At the end of next week I go to Lowenberg, and thence back to Weymar. Therefore no concert in Vienna for this season—what may happen later on remains meanwhile undecided.

The Pest concert has also not been given; but possibly my Symphonic Poems may obtain a hearing in Pest sooner than in Vienna, because I may expect much more susceptibility to them here. When I have got my Opera finished, [This must be "Sardanapalus."] I must in any case stay here a couple of month— and on that occasion, perhaps, I may be able to bring in my Symphonic things in three or four concerts. But there is no hurry whatever for this; the "Elizabeth" and the Opera must be finished first...

My intention had been to get to Vienna yesterday, and to be satisfied with calling only on our four solo-singers and Count Raday in Pest to express my thanks. But I was pressed on all sides in so kind a manner to let my Gran Festival Mass be heard again that I willingly acquiesced. The articles in the Austrian p[aper], and your brochure, have done the most towards stirring up the general wish. The public is like this—that they only know what they ought to think of a work when they see it printed in black and white!—You have therefore to answer for it if the Mass is performed here a second time—on Friday afternoon in the Museum-Saal (for the benefit of the Conservatorium) and on Sunday in the Parish Church. On Monday evening I shall be in Vienna. I wrote to Tausig yesterday that we would decide on the evening of our musical meeting at your house after Countess Banffy has chosen on the evening for her soiree (at which Tausig will play). If I hear anything further about it Tausig shall let you know at once, so that you may be able to make your invitations in advance. On Thursday or on Saturday at latest I leave Vienna. All further particulars viva voce.

Yours ever,

F. Liszt

There is no truth in the idea of a private concert. I will tell you in what way I might be able to realize it another time—and will take counsel and consent about it from you.



202. To Eduard Liszt

Dearest Eduard,

It is not enough that I have already been in all sorts of trouble here in connection with the two performances of the Gran Mass, which will take place next Friday and Sunday (for which four to five rehearsals at the least are indispensable)—but now the post from Vienna brings me bad tidings, for which indeed I was prepared, but which, nevertheless, are by no means desired by me. I had a long letter yesterday from our friend Z., which I am answering with a decided refusal as regards a nearly impending performance of my Symphonic Poems in Vienna. For this time we will stop at the two performances of the Gran Mass—neither a note more nor less. Later on we will consider how we shall stand on the next occasion, and I shall take counsel with you about it, because I have the conviction that you not only intend and act for the best and kindest as regards me, but also the most judiciously!—

On Monday evening I shall be back in Vienna—and will expect you directly I reach home. If possible I shall start from Vienna on Thursday evening—but at the latest on Saturday early. I have written to Tausig to take my old rooms for me. Much as I should like to come to you, yet this time it is simpler for me to stay at an hotel.

To our speedy meeting, which, alas! will be a good deal clouded for us by these various obstructions. But in Vienna it can't be otherwise. On this account you must soon come again to Weymar, where we can belong to ourselves.

Heartfelt greetings in sincere friendship and loving devotion from

F. Liszt

Pest, April 7th, 1858



203. To Adolf Reubke, Organ-Builder at Hausneinsdorf in the Harz.

[Written on the death of his son Julius Reubke (died June 3rd, 1858), a favorite pupil of Liszt's.]

Dear Sir,

Allow me to add these few lines of deepest sympathy to the poem by Cornelius, ["Bein Tode von Julius Reubke" ("On the Death of Julius Reubke"). Cornelius, Poems. Leipzig, 1890.] which lends such fitting words to our feelings of sorrow. Truly no one could feel more deeply the loss which Art has suffered in your Julius, than the one who has followed with admiring sympathy his noble, constant, and successful strivings in these latter years, and who will ever bear his friendship faithfully in mind—the one who signs himself with great esteem

Yours most truly,

F. Liszt

Weymar, June 10th, 1858



204. To Prince Constantin von Hohenzollern-Hechingen

[Autograph in the possession of Herr Alexander Meyer Cohn in Berlin.—This very musical Prince was for years Liszt's patron, and often invited the latter to stay with him at his Silesian residence at Lowenberg, where he kept up an orchestra.]

Monseigneur,

When Your Highness was kind enough to express your views to me respecting your noble design of encouraging in an exceptional manner the progress of musical Art, and to question me as to the best mode of employing a certain sum of money for this object, I think I mentioned to you Mr. Brendel, the editor of the Neue Zeitschrift fur Musik, as the best man to make your liberal intentions bear fruit. As much on account of the perfect uprightness of his character, which is free from all reproach, as for the important and continuous services which his paper and other of his works have rendered to the good cause for many years past, I consider Mr. Brendel entirely worthy of your confidence.

It is not lightly that I put forward this opinion—and I venture to flatter myself that my antecedents will be a sufficient guarantee to Your Highness that in this matter, as in any others in which I may have the honor of submitting any proposition to you, I could follow no other influences, no other counsels, than those of a scrupulous conscience. Putting aside all considerations of vanity or personal advantage foreign to the end in view, my sincere and sole desire is to make Your Highness's intentions and capital the most productive possible. It is with this view that I have openly spoken of the matter to Brendel, whose letter, which I venture to enclose herewith, corresponds, as it seems to me, with the programme in question.

I venture to beg you, Monseigneur, to look into this attentively, and to let me know whether you will grant permission to Brendel to enter into these matters more explicitly by writing to you direct. In the event of the propositions contained in his letter meeting with the approval of Your Highness, as I trust they may do, it would be desirable that you should let him know without too much delay in what manner you would wish your kind intentions carried out.

In order to fulfill its task of progress, the Neue Zeitschrift fur Musik has not spared its editor either in efforts or sacrifices. By the fact that it represents, in a talented and conscientious manner, the opinions and sympathies of my friends and myself, it is in the most advanced, and consequently the most perilous, position of our musical situation; therefore our adversaries lose no opportunity of raising difficulties for it. Our opinions and sympathies will he sustained, I doubt not, by their worth and conviction; but if Your Highness condescends to come to our aid, we shall be both proud and happy—and it is by spreading our ideas through the Press that we can best strengthen our position.

In other words, I am convinced that, in granting your confidence to Mr. Brendel, the sum that Your Highness is pleased to devote to this matter will be employed in the most honest manner, and that most useful to the progress of Art—and that all the honor and gratitude which your munificence deserves will spring from it—as is the earnest desire of him who has the honor to be, Monseigneur, Your Highness's most devoted and humble servant,

F. Liszt

Weymar, August 18th, 1858



205. To Frau Rosa von Milde

[Court opera-singer in Weimar, nee Agthe; the first Elsa in Lohengrin; a refined and poetical artist]

Weymar, August 25th, 1858

My honored and dear Friend,

If the outward circumstances which you mention in your kind letter are not exactly of the kind that I could wish for you, yet I am egotist enough to be much pleased at its friendly contents towards myself. Accept my warmest thanks for them—and let me tell you how anxious I am that you should like me very much, and how desirous I am to deserve this—as far as it can be deserved; for the best part of a harmonious intimacy must ever remain a free gift.

The "wanton, ragged garments of the Muse," which you abandon with strict generosity, make a show and please almost everywhere. Her sensual charm is not unknown to me; yet I think I may say that it was given me to lay hold of a higher and a pure ideal, and to vow to it my whole endeavors for many years past. You, dear friend, have, through your singing, often led me to this in the best way, without thinking of it. Moreover it always does me so much good when we meet in unity in the same path.—

Owing to a heap of visits (among which were several of deep interest, such as Kaulbach, Varnhagen, Carus, etc.), I have been much interrupted in the completion of the "Elizabeth." Still, I hope to be ready with it by February. You will then again do the best part for it, and must practice works of artistic mercy!— What is the good of anything that is written on paper, if it is not comprehended by the soul and imparted in a living manner?— But among the works of mercy I am not desirous that you should have to bury a still-born Oratorio!—

My heartfelt, twofold greetings to Milde, as friend and as artist. I am writing the part of Landgrave Ludwig for him—and, as the Landgrave is very speedily got out of the way, I will ask him to undertake, in addition, two other parts (those of a Hungarian magnate and a bishop).

The day after tomorrow I accompany the Princess to the mountains and cascades of the Tyrol. On our return journey we shall spend a couple of days in Munich, and shall be back here by the end of September. Will you allow me to conduct "Alceste" on the 2nd of October?—Sobolewski's "Comala" [Opera by Sobolewski.] is fixed for the 12th. I shall give over to our common friend Lassen (to whom please remember me warmly) the pianoforte rehearsals during my absence.

I hope you will get quite strong and enjoy yourself much at the seaside, dear friend, and return in good spirits to us at Weymar, where you are quite indispensable to

Yours most truly and devotedly, F. Liszt

P.S.—Possibly Fraulein * * * (whose name at this moment I forget) will come from Berlin to Weymar during my absence. I recommend her again to Milde and yourself. Preller will introduce her to you, and I beg that Milde will help her with good teaching. If I am not mistaken, she would stand proof well in mezzo-soprano parts.

I have trustworthy tidings of the brilliant success of the first performance of "Lohengrin" in Vienna (on the 19th of this month). Rienzi was also taken up again in these days as before.



206. To Dr. Franz Brendel

Dear honored Friend,

The memorandum is excellent, and I agree with it in all points. I have noted this, according to your wish, at the end by the words vu et approuve [Seen and approved.] (a perfectly correct formula in French). The Prince's address is as follows:—

To His Highness Prince Constantin Hohenzollern-Hechingen, Lowenberg, Silesia. I should not be able for the present to find you a Paris correspondent. But, as I understand, Blow intends to go to Paris in the course of this winter, and would then be best able to tell you of a colleague there. There is no hurry about the article on theater curtains. As soon as I am somewhat through the mass of arrears in correspondence I will take an opportunity of sending it to you, but whether it will be in time to appear in the first number of the "Anregungen" I cannot say.

