I agree with the choice of the "Prometheus," and at the religious performance, if the latter is not filled up with one single great work, I would suggest perhaps the "Beatitudes," or the 13th Psalm (the former last about ten minutes, the latter twenty-five).

Will you therefore decide definitely where the Tonkunstler- Versammlung shall be held this year and the date of it, about which I have nothing further to say? We will then discuss and settle the rest together.

You will find my remarks as to the statute scheme on the last page of it.

With hearty greetings, your

F. Liszt

P.S.—

A. The revising of the "Leonore" shall be attended to immediately.

B. I shall welcome Fraulein Brauer most cordially.

C. I recommend to you again the manuscripts of Pasque and Councillor Muller. Have you replied to Muller?

Herewith is a letter from Weitzmann (14th June, 1859), in which you will find much worthy of consideration and use.

Important! N.B.—When you convene the Tonkunstler-Versammlung, add to it at once the following: "For the foundation of the German Universal Musical Society." This is the principal aim, toward the accomplishment of which we have to work.

[Liszt was, as Princess Wittgenstein distinctly told the editor, the actual founder of the "German Universal Musical Society." He conceived the idea and plan of it, and it was only at his wish that Brendel gave his name to it, and undertook to be president, etc.]



236. To Louis Kohler.

My dear, excellent friend,

You have given me a rare pleasure. Your articles on my "Gesammelte Lieder" are a reproduction, replete with spirit and mind, of what I, alas! must feel and bear much more than I can venture to write down! Reviews such as these are not matters of every-day reviewers—nor must one shame you with such a title.

Accept my warmest thanks for them, and allow me to present to you herewith a couple of little singable things in manuscript. They were jotted down after reading your articles, and, if I mistake not, they spring from the melody of speech. In any case, dear friend, you have a special right to them—as well as to the sincere esteem and faithful attachment with which I remain your

F. Liszt

Weymar, July 5th, 1860

Towards the end of October the two Symphonic Poems, Nos. 10 and 11, which have still to be published—"Hamlet" and the "Hunnenschlacht" [The Battle of the Huns]—will appear at Hartel's; and when these are out all the twelve monsters will have appeared. Shortly afterwards will follow Faust, the choruses to Prometheus, a couple of Psalms, and a new number of songs. I will send you the whole lot. But if possible arrange so that we may soon meet again—at the latest at the next Tonkunstler- Versammlung next year, at which we cannot possibly do without you.



237. To Eduard Liszt

Dearest Eduard,

You remain perpetually in the home of my heart, not at all in countless company, but all the more in picked company. When I think I have done anything pretty good I think of you and rejoice that what I have done will be a pleasure to you—and in the hours when sadness and sorrow take hold of me you are again my comfort and strength by your loving insight into my innermost wishes and yearnings! My thanks, my warmest and truest thanks, to you for all the sustaining and soothing friendship that you show to me. It is to me a special token of Heaven's favor to me, and I pray to God that He may unite us for ever in Himself!—

Cornelius writes me word that you will probably come to Weymar towards the end of the summer. That will be a great pleasure to me; I often feel as if I must have a talk with you out of the depths of my heart—for with writing, as you know, I don't exactly get on. I expect the Princess towards the middle of August. Meanwhile I receive good and satisfactory tidings from Rome. I hope all will turn out for the best.

In these latter weeks I have been completely absorbed in my composing. If I mistake not, my power of production has materially increased, while some things in me are made clear and others are more concentrated. By the end of October the last two of the Symphonic Poems will be out ("Hamlet" and the "Hunnenschlacht"). Then come the Psalms, which you do not yet know, and which I much want you to know-and also a new number of songs which will please you. I shall then work at the Oratorio St. Elizabeth, exclusive of all else, and get it completely finished before the end of the year. May God in His grace accept my endeavors!—

I must express myself not entirely in accord beforehand with your plan for your son, although I consider your way of looking at the present state of things by no means a wrong one. I am also convinced that, when it comes to settling definitely, the talents and capabilities, as well as the bent of mind, of your child will be satisfactory to you. If the young one has a mind for a uniform—well, let it be so. To cut one's way through life with a sabre is indeed for the most part pleasanter than any other mode...The business paper for the Princess I will keep till her return, unless you write to me to forward it to her in Rome.

May I bother you with a commission for provisions? Forgive me for the way in which I am always making use of you, but I do so want to make a little joke for Bulow, and I have no one now in Vienna who could help me in it except just you. It is about sending a pretty considerable amount of Hungarian Paprika [Hungarian, Turkish, or Spanish pepper from Hungary] and a little barrel of Pfefferoni (little green Hungarian pepper-plants preserved in vinegar). Please ask Capellmeister Doppler where these things are to be procured genuine, and send them me as soon as possible to Weymar. I won't hide from you that I intend to go shares with Bulow, as I am particularly fond of Paprika and Pfefferoni. So take care that there is enough sent, and that it arrives in good condition.—And as this will give you occasion to see Doppler, give him my warm thanks for the instrumentation of the Pester Carnaval (in which musical Paprika and Pfefferoni are not wanting). He has again been most successful in it, and I intend to push on in the autumn the publication of the six Rhapsodies for orchestra, for which indeed I shall have to obtain the permission or consent of three separate publishers (Schott, Senff, Haslinger)—a circumstance which may of itself occasion some delay, especially if the gentlemen behave in regard to my wish as Spina did in so unpleasantly surprising a manner in regard to the instrumentation of the Schubert Marches. To tell you this incident briefly: I wrote to Dachs and asked him to request Spina in my name either to publish the three Marches himself in score—without any remuneration for me!—or else to give me permission to bring them out through another publisher. Spina's answer, as Dachs gave me to understand, was that he could not consent to either the one or the other of my proposals (which were certainly reasonable enough)! And thus I must wait until Spina can hit on a better plan! When I have an opportunity, I shall venture to apply to him direct.

For the present, in consideration of the fact that Paprika and Pfefferoni make one very thirsty, a barrel of Gumpoldskirchner (with a slightly sharp, flowery after-taste) would be very welcome to me, if by chance you are able to find a good kind and cheap.—Forgive me for all these Lucullian extravagances!—

I will write soon to Cornelius. Give him my heartfelt greetings. Also please remember me kindly to Dr. Kulke. I will give him my thanks by letter on the first opportunity for his Prometheus articles, as I would have already done through Cornelius, had he not started so suddenly.—

Now farewell, dearest Eduard. Spare yourself and take care of your health. Assure your dear wife of my heartfelt attachment, and kiss your children for your faithful

F. Liszt

Weymar, July 9th, 1860



238. To Ingeborg Stark

[Summer, 1860]

If a sort of idiosyncrasy against letters did not hold me back I should have told you long ago what pleasure your charming letter from Paris gave me, and what a sincere part I have taken in your late successes, dear enchantress. But you must know all that far better than I could succeed in writing it.

