, I think that you are doing wisely and skilfully in freeing yourself from the bondage of rhyme, and in keeping to rhythmic prose. The important point is to maintain the lyric or dramatic accent, and to avoid the "desastreuses salades de syllabes longues et breves, des temps forts et faibles" [disastrous mess of long and short syllables, and of the strong and weak time]. The point is to make good prose without any other scruples whatever. It is said that M. Lamoureux is admitting the "Steppes" by Borodine into one of his programmes. We shall see what sort of a reception it will have. For the rest, I doubt Lamoureux's venturing so soon on the Russian propaganda. He has too much to do with Berlioz and Wagner.
Do not let yourself be disconcerted either by the "ineffable" carelessness, or by the square battalions of objections such as these: "It is confusion worse confounded; it is Abracadabra" [Senseless jabber.]—etc.
Without politeness or ceremony I tell you in perfect sincerity that your instinct did not lead you astray the day when this music so forcibly charmed you. Continue, then, your work with the firm conviction of being in the right path.
Above all I beg that you will not falsely imagine that I am taking hold of the thing wrong end foremost. When you knock I shall not merely say, Enter, but I myself will go before you. To return to Paris and show myself off there as a young composer or to continue the business of an old pianist in the salons does not attract me in the least. I have other things to do elsewhere.
Faithful homage.
F. Liszt
P.S.—I do not know what date to put to these lines. I wrote the first page on the receipt of your bewitching letter. I meant to reply to it in full, but all sorts of pressing obligations and botherations intervened…I have also been to the inauguration of the statue of Bach at Eisenach, illustrated by three concerts, composed exclusively of numerous works of Bach's (the Mass in B minor first and foremost); then I was present at a more curious concert at Leipzig: on my return I had a severe attack of illness, which prevented me for several days from writing. In short, this letter ought to have reached you three weeks ago. Tomorrow, 25th October, I leave Weimar, and shall not return here till after Easter. If you condescend to continue writing to me, please address to Budapest (Hungary) till the end of November. A prompt answer shall follow.
F. Liszt
353. To Madame Malwine Tardieu
Budapest, December 7th, 1884
Dear Kind Friend,
Really and truly when it sometimes happens that I obtain success
I rejoice less over that than over the success of my friends.
Thank you for the pleasant tidings of the brilliant success of
Ossiana [Madame Marie Jaell, the well-known artiste, a friend of
Liszt's.] at Godard's concert. .—.
You do not tell me where the little notice appeared (with my name at the heading) which you were so good as to send me. [In the Gaulois, from the pen of Fourcaud, and, later, in the Album of the Gaulois, to which the most celebrated tone-poets had contributed a piece of music as yet unpublished.] One of my works is mentioned in it with the greatest eulogy—the Gran Mass—which was so unhappily performed at Paris in '66, and more unhappily criticised then…The mistake I made was not to have forbidden a performance given under such deplorable conditions. A philanthropic reason, which is valueless in matters of Art, kept me from doing so. I did not wish to deprive the fund for the poor of the assured receipts of more than 40,000 francs. Pardon me for recalling this vexatious affair, which makes me all the more sensible of the flattering attention which the same work is receiving.
To my great regret the performances of Henry VIII. by our very valiant friend St. Saens, which were to have taken place at Weimar and Budapest, are put off. Mediocrity, as Balzac said, governs even theaters. Anyhow its power must sometimes be intermittent. Please say many cordial things to your husband from your much attached
F. Liszt
On Wednesday I shall be in Rome, and back here towards the middle of January.
354. To Freiherr Hans Von Wolzogen
Dear Freiherr,
Hearty thanks for your kind letter. To include me in your noble, zealous, high-minded efforts in matters for the glorification of Wagner and according to the wishes of his widow, is to me ever a duty and an honor.
Faithfully yours,
F. Liszt
Rome, December 18th, 1884
355. To Camille Saint-Saens
[End of 1884 or beginning of 1885.]
Very Dear Friend and Companion in Arms,
Your sympathy for the "Salve, Polonia" [Orchestral Interlude from the unfinished Oratorio Stanislaus. It was given at the Tonkunstler-Versammlung in Weimar in 1884, at which Saint-Saens was present.] makes me quite happy. Still writing music, as I am, I sometimes ask myself at such and such a passage, "Would that please St. Saens?" The affirmative encourages me to go on, in spite of the fatigue of age and other wearinesses.
If you do me the honor of playing one of my compositions at the Carlsruhe Festival please choose which it shall be: perhaps the Danse macabre [Dance of Death] with orchestra; or—which I think would be better, for the public would rather hear you alone—the Predication aux oiseaux [St. Francis preaching to the birds, followed by Scherzo and March. [Saint-Saens did not go to Carlsruhe.]
Cordial wishes for the year '85, and ever your admiringly attached
F. Liszt
Give my best remembrances from Budapest to Delibes.
356. To Countess Mercy-Argenteau
What wonders you have just accomplished with your Russian concert at Liege, dear admirable one! From the material point of view the Deaf and Dumb and Blind Institutions have benefited by it; artistically, other deaf and dumb have heard and spoken; the blind have seen, and, on beholding you, were enraptured.
I shall assuredly not cease from my propaganda of the remarkable compositions of the New Russian School, which I esteem and appreciate with lively sympathy. For 6 or 7 years past, at the Grand Annual Concerts of the Musical Association ("Allgemeiner Deutscher Musik-Verein"), over which I have the honor of presiding, the orchestral works of Rimsky-Korsakoff and Borodine have figured on the programmes. Their success is making a crescendo, in spite of the sort of contumacy that is established against Russian music. It is not in the least any desire of being peculiar that leads me to spread it, but a simple feeling of justice, based on my conviction of the real worth of these works of high lineage. I do not know which ones Hans von Bulow, the Achilles of propagandists, chose for the Russian concert he gave lately with the Meiningen orchestra, of an unheard-of discipline and perfection.
I hope Bulow will continue concerts of the same quality in various towns of Germany.
The best among my disciples, brilliant virtuosi, play the most difficult piano compositions of Balakireff, etc., superbly. I shall recommend to them Cui's Suite (piano and violoncello).
Considering the rarity of singers gifted at once with voice, intelligence and good taste for things not hackneyed,—there is some delay in regard to the vocal compositions of Cui, Borodine, etc. Nevertheless the right time for their production will come, and for making them succeed and be appreciated. In France your translation of the words will be a great help, and in Germany we must be provided with a suitable translation.
A portion of the articles which you kindly sent me upon your concert at Liege shallbe inserted in the Neue Zeitschrift fur Musik. I shall endeavor to find another paper also, although my relations with the Press are by no means intimate.
Rahter, the musical editor at Hamburg, and representative of Jurgenson in Moscow, will offer you in homage three of my Russian transcriptions,—Tschaikowsky's "Polonaise"; Dargomijsky's "Tarentelle" with the continuous pedal bass of A, A; and a "Romance" of Count Michel Wielhorsky. Let us add to these the "Marche tscherkesse" of Glinka, and, above all, the prodigious kaleidoscope of variations and paraphrases on the fixed theme
[Here, Liszt illustrates with a musical score excerpt]
It is the most seriously entertaining thing I know; it gives us a practical manual, par excellence, of all musical knowledge; treatises on harmony and composition are summed up and blended in it in some thirty pages, which teach the subject very fully— above and beyond the usual instruction.