I told Pohl yesterday that I wish the Dresden Weber concerto affair in the meantime not to be mentioned in the paper. The whole affair has for the moment made an extraordinary stir, and I will tell you about it later on. For the present there is nothing to be said about it on our side, even if other papers mix themselves up in it in an incompetent manner. Very likely the winter will slip away before the intended concert comes off. [The Dresden theater directors intended, as M. M. v. Weber tells us in his biography of his father (vol. ii., p. 721), to arrange a concert for the benefit of the Weber Memorial which was to be erected. Liszt was equally desirous of doing something publicly for the Master whom he so highly esteemed; but "because they could not agree whether he should take part in the directors' concert or use the personnel of the Royal Opera at his own concert, neither of the concerts was given."]

Sobolewski (who has been detained this time by his theater work in Bremen) will come here for the second performance of "Comala". I will let you know about it.

The work is worth your hearing and interesting yourself in. Owing to the acting of the two Schmidts (husband and wife), as guests here, ["Das Gastspiel"—the playing as guests at a theater—is an expression used when actors or singers other than those attached to the theater of the place come to act or sing there for a time] the second performance has been postponed until towards the middle of this month.

I will send Riedel the pianoforte edition of my Mass very shortly.

With heartfelt greetings,

Yours,

F. Liszt

November 2nd, 1858



207. To Johann von Herbeck

Dear Friend,

Your three splendid fellows, my high-minded and honorable gipsies, ["Die drei Zigeuner" ("The Three Gipsies"), by Lenau, for voice with pianoforte accompaniment.] are most excellently lodged on the Altenburg. First of all the song was played on the violin, then with cello—another time I tried it alone, and yesterday Caspari sang me the song, so full of pith and beauty and intrinsic worth, to the delight of us all and of myself in particular. It will remain as a brilliant repertoire piece amongst us, and I shall very soon introduce it to Tichatschek, who will assuredly give it with inspiration and will make it widely known. Please forgive me, dear friend, for not having expressed my warm thanks to you sooner.—I only got home a few weeks ago from my journey to the Tyrol and Munich, and have scarcely been able to sit down to write, owing to all the business pressing upon me from every side. If Lessing says "One must not must," nevertheless the saying of Kladderadatsch, "Bien muss," ["The bee must"—referring to a joke in the German Punch (Kladderadatsch).] is, for ordinary mortals, much more applicable—and over this "bee must" one at last becomes quite idle from sheer weariness.

I will take the first opportunity of sending you your manuscript of the score of the Mass for men's voices to Vienna. The Gloria, which was performed at the University Jubilee Festival of Jena last August, was made most effective by your excellent instrumentation. You will observe a slight alteration at the conclusion (six bars instead of five, and a slightly less risky modulation), which I beg you to follow at any performance there may chance to be in Vienna.

As regards the choruses to "Prometheus," I confess to you candidly that, much as I thank you for thinking about them, I think it is wiser to wait a little bit. I am not in the slightest hurry to force myself on to the public, and can quietly let a little more of the nonsense about my failure in attempts at composition be spread abroad. Only in so far as I am able to do something lasting may I place some modest value upon it. This can and will be decided by time alone. But I should not wish previously to impose on any of my friends the disagreeables which the performance of my works, with the widespread presuppositions and prejudices against them, brings with it. In a few years I hope things will go better, more rationally, and more justly with musical matters.

Until then we will go forward composedly and contemplatively on our way! Once more best thanks and greetings from yours in all friendship,

F. Liszt

Weymar, November 22nd (St. Cecilia's Day), 1858



208. To Felix Draseke

My very dear Friend,

Herewith the piano edition of the two first acts of "Sigurd." [Opera by Draseke.]—Imagining that you may also want the score of the first act, which had remained here, I send it also, sorry as I am to part from this monumental work. Under present existing circumstances, which on my side are passive and negative, as I intimated to you after the performance of Cornelius's Opera, there is no prospect of putting Sigurd on the boards at present. But I promise myself the pleasure and satisfaction of letting all your "Tamtis" and "Beckis" be heard, when I have again resumed my active work at the Weymar theater, for which there may probably be an opportunity next season.

After you left Weymar we had to swallow a kind of second piece or supplement to the performance of the "Barber of Baghdad," on occasion of Madame Viardot's performance as "guest" here. But I will not weary you with tales of our local miseries and crass improprieties. I will only intimate thus much—that, under the present Intendant rgime, to my sorrow, the inviting of Frau Schroder-Devrient to play here as guest is met by almost unconquerable difficulties from within. Tell our excellent friend Bronsart this, and tell him into the bargain that a concert (in the room in the Town Hall), at which he and Frau Schroder- Devrient should appear without any other assistance, would certainly be very welcome to the public, and I should look upon this as in any case a practical introduction to the performance as guest. This matter lies outside my present sway, but it goes without saying that I will not fail to let my slight influence towards a favorable solution of the matter be felt.—

The day before yesterday I heard at Gotha your countryman's new opera (Diana von Solange) for the second time. The work was received with great approval, and is shortly to be given in Dresden, where you will be best able to judge of it. Mitterwurzer and Frau Ney have some very effective moments in it.

The concerts of the joint Weymar and Gotha orchestras (a matter which I broached long ago) again came under discussion, and possibly this March an attempt will be made to set them going. Meanwhile let us look after our cordial [Magen-Starkung] "mentre che il danno e la vergogna dura," ["Whilst prejudice and shame last."] as Michael Angelo says.—

Friendly greetings from your faithful and devoted

F. Liszt

January 12th, 1859

Will you give the enclosed letter to Bronsart?



209. To Heinrich Porges In Prague

[Now Royal music-director and conductor of a first-rate Gesang- verein [vocal union] in Munich, where he has lived since 1867. Born 1837. Is also a writer on music.]

Dear Sir and Friend,

Owing to your affectionate understanding of what I have striven after in the "Dante Symphony" and the "Ideale", you have a special right to both works. Allow me to offer them to you as a token of my sincere attachment, as also of the grateful remembrance which I keep of the Prague performance. [At Porges' initiative the medical students had invited Liszt, in 1858, to a concert, at which his Dante Symphony and the Icdeale were given. In 1859 Bulow was also invited at Porges' inducement.] Taking your kindness for granted, I beg you to give the other two copies to Herr Professor Mildner and Herr Dr. Ambros with my best thanks.

It is to be hoped that this year's "Medical" Concert will have favorable results. My valiant son-in-law, H. von Bulow, cannot fail to be recognized among you as an eminent musician and noble character. I thank you and Herr Musil (to whom I beg you to remember me most kindly) for offering Blow this opportunity of doing something in Prague.—There is no doubt that he will fulfill all your expectations.

For the next "Medical" Concert I willingly place myself at your disposal. Possibly we might on this occasion venture on the Symphonic Poem No. I "Ce qu'on entered sur la Montagne"—the chorus "An die Kunstler," and the "Faust Symphony?"—The respected medical men would thus take the initiative in the new musical pathology!—

For the Tonkunstler-Versammlung, etc. [Meeting of Musicians], in Leipzig at the beginning of June Dr. Brendel is expecting you, and I rejoice at the thought of meeting you again there. If the affair is not too much hampered in its natural course by local miseries and malevolence, it may do much for the bettering of our suffering musical position. In any case we will not fail in doing our part towards it.

With highest esteem, yours most truly,

F. Liszt

Weymar, March 10th, 1859



210. To Capellmeister Max Seifriz in Lowenberg

[Autograph in the possession of Herr Alexander Meyer Cohn in Berlin.]

Dear Friend,

I feel the most heartfelt sympathy with you in your sad days at Lowenberg, and trust with you that they will not last much longer. When there is a suitable opportunity, express to our Prince my heartfelt, grateful devotion. Then tell me quite openly and candidly whether my visit to Lowenberg, in the course of next month, will be welcome and will make no trouble. I had planned to spend the Easter week there, and only await preliminary tidings from you to announce myself by letter to His Highness. Dr. Brendel wished at the same time to pay his respects to the Prince. The press of work upon him just now especially will only allow him to stay a couple of days with you; but I for my part, if I am assured that my visit will not come inopportunely, should like to prolong my stay a little. Perhaps, as you are so kindly intending to invite Damrosch, it might be arranged for him to come at the same time. It would be a great pleasure to me to see the valiant friend and comrade in Art again with you.

I give you once more my best thanks for the kind attention which you have caused to be bestowed on my works. The many attacks on me which I have to bear enhance still more the value I place on the sympathy and concurrence of my friends.

By today's post I send you the scores of the Dante Symphony, the "Ideale," and the Goethe March, which have just come out—the former merely to read through (as a memento of the Dresden performance, which served as a rehearsal to me, after which several alterations in the score occurred to me)-but the other two might not be wholly unsuitable for a performance with your gallant orchestra, to whom I beg you to remember me most kindly.

May the things be welcome to you, dear friend, as a token of the very high esteem of

Yours in all friendship,

F. Liszt

Weymar, March 22nd, 1859



211. To Eduard Liszt

Warmest thanks for all you have done, said, and felt, dearest Eduard. I hope that I am only going a few steps in front of you, and that in a couple of years the same distinction will fall to your lot, in which I shall then have the same pleasure as is granted to you today. [This would be the bestowing of the title of nobility on Liszt, who, however, as is well known, never used it.]