So let us talk of something else—for instance, Baron Vietinghoff's [He took the noun de plume Boris Scheel, and in 1885 he performed his opera "Der Daemon" in St. Petersburg, which originated twenty years before that of Rubinstein.] Overture, which you were so kind as to send me, and which I have run through with B[ronsart] during his short stay at Weymar—too short to please me, but doubtless much too long for you!—The Overture in question is not wanting either in imagination or spirit. It is the work of a man musically much gifted, but who has not yet sufficiently handled his subject. When you have an opportunity, will you give my best compliments to the author, and give him also the little scale of chords that I add? It is nothing but a very simple development of the scale, terrifying for all the long and protruding ears, [Figure demonstrating a descending whole-tone scale] that Mr. de Vietinghoff employs in the final presto of his overture (page 66 of the score).

Tausig makes a pretty fair use of it in his Geisterschaff; and in the classes of the Conservatoire, in which the high art of the mad dog is duly taught, the existing elementary exercises of the piano methods, [Figure: Musical example; a five-finger exercise] which are of a sonorousness as disagreeable as they are incomplete, ought to be replaced by this one, which will thus form the unique basis of the method of harmony—all the other chords, in use or not, being unable to be employed except by the arbitrary curtailment of such and such an interval.

In fact it will soon be necessary to complete the system by the admission of quarter and half-quarter tones until something better turns up!—

Behold the abyss of progress into which the abominable "Musicians of the Future" precipitate us!

Take care that you do not let yourself be contaminated by this pest of Art!

For a week past it has done nothing but rain here, and I have been obliged to have fires and stoves lighted in the house. If by chance you are favored with such a temperature at Schwalbach, I invite you to profit by it to make some new Fugues, and to make up, by plenty of work for the pedals, for the pedestrian exercise of which you would be necessarily deprived.

B., to whom I beg you to give my cordial and kind remembrances, led me to hope that you will stay a couple of days at Weymar after your cure. If this could be so arranged I for my part should be delighted, and should pick a quarrel with you (even if it were a German quarrel!) if you were not completely persuaded of it!

Remember me most affectionately to la Sagesse, and do me the kindness to count, under all circumstances, on

Your very sincerely devoted

F. Liszt



239. To Dr. Franz Brendel

Dear Friend,

Your last proposition is the best. Come quite simply to me at Weymar. As I am now quite alone at home we can hold our conference and arrange matters most conveniently at the Altenburg. I am writing at the same time to Bulow at Wiesbaden (where he is giving a concert tomorrow, Friday), to beg him to arrange with you about the day on which the meeting shall be held here. You two have to decide this. Of course you will stay with me. There shall also be a room in readiness for Kahnt.

With regard to Wagner's pardon [Wagner had been exiled from Germany for political reasons.] I am expecting reliable information shortly. It seems strange that the Dresden papers should not have been the first to give the official announcement, and that an act of pardon of H.M. the King of Saxony should be made known through the "Bohemia" (in Prague). Wagner has not yet written to me.

To our speedy meeting. Heartily your

F. Liszt

August 9th, 1860



240. To Princess Caroline Sayn-Wittgenstein.

[Portions of the above were published in the Neue Zeitschrift fur Musik of 4th May, 1887.]

Weymar, September 14th, 1860

I am writing this down on the 14th September, the day on which the Church celebrates the Festival of the Holy Cross. The denomination of this festival is also that of the glowing and mysterious feeling which has pierced my entire life as with a sacred wound.

Yes, "Jesus Christ on the Cross," a yearning longing after the Cross and the raising of the Cross,—this was ever my true inner calling; I have felt it in my innermost heart ever since my seventeenth year, in which I implored with humility and tears that I might be permitted to enter the Paris Seminary; at that time I hoped it would be granted to me to live the life of the saints and perhaps even to die a martyr's death. This, alas! has not happened—yet, in spite of the transgressions and errors which I have committed, and for which I feel sincere repentance and contrition, the holy light of the Cross has never been entirely withdrawn from me. At times, indeed, the refulgence of this Divine light has overflowed my entire soul.—I thank God for this, and shall die with my soul fixed upon the Cross, our redemption, our highest bliss; and, in acknowledgment of my belief, I wish before my death to receive the holy sacraments of the Catholic, Apostolic, and Romish Church, and thereby to attain the forgiveness and remission of all my sins. Amen.

I thank my mother with reverence and tender love for her continual proofs of goodness and love. In my youth people called me a good son; it was certainly no special merit on my part, for how would it have been possible not to be a good son with so faithfully self-sacrificing a mother?—Should I die before her, her blessing will follow me into the grave.

I owe it to my cousin Eduard Liszt (Dr. and Royal County Councillor of Justice in Vienna) to repeat here my warm and grateful affection for him, and to thank him for his faithfulness and staunch friendship. By his worth, his talents, and his character he does honor to the name I bear, and I pray God for His blessings on him, his wife, and his children.

Among our Art-comrades of the day there is one name which has already become glorious, and which will become so ever more and more—Richard Wagner. His genius has been to me a light which I have followed—and my friendship for Wagner has always been of the character of a noble passion. At a certain period (about ten years ago) I had visions of a new Art-period for Weymar, similar to that of Carl August, in which Wagner and I should have been the leading spirits, as Goethe and Schiller were formerly,—but unfavorable circumstances have brought this dream to nothing.

To my daughter Cosima I bequeath the sketch of Steinle representing St. Francois de Paul, my patron saint; he is walking on the waves, his mantle spread beneath his feet, holding in one hand a red-hot coal, the other raised, either to allay the tempest or to bless the menaced boatmen, his look turned to heaven, where, in a glory, shines the redeeming word "Caritas."— This sketch has always stood on my writing-table. Near it there is an ancient hour-glass in carved wood with four glasses, which is also for my daughter Cosima. Two other things which have belonged to me are to be given as a remembrance to my cousin Eduard Liszt and to my much-loved and brave son-in-law Hans von Bulow.