My very amiable hosts at Antwerp, the Lynens, have invited me to return there this summer at the time of the Exhibition, of which M. Lynen is the president. I am tempted to do so after the Carlsruhe Festival, as I keep a charming remembrance of the kindness that was shown to me in Brussels and Antwerp.
In about ten days I return to Budapest, whence you shall receive a photograph of the old, sorry face of your constant admirer and devoted servant,
F. Liszt
Rome, January 20th, 1885
A pertinacious editor keeps asking me for my transcription of Gounod's "Ste. Cecile." If amongst your old papers you should find the manuscript of it, will you lend it me for a fortnight, so that it may be copied, printed, and then restored to its very gracious owner?
February and March my address—Budapest, Hungary.
357. To Camille Saint-Saens.
Very honored, dear Friend,
In order not to become too monotonous I won't thank you any more. Nevertheless your transcription of my Orpheus for Piano, Violin and Violoncello charms me, and I beg that you will send it either to Hartel direct, so that he may publish it at once, or else to yours very gratefully, so that I may remit it to him, after having had the pleasure of reading and hearing it at Budapest, whither, by next Thursday, will have returned
Your much-attached fellow-disciple,
F. Liszt.
Florence, Tuesday, January 27th, 1885.
Goodbye till we meet in May at Carlsruhe.
358. To Madame Malwine Tardieu.
I am writing to the director of our "Musik-Verein" to write to you, dear friend. You will tell Mademoiselle Kufferath, better than any one else can, how agreeable it will be to everybody, and to myself in particular, if she takes part in the concerts at Carlsruhe—in the last days of May. [This did not come to anything. Saint-Saens' "Deluge," in which she was to have sung, was not performed at Carlsruhe, and meanwhile Fraulein Kufferath married and gave up her artistic career.]
Our "Musak-Verein" has not the advantage of material wealth; nevertheless we have existed bravely for 25 years without getting into debt, and faithfully put in practice our principal rule, which is to perform every year in different towns the valid works of contemporary composers of any country whatsoever (exclusive of works for the theater, with the exception of occasional vocal numbers). This rule, which is difficult to maintain, considering the expenses and the difficult preparations, distinguishes us from other musical societies and gives us the character of pioneers of progress. We have not been behindhand with the group of composers of young Musical Russia, Rimsky-Korsakoff, Borodine, Cui, etc., for we have been giving their works for four years past.
The very gracious Countess of Mercy-Argenteau has been making them known lately at Liege, with a brilliant success, quite justified by the qualities of the works and the charm of the patroness.
Will you, dear friend, be so kind as to express my acknowledgments to Mr. de Fourcaud, [Musical and Art Correspondent of the Paris Gaulois, with outspoken Wagner tendencies and opinions.] and accept the expression of my cordial affection?
F. Liszt.
Budapest, April 6th, 1885.
In a few days I shall be back at Weimar.
359. To Lina Ramann.
[Weimar] April 27th, 1885.
I am sending you at once, my very dear friend, the volumes of scores which I have by me in Weimar. [Works of Palestrina's.] The celebrated Missa Papoe Marcelli is not amongst them, but can easily be found; the last edition of it by Amelli, Milan, the editor-in-chief of the Church-Music paper there. I got him to add a few indications of expression because, according to my opinion, without such indications any further editions of Palestrina and Lassus—the two great Cardinals of old Catholic Church-music— would serve only for reading, and not for actual performances. Of course no one can fix with absolute certainty the figures to the basses of Palestrina and Lassus; yet there are determining points from which one can steer.
The best model of all is and will continue to be—Wagner's arrangement of Palestrina's "Stabat Mater"—with marks of expression and plan of the division of the voices into semi- chorus, solos, and complete chorus.
Wagner made this model arrangement at the time when he was conductor in Dresden. It appeared 15 years later, published by Kahnt. It is to be hoped that people will gradually regulate themselves by this with judgment—and time.
Faithfully yours,
F. Liszt
360. To Camille Saint-Saens
Thank you cordially, my very dear friend, for the concession you are willing to make to me.
The Society of Musicians, in which I have taken part for 25 years, holds to the principle of producing the works of living Symphonic composers of all countries. I claim then your superior and continued share in it, and remain your admiring and attached friend,
F. Liszt
Weimar, May 8th, 1885
361. To Alexander Siloti
[Well known as one of the most gifted pupils of Liszt, and one of the first pianists of the present day. Born 1863, and lives now in Paris]
In Weimar it is wisest to keep oneself negative and passive.
Therefore, dear Siloti, attempt no "Liszt-Verein."
[In consequence of the above letter the Liszt-Verein (Liszt
Society) was not founded in Weimar, as Siloti intended, but in
Leipzig in 1885, where it has flourished brilliantly under the
direction of Professor Martin Krause.]
With thanks, yours truly,
F. Liszt
May, 1885
362. To the Composer J.P. von Kiraly in Eisenstadt
[From a copy by Director Aug. Gollerich in Nuremberg.]
Dear Friend,
Ninety years ago my father was preparing for his duties as book- keeper to Prince Nikolaus Esterhazy in Eisenstadt. At that time he often took part, as an amateur, among the violoncellos in the Prince's frequent Court concerts, under the conductorship of the happy great master Josef Haydn. My father often told me about his intercourse with Haydn, and the daily parties he made up with him. In 1848 I visited the dear, affectionate Father Albach at the Franciscan monastery of Eisenstadt, and dedicated to him my Mass for men's voices, which will be brilliantly performed here very shortly. May the simple, artless genius of Haydn ever rule over the Eisenstadt Kindergarten conducted by your daughter.
"Joke and earnest!" Bravo, friend! The work honors the master who knows so well the Muses. In Oedenburg and Eisenstadt surely every one will subscribe. At the beginning of July I shall send you a small contribution for the Kindergarten. Perhaps later on I shall be able to do more; unfortunately I am anything but well off, and must content myself with a small amount.
F. Liszt
Antwerp, June 5th, 1885
363. To Ferdinand Taborszky, Music Publisher in Budapest
Antwerp, June 8th, 1885
Very dear Friend,
From Weimar, where I shall once more be in ten days' time, you will receive at the beginning of July some short Hungarian pianoforte pieces, which I shall orchestrate later on, entitled:
To the memory of
Stephan | Szechenyi
Franz | Deak
Josef | Eotvos
———————————-
Ladislas | Telek
Michael | Vorosmarti
Alexander | Petofi
The last piece has already been published by Taborszky, but must have a few more concluding bars in the new edition.
"Mosonyi's Trauerklange" (Mosonyi's funeral music), which you have already had by you for fifteen years, shall make No. 7. Our friend Mosonyi, so excellent and full of character, and so pre- eminent a musician, must also not be forgotten.
The seven numbers make altogether sixty pages of print. All the new pieces are perfectly ready, written out in manuscript, only requiring a copyist, whom I cannot find while I am on my journey. [Liszt's intention to orchestrate the pieces remained unfulfilled.]
When I send you the manuscripts I will write all further particulars with regard to the publishing of them.
First of all, dear friend, will you be so kind as to go to my house with Frau von Fabry? I stupidly forgot there—in the bedroom, not in the salon—the beautiful and revised copy of a composition for piano and violin or violoncello, together with the transcription of the same for pianoforte alone. The title is "La lugubre Gondola" (the funeral gondola). As though it were a presentiment, I wrote this elegie in Venice six weeks before Wagner's death.
Now I should like it to be brought out by Fritzsch (Leipzig),
Wagner's publisher, as soon as I receive it from you in Weimar.