Herewith my letter of thanks to S. E. von Bach. [Austrian Minister of the Interior.] Perhaps you would think it well to deliver the letter yourself. Take the opportunity of remembering me to Wurzbach, who has always been most friendly to me. I will write to Daniel one of these next days. The Princess goes tomorrow to Munich, where Kaulbach is painting the portrait of Princess Marie. On the 30th of this month I again make a visit to Prince Hohenzollern at Lowenberg (Shlesia), and shall then soon take up my quarters at Leipzig, where we shall have to live through some rather warm days on the 1st, 2nd, and 3rd June. For the rest there are good prospects for us there; and, even if dishonesty and malevolence make the utmost exertions (as we may expect they will do), this can do us but very little injury (where it does not help us).

You have possibly already heard that the Schiller Festival in Weymar has been frustrated by the imprudence of Dingelstedt. In spite of that I am composing the Introduction to the Festival by Halm, which may find its use here or elsewhere. With heartfelt thanks and greetings, your

F. Liszt

[Weimar,] April 5th, 1859



212. To N. N., Music-Director at Weimer

[Autograph in the possession of Herr Gille, Privy Councillor in Jena.]

Dear Herr Music-Director,

I learn today by chance of the measures which have been taken a posteriori against the concert conducted and arranged by Herr Gotze [Carl Gotze, chorister, afterwards music-director.] and sincerely regret that a Weimar music-director and Weymar Court musician could deem such a thing suitable.

I, with my exceptional and only occasional dealings with the orchestra here, can only draw your attention to the fact of how deplorably such occurrences run counter to a nice feeling of decorum, and still more to the nobler artist feeling.

With compliments,

F. Liszt

April 17th, 1859



213. To Peter Cornelius In Vienna Weymar

May 23rd, 1859

Dearest Friend,

I learn with joy from your letter (which has just crossed mine from Lowenberg), that things are going well and comfortably with you in Vienna. It is easy to see that your stay there, when once you have made a firm footing, will become very advantageous—and whatever I can do towards helping this you may be sure I shall do. Herewith a few lines for Herr von Villers, Secretary of the Saxon Embassy (where you will learn his address). He is one of my older friends who has remained very dear to me. In his refined poetic and musical feeling many kindred tones will sound for you. Tell him all about Weymar and play him something from the "Barbier". [Cornelius' Opera] Although he lives somewhat a part, he can prove himself agreeable to you in many things,—firstly, by his own personal intercourse—and then also by his relations with Baron Stockhausen (the Hanoverian Ambassador), at whose house there is frequently really good music, etc.—Don't delay, therefore, looking up Villers.

For today I must beg you also to get the Prologue for the Leipzig days [The Leipzig Tonkunstler-Versammlung (Meeting of Musicians), from which the Allgemeine Deutsche Musikverein (Universal German Musical Society) sprang] ready as quickly as possible. I shall settle down at the end of this week (Saturday) in Leipzig—Hotel de Pologne. It would be very good of you if you could send me the Prologue to Leipzig within eight days. Address to Brendel, Mittelstrasse, 24. I still do not possess a single copy of my Mass, because I sent on the two or three that had been previously sent to me at once to M[usic]-D[irector] Riedel for studying the work. But my cousin, Dr. Eduard Liszt, will certainly be delighted to give you your copy at once. You have only to tell Daniel to bring it to you, if you have not time to call on Eduard.

Frau von Milde, Bulow, Bronsart, Draseke, Lassen, etc., etc., etc., are coming to Leipzig from Monday, 30th May, until Sunday, 4th June. You must not fail us, dearest friend, and we await you with open arms and loving hearts. Your

F. Liszt

The Princess stays a little longer in Munich, and will not get to Leipzig till towards the end of this month. Remember me most respectfully and warmly to Hebbel.

Best greetings to Catinelli.

Once more, please send the "Prologue".



214. To Dr. Franz Brendel

[Autograph in the possession of Herr A.O. Schulz, bookseller in Leipzig.]

Herewith is an answer to the nine points of your letter of today, my dear friend [Referring to the Tonkunstler-Versammlung in Leipzig, in June, 1859].

1. The Mildes have got leave of absence from Monday, 30th April, till Friday, 3rd June, inclusive. Your programme remains as already fixed. Duet from the "Flying Dutchman", "Cellini Aria", Songs by Franz and Schumann (etc. ad libitum).

2. I will bring all the orchestral parts that there are with me, or, better still, I will send you the whole lot tomorrow. For "Tasso" the whole set is complete—but for the "Duet" from the "Dutchman", and the "Cellini Aria" and "Overture" a couple of copies of the quartet will have to be written out afresh in Leipzig.

3. I do not possess the "Overture to the Corsair" [By Berlioz] (and would not recommend it for performance), and the "Prelude to Tristan" Blow will see after.

4. I expect more particulars from Blow in the course of the week.

5. I am writing today to Cornelius about the Prologue affair.

6. Herewith is the German text of the Mass,[Lizst's "Gran Festival Mass."] which is to be printed in Leipzig in the same manner as in Vienna—namely, with the addition of the Latin text- -and which belongs to the General Programme of the Festival. This programme we will settle and revise together next Sunday.

7. Leave of absence for Frau Pohl will be attended to.

8. I reserve to myself the matter of deciding on what pianists shall accompany the Ballads, and undertake the piano part of the "Trios" that are to be given. If possible I want Bronsart to take a part in it.

9. I will send off the definite invitations to the nobility next Sunday (at latest) from Leipzig to Gotha and Meiningen. I am coming to you on Saturday afternoon, 21st May [Must be 28th May, as the letter is dated the 23rd], and shall then stay in Leipzig till the end of the Festival. For the present a suitable room (without sitting-room) will satisfy me, and I beg you to bespeak this for me in the Hotel de Pologne for Saturday. My ministering spirit should have his room close to mine, because looking for him and calling is highly disagreeable to me.

Goodbye till Saturday. Your

F. Liszt

Monday, May 23rd, 1859

P.S.—The performance of "Judas Maccabaeus" (for the Handel Festival) is announced here for next Wednesday, 25th May. Tomorrow, Tuesday, there will be a similar Handel celebration in Erfurt with a performance of the "Messiah." Frau von Milde will sing the soprano part there. Let Pohl know this—perhaps he may like to hear "Judas."

The rehearsals of Rietz's little Opera are in progress, and Pasque (who has written the libretto for it) told me yesterday that the first performance will take place next week. Probably Rietz will undertake to conduct it, as I proposed.



215. To Felix Draseke

Where, my dear, excellent friend, have you got hold of the extraordinary idea that I could be angry with you? How to begin such a thing I really should not know. You are far too good and dear to me for me not to remain good to you also in all things!— Herewith are a few lines for Wagner, which however you don't in the least need. I am glad that you are not putting off this journey any longer. But before you set out WRITE to Wagner (you can add my lines to your letter extra), and inquire whether he will be staying at Lucerne still, so that your Swiss pilgrimage may not be in vain.—You will be certain to get an answer from Wagner by return of post, and will thus be sure of your object.

Schuberth tells me that "King Helge" will ride into his shop almost immediately...to Sigrun, the ever blooming delicious sorrow!—How scornfully, "without greeting or thanks," will "King Helge" look down upon all the other wares in Schuberth's shop. Somewhat as the hippopotamus looks on toads and frogs.—But it is quite right to let the Ballade come out, and I am impatiently awaiting my copy.—[Liszt subsequently formed out of Draseke's song the melodrama of the same name.]

I hope it may be possible for me to come to Lucerne at the end of August. But send some tidings of yourself before then to

Your sincere and faithful

F. Liszt

[Weimar,] July 19th, 1859



216. To Peter Cornelius in Vienna

Dearest Friend,

You are quite right in setting store upon the choice and putting together of the three Sonatas. The idea is an excellent one, and you may rest assured of my readiness to help in the realization of your intention as well as of my silence until it is quite a settled thing. If Bronsart could decide on going to Vienna, his cooperation in that matter would certainly be very desirable. Write about it to him at Dantzig, where he is now staying with his father (Commandant-General of Dantzig). Tausig, who is spending some weeks at Bad Grafenberg (with Her Highness the Princess von Hatzfeld), would also adapt the thing well, and would probably be able to meet your views better than you seem to imagine. As regards Dietrich, I almost fear that he does not possess sufficient brilliancy for Vienna—but this might, under certain circumstances, be an advantage. He plays Op. 106 and the Schumann Sonata capitally—as also the "Invitation to hissing and stamping," as Gumprecht designates that work of ill odor—my Sonata. Dietrich is always to be found in the house of Prince Thurn and Taxis at Ratisbon. He will assuredly enter into your project with pleasure and enthusiasm, and the small distance from Ratisbon makes it not too difficult for him. You would only have to arrange it so that the lectures come quickly one after the other.

Where Sasch Winterberger is hiding I have not heard. Presupposing many things, he might equally serve your purpose.

In order to save you time and trouble, I will send you by the next opportunity your analysis of my Sonata, which you left behind you at the Altenburg.

Draseke is coming very shortly through Weymar from Lucerne. I will tell him your wish in confidence. It is very possible that he would like to go to Vienna for a time. I have not the slightest doubt as to the success of your lectures, in conjunction with the musical performance of the works.—I would merely advise you to put into your programme works which are universally known—as, for instance, several Bach Fugues (from "Das wohltemperierte Clavier"), the Ninth Symphony, the grand Masses of Beethoven and Bach, which you have so closely studied, etc. [The proposed lectures did not come off.]

Well, all this will come about by degrees. First of all a beginning must be made, and this will be quite a brilliant one with the three Sonatas. Later on we will muster Quartets, Symphonies, Masses, and Operas all in due course!

A propos of operas, how are you getting on with the "Barbier" and the publication of the pianoforte edition? Schuberth told me for certain that printing would begin directly they had received the manuscripts. Don't delay too long, dearest friend—and believe me when I once more assure you that the work is as eminent as the intrigue, to which it momentarily succumbed, was mean-spirited.