Some of the members of our Union of the "New German School"—to whom I remain deeply attached—must also receive some remembrance of me; Hans von Bronsart, Peter Cornelius (in Vienna), E. Lassen (in Weymar), Dr. Franz Brendel (in Leipzig), Richard Pohl (in Weymar), Alex. Ritter (in Dresden), Felix Draseke (in Dresden), Professor Weitzmann (in Berlin), Carl Tausig (from Warsaw)— either a ring with my sign-manual, a portrait, or coat-of-arms.— May they continue the work that we have begun—the honor of Art and the inner worth of the artist constrains them to do so. Our cause cannot fail, though it have for the present but few supporters.—

One of my jewels set as a ring is to be sent to Madame Caroline d'Artigaux, nee Countess de St. Cricq (at Pau, France). To the Princess Constantin Hohenlohe (nee Princess Marie Wittgenstein) I bequeath the ivory crucifix (cinque-cento) which was given to me by my kind patron the Prince of Hohenzollern-Hechingen—also a pair of studs with five different stones, which form the five initials of my name.

And now I kneel down once more to pray "Thy kingdom come; Thy will be done on earth as it is in heaven; forgive us our trespasses as we forgive them that trespass against us; and deliver us from evil. Amen."

F. Liszt

Written the 14th September, 1860, on the Festival of the raising of the Holy Cross.

SUPPLEMENT:

To Herr Gross, a member of the Weymar Grand Ducal Royal Orchestra (trombone and double-bass player), who has for a number of years looked after the copying of my works and the arranging of the orchestral and voice parts of them in the library of the Altenburg, I bequeath a present of one hundred thalers for the faithful, devoted service he has rendered me.

To the names of my friends of the New German School is to be added one more, or rather I ought to have mentioned it first; it is that of Mr. Gaetano Belloni (in Paris).—He was my Secretary during the period of my concert tours in Europe, from 1841 to 1847, and was always my faithful and devoted servant and friend. He must not be forgotten. Moreover, whether he will or no, he belongs to the New German School, by his attachment to me, and also by the part he took later on in the Berlioz and Wagner concerts. I wish to be buried simply, without pomp, and if possible at night.—May light everlasting illumine my soul!



241. To Dr. Franz Brendel

September 20th, 1860

Dear Friend,

I send you by my friend Lassen [Born 1830, became Court music- director 1858, and Court conductor in Weimar after Liszt's withdrawal (1861); celebrated as a composer of songs] a little parcel of songs (eight numbers), which I beg you to give to Kahnt. Of several of them I have kept no copy—and I therefore beg Kahnt not to lose them. As regards the numbering of them (the order of succession), they are to be kept as I noted down some time ago (on a bit of paper which I gave Kahnt when he was here).

I also add a Quartet for men's voices. It is the Verein song "Frisch auf zu neuem Leben," ["Uprouse to newer life."] written for the New Weymar Verein by Hoffmann von Fallersleben. The passage "von Philister Geschrei;" ["Of Philistine cry."] will probably amuse you, and the whole thing is kept rather popular and easy to be performed. If it does not make a bother let it be tried in Leipzig when you have an opportunity.

N.B.—If you think the designation on the title-page "Written and composed for the New Weymar Verein" will give offence, it can be left out, and the title can run simply, "Vereins Lied," by Hoffmann von Fallersleben, composed for male chorus by F. L. In any case I shall be glad if Kahnt can bring the little thing out soon, and will give some sort of illustrated title-page, expressive of the sense of the poem.

The remarks which I have added in pencil are to be engraved with it. I hope the printer will be able to read my bad writing—if not will you be so kind as to make it clear to him?

I am writing to Vienna today. The "Prometheus" parts and score will be sent to you immediately.

I expect Bronsart here at the end of this month..—.

Your statute-sketch is in all essential points as judicious as it is practical. It offers a sure basis of operations for the next Tonkunstler-Versammlung, where assuredly the great majority of the members will agree with your proposals. Then the point will be to work on vigorously towards the accomplishment, and to put aside the much that is "rotten in the State of Denmark."

Before the Euterpe concerts begin I shall in any case see you. Next Sunday I go to Sondershausen, where Berlioz' "Harold," a new Oboe Concerto by Stein, Schumann's "Genoveva" Overture, the Introduction to "Tristan and Isolde," and my "Mazeppa" will be given. The latter piece is popular to wit...in Sondershausen!—

Very sonderhauslich, [A play on the words Sondershausen and sonderbar = strange] isn't it?

Hearty greetings to your wife from your

F. Liszt

P.S.—The ninth song by Cornelius is still wanting. [The song "Wieder mocht' ich Dir begegnen" ("Once again I fain would meet thee")] But in the meantime the printing can be going on. The nine numbers form the seventh part of the "Gesammelte Lieder." If Kahnt wishes, each song can be published separately, especially the Zigeuner; Nonnenwerth, etc.

Draseke has been with me a couple of days, and is coming shortly to you. His works captivate me in a special degree, and personally I am very fond of him, which indeed I also was formerly, but this time still more. Capacity and character are there in abundance.



242. To Eduard Liszt

Weymar, September 20th, 1860

The true and loving character of your whole being, as well as of your letter, dearest Eduard, touches me always with joy, and fortifies me; but with your letter of today is mingled also somewhat of sadness. It is conceivable that the ebb of the Milanese and Hungarian Civil Service employes, with its effect on Vienna, has acted as a check upon your very justifiable and well- founded prospects of promotion. This is all the more to be regretted as, years ago, I was assured many times from a trustworthy official source that your suitability and deserts were far above the official position that you hold. Without wanting to preach to you unseasonably, let me assure you of my sincere sympathy in the disappointments you have so undeservedly to bear, and remind you also how things generally go badly in this world with the better and best sort of men. One must not let oneself be embittered by bitter experiences, and one must bear all sorts of mortifications without mortification.

I will also repeat for your amusement a droll saying of General Wrangel's: "A man should never vex himself;—if there must be vexation anywhere, let him rather vex somebody else!"—The best way, in case of extreme necessity to vex others, is to bear imperturbably many an injury and unpleasantness—without prejudice to any defense or help that may offer, when opportunity occurs—for we were not born to sleep our lives away!—

Under the given circumstances one cannot do otherwise than agree with your resolution to let your son go into the Military Academy when he is eleven years old. May this young Franz bring you all the happiness that your older Franziskus wishes you from his innermost heart.—[He did not become a soldier, but the renowned Professor of Law now teaching at the University of Halle.]