[Published by Frizsch] Hearty greetings to your family.
Ever faithfully yours,
F. Liszt
364. To Alfred Reisenauer
Dear Friend and Art-Comrade,
I beg you to send me here, in manuscript, your capital orchestration of the 3rd Mephisto-waltz. Don't take the trouble to alter anything in this manuscript or to write anything new; send it me just as I have seen it. When it has been copied the printed edition will follow, with the name of Reisenauer attached to it.
In all friendship,
F. Liszt
Weimar, September 1st, 1885
365. To the Editor of the "Allgemeine Musikzeitung," Otto Lessmann, in Charlottenburg
[Was published in the Allgemeine Musikzeitung of September 1885]
Dear Mr. Editor,
With regret, and a firm conviction, I repeat to you in writing that Theodor Kullak's forgetfulness ought to be made good by his heirs. Otherwise it would be severely denounced as unfaithfulness to his position as an artist. A fortune of several millions gained by music-teaching ought not to remain buried without any regard to music students. Unless the heirs prefer to found a Kullak-Scholarship, I consider that they are in duty bound to endow the four existing musical scholarships—those in the names of Mozart, Mendelssohn, Meyerbeer, Beethoven—with 30,000 marks each: total 120,000 marks.
With well-known opinions, mindful of the artist's standing, I am yours truly,
F. Liszt
Weimar, September 5th, 1885
366. To Casar Cui
Very honored Friend,
The very gracious propagandist, the Countess of Mercy-Argenteau, has already received a transcription of your brilliant "Tarentelle." I will send a second copy of it to Bessel (Petersburg), and shall ask him to give it to you, trusting that you will not disapprove of the few liberties and amplifications that I have ventured to make in order to adapt this piece to the programmes of virtuosi pianists.
Sincere feelings of esteem and attachment.
F. Liszt
Munich, October 18th, 1885
367. To Countess Mercy-Argenteau
Dear admirable Propagandist,
It is your habit to write the most charming letters in the world. Before receiving your last I had sent you from Weimar my transcription of Cui's "Tarentelle." If you will condescend to illustrate it with your fingers it will receive its full meed of light.
I am sure you will be so kind as to send my note to Cui, who, I hope, will not be vexed with the varying readings and amplifications I have ventured to make, with a view of bringing the pianist still more forward. In this kind of transcription some sort of distinction is wanted.
Tomorrow evening I shall be in Rome,—Hotel Alibert. Please send me word there of your safe receipt of the manuscript.
Constant homage, admiring and sincere.
F. Liszt
Innsbruck, October 24th, 1885
368. To Eduard Reuss in Carlsruhe [Pianist, pupil of Liszt's.]
My dear Friend,
Thanks and praise for your capital orchestral arrangement of the "Concerto pathetique." It appears to me effective, well- proportioned, and done with a refined and due understanding of it. I had but little to alter in it; but some additions to the original are desirable, in order to allow full scope to the piano virtuoso. ["This 'Concerto Pathetique' seems to me a murderous piece, with which first-rate virtuosi can make an effect," writes Liszt, on the 10th November, to Reuss.] Hence, in different places, there are altogether somewhere about fifty to sixty bars which I add to your manuscript. The beginning is also to be ten bars sooner, and the ending to conclude with twenty-two bars more.
I hear an orchestration of the same "Concerto pathetique" spoken of, as having been produced in Moscow. I do not know it myself, and after yours there is no use in it. I received in Weimar, almost simultaneously with yours, a letter from Joseffy in New York, begging me to instrumentate the piece. I shall answer him very soon that your score is already completed, and that he is to apply to my friend Eduard Reuss if he is disposed to perform the "Concerto" with orchestra in America. [Joseffy played the "Concerto Pathetique" in this form from a copy, in the spring of 1886, in New York.]
Enclosed is my recommendation to Hartel with regard to the publishing. Send it together with your manuscript, of which it is not necessary to make a copy—only my scribbling of the additions must be copied out clean and clearly on an extra sheet.—
Probably Hartels will not show themselves disobliging. If they undertake the publication I should still like to read through the last proof-sheets.
The most charming recollection remains to me of Carlsruhe.
[Namely, of the "Tonkunstler-Versammlung" of the "Allgemeine
Deutsche Musikverein," from the 27th May to the 1st June, 1885.]
The Grand Duke was so gracious and truly kind!—
Assure your wife of my sincere attachment.
Faithfully yours,
F. Liszt
Hotel Alibert, Rome, November 4th, 1885
369. To Breitkopf and Hartel
[This is Liszt's last autograph letter to the Firm; a later one on the same subject (on the 16th June, 1886) is only signed by him]
My dear Sirs,
Although your shop is already saddled with two editions of my "Concerto pathetique," I recommend you most particularly the excellent orchestral arrangement of the same piece, [By Eduard Reuss. It was published by Breitkopf and Hartel.] to which I have added some bars for more completion, which should also be included in the possible (?) later piano editions.
The poet and the writer often make alterations. With the engraving of music this is more difficult, though not entirely to be put aside.
With esteem,
F. Liszt
Rome, November, 1885
370. To Walter Bache
My very dear Friend,
Certainly your invitation takes precedence of all others. So choose the day that suits yourself and I will appear. Without Walter Bache and his long years of self-sacrificing efforts in the propaganda of my works my visit to London were indeed not to be thought of.
Do you know your namesake (without the final E), Herr Emil Bach, Prussian Court-pianist? I enclose herewith a second letter, which I have answered, as I did the first, that I must not be the occasion of expense and inconvenience to any one. Orchestral concerts are expensive everywhere, especially in London. Consequently I cannot encourage Emil Bach's project, and can only dissuade him from putting it into execution. Send me word about this.
Gratefully and faithfully yours,
F. Liszt
Rome, Hotel Alibert, November 17th, 1885
Mr. Stavenhagen, [Now one of the most celebrated pianists] a pianist and musician of real talent, wants to come out in London, and is writing to you on this subject.
370a. To Walter Bache
My very dear Friend,
It is fixed then: Thursday, 8th April, Ricevimento [Reception] at
Walter Bache's house. Enclosed is the letter of the Philharmonic
Society, together with the rough copy of my reply which I send
off today. Please observe the postscript:
"If, in the concert at which one of my Symphonic Poems will be performed, Mr. Walter Bache would play some Pianoforte composition of mine, that would give me great pleasure. I permit myself to give this simple hint without the slightest desire of influencing your programme, which it is for you to fix."—
I am quite of your opinion, dear friend. The accented poaht of my coming to London is to be present at the "Elizabeth" performance. It was this that decided my coming, and it is to be hoped it will be a success. [It was given on the 6th April, 1886, under the conductorship of Mackenzie. Bache had already given it in London in 1876.]
I have answered Emil Bach's first and second letters to the effect that I should not wish to involve any one in expense, and that consequently I must dissuade him from giving an orchestral Liszt concert. Beg Littleton personally to make my wish quite clear to Herr Emil Bach, that his proposed concert should not be given. .—.
Faithfully yours,
F. Liszt
November 26th, 1885
I have just received a second letter from the "Philharmonic Society."—To my answer to the first (sent yesterday) I have nothing to add.
370b. To the Philharmonic Society
Very honored Directors,
Much flattered with your kind intention to admit one of my
"Poemes Symphoniques" on to the programme of the Philharmonic
Society, during my stay in London, I beg you to accept my sincere
thanks.
Will you please choose, according to your own pleasure, the work which suits you best, and also ask your "conductor," Sir Arthur Sullivan, from me, to direct it?