Schuberth has no doubt told you that I want to make a transcription of the Salamaleikum. But don't forget that another Overture is inevitably NECESSARY, in spite of the refined, masterly counterpoint and ornamentation of the first. The principal subject

[Figure: Musical example of the principal subject.]

must begin, and the "Salamaleikum" end it. If possible, bring in the two motives together a little (at the end). In case you should not be disposed to write the thing I will do it for you with pleasure—but first send me the complete piano edition for Schuberth. The new Opera can then afford to wait a while, like a "good thing"—only may weariness at it remain long absent [Untranslatable play on the words Weile and Langeweile]!—In order that you may not have a fit of it in reading this letter, I will at once name to you the magic name of Rosa [Rosa von Milde, the artist and friend of Cornelius, who wrote poetry upon her]...

In consequence of an insinuating intimation of our mutual patroness, I have still to add the excuses of our good friend Brendel to you. When I have an opportunity I will tell you in person about the Prologue disturbances at the Leipzig Tonkunstler Versammlung. Pohl had also supplied one—but the choice was given over to Frau Ritter, and she chose her good "Stern," whose prologue was indeed quite successful and made a good effect. But oblige me by not bearing any grudge against Brendel, and let us always highly respect the author of "Liszt as a Symphonic Writer"!—

A thousand heartfelt greetings from your faithful

F. Liszt

Weymar, August 23rd, 1859

Princess Marie will thank you herself for the Sonnet, and at the same time tell you about the musical performances of the 15th August. Lassen's song, "Ave Maria," of which you gave him the poem long ago, was especially successful. The Quartet:

"Elfen, die kleinen, Wollen dich grussen, Wollen erscheinen Zu deinen Fussen"

["Elfin world greeting To thee is sending, Fairy forms lowly At thy feet bending."]

composed by Lassen), and

"Wandelnde Blume, athmender Stern, Duftende Bluthe am Baum des Lebens"

["Swift-changing flowers, pulsating star, Sweet-scented blossoms on life's living tree."]

(composed by Damrosch), which we had sung together two years ago, rejoiced us anew and most truly this time.



217. To Dr Franz Brendel

[In this letter, the programme refers to some theater concerts, which were to be arranged according to Brendel's design. The sketch was as follows:—

"1st Concert: Paradise and the Peri. 2nd Concert: Eroica, Prometheus. 3rd Concert: Overture of Wagner. Solo (Bronsart). Overture of Beethoven. 2nd part: L'enfance du Christ of Berlioz. 4th Concert: Festival Song of Liszt. Solo. Draseke. Chorus for men's voices from his Opera. 2nd part: Walpurgisnacht of Mendelssohn. 5th Concert: Overture of Berlioz, Wagner, or Beethoven. Solo. Preludes. 2nd part: Manfred. 6th Concert: Overture. Solo. Tasso. 2nd part: B-flat major Symphony."

To this Liszt adds, besides some remarks about getting the parts for No. 5:

"An orchestral work of Hans von Bulow (possibly the Caesar Overture) would be suitable for this concert. I would also recommend that Bronsart's "Fruhlings-Phantasie" ["Spring Fancy"] should be included in one of the programmes.

"Of Berlioz' works I should recommend the following as the most acceptable for performance:—

"The festival at Capulet's house (Romeo), The Pilgrims' March (from Harold), Chorus and Dance of Sylphs (Faust), Terzet and Chorus (from Cellini), with the artists' oath, Overture to Lear.

"N.B.—We can bring out the Terzet from Cellini at the next Tonkunstler-Versammlung. It is a very important and effective piece."]

Dear Friend,

The sketch for your programme is excellent, and if I have some doubts as to the entire project, yet your proposed programme seems to me in any case the most suitable, both as regards choice of works and their order and grouping. With regard to the doubts which I have so often mentioned I will only make the general remark that a competition with the Gewandhaus in Leipzig brings a good deal of risk with it, and for this winter a passive attitude on our side would not specially injure our cause (at least not according to my opinion). Whether Wirsing and Riccius will be able to give the requisite support to the theater concerts, or are willing to do so, I cannot undertake to say, as the ground of Leipzig lies in many ways too far removed from me. In this I rely entirely on your insight and circumspection, dear friend. In case you end by deciding in the affirmative I will willingly do something to help—as, for instance, to undertake the conducting of the "Prometheus." I would rather not let myself in for much more than that, because conductings in general become more burdensome to me every year, and I don't in the least desire to offer further active resistance to the ill-repute with which I am credited as a conductor. Indeed I owe my friend Dingelstedt many thanks for having (without perhaps exactly desiring to do so) given me the chance of freeing myself from the operatic time- beating here, and I am firmly resolved not to wield the baton elsewhere except in the most unavoidable cases! Blow must now often mount the conductor's desk. He has the mind, liking, talent, and vocation for this. If the theater concerts should be arranged, be sure to secure his frequent co-operation. He will certainly bring new life into the whole affair, and possesses the necessary amount of experience and aplomb, [Employed in French by Liszt] to be their solid representative.

I have just written to Klitzsch [Music-conductor at Zwickau] and promised him to conduct the "Prometheus" in Zwickau. The concert will take place at the end of October (perhaps on my birthday, the 22nd). Although you have heard the Prometheus choruses in Dresden, I wish very much that you could come to Zwickau this time. I have again worked most carefully at it, have amplified some things, and have arranged others in a simple and more singable manner, etc. Now I hope that it will thoroughly hold its ground and stand the test of proof. So do come to Zwickau.

I have still one more request to make to you today, dear friend. P. Lohmann [A music colleague of the Neue Zeitschrift fur Musik, living in Leipzig] was so kind as to send me his drama some weeks ago. I have read The Victory of Love with much interest, but I have not yet been able to get so far as the other, and as little have I been able to express my thanks to him in writing. Kindly undertake my excuses to him, and tell him that I am exceedingly obliged by his letter and what he sent me. On the occasion of my journey to Zwickau I will call on Lohmann in Leipzig, and tell him personally what an impression his dramas make on me. I specially take notice of his article in the paper.

I thank you most truly for the kindness which you have shown to B. He is in many things somewhat awkward, impractical—and almost looks as though he could not devote himself to any productive and consistently carried-out form of activity. None the less is there in him a certain capacity and worth which, in a somewhat more regular position than he has yet been able to attain, would make him appear worth more. A more frequent application of a few utensils such as soak tooth-brush, and nail brush might also be recommended to him!—I expect much good to result from your influence on B.'s further work and fortunes, and hope that your store of patience will not be too sorely tried by him.

With heartfelt greetings, your

F. Liszt

Weymar, September 2nd, 1859

Herewith the programme scheme with two or three little remarks appended. Weigh again the pros and cons of the matter, and keep the right balance between the risk and the possible gain. Motto: "First weigh, then risk it!"—[The nearest English equivalent seems to be "Look before you leap."

.—. I have had so much of notes [musical] to write lately that my writing of letters [of the alphabet] has got still worse. But where you can't read what I have written, you can guess it all the easier.—



218. To Louis Koehler

Dear Friend,

Your letter was a real joy to me, for which I thank you heartily. You are far too honorable, brave, and admirable a musician for our paths to remain long sundered. For the very reason that people cannot (as you so wittily remark) immediately "label and catalogue me correctly and place me in an already existing drawer," I am in hopes that my efforts and working will eventually prove in accordance with the spirit of the time, and will fructify. I promise you also that I am not wanting in pains and labour in honor of my friends. But I certainly cannot recognize weaklings and cowards as such. It is only with high- minded, brave, and trusty comrades that we move forwards, no matter though the number remain small. In matters of intelligence the majority always follows the minority, when the latter is sufficiently strong to hold its own.—Welcome, therefore, dear friend, welcome most truly. If there is still a lot of scandal which we have to bear quietly and without mortification, we will by no means let ourselves be confounded by it!

I have written at once to Hartel to send you the arrangements for two pianofortes of the Symphonic Poems that you wished for. But there is a better way for the scores than that of a bookseller. Fraulein Ingeborg Stark is going to St. Petersburg on the 20th of this month, and will stay a day in Konigsberg. She will bring you the Dante Symphony, etc., and if there should be an opportunity she will play the things through with Bronsart (who is also going to Konigsberg at the same time). I have grown very much attached to Fraulein Stark, as hers is a very particularly gifted artistic nature. The same will happen to you if you hear her striking Sonata. Ingeborg composes all sorts of Fugues, Toccatas, etc., into the bargain. I remarked to her lately that she did not look a bit like that. "Well, I am quite satisfied not to have a fugue countenance," was her striking answer.

The Pohls are both still in Baden-Baden (whence I hear the excerpts from Berlioz' manuscript opera Les Troyens [The Trojans] spoken of with enthusiasm). Madame Viardot sang a grand scena and a duet from it in the concert conducted by Berlioz—and Fraulein Emilie Genast is staying a couple of weeks longer with her sister Frau Raff in Wiesbaden. On her return I will give her your greetings, and Emilie will certainly be glad to make known the concert song which you mention to her. In her performance a beautiful and sympathetic "melody of speech" is reflected. As I write this word I can't help at the same time wishing that you may find in my "Gesammelte Lieder" something that appeals to your feelings, which you have so cleverly represented in the "melody of speech." You will receive a proof-copy of the six numbers at the same time as the Dante Symphony. I wanted to dedicate the last number, "Ich mochte hingehn" (poem by Herwegh), specially to you, and when next you have occasion to come to Weymar, I will look for the manuscript for you on which your name is put. But as I have left out all other dedications in this complete edition, I propose to dedicate something else to you later—probably some bigger and longer work.

A Ballade of Draeseke's—"Koenig Helge"—has just appeared, which pleases me extremely. You must look closely into this wonderful Opus 1.