In the expectation of this we will comfort ourselves by swallowing Pfefferoni and Paprika together with Gumpoldskirchner. Have I ever told you how excellent the latter, which you had chosen just right, tasted?

It is almost impossible to further B.'s affairs. You think it would be right to let his drama be examined by a "competent authority." Undoubtedly; but that will not help him, so long as this competent authority, who here could be none other than Dingelstedt, is not able to help him any further. As far as I know our Intendant he will NOT condescend to perform King Alphonso; but none the less I will speak to Dingelstedt about it, and will prevail on him first of all to write a few lines to B., as the rules of courtesy demand. I scarcely hope to effect more than this, glad as I should be if it happened so, for you know that I am glad to show myself obliging. It is doubtful also whether B. will have much better chances with other Intendants— for, as it seems, the good man has decidedly bad luck. Please make my excuses to him if I do not answer his letter other than by a silent condolence (in German Beleidsbezeugung!).—It has become horribly difficult nowadays to make a footing on the boards—"which signify the world"—especially for writers of classic tragic-plays, whose lot is far more a tragic than a playing one!—Things certainly are not much better with most of the Opera composers, although that genre is the most thankful one of all. Without a strong dose of obstinacy and resignation there is no doing anything. In spite of the comforting proverb "Geduldige Schafe gehen viele in den Stall," [The English equivalent seems to be "Patience and application will carry us through."] there is for the greater number and most patient of the sheep no more room in the fold, to say nothing of food!—Thus the problem of the literary and artistic proletariat becomes from year to year more clamorous.

Your orchestral concert plan has surprised me very much, and I thank you from my heart for this fresh proof of your energy and goodwill. Yet for this year I think it would be more judicious to pause, for several reasons which it would lead me rather too far to explain, and which, therefore, I prefer to reserve for a viva voce talk. They relate to (A) my personal position and something connected with it socially; (B) the position of musical matters among artists and in the Press, which not only influence but intimidate the public, disconcert it, and palm off upon it ears, with which it cannot hear. This temporary very bad state of things I think I have, alas! at all times quite rightly acknowledged, and, if I do not greatly mistake, it must surely soon perceptibly modify in our favor. Our opponents "triumph far more than they conquer us," as Tacitus says. They will not be able to hold their narrow, malicious, negative, and unproductive thesis much longer against our quiet, assured, positive progress in Art-works. A consoling and significant symptom of this is that they are no longer able to support their adherents among living and working composers, but devour them critically while the public is so indifferent. The resume of the whole criticism of the opposition may be summed up in the following words: "All the heroes of Art in past times find, alas! no worthy successors in our day." But our time will not give up its rights—and the rightful successors will prove themselves such!

More of this when we have an opportunity. You have doubtless heard that a similar plan to yours is in progress in Leipzig. My friend Bronsart undertakes the direction of the Euterpe concerts for this winter, and there will be some rows about it. We will await the result; if it should not be satisfactory, yet the matter is so arranged that it cannot do us any great harm. As regards Vienna I think it would be wisest to let this winter pass by without troubling ourselves about it. Messrs. B., V.B., and their associates may peacefully have Symphonies and other works performed there and mutually blow each other's trumpets.

I have still a request to make to you today, dearest Eduard. Persuade Herbeck to send the score and the chorus and orchestral part of my "Prometheus" at once to C.F. Kahnt, the music publisher in Leipzig. The work is fixed for performance at one of the Euterpe concerts, which will take place before Christmas of this year; so it is necessary that the choruses should be studied in time. Kahnt has already written to Herbeck and also to Spina— but as yet he has received neither an answer nor the parts and score of Prometheus that he wants.

Take the same opportunity of telling Herbeck that I should like once to hear the four Schubert Marches which I instrumented for him, and I beg him to send the score of them to me at Weymar.

Forgive me that I always trouble you with all sorts of commissions—but my Vienna acquaintances are so lazy and unreliable that I have no other alternative but to set you on everywhere..—.

Heartfelt greetings to your wife and children from your faithful and grateful

F. Liszt

P.S.—I have written something to Cornelius about my latest compositions, which he will tell you.

I expect the Princess here in October only. I will tell you, later on, much about her stay in Rome, some of which is agreeable.



243. To Hoffman von Fallersleben

My dear, honored Friend,

The melancholy tidings were reported to me by Grafe on Monday evening (in the New Weymar Verein). [Hoffmann, after he had obtained in May, 1860 the position of librarian to the Duke of Ratibor at Schloss Corvey, near Hoxter-on-the-Weser, lost his wife.] It came upon us all with a most mournful shock, and truly it needs no further words to assure you of my heartfelt sympathy in your grief!—Thank you for having thought of me. The Princess, who was always so attached to your dear good wife, has not yet returned from Rome—and I do not expect her till towards the end of November. Unfortunately I must remain here entirely until then—otherwise I should assuredly come at once to you...Forgive me, therefore, that only from afar can I tell you how sincerely and truly I remain your faithfully attached friend,

F. Liszt

October 30th, 1860

I have sent your charming birthday gift for October 22nd (text and music) to the Princess.



244. To Professor Franz Gotze in Leipzig

Dear, honored Friend,

Do not think me indiscreet if I say something to you about which you yourself must know best. The artistic gifts of your daughter are as rare as they are pronounced. I have heard her sing and declaim several times in the last few days, and each time with increasing interest. Will you not give her carte blanche, and grant your consent to the artistic career which is hers by nature and which can hardly be put aside? [Liszt, like others, was laboring under the mistake (for reasons which cannot be discussed here) that Gotze did not intend his daughter to pursue the career of an artiste, though he had had her educated both as a singer and dramatically.] I know that this may not be a very easy decision for you,—but, much as I usually refrain from giving advice of this kind, yet I cannot do otherwise than make an exception in this case, and intercede with you to let your daughter come out in public—because I am convinced that you will not regret having supported her with fatherly compliance in this.

Dr. Gille much wishes to gain your daughter for the next concert in Jena. I think that a debut there would in any case do her no harm. Later on I shall ask you whether you will allow Auguste shortly to appear here at a Court concert.

Excuse my interference in so delicate a matter by reason of the sincere interest I take in your daughter, and the faithful friendship with which I remain Your unalterably sincerely attached

F. Liszt

Weymar, November 4, 1860

Send a telegram to Gille in reply—if possible, "Yes," as the concert takes place next Sunday.