For twenty years past I have been quite outside of any work as orchestral conductor and pianist.
Distinguished consideration and loyal devotion.
F. Liszt
Rome, November 26th, 1885
P.S.—If, in the concert at which one of my Symphonic Poems will be performed, Mr. Walter Bache would [etc., see quotation in previous letter].
371. To Countess Mercy-Argenteau
Dear admirable Propagandist,
Herewith is a different rendering of the shake, with an indication to the left hand of the motive which is then taken up again in full. This new shake is a little awkward to do, but not too troublesome. Will you be so kind as to send it to Cui, and beg him to be my emissary to the editor of the original of Cui's brilliant "Tarantelle," for the publication of the transcription? To my regret the smallness of my income obliges me to leave no stone unturned to make money out of my transcriptions, [La modicite de man revenu m'oblige a faire fleche, non pas de tout bois, mais de fagots de mes transcriptions. The literal translation is, "Obliges me to utilise, not the wood, but the faggots of my transcriptions," the point of the sentence turning upon the French idiom "faire fleche de tout bois," which in English is rendered by a totally different idiom.—Trans.] for which I am now paid in Germany, Russia, France, at the rate of from twelve to 1500 marks apiece, for the copyright in all countries.
Observe that I choose works to be transcribed, and refuse myself to any other demands. This year, for instance, I have confined myself to the volume that you condescend to accept—and that you will, I hope, bring to the light by the diamonds and pearls of your fingers.
Mr. Bessel therefore only has either to send me 1200 marks in payment, or else to return me the manuscript without being ashamed.
Most humble and constant homage.
F. Liszt
Rome, November 21st, 1885
When you have sent me word of the result of the negotiation with
Bessel, I will write my thanks and acknowledgments to Cui.
N.B.—The new shape should be printed as an Ossia, above the old one.
372. To Camille Saint-Saens
Very honored Confrere and very dear Friend,
I shall certainly be in London the first week in April. With regard to my visit to Paris I am still very undecided, as I do not wish to expose myself to discomfiture like that which I had to go through in '66. [Liszt's scruples were removed; as is well known, he went to Paris, and found himself indescribably feted there. The triumphs of his youth were repeated once more in the evening of his life.]
Everywhere and always I shall be happy and proud of your collaboration, and remain your sincere admirer and devoted friend,
F. Liszt
Rome (Hotel Alibert), November 28th, 1885
I shall remain here till the middle of January. This summer Mme. Montigny [Mme. Montigny-Remaury, an excellent pianist; retired into private life on her second marriage in Vienna] spoke to me of her marriage, which has now taken place. M. de Serres gave me the impression of an honest man who adores his wife. I have no news of the newly married couple.
There is nothing more witty than your remark on the perpetual youth of composers in Paris. In your company, dear friend, I would gladly be of the party, in spite of my seventy-four years.
373. To Eugen d'Albert
[The most important and many-sided of the younger pupils of
Liszt]
Admired, Dear "Albertus Magnus,"
Thank you for the dedication of your worthy, noble, effective Concerto, which I have again read through with special pleasure, and heard played by Stavenhagen.
Is no edition of it for two pianofortes come out? I think such editions are desirable—almost indispensable. They are also much used now.
Congratulating you on your happiness in becoming a father, with best regards to your wife,
Yours most truly,
F. Liszt
Rome, December 26th, 1885
370. To Sophie Menter
Kind Diplomatist and Very Dear Friend,
I am writing my most humble thanks to the Grand Duke Constantine for his gracious invitation, together with the very kindly intentioned consideration of my age and failing eyesight—and especially my unfitness for pianoforte playing and orchestral conducting. This deters me from making any pretensions to a fee; but you know, dear friend, that my small income would not be sufficient to pay for lodging and a carriage in Petersburg. From the 1st to the 12th April I am detained in London. If it is not too late then, to Petersburg comes
Yours ever most faithfully,
F. Liszt
Rome, December 30th, 1885
In the middle of January I return to Budapest. Friendly greetings to the New School, whom I will beg to assist me as a veritable privy council in Petersburg. From the next letter of the Grand Duke Constantine I await the decision whether my journey to Petersburg in the middle of April is accepted or not.
375. To Eduard Reuss
My Dear Friend,
Still some slight alterations and amplifications in the "Concerto pathetique."
The drum rhythm
[Here, Liszt illustrates with a 2-bar musical score excerpt]
appears to me too risky; if the drummer comes down plump on it he will spoil the whole piece. Let's therefore put
[Here, Liszt illustrates with 3-bar musical score excerpt]
This rhythm will serve us twice as a transition,—and at the end.
Before the end of this month I shall be in Budapest, and at the beginning of April in London, for the "Elizabeth" performance (St. James's Hall) under Mackenzie's conducting.
Faithfully yours,
F. Liszt
Rome, January 10th, 1886
376. To Walter Bache
My Very Dear Friend,
They seem determined in London to push me to the Piano.
I cannot consent to this in public, as my seventy-five-year-old fingers are no longer suited to it, and Bulow, Saint-Satins, Rubinstein, and you, dear Bache, play my compositions much better than what is left of my humble self.
Perhaps it would be opportune if friend Hueffer would have the kindness to let the public know, by a short announcement, that Liszt only ventures to appear as a grateful visitor, and neither in London nor anywhere else as a man with an interest in his fingers.
In all friendship yours,
F. Liszt
Budapest, February 11th, 1886
77. To the Countess Mercy-Argeneau
Very Admirable and Admired One [Tres admirable et admiree],
Your most amiable letter did not reach me without some delay, for
I took about ten days to make the journey from Rome to Budapest.
Madame Falk writes to me also of the concert at Liege, but I fear I shall only have excuses to offer. On the 20th March I shall be in Paris, where the "Gran Mass," too much criticised, and even hissed by some low fellows (at the Pasdeloup concert in '66), is to make its reappearance at St. Eustache on the 25th March. This time M. Colonne will conduct it, and I am assured that it will be better understood now…
Invariable homage,
F. Liszt
Budapest, February 17th, 1886
Very affectionate thanks for the invitation of Argenteau. Whether I can avail myself of it must remain in abeyance for your very humble servant, old and enfeebled.
378. To Sophie Menter
Dear and Respected Diplomatist,
Eight days before the 19th April (Russian style) I will be in Petersburg. I entreat you to make as little ceremony as possible for my humble self. The two programmes appear to me all right; I will tell you when I get to Petersburg what my small part in them will be. On the 19th April, then, "Elizabeth;" on the 23rd a concert.—Tell the Committee to address their invitation to me, for the two performances, to "Novello and Co., Music Publishers, 1, Berners Street, London." From the 1st to the 12th April I am Novello's guest. How does it stand with regard to my lodging in Petersburg, for which my inadequate means will not suffice?—From you, dear friend, I shall expect to hear something definite in London.—However honorable for me were the invitation to Warsaw I could not comply with it now. My return to Weimar is requisite before the end of May, on account of the Tonkunstler-Versammlung at Sondershausen.
Heartily and truly yours,
F. Liszt
Argenteau [Liege], March 18th, 1886
Enclosed are some lines and the photographs that friend Zet wished for.—To write anything further under the photographs for the use of the newspaper I consider quite superfluous. Excess does not suit me at all.—
379. To the Countess Mercy-Argenteau
Westwood House, Syndenham (Near London, Where Everything is
Distant).