In conclusion one more request, dear friend. Do me the kindness to be perfectly free and open and regardless of consequences in the discussion of my works. Do not imagine that the slightest vanity comes over me or impels me. I have long ago done with all that sort of thing. So long as you allow that I possess the necessary musical equipments to create freely in Art, as I gather from your letter that you do, I can but be grateful to you for all else, even were it severe blame. I have often expressed my opinion to my friends that, even if all my compositions failed to succeed (which I neither affirm nor deny), they would not on that account be quite without their use, owing to the stir and impetus which they would give to the further development of Art. This consciousness so completely satisfies me that I can consistently persevere and go on composing.

With all respect and attachment I remain,

Yours most sincerely,

F. Liszt

Weymar, September 3rd, 1859

If the Koenigsberg Academy does not take alarm at my name (as has indeed been the case in other places, owing to the foolish prattle of the critics), they might try the "Prometheus" choruses there by-and-by. They are to be given almost directly (at the end of October) at Zwickau, and probably later on in Leipzig, where I shall then also have them published.

In the matters of the prize-subject we will wait and see what comes. You very justly remark that it hinges now upon enharmony.

It is a pity that you do not bring something. Perhaps you will still find time to do so.



219. To Dr. Franz Brendel

Dear Friend,

I beg you to send me by return of post a copy of the intricate biography ("Liszt's Life and Work"—if I am not mistaken) by Gustav Schilling. Siegel and Stoll in Leipzig have taken the work from the Stuttgart publisher, and there will surely be some way of getting a copy in Leipzig. Ask Kahnt to be so good as to see after one and to send it me immediately by post, for I require the work in connection with a special and pressing question which I can best answer by a quotation from Schilling's book.

With friendliest greetings, your

F. Liszt

Weymar, September 8th, 1859

Why does not Schuberth send me my dedicatory copy of Draeseke's Ballade "Koenig Helge"?



220. To Johann von Herbeck

Dear Friend,

Warmest thanks for your persevering and well-wishing sympathy. It is a great pleasure to me that you are bringing about the performance of the Mass for men's voices on the 23rd October, and I hope that, as you have once "made your way through it," we shall also not succeed ill.

The "sneaking brood" (as you well name the people) can henceforth growl as much as they like. What does that matter to us, so long as we remain true and faithful to our task? In the performance last year at Jena (at the secular celebration of the University) I had the opportunity of convincing myself how capital your instrumentation of the Mass sounds, and I especially beg that you will not leave out one iota of it in the oboes or trombones. The organ alone is not sufficient, especially if there is a large chorus, and the completion of the accompaniment could not have been better accomplished than you have done it.

N.B.—At the Jena performance I hit upon the following alterations at the conclusion of the Gloria:

[Here, Liszt illustrates with a vocal score musical excerpt]

If you are agreed with this, then let this simplification serve for Vienna. I can only send you the score and parts of the "Prometheus" choruses towards the middle of November, as Klitzsch (in Zwickau) has arranged a performance of this work on the 12th to the 14th November, and I have already placed the parts at his disposal. If this delay does not hinder your kind intention of having the "Prometheus" choruses performed in Vienna, I will send the whole packet of parts to your address in Vienna, free, immediately after the Zwickau Concert. For the poem belonging to it, which I will also send with the rest, it is desirable that you should get an adequate tragic declaimer. In Dresden Davison undertook this, and in Zwickau Frau Ritter will declaim it. I am writing today to Herr von Bulow, but rather doubt whether he will be able to accept your invitation for this winter. According to what he told me lately, he thinks of going to Warsaw and Paris in the latter part of the winter. With regard to the eventual choice of a piece you may, moreover, pacify the strict gentlemen of the Committee. In case Bulow should make his appearance at the Philharmonic Concert he will, on my advice, not play my A major Concerto (nor any other composition of mine), but just simply one of the Bach or Beethoven Concertos. My intimate friends know perfectly well that it is not by any means my desire to push myself into any concert programme whatever...With regard to the scores and parts that you want, I have noted on a separate sheet which ones I have at my disposal, and where you can obtain the rest. In conclusion allow me once more to beg you kindly to let me have a couple of lines about the performance of the Mass. Perhaps some things may occur to you which might still be altered and simplified. Do not deprive me, dear friend, of your good advice, which I shall be glad to make use of in the score edition of the Mass which must shortly ensue. Naturally your name will stand on the title-page, and the responsibility of the instrumentation will be remitted to you.

With friendly thanks and highest regard, I am

Yours most truly,

F. Liszt

Weymar, October 11th, 1859



221. To Felix Draseke

Dear excellent friend,

Your surmise that I could not go away from Weymar at present was quite correct. The Altenburg is indeed very deserted, as Princess Marie went away directly after her marriage on the 15th October, and the Princess went to Paris yesterday for several days—yet I will not leave my own hearth so soon, even if my outward activity be much limited henceforth (as I have already intimated to you) both here and elsewhere.—I require my whole time for my further works, which must go on incessantly—consequently I have resolved to keep at a distance all the delights of conductorship, and to give the baton a rest equally with the piano.—

On the 9th November the festival play by Halm, "A Hundred Years Ago," will be given here with the music I have composed to it— and on the 11th the "Kuenstler-Chor" is to introduce the Festival-oration by Kuno Fischer at Jena. Damrosch writes to me also from Berlin that he intends to include the "Kuenstler-Chor" in the programme of the Schiller Festival there. The Zwickau Concert is fixed for the 15th November—and I am delighted to think of meeting the Ritters there. By the way, I am of opinion that Sasch [Sasch, i.e., Alexander, Ritter's Christian name] will undertake two numbers of the programme, and will fulfill Klitzsch's wish with the "Chaconne" as well as mine with the original Concerto, on the same evening. Zwickau chances to belong to the few towns where the "Chaconne" (so Klitzsch writes me word) has never been heard in public. Sasch can take this fact into consideration, and without doing anything derogatory can grant the public the enjoyment of the "Chaconne." The assured success which he will have with it may also act beneficially on the receptiveness of the audience in connection with his Concerto. Tell our dear friend this, with the proviso that, if he only undertakes one number on the programme, I advise him in any case to choose his Concerto. The piece has much that is interesting and effective in itself, and it will be useful to Sasch to test the relation of the orchestra to the solo part by a public production. If necessary, therefore, force him to do it, by my order.

With regard to the causes and excuses for your pretended "obstinacy, dogmatism," and imaginary "arrogance," I beg you, dearest friend, to rest assured that you will never find any such suspicion in me. What you think, feel, compose, is noble and great—therefore I take a sympathetic interest in it.—The next time we are together I will merely endeavour to make "amputation" more bearable to you by chloroform!—

With highest esteem I remain,

Yours in all friendship,

F. Liszt

[Weimar,] October 20th, 1859



222. To Heinrich Porges in Prague.

Dear Friend,

Your letter for the 22nd October gave me heartfelt pleasure, and you need not be in doubt as to the correctness of the affectionate and deep perception of my endeavour, which "has proceeded both from man's need of freedom as well as of love," and which, by and with the grace of God, has been impelled to raise itself toward the "Divine."—I cannot say much on this subject; but may my works only remain no dumb witnesses, and may your intimate understanding of them give you some satisfaction.

I send you herewith Dingelstedt's Festal Song for the Schiller Celebration, which I have purposely composed in a very simple, national manner. Perhaps there might be an opportunity of bringing the thing to a hearing during the Schiller Festival in Prague. Will you ask Apt whether he would be disposed to do it? The studying of it would not give the least trouble. It requires only a baritone or bass for the solo part, and an ordinary chorus of men's voices without any accompaniment.—

Leaving it entirely in your hands to act about it as you may think best, and either to promote the performance or to let it alone, I remain, with best thanks and high esteem,

Yours very truly,

F. Liszt

October 30th, 1859

My composition to Halm's festival play has been sent through H. von Dingelstedt to Herr Thome, and will probably be performed on the 9th or 10th November. [The festival play was given in Prague under the theater conductor Thome. The music to it was never published. The Weimar archives probably possess the score.] Write and tell me how the matter is settled.



223. To Ingeborg Stark

[A pupil of Liszt's, who afterwards married Liszt's pupil Hans von Bronsart, now General Manager of the Weimar Court theater: she was also known as a composer.]

It is very charming and graceful of you, dear Mademoiselle Inga, to remember the 22nd October so kindly, and I should have thanked you sooner for your letter, which gave me sincere pleasure, had I not been kept to my bed for nearly a week in consequence of much emotion and fatigue.

Through our friend Bronsart I have had some preliminary good tidings of you; you have fulfilled your role of charmer in the best possible manner, and Bronsart is full of raptures about you. But all this is ancient history for you, something like a chapter of Rollin on the history of the Medes,—after whom come the Persians, the Greeks, and the Romans...

For the present it is the turn of Russia, which you are in the way of conquering, and I see from here the enchantment of your admirers of St. Petersburg, who are all ears and all eyes around the piano where you are enthroned.

Will you remember me affectionately to Prince Odoyewski, and give a friendly shake hand [Written in English by Liszt] from me to Mr. Martynoff. As for our dear Tartar, [The composer Alexander Seroff] tell him how much I am attached to him; he will be all the more agreeably persuaded of this if you tell him. Ask him also to write to me after your first concert, for I would not risk offending your modesty so far as to beg you to send me an exact account of your undoubted successes. But I don't intend on that account to let you stand still as regards letter-writing, and you will give me great pleasure if, for example, you will continue your history of the musical prowess of Rubinstein (that you have begun so well).

You know that I am truly interested in what he is doing, considering that he has all that is wanting to compose good and beautiful things, provided that he does not persist in writing straight off too hurriedly, and guards a little against excess in the very exercise of these grand qualities.