245. To Dr. Franz Brendel

Dear Friend,

.—. I take a sincere interest in the progress of the Euterpe concerts—a progress which up to now has been favorable on the whole; you have the chief merit in this, just because it rests with you to neutralize difficult and opposing elements.

I rejoice much that Bronsart so thoroughly fulfills my expectations. He is a director-gentleman ["Gentleman" put in English by Liszt]. I shall hear more about the concerts through Weissheimer [A composer; was for some time second director of the Euterpe concerts], who is advertised here for the day after tomorrow; until now I have only heard something about them from Fraulein Hundt [A composer, at that time in Weimar; has since died] yesterday.

With best greetings, yours in all friendship,

F. Liszt

Weymar, November 16th, 1860

Will you be so kind as to send me at once a couple of copies of Muller's new brochure?

.—. If it is possible to hurry the bringing out of my seventh book of songs I shall be glad. Also the "Vereins-Lied."

Give my most friendly greetings to Gotze—and at the same time tell him that his daughter (of whose great artistic powers there is no doubt) sang and declaimed last Sunday in Jena with the greatest success. The vocal numbers were "two songs by Schumann," one of which was encored—and at the end of the concert she declaimed the Ballade Leonore (with my melodramatic pianoforte accompaniment).

Have you heard anything of Wagner? Rienzi is being studied here, and I have undertaken to conduct the rehearsals. With regard to the performance I have at once mentioned decidedly that nothing will induce me to make an exception and conduct it—consequently Musik-director Stor will conduct it.



246. To Dr. Franz Brendel

Dear Friend,

Since I have again had a conference with respect to the Tonkunstler-Versammlung in Weymar next August, I am happy to be able to tell you that not only will there be no obstacle to it, but that we may expect that much will be done to further the matter here. In your next announcement in the Neue Zeitschrift about the Tonkunstler-Versammlung you are therefore fully authorized to intimate the readiness of the artists, both vocal and instrumental, here and in the neighborhood (Jena, Eisenach, Sondershausen, etc.), as also the favorable disposition of H.R.H. the Grand Duke, for the matter. This latter point must be mentioned with some formality, so that I can submit your article to my gracious master.

According to my opinion it would be well if, in this connection, you were to touch upon the musical antecedents of Weymar (performances of Wagner, Berlioz, Schumann), also the founding of the Academy of Painting by the Grand Duke which took place lately, and also the protectorate which H.R.H. has undertaken of the Allegemeine deutsche Schiller-Stiftung [The Universal German Schiller Scholarship] (the first place of which is to be Weymar next year).

Yours in all friendship,

F. Liszt

December 2nd, 1860

P.S.—With the next Tonkunstler-Versammlung I join three principal things:—

(1) The founding and establishing of the Tonkunstler-Vierein.

(2) That the States should take part (according to your idea) in the principal musical interests to be supported.

(3) The introduction and proposal of the projected music school. [Liszt was endeavoring at that time to found a music school in Weimar.]



247. To C.F. Kahnt, Music Publisher in Leipzig

[Kahnt was the publisher of the Neue Zeitschrift fur Musik for more than thirty years (ever since 1855); also the publisher of several of Liszt's compositions, co-founder and for many years cashier of the Allgemeine deutsche Musikvereins, and, after 1873, Councillor of Commission in Weimar.]

Dear Sir,

I send you herewith the proof-sheets of the seventh book of my songs, and of the "Vereins-Lied" for the chorus of men's voices. I quite concur in the new title-page, which can also be employed for each single song. It is better than the former one, only I shall be glad if there are no other advertisements on the back side, and it is left bare.

On the 17th of this month the Neu-Weymar-Verein intends to give a little Beethoven-Festival, and the "Vereins-Lied" is included in the programme. I beg, therefore, that you will send me some proof-copies by the 12th December—if it is not possible to get the edition ready so soon.—.

The three Chansons and arrangement of the three Quartets for men's voices (published in Basle) are all completed in my head; you shall have them as a new manuscript at the end of the week. There is no hurry about the publishing of the Chansons and Quartets (probably I shall entitle them "Aus dem Zelt," or "Aus dem Lager," three songs, etc.). ["From the Tent," or "From the Camp." They were eventually entitled "Geharnischte Lieder" ("Songs in Armour").] But as you are kind enough to place some reliance on my songs, I should like to commit to you next a little wish of mine—namely, that my Schiller Song (which appeared in the Illustrated in November last) may soon be published, and also a somewhat repaying (rather sweet!) Quartet for men's voices, with a tenor solo—"Huttelein, still and klein." It has been already sung with success by the Vienna Manner-Gesangverein, and by some Liedertafeln. I add the two manuscripts to the parcel of proofs—perhaps you will take an opportunity of trying both the little things in a small circle. If Herr Professor Gotze would have the kindness to undertake the solo-part in the "Huttelein" I should be very much obliged to him. Herr Wallenreiter might make a good thing of the baritone solo-part in the "Schiller Song."

In case you should be disposed to acquiesce in my wish, and to undertake the publishing of the two or three men's choruses, I would propose to you to bring them out as the opening numbers of a short succession of "Compositions for Male Voices," and also, as with the Songs, to give them a title page (with a statement of the different numbers—to which the Basle Quartets might also be added; thus six numbers up to now). Do not fear, dear sir, an over-productiveness in this genre on my part! But if by chance one or other number of these Quartets should have some spread, I should not dislike to write a couple more, either secular or sacred. Among the latter I hope that the Psalm "The Heavens declare," which will be performed next summer at a great Festival of Song, will produce a good effect.

Pray pardon my verbosity—it is not usually my way to indulge in unnecessary words; and accept, dear Sir, the assurance of the well-known sentiments with which I remain,

Yours most truly,

F. Liszt

Weymar, December 2nd, 1860

The first performance of "Rienzi" is announced for the second day of the Christmas holidays. I have engaged to conduct the rehearsals, but at the same time have positively refused to conduct the performances. Herr Musik-director Stor undertakes that. [After the opposition of a coterie that was inimical to Liszt, to which, as is well known, Cornelius's "Barber of Baghdad" fell a sacrifice, Liszt had finally resigned his post as conductor of the theater.]