Wednesday, April 14th, 1886
Very Dear President and Brave Russophile Propagandist,
The second performance of the "Elizabeth," which is fixed for next Saturday, at the Crystal Palace, detains me here some days longer than I had anticipated.
From Tuesday next till Easter Tuesday I have asked for the kind hospitality of the Lynens (at Antwerp).
There is still some talk of the "Elizabeth" at the Trocadero on the 30th April. If you were not to be there it would be an affront to your very humble and admiring old servant,
F. Liszt
This time I shall stay at the Munkacsys' (Avenue Villiers, 53).
(In great haste.)
359. To Alexander Ritter in Meiningen
Antwerp, April 20th, 1886
My Very Dear Friend,
Heartfelt thanks for the dedication. Your "fauler Hans" [Ritter's
Opera, "Der faule Hans"—"Lazy Hans">[ has nothing lazy in it.
With its graceful, refined wit it is excellent company for our
dear "Barber of Bagdad," which I shall shortly recommend Baron
Loen (Weimar) to take up again in conjunction with the "fauler
Hans."
Faithfully,
F. Liszt
In the middle of May I shall be back in Weimar. Give my respectful greetings to your wife.
381. To Frau Amalie von Fabry
My Dear Friend,
I wish my rooms in Budapest to remain closed during my absence. [Many inquisitive people were fond of going and having a look round, so that Liszt was obliged to prohibit it.] For the rest, His Excellency Minister Trefort must give his own commands. There is no risk of his meeting with any opposition from my humble self. I shall not pass this summer much quieter than the winter and the spring. Next week I shall be at the Musical Festival at Sondershausen; then here again until the 30th June.
My granddaughter, Daniela von Bulow, is to be married on the 3rd July, at Bayreuth, to the highly esteemed Art-historian Thode. After that, I shall stay from the 5th to the 18th July with my dear, excellent friends the Munkacsys, at their castle of Colpach (Luxemburg). I shall be present at the entire cycle of the Parsifal and Tristan performances at Bayreuth, from the 20th July till the 23rd August.
I am already more than half blind; perhaps I shall not have to wait long for the rest…
Ever faithfully yours,
F. Liszt
Weimar, May 27th, 1886
382. To Madame Malwine Tardieu
Weimar, May 29th, 1886
My sight is going, dear friend, and I can no longer write without difficulty.
Cordial thanks for your letter, and farewell till we meet at
Bayreuth, at the performances of Parsifal and Tristan.
Your very affectionate
F. Liszt
I shall be at Bayreuth on the 3rd July—the wedding day of my granddaughter Daniela.
From the 4th to the 18th July my excellent friends the Munkacsys will be my hosts at their castle of Colpach (Luxemburg), whence I shall return to Bayreuth, to stay there till the last performance on the 23rd August.
Would you send me Victor Hugo's "Le theater en liberte"? We will settle our accounts at Bayreuth.
383. To Eduard Reuss
My Dear Friend,
The weakness in my eyes is increasing, and on that account I cannot write to you "mano propria." I wish to bring good luck to Wilhelm Franz. Meanwhile I thank you heartily for making me godfather.
In sincere friendship yours most truly,
F. Liszt
Sondershausen, June 5th, 1886
384. To Frau Reuss-Belce, Opera-Singer to the Court of Baden
My Dear Lady,
The thanks which I have just expressed to your husband I double to you, as you have played the principal part in the family-drama of Wilhelm Franz.
With the most heartful wishes for the continued prosperity of parents and child I remain
Yours most truly,
F. Liszt
Sondershausen, June 5th, 1886
385. To Eduard Reuss
Very Dear Friend,
I have just received the enclosed reply from Hartel. Send him, therefore, the score with the Piano part, and recommend him to print this complete score—not the orchestral score alone—if possible by next October, that is to say, end of September. Then, for the present, two copies of the complete score will be wanted for performance—one for the conductor and one for the soloist who has so long had to play the Piano part out of the score, until you, perhaps with little delay, arrange the orchestral part for a second Piano, and the Concerto comes out in an edition like the E-flat Concerto.
Yours in all friendship,
F. Liszt
Weimar, June 22nd, 1886
N.B.—On the 1st July I am leaving here for a couple of months.
386. To Sophie Menter
Bayreuth, July 3rd, 1886
My very dear Friend,
Tomorrow, after the religious marriage of my granddaughter
Daniela von Bulow to Professor Henry Thode (Art-historian), I
betake myself to my excellent friends the Munkacsys, Chateau
Colpach, Grand Duchy of Luxemburg.
On the 20th July I shall be back here again for the first 7-8 performances of the Festspiel [Festival Play]: then, alas! I must put myself under the, to me, very disagreeable cure at Kissingen, and in September an operation to the eyes is impending for me with Grafe at Halle.
For a month past I have been quite unable to read and almost unable to write, with much labor, a couple of lines. Two secretaries kindly help me by reading to me and writing letters at my dictation.
How delightful it would be to me, dear friend, to visit you at your fairy castle of Itter! But I do not see any opportunity of doing so at present. Perhaps you will come to Bayreuth, where, from the 20th July to the 7th August, will be staying
Your heartily sincere
F. Liszt
[This was the very last letter written by the Master's hand. He returned in bad health from Colpach to Bayreuth. Yet once again he heard "Parsifal" and "Tristan" then he lay down upon his death-bed, and at 11 o'clock on the night of the 31st July his great soul had passed away into everlasting peace.]
******************************
Supplement of Some Letters Received During The Printing:
387 To Hofmarschall Freiherr Von Spiegel In Weimar
[Autograph in the Liszt-Museum at Weimar.]
Monsieur Le Grand Marechal,
I am very happy to learn through you that Her Imperial Highness the Grand Duchess has deigned to accept with kindness my translation of the beautiful work of Beethoven which I have permitted myself humbly to offer to her. For musicians, the original of this work marks the summit of perfection of the classical style (an extremely arbitrary designation, in my opinion) among non-symphonic instrumental compositions. Beethoven—as well as many great geniuses in the history of Art— is like the ancient Janus; one of his two faces is turned towards the past, the other towards the future. The Septet to a certain extent marks the point of intersection, and is thus unreservedly admired both by the devotees of the past and the believers in the future.
On this account I thought there was a suitability in paying my respectful homage to Her Imperial Highness by means of it, until such time as I should be allowed to place a longer work at her feet, and one which will more particularly express my personal gratitude.
It is only yesterday that the very flattering lines of Your Excellency have reached me. It is therefore not my fault that I have not sooner replied to the gracious request which you are pleased to make me with reference to my journey to Weimar.
Without any doubt I eagerly accept Your Excellency's invitation for the month of October. Allow me only to beg you to be so good as to let me know whether you consider it will be best for me to arrive at the beginning or end of the month. Not being entirely master of my time, I should be particularly glad to know from you the most favorable week.
I have the honor, Monsieur le Grand Marechal, to be, with respect, Your Excellency's very humble and obedient servant,
F. Liszt
Paris, September 30th, 1841
19, Rue Pigalle (Permanent Address).
388. To Eugenio Gomez, Organist of the Cathedral at Seville
[Autograph, without address, in the Liszt-Museum in Weimar. The addressee (born 1802) was both pianist and composer.]