The "Ocean" of which Rubinstein has sung might serve as his model in this; he knows how to restrain his waves in their liberty and power—and I hope Rubinstein would not be offended by the comparison!—Let me know then about his artistic actions and attitudes, of which, I presume, he will have every occasion to be satisfied and proud. Our little Weymar has remained, as usual, pretty tame since you left; but in a week's time we shall be celebrating here the centenary of Schiller's birth with all the enthusiasm of which we are susceptible (which is not saying much).

On the 9th November the music that I have composed for Halm's Festival-play, "A Hundred Years Ago," will be given at the theater, and Jena has put on its festival programme my chorus "An die Kuenstler," which will terminate the ceremony of the 11th (Friday next).

In addition you will find in the Schiller number of the Leipzig Illustrirte Zeitung, which will appear on the 12th November, a Festival song "im Volkston" [In the style of a folk-song] of my composition. Do not be shocked at the extreme simplicity of this song; it was not the occasion to make a display of musical knowledge—but simply to write forty bars or so which could be quite easily sung and remembered by tutti quanti. In order to do this I had to dress my Muse in a blouse, or, if you prefer a more German comparison, "ich habe der Dame eine bayrische Joppe angezogen!" ["I have dressed the lady in a Bavarian jacket."]

How are you getting on with your truly Samsonic Variations—and with your Fugue "Martha"? Don't make too great a martyr of yourself over it, and reserve for yourself also the better part...that of Mary. [She had written a fugue on the musical letters of the names Martha and Maria [Mary]—the names of her friends, the sisters Von Sabinin.]

As I have mentioned this name I will tell you that Princess Marie Hohenlohe will spend her winter in Vienna.

I, for my part, shall not stir from the Altenburg, where I am reckoning on finishing my Elizabeth, and on living more and more as a recluse—indeed, even a little like a bear—but not in the style of those estimable citizens of the woods, whom the impresarii of small pleasures degrade by making them dance in the market-places to the sound of their flutes and drums! I shall rather choose a model ideal of a bear—be sure of that—and the flutes and drums which might lead me into the slightest future temptation of cutting capers have still to be invented.

Will you be so good, dear Mademoiselle Inga, as to present my very affectionate respects to Madame, your mother, as well as my best remembrances and compliments to la Sagesse Olivia—[Liszt's name for the sister of Ingeborg Stark] and believe me invariably

Your very devoted

F. Liszt

Weymar, November 2nd, 1859



224. To Johann von Herbeck.

Dear Friend,

I only returned a few hours ago from Zwickau, and find your friendly letter here, in reply to which I must excuse myself for not having been able to fulfill your wish so soon as I had intended, in respect to the Schubert Marches. This delay, which was very unpleasant to me, was occasioned by an indisposition which obliged me to keep my bed for a whole week at the end of October. The Weymar and Jena Schiller Festivals, following on the top of that, made it utterly impossible for me to get on with the instrumentation of the Marches. But I promise you that you shall have the score by Christmas at latest.

"Prometheus" will present himself to you by the end of this month. If after looking through the score, dear friend, you think the work suitable for a performance in Vienna, I shall be glad. If not, I beg you to tell me so with perfect candor, and without the slightest scruple of thereby wounding my vanity. Whether the stomach of the critics and of the public will be able to digest such a liver cut out of the vulture as this of my "Prometheus," or whether at the very first bars all will not be lost, I cannot determine; but still less would I prepare superfluous disagreeables for you by the performance of my "Tonschmiererei;" [Tone-daubing] of such ill-odor from the beginning!

Decide therefore entirely according to your own judicious opinion—and, whatever that may be, rest assured of the sincere acknowledgment and esteem with which I remain

Yours in all friendship,

F. Liszt

November 18th, 1859



225. To Dr. Franz Brendel

Dear Friend,

Of the three prize essays (which I return to you herewith) the one with the motto "Try all things and maintain the best" is, according to my opinion, very significant and suitable to the definite solving of the question. The writer develops his thesis with so safe, so rightly apprehending, and so far grasping a logic that it shows convincingly that the now indispensable practice is in complete union with the results of the theory. It is to be hoped that our excellent colleague and friend Lobe will also give his weighty judgment in favor of this prize essay, and will also scientifically explain his motives for doing so—for I cannot suppose that Lobe is in agreement with the opponents of the enharmonic system, whose theory would make us have to do musical penance.

In the two other essays with the mottoes "Our eyes see, but they require the light to do so," and "Look, this is what man has done!" there is much that is true and worthy of consideration (especially in the former), which might be made prominent after reading through all the essays sent in.

Come to an understanding next with Lobe about the final business of the causes for the award of the prize, and let me have a draft of it. It cannot be otherwise than profitable if the affair is treated somewhat exhaustively and thoroughly, which you, dear friend, in conjunction with Lobe and Weitzmann, are much better able to do than my humble self, since I, as Hauptmann justly observes, should appear to be too much prejudiced by my own practice. In matters of harmony, as in other greater matters, I believe also that Nature is in everlasting union with Genius.

"What one promises, the other surely performs." And Beethoven was quite right to assert his right to allow that which was forbidden by Kirnberger, Marpurg, Albrechtsberger, etc.!—Science must only investigate more and more the nature of things and the freedom of genius, and become experienced in their further development.——- ——-

Ever faithfully yours,

F. Liszt

[Weimar,] December 1st, 1859

I quite agree with your project of giving two prizes. The first prize will be awarded to the above-mentioned treatise, unless, which I doubt, a still more successful one should be sent in.



226. To Anton Rubenstein

Certainly, my very honored friend, I shall not leave off taking a very sincere and loyal part in the unfolding of the career that you are pursuing with such rare prowess, and all that you can tell me of your doings in composition and musical conducting will always find in me a lively interest. Thank you, therefore, for your nice letter, which contains also a promise which I shall be very much pleased to see you fulfill—namely, that of your visit next spring, in company with your Opera in four acts—and probably also with your "Song of Songs," which you do not mention to me, but which I am none the less desirous, on that account, of knowing.

Have you thought well to give your "Paradise Lost" at St. Petersburg? I urged you strongly to do so, for it is a capital work, which does you great honor, and the place of which seems fixed in your concerts. And on this subject allow me to compliment you very sincerely upon the idea (all the less frequent as it is just) which has been uppermost in the distribution of the programme of these concerts. If it continues to predominate, and if in effect they take it into their heads at St. Petersburg to do justice (as you tell me) "to all the masters of all schools and of all times" (not excepting our own!), the famous verse

"'Tis from the North that light comes to us today"

will be justified, and even by Music! In France and Germany we are far from this—and classical Pharisaism swells its voice there to make a diversion to Mercantilism, that rich disgraceful one, who succeeds perfectly well in making the principal papers and their numerous readers dance to the sounds of his harsh flute, whilst his antagonist (Pharisaism) only ends in "Improperias" and "Jeremiads"...not composed by Palestrina!

Your choice of the introduction to the second act of the Fliegender Hollander seems to me an excellent one, and I shall get the score (of this scene) copied for you, as it is very difficult to get a complete score of the Opera, and as I only possess the autograph, with which it would be a matter of conscience to me to part. In about a fortnight I will send you what you want for your programme.

Princess Marie Hohenlohe is at the present time at St. Petersburg, and will be much delighted to see you again. Her husband does a good deal in the way of music, and plays several "Lieder ohne Worte" of his own composition very nicely. He and his wife will assuredly have pleasure in being amongst the first to applaud at the time of the performances of your Opera in Vienna.

A revoir then, my dear Rubinstein, in the spring—and ever yours in sincere esteem and affection,

F. Liszt

Weymar, December 3rd, 1859

P.S.—When you see Mademoiselle Ingeborg Stark, please give her my very affectionate remembrances. If her journey from Paris should bring her back by Weymar she would be sure to find me there; for, in spite of what the papers say, which, among other fancies, have taken it into their heads to make me travel hither and thither, I shall not stir from here for several months, but continue to work my best—if only to prove to the "kindly critic" and the idlers that it is very much to be regretted that I should have taken it into my head to turn composer!—This recalls the proverb, "On devient cuisinier, mais on nait rotisseur!"

[There does not seem to be any equivalent to this proverb in English: the nearest approach to it is, perhaps, "A poet is born, not made."]



227. To Dr. Franz Brendel

Dear Friend,

It is of great consequence to me not to delay any longer the publication of my "Gesammelte Lieder." Forgive me, therefore, if today I am somewhat troublesome to your friendship..—.

It seems to me that the best plan would be if, before you confer with Herr Schulze, you would first have a consultation with Klemm, and come to a thorough understanding on the matter with him. [Liszt evidently wished to have the songs engraved first at his own cost, and to let Klemm undertake the sale on commission.] Beg him also, in my name, to show a friendly sympathy to the work. The songs can hold their ground in their present form (regardless of the criticism of our choking and quarrelling opponents which will infallibly follow!); and if a few singers could be found, not of the raw and superficial kind, who would boldly venture to sing songs by the notorious non-composer, Franz Liszt, they would probably find a public for them.

I think I told you that a couple of them made a furore in certain salons which are very much set against me, as posthumous songs of Schubert, and were encored!—Of course I have begged the singer to carry the joke on further.

Klemm need not therefore be in the least ashamed of undertaking the publication of the work in a friendly spirit.