248. To the Music Publisher C.F. Kahnt

.—. With regard to the publishing of my Songs for men's voices I do not wish in the least to hurry you, dear sir—yet I should be glad if you could advertise the things soon—and possibly on the back of the title-page of my songs (?), if that does not seem impracticable to you. The two collections (the songs and the men's songs) have a certain connection, and that is why I make this suggestion, about which you must decide. A couple of months ago Louis Kohler wrote to me in his witty, friendly manner, "You really owed us some Quartets for men's voices, which Bierbruder ["Beer-drinkers," "brothers of the glass"] metamorphosed into demi-gods!" and when the songs were published, I was already intending to let the men's songs follow shortly after. As most of these latter are tolerably short, I think that the score of the twelve will not require more than forty, or at the most fifty, plates (small size). Economy might be employed in publishing the parts by having them well copied. Of course engraving is always the best, but I do not want to precipitate you into a too ruinous outlay—and if the copying is done by an experienced copyist it looks very well, and is quite easy to read.

I am writing to Schuberth by the next post to tell him (what he might know without that) how unwillingly and how seldom I meddle with dedications—especially dedications to people and societies that I don't at all know, as he would like me to do! In the somewhat numerous works of mine that have appeared of late years you will find very few dedications. The twelve Symphonic Poems have none. The Gran Mass is also without one—and in the Songs I have left out the earlier dedications. Therefore, before I try in America a method which I have almost given up in Europe, some time may yet elapse. Schuberth means thoroughly well by me, for which I am obliged to him—but he means well in his own way, which cannot always be mine.

May I beg another little favor of you? At the Court concert on the 1st January I should like to let the Reiter-Marsch of F. Schubert (not Julius!), which I instrumented, be performed, and I have no longer either the score or the parts. You would lay me under an obligation if you could quickly send them to me. I have never heard the piece; and as it has already been given with success in Vienna and Leipzig I may almost venture to expect that the company here may be bold enough to go half-way in the same direction!—

Possibly I shall also attempt the Mephisto Waltz the same evening, as well as a couple of my orchestrated songs. (I may mention, by the way, that I have orchestrated six songs of Schubert's—"the Erlkonig, Gretchen, the junge Nonne, the Doppelganger, Mignon, and Abschied"—and three of my own— "Loreley, Mignon, and the three Zigeuner." Later on, if a weak moment should come over you, I should be glad to impose these three latter upon you in score—but you shall hear them first.)

A thousand apologies for all this random talk about compositions, and best greetings from yours in all friendliness,

F. Liszt

Weymar, December 19th, 1860



249. To Dr. Franz Brendel

Dear Friend,

Your article "For the New Year" is most capital and worthy of you. In three places I would merely venture to propose some slight alterations for your consideration. You will find them marked + and with the letters A, B, C.

At + A it would suit things better to say as follows: "Concert- rooms and theaters, the scene of the most palpable speculation, personal passion, and severing struggles." Or, if you think the word "most palpable" too strong, let us put another, such as "the commonest" or "the most mercantile speculation," etc.

+ B, instead of opinion, "the most affected assumption" Here there is more question of assumption than of opinion. If angenommen [affected] sounds too much like Anmassung [assumption], let us put "the widespread assumption."

+ C, instead of "outward forces," I would rather have another word, such as "powers," "factors," "levers," or any one that is better. I do not know why the "Machle" [forces] do not seem to me quite right here.

Finally, + D, I think it would be advisable ruthlessly to strike out the following short sentence: "Indeed it would not be saying too much if it were to be asserted that in many circles it takes the place of religion,"—apart from the consideration of whether it is accurate or not, because for the most part the men of the State are sure to take offence at it. "How," they will say, "you wish us to support a movement that aims at nothing less than the doing away with religion?"—and, behold, there is a new bugbear ready, and the most healthy and just endeavors are checked for many a year!—

I am in perfect agreement with all the rest, with the exception of the parenthesis marked *—"without thereby, as has often been the case hitherto, falling into the unpractical mistake of conceding to the public things which they do not want, and diminishing the revenues." For, by the way, let me also say parenthetically that, if I had not done this with most resolute intention for many years, Wagner could not truly have said in his letter to Villot (page 40 of the French edition of his translation of the four Operas): "Tout a coup mes relations avec le public prirent un autre tour, sur lequel je n'avais pas compte le moins du monde: mes operas se repandaient." ["All at once my relations with the public took a fresh turn, on which I had not calculated the least bit in the world: my operas were becoming known."

Both on this account and for other reasons I think this parenthesis dangerous, and can in no wise subscribe to it!

With friendliest greetings, your sincere

F. Liszt

December 19th, 1860

I have written a long letter to Kahnt today. In case he cannot read my writing, will you be so good as to help him with it?



250. To Felix Draseke

You have again encouraged and rejoiced me, my excellent friend, by your affectionate comprehension of my meaning and endeavors in the "Dante" Symphony.

Once more my heartfelt thanks for it. Later on, when "Hamlet" and the "Hunnenschlacht" are published, please do not refuse me the special satisfaction of publishing the whole of your articles on the Symphonic Poems in the form of a pamphlet. We will speak further of this by word of mouth, and possibly a few musical examples could be added to the earlier ones.

How far have you got with the "Loreley"?—Only take hold of the witch with tender force.—Geibel has lately brought out his opera-text to the "Loreley," and several composers are already setting to work on it (or under it). In the present state of things there is not much to be expected from effusions and feeble attempts of that kind. On the other hand I am expecting something great, beautiful, and magical from the Symphonic form into which you will shape this story—a story which just as easily becomes dry and tedious as, on the other hand, it can be melting. Take care that we bring your work to a hearing at the next Tonkunstler-Versammlung (in July-August) here.

O. Singer's "Entschwandenes Ideal" ["Vanished Ideal"] is full of music; noble in conception and powerfully worked out. I shall write to him shortly about it, and send him my seventh book of songs, as you told me that he rather liked the earlier ones.—

An excellent little work by our friend Weitzmann lies before us again: "The New Science of Harmony at Variance with the Old." The "Album Leaves for the Emancipation of Fifths" as a supplement are stirring; and the "Anthology of Classical Following Fifths," with quotations from Hiller and Hauptmann,. is especially instructive. In Harmony, as in other things, it is no longer a question of reforming what has been laid aside, but rather of the fulfilling of the law.———

On any day, my dear friend, you will be heartily welcome to

Yours very gratefully,

F. Liszt

December 30th, 1860

Towards the middle of January I am going to Paris or a couple of weeks to see my mother (who is still constantly ill).