You have been pleased, my dear Monsieur Gomez, to ask my perfectly frank opinion of your "Melodies harmonisees," and-quite frankly [Liszt uses the same expression—tout franc—in each case.]—I am much embarrassed by it, for it is in vain I turn them over and over again; on every side I find only compliments to make you about them. It is true that you could not doubt their sincerity any more than you could the real merit of your work. It is needless to speak of the modesty of true talent; this modesty cannot go to the extent of foolishness, and the Artist and supreme Architect of the spheres gives us Himself the example of this legitimate satisfaction which the consciousness of having done well brings us, by rejoicing over His work each day of the Creation.
One defect, nevertheless, and a very grave defect, which I have discovered in your "Harmonies" by dint of searching, is, that there are only 12 instead of 24 or 48—as all true lovers will wish. Make haste, my dear Monsieur Gomez, set yourself to work, and repair as quickly as possible this unpardonable defect in your labor; and, while extending it to the utmost, think sometimes of your most affectionate and devoted servant,
F. Liszt
389. To Madame(?).
[Autograph, without address, date, and conclusion, in the Liszt-
Museum at Weimar.]
[Sevilla, end of December, 1844]
You have not told me too much of the wonders of Seville, Madame, and, nevertheless, you could hardly have told me beforehand of that which I have found the most charming—the letter from Mademoiselle Caroline. Thanks to her charming lines, I found myself in the best possible frame of mind for the enjoyment of all imaginable chefs d'oeuvre, and I could not have been more disposed to admiration and wonderment! During the ten days which I have just spent in Seville I have not allowed a single day to pass without going to pay my very humble court to the cathedral, that epic of granite, that architectural Symphony whose eternal harmonies vibrate in infinity!—
One cannot use any set phrases about such a monument. The best thing to do would be to kneel there with the faith of the charcoal-burner (if one could do so), or to soar in thought the length of these arches and vaulted roofs, for which it seems that there is even now "no longer time"!—As for me, not feeling myself enough of the charcoal-burner or of the eagle, I am constrained to stand with my nose in the air and mouth open. Nevertheless my prayer sometimes climbs up like useless ivy, lovingly embracing those knotted shafts which defy all the storms of the genius of Christianity.
Whatever you may think of my enthusiasm for your cathedral, it is a fact that I have been entirely absorbed by it during the ten days I have spent in Seville; so much so, that it was only on the evening before my departure that I could prevail on myself to visit the Alcazar.
In truth, if one might wish for the re-introduction of the bastinado, it would be to apply it exclusively to those malicious wretches who have dared to besmear so many ravishing flights of fancy, so many fairy-like vagaries, with lime and plaster.
What adorable enchantment and what hideous devastation!
The heart expands—and then contracts at every step. Little do I care for the gardens (which, by the way, slightly resemble the ornamental gardens of a priest); little do I care even for the baths of Maria Padilla, which, in fact, have slightly the effect of an alkaline; but what outlines, what harmonious profusion in these lines, what incredible voluptuousness in all this ornamentation! Would that I could send them you in this envelope, such as I have felt and devoured them with my eyes!
Here are, indeed, many marks of admiration, and you will certainly smile at me, will you not, Madame? But what can I do? And how, after that, can I speak to you of myself and my paltry individuality?
390. To Madame (?)
[Autograph sketch of a letter, without address, date, and conclusion, in the Liszt-Museum at Weimar.]
[Probably beginning of 1845]
What are your travelling plans for this winter, Madame? Mine are quite unsettled. I did not succeed in leaving Spain, and the fact is that, being well, there is no sense in searching for better elsewhere.The only thing that provokes me is the necessity in which I am placed of having to give up the rest of my duties at Weymar for this winter. But I shall try to take a brilliant revenge in the course of this very year.
In spite of our agreement I have not sent you the bulletin of my peaceful victories in the arena of Madrid [Liszt gave concerts in the Teatro del Circo in Madrid from October till December 1844.](and elsewhere), because you know that there are certain things which are moreover very simple, but which I cannot do. More than once, nevertheless, I have regretted you in your founder's loge—the first in front—and I have turned to that side in expectancy of the inciting bravos which used to begin before all the others at the brilliant passages!
La Melinetti will doubtless have given you my ancient news from Pau! Poor woman, with her luxury of a husband (a superfluity which was not in the least a necessary thing for her), and her little impulsive ways,…she has really promised me to be at length reasonable, steady, and deliberate. I hope she will keep her word. With a little wit, behavior, and tact, she could make herself a very good position in Pau. Mme. d'Artigaux, [When unmarried, as Countess Caroline St. Criq, sixteen years before this time, she had possessed Liszt's whole heart, while hers belonged to him. But the command of her father, Minister St. Criq, separated eir ways, because he—was only an artist. Liszt thought of her in his last Will, but she left this world before him, at the beginning of the seventies.] who is the most ideally good woman I know, takes a real interest in her. Several other people sincerely wish her well—it only depends on herself to take a good position there—but unfortunately she is too outspoken, and inclined to play tricks.
What do you know of the elegaic and seraphic Chopin? I wrote a few lines from Pau to Mme. Sand, but my letter hardly asked for a reply, and she has, moreover, better things to do.
391. To Madame (?) in Milan
[Autograph in the Liszt-Museum in Weimar]
[1846]
I am at your feet, Madame, and kiss your hands—but it is impossible not to quarrel with you, and that seriously, over the last lines of your letter! Through what absence of mind, let me ask you, could you have written to me, "I do not speak to you of our affairs because I remember that your sympathies are not with us"? Frankly, if you were to tell me that I have never played any but false notes on the piano, and that my calling was that of a retail grocer, this opinion would offer, to my thinking, a greater degree of probability. Evidently, in my double character of citizen and musician, I am not even to exonerate myself from the fault you [ascribe] to me. Suffer me then not to dwell longer upon it, and deign for the future to spare me the pain which all suspicion of this kind would cause me.
Otherwise your letter was a great joy to me; first, as coming from you; and then, as announcing the realization of a wish, an idea, to the postponement of which I had resigned myself as well as I could, but which I had hardly relinquished. Your Sardanapalus comes in the nick of time, just as the 2000 francs will be opportune to the poet. The mode of payment is very simple. Belloni's sister being in Milan, she will have the honor of calling upon you, and an return for the restoration of the manuscript she will discharge the total of my debt, viz., two thousand francs. Allow me only a last request, which is that you will kindly take the trouble to read the whole libretto through again, and, if it should be expedient, to communicate to the poet direct any observations which you consider necessary. The notes and commentaries which you have added on the margin of Rotondi's libretto (which I keep very carefully) showed such a complete virtuosity in this style of subject that one could not possibly do better than submit with confidence to your decision.—[The plan of composing an opera "Sardanapalus" occupied Liszt for years.]
Thanks to God, and to this good star which has let me live many years pretty uprightly, "as if I were immortal," as you put it, behold me now since the end of September in last year entirely out of the circle of concerts—and it does not seem likely that I shall soon return to this drudgery.—I shall remain in Weymar till the 15th August; then I shall go and make a tour in the Crimea by way of the Danube, probably returning by Constantinople if I can manage it.—
Next spring "Sardanapalus" will be ready,—and I shall perhaps have to speak to you about another matter at the same time, a matter about which it is worth while speaking to you.—
Be good enough to acknowledge the receipt of these lines; but pray spare me abuse, and be pleased to do me the honor of believing without reserve or restriction in the upright sincerity of my sympathies, and in my frank and firm good-will to transform them into acts or deeds, according to circumstances, in the degree of which I am capable.