Best thanks beforehand for your kind trouble in this matter—and ever faithfully yours,

F. Liszt

Weymar, December 6th, 1859

P.S.—I have just received your letter. The two K.'s—Kompel and Kahnt—shall be made most welcome. Pohl had already told me of Kahnt's coming; it will be a pleasure to me not to verlangweilen [To make the time hang heavily] his visit here (if that word is not quite German, still I consider it is comprehensible!). Julius Schuberth had also the intention of rescuing something [Namely, Liszt's composition] from Kuehn. [Music publisher] Your idea of giving Bronsart the conductorship of the Euterpe Concerts is a most excellent one. I suppose the letter which I wrote about this to P. Fischer (to your address) came to hand (?). The day before yesterday I also let Bronsart know that possibly some favorable openings might occur for him in Leipzig, and recommended him not to neglect them. Bronsart would be just in his right post in Leipzig, and I do not doubt that he would in every respect maintain it in the most honorable manner. In addition to this, it would be especially agreeable to me to begin constant intercourse with him as my next neighbor. He is now working at his Opera, and sent me a little while ago the libretto which he has himself composed to it, and which seems to me very successful in the most important scenes, as well as in the dialogue. [It was afterwards composed by his wife ("King Hiarne").]

Address your letters to "Herr von Bronsart, c/o Herr General von Bronsart, Commandant of Dantzig, Dantzig."

In consequence of the performance of my Mass in Munich (on the King's birthday, at the end of November), which, as I am told on many sides, was well given and—which seems wonderful—was acknowledged by many musicians there to be a work of importance— so that even Lachner spoke favorably of it—the "Allgemezne" Zeftung again breathes forth poison and gall (supplement of 3rd December), without forgetting therewith the "Neue Zeitschrift fur Musik." I should like to take the opportunity of making this pack of critics, such as W., B., G., B., and whatever all the assistants' assistants are called, understand the following thoughts as Xenie:—[Epigram]

"Ye break your staff over me, but your staff has indeed long since become rotten from all the dust and dirt that stick to it, and it scarcely serves any longer to cut the air!"

Tell this idea to Lohmann—perhaps he may be inspired with a happy rhyme for it.

I cannot say anything better to you about Pohl than what you tell me.—

Herewith, for your private delectation, is a copy of some lines from my letter to Herr Gustav Eggers (in Berlin), brother of the well-known Art-journal Eggers, now very much concerned in the Prussian paper. Gustav E. was here at the September Festival (1857), when he heard the Faust Symphony, and sent me lately a very pretty book of songs, begging me to recommend them to Hartel.—Send me the little paper back soon.



228. To Eduard Liszt

By the loving friendship which you have shown me, especially during the last decade in which so many trials have been laid on me, our close relationship in heart and character has been for ever firmly sealed, dearest Eduard. You are, and will ever be to me, a support and a courage-giving comforter in the battles and straits of my life. God grant me grace to go through them without wavering, as a faithful servant of the truth in Christ!

You have decided upon just what is most right and suitable in the arrangement of the funeral ceremony of my son. [He died in Vienna, where he was studying law.] The selection of Terziani's Requiem was a very suitable one under the existing conditions. I thank you for everything from the depths of my soul!

I shall write a couple of lines to Herbeck tomorrow, and send him at the same time the score and parts of the "Prometheus," as well as two Marches of Schubert which I have instrumented for him. The sending off of this parcel has been delayed by the circumstance that it was necessary to have the whole score of the "Prometheus" written out afresh, and to make some alterations in the parts. The earlier score was indeed sufficient for me—but any strange conductor would scarcely find his way through it. I hope Herbeck will be pleased with the instrumentation of the Schubert Marches. I fancy I have been successful in this little work, and I shall continue it further, as it offers much attraction to me. The four other Marches will follow shortly, which should make the half- dozen complete.

Cornelius arrived here the day before yesterday. His friendly attachment to you is a very warm and sincerely devoted one. On me Cornelius's pure mind and thoroughly honorable disposition always have the most beneficial effect; but it is especially welcome to me just now to hear more of you from him, and thus to be more with you.

Be as good to me as you are dear to my heart!

F. Liszt

Weymar, December 28th, 1859



229. To Josef Dessauer

[Autograph in the possession of Herr Von Hannen, painter in Venice.—The addressee ("Maitre Favilla," as George Sand named her friend) was known as the composer of refined songs (1798- 1876). Three of these Liszt transcribed (1847, Berlin, Schlesinger).]

Dear honored Friend,

It is possible that the delicacy of your perception may have brought you much trouble, but it assures you a soft place in the better region of the heart of your friends. This I again felt in reading your dear letter.

Accept, therefore, the heartfelt thanks of your old friend, whose "manly formed nature" must further prove itself; he has still many duties to fulfill and more than one battle to fight. May the Cross remain his support, his strength, and his shield!

Whatever fatality also may hang over me, be assured of the faithful attachment of your

F. Liszt

Weymar, December 30th, 1859

The crucifix from you (after the Gran Mass) has grown still dearer to me!—

When I have finished with some works which cannot be postponed any longer, Daniel shall receive his Requiena.



230. To Wilkoszewshi, Secretary of the Concerts of the "Hofcapelle" in Munich.

[From a copy in Liszt's own handwriting (amongst the letters to Brendel)]

Dear Sir,

The performance of new works on the part of so renowned an orchestra as that of Munich must ever remain a mark of special attention for the composers. But I must rate it still higher that, in face of the strong prejudice against my name, one of my ill-famed Symphonic Poems should have been included in the programme of the concerts of the Munich Hofcapelle.

It is ill preaching to deaf ears, and it is well known that there is no worse deafness than that of people who will not hear. Hence it is that the Festklange, as well as the Mass and everything that I and others better than my humble self have been able to compose, is prejudiced. But the more unseemly and malicious factiousness may show itself against new works, the more am I laid under a grateful obligation to those who do not accept as their artistic criterion the injustice inflicted on me.

Time levels all things, and I can quietly wait until people are more occupied in learning to know and to hear my scores than in condemning and hissing them. Mean-spirited, blackguard tricks, even when played in concert-rooms and newspaper reports, are no arguments worthy of a lasting import.

I beg you, dear sir, to convey to General Music-Director Lachner my best thanks for his well-meant sentiments towards me, and I remain, with high esteem, yours very sincerely,

F. Liszt

Weymar, January 15th, 1860.



231. To Johann von Herbeck.

[Received, according to him, on January 26th, 1860]

Dear Friend,

On getting back from Berlin yesterday evening I find your letter, which has given me especial pleasure by the assurance that the "Prometheus" choruses and, the instrumentation of the "Schubert Marches" fulfill your expectations. You shall very shortly receive two more "Schubert Marches" (the "Funeral March" in E flat minor, and the "Hungarian March" in C minor out of the "Hungarian Divertissement". [Op. 40, No. 5, and "Marcia" from Op. 54] They could be played one immediately after the other.

The "Prometheus" choruses, together with the "Symphonic Poem" which goes before them (and which has been published by Hartel as No. 5), were composed in July 1850 for the Herder Festival, and were performed in the theater here on the eve of that festival. My pulses were then all beating feverishly, and the thrice- repeated cry of woe of the Oceanides, the Dryads, and the Infernals echoed in my ears from all the trees and lakes of our park.

In my work I strove after an ideal of the antique, which should be represented, not as an ancient skeleton, but as a living and moving form. A beautiful stanza of Andre Chenier,

"Sur des pensers nouveaux faisons des vers antiques," ["On modern thoughts let us fashion verses antique."]

served me for precept, and showed me the way to musical plastic art and symmetry.

The favorable opinion you have formed of the work in reading it through is a token to me that I have not altogether failed—I hope that the performance will not spoil your sympathy for it. I leave the direction, with the utmost confidence, entirely in your hands.—You always hit on the right thing, and navigate satisfactorily with your entire forces the occasional difficulties of the dissonant entries, and of the pathetic delivery which is absolutely essential in several places. It would certainly be a great pleasure to me, dear friend, if I could be present at the performance in Vienna on the 26th February, to enjoy your intelligent and inspired performance, but I am prevented from doing this by various circumstances (an explanation of which would lead me too far).

I beg you therefore not to induce the directors to invite me, because I might not be in a position to make my excuses. So please do you undertake the office of unchaining Prometheus in Vienna; this labour of Hercules will become you well [Footnote below]. There are certainly no powerful eagles to hack and rend in pieces the Titan's liver—but there is a whole host of ravens and creeping vermin ready to do it.—Once more best thanks and greetings from your most highly esteeming and very devoted

F. Liszt

[It took place on the 26th February, 1860. Herbeck notes as follows about it in his diary: "Prometheus, Symphonic Poem, pleased fairly. Chorus of Tritons pleased extremely. The Vintagers' and Reapers' choruses and concluding chorus pleased, but of course there was a formally organized opposition hissing. They had sworn the overthrow of this music, without even knowing a note of it."]



232. To Dr. Franz Brendel.

So then it has happened well that the editor of the Neue Zeitschrift has also become the editor of my "Gesammelte Lieder." Best thanks, dear friend, for the means you have taken to promote this. Kahnt has only to come to an understanding with Schlesinger; I on my side do not wish to place any limitation on his rights. Whether a transcription of this or that song may be made I do not know; if this should be the case I will only beg Kahnt to let me know of any such chance transcriptions before allowing them to appear, mainly because it would not be pleasant to me if any really too stupid arrangements should come out. This is only a matter of artistic consideration—beyond that I have neither restriction nor reservation to make to the proposed edition. As soon as Kahnt is in order with Schlesinger I am satisfied with everything. This or that song may then appear singly, or transcribed for guitar or zither; so much the better if Kahnt can thereby make it pay. N.B.—I should be glad if, in bringing out the songs singly, the same outside cover could be employed as in the complete edition, on account of the index. Probably Kahnt will say nothing against this, as the back of the cover serves as an advertisement of the entire collection of songs.

Yesterday evening Fraulein Berghaus (a daughter of the Potsdam professor) sang two numbers, Freudvoll and leidvoll and Es muss ein Wunderbares sein (out of the sixth part), at a concert given by Singer and Cossmann. I had indeed forbidden it, because this winter I will not have my name put on any concert programme at all—but her exquisite delivery of these songs, which were also received with approbation, reconciled me to it.