251. To Dr. Franz Brendel.

[Beginning of January, 1861]

Dear Friend,

A thousand thanks for your letter, and still more excuses that I have delayed so long with my answer. On New Year's Day we had a grand Court-concert—on the top of which there was a banquet at the Erbprinz, which lasted till four o'clock in the morning; on the other days perpetual dinners and suppers, at which I was also obliged to be present. Besides all this, the final revision of my second concerto (and a couple of smaller piano pieces) occupied me much. Schott had undertaken the publication of them, and I did not wish to annoy him by letting the somewhat numerous alterations which had to be made in them wait to be corrected until the proofs were printed, etc., etc.

From all the transitions and connection of the movements (which I am now most carefully working out in the Concerto), I pass at once without transition to the answering of your questions.

1. I think Bronsart's engagement for next year at four hundred thalers is advisable.

2. If Weissheimer has really made himself impossible, Damrosch should be the next one to be thought of, as a colleague of Bronsart. There is no hurry about this affair, and we will talk over it again viva voce.

3. The remaining four hundred thalers for X. I will send you at the end of this month. If you should require them sooner write me a couple of lines.

4. The question of leave of absence is not easy to decide, so long as no definite date is fixed for the concert. Frau Pohl, for instance, had had leave once already—but then the date of the concert was altered, and in consequence of her absence it was of no use. For the rest I don't doubt that Frau Pohl can get leave of absence once more—I only beg you to let me know definitely the day, so that I may inform Dingelstedt of it.

5. With regard to the co-operation of Messrs. v. Milde and Singer, it has its difficulties. They are both not without scruples in regard to the Euterpe, which, though they do not say so in so many words, might be summed up as follows: "If we co- operate in the Euterpe, we shut the golden doors of the Gewandhaus in our faces, and injure ourselves also in other towns, in which the rule of the Gewandhaus prevails. Ergo, it is more desirable, prudent(!), for us to act..." The rest you can add for yourself. Milde complains of the thanklessness of the part in the "Sangers Fluch," ["The Singer's Curse," by Schumann] the awful cold of the winter season, all the disagreeables in connection with obtaining leave, etc. Singer does not know what piece to choose, and also the E string of his violin is not quite safe, and more of that kind.

6. Fraulein Genast is in a still worse position, for she is not quite independent of the intimidation (on classical grounds) of her father, and is, moreover, engaged for the next Gewandhaus concert (for the part of the Rose in Schumann's "Rose's Pilgrimage"). None the less she said to me from the beginning that she was perfectly ready to do whatever I thought advisable. In view of this surmise I must naturally be all the more cautious. She sings on the 22nd in Zwickau, on the 24th (probably) at the Gewandhaus, and on the 31st in Aix-la-Chapelle. I have therefore advised her to come to an understanding with you herself personally in Leipzig on the 23rd, and to co-operate with you by preference as a singer of Lieder (with pianoforte accompaniment) at the soiree of the Euterpe on the 29th. Yesterday evening I marked the following three songs for her, as the most suitable for the purpose:—

A. "The Pilgrimage to Kevlaar" (composed for E. Genast lately by Hiller, and still in manuscript).

B. A song of Rubinstein's: for instance, "Ah! could it remain so for ever!" (Tender allusion to the Gewandhaus!)

C. The three Zigeuner (by me).

The three songs would make up two numbers of the programme.—

I especially beg of you, dear friend, not to make any protest against the song of Hiller. The plainly fair and just thing, which has nothing in common with the "elevated right" which is bestowed exclusively on Capellmeister Rietz and his associates (as the Leipzig University expressed it), consists simply in not shutting the door to publicity in anybody's face, or maliciously and slyly casting stones and mud at him. Regardless of the fact that we must not expect that they on their side will deal thus with us, we must consistently and faithfully carry out and fulfill this simple justice and fairness, and thus show the gentlemen how people of a nobler mind and more proper cultivation behave. You perhaps remember the opinion which I have many times given and proved by actions—especially at the Versammlung- Versammlung, when Frau Dr. Reclam sang Hiller's (somewhat mediocre) Psalm, and...etc. After that I vote especially for the performance of one of Rubinstein's larger works, such as the proposed Symphony, and beg you to appoint Bronsart for it.—It would lead me too far to explain my views in detail; that I have no concessions or favoritisms in view in this matter goes without saying.

7. The co-operation of the violinist recommended by Schuberth must be considered, and even qualified, according to his talent.

8. "Tasso" can quite well be performed without the harp. A pianino will do quite well, and I beg you most earnestly not to put yourself to any inconvenience for my things. In my orchestral works I have taken the larger measure of instrumentation (Paris, Vienna, Berlin, Dresden—or, if you prefer personal names, Meyerbeer, Mendelssohn, Wagner, Berlioz); but in spite of this most of them can be performed in smaller proportions, as has been most strikingly shown, for instance, in Sondershausen. The chief thing before all else is the conductor; if he be a good and reliable musician things may then be well managed in a variety of ways—and in "Tasso" especially the harp is hardly wanted. So don't bother yourself any more about it, and soothe Bronsart.

If I am not mistaken, I think I have now answered all the principal questions in your letter. As to what concerns personal matters we will talk about that shortly. I shall write one of these next days to Schuberth (as soon as I have finished my revisions for Schott). He has made me a proposal to which I am inclined to agree. [The rest of the letter is missing.]



252. To Dr. Franz Brendel

Dear friend,

I expressly wish that Weissheimer should accompany the songs which Fraulein Genast will sing at the Euterpe soiree. I have especially commissioned him to make the motive of this wish of mine, if necessary, still clearer to you. With regard to the choice of songs you will easily come to an understanding with the amiable singer. But I, for my part, hold to the opinion that Hiller's "Wallfahrt nach Kevlaar" is well suited to the programme.

The "Faust" Symphony must be written out quite fresh once more before I send it to Schuberth. By the 15th February he will receive the manuscript, together with a couple of lines for Dorffel, who is almost indispensable to me as the corrector of this work. I shall be over head and ears in work the next few weeks, in order to do all that is necessary before I start on my journey to Paris, which I shall probably do on the 20th February.

Best thanks for all the information in your last letter. Some things, indeed most things, are still going very badly—upon which we cannot and must not make ourselves any illusions;—but if we are proof against these things we shall come out of them.

Before and after Lowenberg (in the middle of February) I shall come and see you in Leipzig.

Meanwhile hearty greetings and thanks from your

F. L.

January 20th, 1861

You shall have the small sum for X. in the course of the week.



253. To Dr. Franz Brendel

Dear friend.