Yours ever, with admiration and friendship,
F. Liszt
392. To Frau Charlotte Moscheles (?)
[Draft of an undirected autograph letter in the Liszt-Museum at Weimar.—Presumably written to the wife of the distinguished piano-virtuoso and teacher Ignaz Moscheles]
I am most grateful to you, Madame, for wishing to keep me in remembrance on the occasion of the publication of the Album of Workers, and I hasten to reply as quickly and as well as I can.
I must, nevertheless, confess to you in all sincerity that I am a little embarrassed as to the choice to be made among the number of useless and unusable manuscripts which I should be charmed to put at your kind disposal. After the Arbeiter Chor [workman's chorus] and the Arbeiter Marsch [workman's march] with which I have just gratified two Albums in Vienna, your gracious letter comes as a surprise rather short of apropos. How malapropos, is it not? But let us see how to remedy this.—
I thought first of a "Marche funebre" for the use of the bankers; then of an "Elegie" dedicated to the idle; next of "Jeremiades Omnibus" [lamentations for all];—but nothing of that sort quite satisfies me.
In default of perfection, permit me to be satisfied with the relative best (which will be, it seems to me, a better choice): a Paraphrase—charitably adapted to the fingers of charitable pianists who will have the charity to buy and to play it—of Rossini's "Charite;" which I shall have the honor of sending to you through Mr. Kistner early in July. An old saying of a very old Father of the Church would, if needful, justify this choice. "In things necessary, Unity; in matters doubtful, Liberty; in all things, Charity!"—
Will you have the goodness, Madame, to remember me very kindly to my excellent master and friend, Moscheles? and accept again, I beg you, the expression of my respect, and of my most affectionate sentiments.
F. Liszt
Weymar, June 22nd, 1848
393. To Heinrich Wilhelm Ernst
[Portions of this, as of the previous letter, were printed in the "Voltaire."—Addressee the famous violin virtuoso and composer (1814-1865)]
May 30th, 1849
Dear Friend,
Weymar has not forgotten you, and I hope soon to be able, after the return of the Hereditary Prince whom we expect for the day of his fete, by the 24th of May at the very latest, to forward to you the token of the distinguished remembrance in which you are held. It pleases me to think that it will be agreeable to you, and that it will tend to attach you more in the sequel to people worthy to appreciate you.
I should have desired to tell you sooner of this, but the inevitable delays in present circumstances postpone more than one wish.
After the deplorable days in Dresden Wagner came here, and only departed again in order to escape from a warrant (lettre de cachet) with which the Saxon government is pursuing him. I hope that at the present moment he will have arrived safe and well in Paris, where his career of dramatic composer cannot fail to be extended, and in grand proportions. He is a man of evident genius, who must of necessity obtrude himself on the general admiration, and hold a high place in contemporary art. I regret that you have not had the opportunity of hearing his "Tannhauser," which is for me the most lyric of dramas, the most remarkable, the most harmonious, the most complete, the most original and selbstwurdig (the most worthy of its country), both in foundation and form, that Germany has produced since Weber. Belloni has, I believe, written to you on the subject of Wagner, to ask for information as to the actual state of the English Opera in London. I make no doubt that if it were possible for Wagner to obtain from the directors a tour of performances in the course of the year for a new work ("Lohengrin," the subject of which, having reference to the Knights of the Round Table who went to search for the Holy Grail, is of the most poetic interest) he would make a great sensation and large receipts by it. As soon as he tells me the news of his arrival in Paris, allow me to induce him to write to you direct if his plans do not change in this matter.
394. To Joseph Dessauer
[Draft of an autograph letter, without address, date, and conclusion, in the Liszt-Museum at Weimar.]
[Probably at the beginning of the fifties.]
Heartiest thanks for your Songs. I rejoice that you consider me worthy of a dedication, and I promise you that if we meet again I will sing you the songs by heart. Perhaps you will bring me again into such a mood for songs as will impel me to write something of that sort. My earlier songs are mostly too ultra sentimental, and frequently too full in the accompaniment.
395. Testimonial for Joachim Raff
[Draft of an autograph letter, without address and date, in the
Liszt-Museum at Weimar]
[Probably at the beginning of the fifties.]
The talents of M. Raff as composer and musician are a fact so evident and certain, his recent orchestral compositions as well as his works for voice and piano furnish such forcible proofs of it, that I consider it superfluous to add to this evidence and to certify it further.
Having had more opportunity than others, during the few years of our intercourse, of appreciating his capacities (notably at the time of the Musical Festival at Bonn for the inauguration of Beethoven's monument in 1845,-and of those to Herder and Goethe at Weymar in 1850, etc.), knowing thoroughly both the score of his four-act Opera "King Alfred," given many times with great success in Weymar under the author's conductorship, as well as many of his manuscript works, which I sincerely esteem, I shall always make it my duty seriously to recommend M. Raff to those of the Musical Institutes which attach a value to the possession of an intelligent director and one well acquainted with the exigencies and the progress of the art.
F. Liszt
396. To Dr. Eduard Hanslick in Vienna
[The renowned musical author and critic (born in Prague in 1825), professor of the history of music in the University of Vienna.— The letter refers to the Mozart jubilee concert conducted by Liszt in Vienna, and to Hanslick's critique, in which he censured the want of courtesy with which Liszt, who had been invited to conduct this concert, was treated by the committee and the public.]
Sir,
The manner in which you have given an account in the Presse of the two concerts of Sunday and Monday, corresponds entirely with the opinion which I had of you—and you have proved yourself on this occasion, according to your custom, an eminent critic and a perfect gentleman. [The word "gentleman" is in English in Liszt's letter.]
Permit me to offer you my sincere thanks for the part you have been pleased to devote to me, and to hope that the coming years, in bringing us more together, will better enable me to prove the sincere sentiments of esteem and distinguished regard, the assurance of which I beg you to accept.
F. Liszt
January 3lst, 1856
397. To the Austrian Minister of the Interior, Freiherr von Bach
[Autograph sketch of a letter in the Liszt-Museum at Weimar. The Gran Mass was in fact engraved and published by the State printing-press at Vienna.]
Your Excellency,
The interest and protection which your Excellency extends to the spiritual interests of the empire permit me to bring forward the wish and the petition that the Mass which I composed by order of His Eminence the Prince Primate of Hungary for the Dedication- Festival of the Basilica at Gran, and performed there on the 3lst August, may be printed and published in full score and piano score by the Royal Imperial State printing-press at the cost of the State.
Without improperly praising my own composition I venture humbly to express the confidence that the Catholic significance and spirit which form its groundwork and supplement its modest porportions would gradually be more propagated and comprehended by the publication of the work, so that I might hope to have furnished a not unworthy contribution to Christian Art as well as to the great Church and Country's Festival of the 31st August.
In the expectation that my request will meet with that assisting favor which is indispensable to earnest and honest artistic effort, I have the honor to remain most obediently
Your Excellency's most humble and devoted servant,
F. Liszt
Vienna, September 18th, 1856
398. To (?) in Leipzig
[Draft of an autograph letter, without address, date, and conclusion, in the Liszt-Museum at Weimar.—The contents refer to the Orchestral Concert of the Tonkunstler-Versammlung, planned and carried out at Leipzig in the beginning of June, 1859.]
[Spring, 1859.]
Dear Friend,
At the same time with your letter I received from Brendel fuller information about the Leipzig preliminaries, to which he will also receive a fuller reply.