At the last Court concert in Berlin Fraulein Genast [A highly gifted singer, afterwards Frau Dr. Merian in Weimar] selected the "Loreley" as her concluding song, and the Frau Princess Victoria expressed herself very favorably about it, remarking that a Schubert spirit breathed in the composition. One of these days Fraulein Genast is again singing the "Loreley" at the Philharmonic Concert in Hamburg. Otten has specially begged her to do so. The same gentleman wrote about eighteen months ago to Frau von Milde that he must beg to remark "that in regard to the choice of compositions to be performed Robert Schumann is the extreme limit to whom his programme could extend!"

I cannot quite remember whether I sent Gotze a copy of my songs. Please ask him, and if I have not yet done so let me know. Gotze has a special claim to them, for in earlier years he had the courage to sing several of my nonentities—and I will see that he has a copy at once. At the same time ask Fraulein Gotze also whether she has received the copy of the Ballade Leonore. [Liszt had composed this melodrama for Auguste Gotze, and frequently performed it, as well as his later melodramas, with her.] From several places (and quite lately from Carlsruhe and Brunswick) orders for this Ballade have come to me, which—between ourselves—are not convenient to me. My copyist has already had to make at least nine copies of it, which is a pretty good expense. Nevertheless a tenth shall willingly be made, if the one which was intended for Fraulein Gotze did not reach her, of which I am somewhat in doubt, owing to the many demands which the Leonore has brought with it, and which have made me somewhat confused.

It would really be the best for me if Kahnt or Schuberth would save me the trouble of making further copies by publishing the "Leonore". But I should not wish in any way to incommode the publisher, and certainly not to offer anything without knowing that it would be welcome. Under present circumstances a very pronounced reserve has become my rule. My business is simply to continue working unremittingly, and quietly to await the rest.

Accordingly I submit myself without difficulty to your experience as editor in regard to my Munich letter [To Wilkoszewski]— although I could maintain good grounds for publishing it. Certainly it is always the gentlemanly thing entirely to ignore certain things and people. You may therefore be quite right in putting aside all other considerations; and as I am convinced of your most sincere friendship I willingly leave you to decide whether my coming forward in such matters is of use or not. In case you had thought it advisable for my letter to be printed in the "Neue Zeitschrift" (which I left to your judgment), it would have had of necessity to be printed without the slightest alteration, because I have purposely written it thus clearly to Herr W., and any alteration in it might be taken as cowardice (which is far from me). But probably it is better to abandon the matter for a while, and to be somewhat more severe on another occasion. The pack of ragamuffins has richly deserved to be treated as ragamuffins!

This evening is Wagner's first concert in Paris. I expect little good to him from it, and consider such a step on Wagner's part as a mistake. In consequence of this opinion our correspondence is for the time suspended. More about this viva voce—as well as about "Tristan and Isolde." A performance of the Opera was desired—that is to say, commanded for the 8th April (the birthday of the Grand Duchess). But Frau von Milde cannot undertake the chief part—and on that account the parts and score sent to us from Carlsruhe will be sent back again at once!

Has Wagner given his opinion more decidedly about a "Tristan" performance in Leipzig? Can you let me know the contents of his letter?

With heartfelt greetings, your

F. Liszt

Weymar, January 25th, 1860

If you should see Schuberth, tell him that I have something to communicate to him that would perhaps repay him for the trouble of coming to see me here for a couple of hours. I have no intention of coming to Leipzig for the present. Tell him that delays of this kind make me "nervos" [nervous] (He knows what the word "nervos" means with me.)



233. To Friedrich Hebbel

[Communicated by Dr. Felix Bamberg, from the original]

The words which you write to me bear the two-fold eloquence of the praiseworthy man in the fore-rank of Art, and of the friend dearly loved and highly respected by me. Accept my warmest thanks for it, and please excuse me for not having told you sooner what a strengthening and healing effect your letter made on me. Work of all sorts and a long absence from here occasioned this delay. In the interim I was often with you in thought; only the day before yesterday I read to the Princess your two glorious Sonnets an den Kunstler ["To the Artist"], "Ob Du auch bilden magst, was unverganglich"—"Und ob mich diese Zweifel brennen mssen?"["Whether thou canst form what is imperishable": "And whether these doubts must burn me."]—

From Weymar I have nothing interesting nor especially agreeable to tell you. This winter will pass away pretty quietly and insignificantly at the theater, with repertoire works and pieces that will bring in money, and in society with the customary pleasures. A new drama by Rost, "Ludwig der Eiserne," made some sensation, as is peculiar to the very popular productions of this author, who has achieved a public-house notoriety here. The nobles ought to have appeared in it yoked to the plough, but on Dingelstedt's advice Rost toned down that scene!—A translation by Frau Schuselka (who has performed here sometimes) of the "Pere prodigue" of Dumas fils was to have come on the boards; but it appears that there are scruples about making such very ominous demands on the customary powers of digestion of our un-lavish fathers of families! Amongst other inconveniences the piece also contains logarithms, to which the respectable German Philistine cannot attain.

As regards myself, I am quietly waiting for the spring, when I shall in all probability move on further—of course not to renew my occupation of conducting, as it is said I shall do in Munich, Berlin, or elsewhere—an occupation I have gladly given up;—but in order to be able to pursue my work further than I am able to do in Weymar, which to me is a more important matter.

Remember me most kindly to your wife, and be assured that I remain ever in truest devotion yours most faithfully,

F. Liszt

Weymar, February 5th, 1860.



234. To Dr. Franz Brendel

[February 1860]

Dear Friend,

Although as a general rule I consider that it is not the business of the Neue Zeitschrift to go in for polemics, yet it seems to me that the little notice that Hanslick has put in No. 49 of the Vienna Presse, Saturday, the 18th February, is of such a kind that one must not ignore it.

The Presse is a paper with a tremendous circulation in the monarchy, and Hanslick counts among the leaders of our opponents; it would therefore be worth while to make an exception by coming forward on this occasion, unless (which I cannot as yet believe) your Vienna correspondent has been guilty of the mischievous conduct which Hanslick so severely reports. This point must first be made clear—whether in the third (or possibly an earlier) concert of Herr Boskowitz an exchange of a Schumann for a Liszt piece occurred. [Instead of the Liszt piece "Au bord d'une source," which stood on the programme, Boskowitz had played the "Jagdlied" from Schumann's "Waldscenen," which did not prevent a correspondent (namely, the correspondent of the Deutsche Musikzeitung, as the Neue Zeitschrift of 24th February, 1860, gave out) from loudly carping at the supposed Liszt composition.] Possibly also your correspondent made use of the expression "The Vienna Press" in general, and did not refer specially to the paper Die Presse, [This was actually the case] or was referring to other remarks of Hanslick's...

This is only the second time for many years past, dear friend, that I have drawn your attention to notices in the paper. On the first occasion, when the Augsburger Allgemeine gave that infamous correspondence about the venality of the Neue Zeitschrift, your striking answer gave the most convincing proof of what part the opponents were studying to play!—I hope it will be possible to despatch Hanslick's notice (which I enclose) in a similar fashion. But it is necessary to get at the exact truth before inveighing against them—for Hanslick is no easy opponent, and if one once attacks him it must be with suitable weapons and without giving quarter. The words "denunciation proceedings," "Gessler caps of the party of the future," and especially the concluding sentence, "As long as Herr Brendel," etc., are a challenge, which deserves more than a faint-hearted reproof! I would also advise you to send a duplicate of your reply to the Presse in Vienna, at the same time as it is published in the Zeitschrift. The editors of the Presse will be certain to reject it, according to the usual method of the clique impartiality of those gentlemen. But the scandalous examples of the latter will be thus increased by one more.

It is easy also to see beforehand that Hanslick will not let the matter rest at this first notice, and will continue the discussion.

Hearty greetings.

F.L.P.S.—In case your Vienna correspondent should be quite in the wrong, it would be better simply to be silent and wait for a better opportunity.



235. To Dr. Franz Brendel

[March or April 1860]

Dear Friend,

Do not blame me if this time I follow Pohl's example and keep you waiting for the promised article. I have been working at it pretty continuously during the past week, and the sketch of it is quite ready; but I am not quite satisfied with it, and about Berlioz and Wagner I must say the right thing in the right manner. [No article of the kind by Liszt is contained in the Neue Zeitschrift for the year in question; probably it was unfinished.] This duty requires me to spend more time on it, and unfortunately I have so much on hand this week that it is hardly possible for me to busy myself with polemics. Tomorrow is again a grand Court concert; Bronsart and Fraulein Stark arrived yesterday; Frau von Bulow comes today, and I expect Hans on Saturday. Besides this, there is still more important work for me, which will take up my time entirely till the end of this month.

Well, I will see to it that, if possible, Berlioz and Wagner do not remain forgotten!—

Let me first of all answer your questions.

Whether it would be desirable to hold the second Tonkunstler- Versammlung this year, I already left it to you, at our last meeting, to decide. In my opinion we might wait till next year without injury to the affair. [This was done.] As long as I myself have not made a secure and firm footing in Weymar, I cannot invite you to convene the meeting here. If you hold to the dates of the 17th, 18th, and 19th June, we are bound to Leipzig, where I can then tell you with certainty whether Weymar will suit for the next meeting.

It goes without saying that you, dear friend, must arrange about everything that I can undertake and do for the Tonkunstler- Versammlung. Only my personal help as conductor must be excepted. At our next consultation we shall easily come to an understanding as to the desirability of one conductor or several.

I would indicate and emphasize, as absolutely necessary, the performance of new works by Bulow, Draseke, Bronsart, Singer, Seifriz, etc. I think I understand and can manage the art of programme-making in a masterly manner. When once matters have got so far, I will fix with you the programme of the three performances.