I am not of opinion that the Orchestral concert is to be given up immediately on account of the negative decision of Rietz. Very possibly David will undertake to conduct it, and I advise Brendel to come to a good understanding with him about it. On the other hand it might be expected, in a case of necessity, that the Weimar and Sondershausen orchestras would unite to carry out the Programme. But this latter must be as strictly adhered to as was formerly determined, and not lose its exclusive character as "compositions by collaborators of the newspaper only"—Schumann, Berlioz, Wagner, R. Franz, and lastly my humble self. I cannot therefore in any respect agree to the concession enjoined by Brendel, of admitting works of Haydn, Mozart, Beethoven, etc., nor do I see the motive of it. As far as the musical is concerned, I consider it impossible to give such an exceedingly rich programme on one evening without stupifying the public; that would go beyond the ill-famed London concerts which last six hours, not to speak of the fact that we should have to put the recognised classics far too much in the shade!—But, above all, such an over-loaded programme is thoroughly unsuitable to the jubilee-celebration of the Neue Zeitschrift, which on this occasion [ought] especially to emphasize its just claims and the progress in Art which it aims at and supports. On this account it is necessary to adhere to the limits of the programme originally agreed upon.
Finally, in case insurmountable hindrances should arise to prevent the carrying out of this same, I have no inclination to substitute for the Orclaestral-concert one for Chamber-music. But the word "Evening entertainment" must, as is self-evident, be entirely dispensed with. Our business is to raise, to educate the audience, not to amuse them; and if indeed, as Goethe very pertinently says, "deep and earnest thinkers are in a bad position as regards the public," we will therefore not so much the less, but so much the more earnestly maintain this position. Meanwhile it is advisable to advertise the first evening's musical performance by the expression Concert in the Gewandhaus, until we have quite decided whether it shall be a concert with orchestra, or only with chamber-music. [An orchestral concert took place in the theater, when compositions by Mendelssohn, Schubert, and Chopin were, nevertheless, included among the others.]
N.B.-Please not to communicate these remarks to any one except perhaps Brendel, as the very outspoken opinions herein about the Concert-programme must absolutely be kept secret.
399. To Dr. Eduard Hanslick
[The letter refers to Hanslick's notice of Liszt's book "Les
Bohemiens et leur musique," in the Vienna Presse (the old one).]
Sir,
Experience having taught me to regard as a fate attached to my name the impossibility of publishing anything which does not instantly gather round it opinions as contrary as they are forcibly enunciated, I am, although quite accustomed to these little storms, very sensitive to the kindly judgment of those who, not letting themselves be influenced by this transitory impulse, desire to take into consideration what I have written, with sobriety and composure, just as you have done in your account of my book "Des Bohemiens."-I am above all extremely obliged to you for having admitted that, if the requirements of my subject, and the opinion which after some twenty years of reflection I have formed of Bohemian music, compel me to attribute to a nomad people an art thoroughly imbued with a poetry which could only have been developed in a wandering nation, I have none the less endeavored to bring into prominence everything for which this art is indebted to the comprehension and taste which the Hungarians have always had for the music of Bohemia. I desire in no way to diminish the merit of the works, while at the same time I see the impossibility of considering as emanating from them the expression of sentiments which could not in their nature belong to them, however sympathetically they were associated therewith.—
Still, the point which I notice first, in consequence of the very violent and premature attacks of which I have been the object, is not the one which I regard as the most important in my volume. As a matter of fact it would signify little to me as artist to know whether this music is originally from India or Tartary. That which has appeared to me worthy the study of an artist is this music itself, its meaning, and the feelings it is destined to reproduce.—It is in trying clearly to account for these latter that I have only found it possible to connect them with people placed in the exceptional conditions of the Bohemians; and it is through asking myself what the poetry of this wandering life would be (a question so often raised), that I have become convinced that it must be identical with that which breathes in the Art of the Bohemians. This identity once made evident to my mind, I have naturally sought to make it felt by and evident to my readers. The better to succeed in this I have corroborated my opinion by grouping together as a sort of complement various suppositions about the question of these sources. But the scientific side of this question has never been, in my eyes, anything but very accessory; I should probably not have taken up the pen to discuss it. If I have raised it, that has been the consequence, not the aim of my work. Artist, and poet if you like, I am only interested in seeing and describing the poetical and psychological side of my thesis. I have sought in speech the power of depicting, with less fire and allurement possibly, but with more precision than music has done, some impressions which are not derived from science or polemics-which come from the heart and appeal to the imagination.
Poetical and descriptive prose being little used in Germany, I can easily conceive that, on the announcement of the title of my book, a set of lectures, rather than a kind of poem in prose, will be expected. I own that I would never have attempted to lecture on a subject the materials of which did not appear to me sufficient for this purpose. How small a number of people, moreover, would have been interested in learning the little which it would be allowable to affirm in this case? Whilst the expression of the innermost and deep feelings, whatever they be, from the moment that they have been powerful enough to inspire an art, is never entirely unattractive, even to the more extended circle which includes not alone musicians, but all those who feel and wish to understand music. Thanking you once more, Sir, for the perfect impartiality and clearness with which you have stated and criticised the compilation of my book, I beg you to accept this expression of my complete esteem and distinguished consideration.
F. Liszt
September 20th, 1859
END OF LETTERS OF FRANZ LISZT, VOL. II.
INFO ABOUT THIS E-TEXT EDITION
This volume of "Letters of Franz Liszt" is the second volume of a 2-volume set. The letters were selected by La Mara, and translated into English by Constance Bache. The edition used was an original 1894 Charles Scribner edition (New York), printed in America. Each page was cut out of the book with an X-acto knife and fed into an Automatic Document Feeder Scanner to make this e- text; hence, the original book was, well, ruined in order to save it.
Some adaptations from the original text were made while formatting it for an e-text. Italics in the original book were ignored in making this e-text, unless they referred to proper nouns, in which case they are put in quotes in the e-text. Italics are problematic because they are not easily rendered in ASCII text, although, unlike in the first volume, they often add some useful emphasis to Liszt's expression.
Almost everything occurring in brackets [ ] are original footnotes inserted into the text. The marking .—. appeared in the original volumes and indicates points where original material in the letters was lost or fragmented.
Also, special German characters like U with an umlaut, and French characters like a's and e's with various markings above them were ignored, replaced with their closet single-letter equivalents. U with an umlaut is U, A with a caret above it is A, and so on. Words altered include Gotze, Tonkunstler, Gluck, Handel and Bulow, among numerous others.
In addition, the English spellings of words like "honour," "colour," "humour," "splendour," "favour," "endeavour" "labour," "vigour," "neighbour" "saviour," "behaviour" and "theatre" were changed into American equivalents like "honor," "color," "humor," "splendor," "favor," "endeavor" "labor," "vigor," "neighbor" "savior," "behavior" and "theater."
This electronic text was prepared by John Mamoun with help from numerous other proofreaders, including those associated with Charles Franks' Distributed Proofreaders website. Thanks to M. Fong, N. Harris, S. Morrison, J. Roberts, R. Zimmerman, P. Rydzewski, D. McKee, R. Rowe, E. Beach, M. Beauchamp, K. Rieff, D. Maddock, T. Mills, B. Wyman, J. Hyllegaard, T. McDermott, M. Taylor, K. Peterson and several others for proof-reading.
This e-text is public domain, freely copyable and distributable for any non-commercial purpose, and may be included without royalty or permission on a mass media storage product, such as a cd-rom, that contains at least 50 public domain electronic texts, even if offered for commercial purposes. Any other commercial usage requires permission. The biographical sketch was prepared for this e-text and is also not copyright and is public domain.
Use of the Project Gutenberg Trademark requires separate permission.