By yesterday's post I sent you—

A. The score of the second act of the "Flying Dutchman"—and two orchestral parts of the duet (these latter in order that the copyist, in writing it out, may guide himself by these, and may not add the terzet-ending, as it stands in the score—Weissheimer will give Thumler the exact speed). Beg Thumler to send me the score back soon, as it may possibly be wanted at Easter in the theater.

B. The last part (Mephistopheles and final chorus) of the "Faust" Symphony in score—and the complete arrangement of this same Symphony for two pianofortes.

Will you be so good as to give these manuscripts to Schuberth? I hope he will keep his promise and not delay the publication of the work. At the end of this week I will send Schuberth the score and the four-hand piano arrangement of the two Faust-episodes ("Der nachtliche Zug" "The Nocturnal Procession")—and the "Mephisto-Waltz"). I should be glad if these two things could come out in the course of this year.

C. For Kahnt, the small score of the chorus "Die Seligkeiten" ["The Beatitudes"], which I also hope may soon be published. It has been given here a couple of times in the Schloss orchestra and the parish church, and, as I have been told many times, has been spoken of in an exceptionally favorable manner. I have written few things that have so welled up from my innermost soul.

I think I shall be ready with the revision of the "Prometheus" score by next Saturday. I have already made two arrangements (for two and four hands, not two pianofortes) of the Reapers' Chorus, which I give Kahnt gratis. He shall get the whole packet early next Monday at the latest. Weissheimer tells me that the edition of the score shall be ready by the middle of July. If Kahnt prefers to let the Prometheus be copied, I have nothing to say against it; I only beg that in this case he will employ a very clever and exact copyist-and, as I have already told him, that he will preserve the size of the other Symphonic Poems.

N.B.—The division and distribution of the score—so that there may be as few unnecessary rests as possible, and that, where it can be done (as, for instance, at the beginning of the Tritons' Chorus, the Reapers' Chorus, etc), two sets of staves should be printed on one page—I beg that this may be entrusted to Herr Dorffel. I also do not wish the work to look like a conductor's score on the outside!—and, before it is given into the hands of the engraver or copyist, it is necessary that the parts where two sets of staves come on to one page should be clearly indicated. My copyist here has made a very careless scrawl of the "Prometheus" score, and I have therefore taken other work out of his hands, and have given him a good scolding. But there is no time to have a new score written, and therefore Dorffel must largely help out with the matter.

N.B.—The piano arrangement must be put below the score, as it is in the manuscript.

Kahnt can publish the arrangement of the Reapers' Chorus sooner or later, as he likes. The date of the Tonkunstler-Versammlung can remain fixed for the 15th August. I think it would be advisable for you to come soon to Weymar (perhaps at Easter), and to come to a direct understanding with Dingelstedt, M[usic] D[irector] Montag, and some others among those who are principally concerned in the matter.

I would propose to you Dr. Gille, in Jena, as a lawyer, and a zealous co-operator in this affair. He is very ready to help, and reliable.—

Are you really thinking of still giving the "Prometheus" at the Tonkunstler-Versammlung? It certainly would not be incompatible with the "Faust" Symphony (which I wish for in any case)—but I fear that it will bring in its train too much vexation and annoyance.

We will speak further about this.

Weissheimer will tell you some things with regard to the programmes.

Riedel ought to conduct Beethoven's Mass.

With heartfelt greetings, your

F.L.

Weymar March 4th, 1861

P.S.—Advise Schuberth once more to bring out the book of songs by Lassen immediately—as he promised me.



254. To Peter Cornelius in Vienna

Your letters, dearest friend, are ever a joy to my heart, as also this time on the 2nd April [Liszt's name-day]. Although on that day I felt the absence of the Princess the most keenly, and the Altenburg was for me equally perturbed, yet the loving attachment of a few friends touched and filled me with comfort. Remain ever to me, as I remain to you, faithful and steadfast, trusting in God!—

Unfortunately I have been able to do but very little work this winter. Revisions and proof-correcting took up almost my whole time. The two last Symphonic Poems, "Hamlet" and the "Hunnenschlacht," will come out directly. I will send them to you, together with a dozen Quartets for men's voices which Kahnt is publishing. By the end of July the choruses to "Prometheus" and the "Faust" Symphony will also be out. If we should not see each other sooner, I count on you, for certain, to be here for the Tonkunstler-Versammlung (5th, 6th, 7th August), to which I give you, dearest Cornelius, a special invitation. I hope that Eduard, [Liszt's cousin] Tausig, Porges, Laurencin, [Count Laurencin, a writer on music in Vienna] Kulke, Doppler, [Franz Doppler (1821-83), a flute virtuoso; music-conductor at the Royal Opera in Vienna. He arranged with Liszt some of the latter's "Hungarian Rhapsodies" for orchestra.] are coming—and I beg you to give them a preliminary intimation of my invitation. The next number of Brendel's paper will give the programme—with the exception of the third day, which cannot be fixed until later. Perhaps you will give us a fragment of your "Cid." In any case I wish your name not to be wanting; and, if you should not have anything else ready, a couple of numbers from the "Barber Abul Hassan Ali Eber" shall be given. The charming canon at the beginning of the second act would be the best.

I am delighted to think that you have been entirely absorbed for a time in "Tristan." In that work and the "Ring des Nibelungen" Wagner has decidedly attained his zenith! I hope you have received the pianoforte arrangement of "Rheingold" which Schott has published. If not I will send it you. You might render a great service by a discussion of this wonderful work. Allow me to stir you up to do this. The summer days allow you now more working hours; realize some of these with "Rheingold." The task for you is neither a. difficult nor a thankless one; as soon as you have seized upon the principal subjects representing the various personages, and their application and restatement, the greater part of the work is done. Let us then sing with Peter Cornelius,—

"O Lust am Rheine, Am heimischen Strande! In sonnigem Scheine Ergluhen die Lande; Es lachen die Haine, Die Felsengesteine Im Strahlengewande Am heimischen Strande, Am wogenden Rheine!"

[Free translation,—

"O joy of the Rhine And its homelike shore! Where the bright sunshine Gilds the landscape o'er; Where the woods are greenest, The skies serenest, In that home of mine By the friendly shore Of the billowy Rhine!"]

On the 30th of this month I am going to Paris for a couple of weeks—and towards the end of May I shall meet my daughter Cosima in Reichenhall, where she has to go through the whey-cure. Thank God, she is again on the road to recovery! You can imagine what grief took possession of me when I saw Cosima last winter suffering from a similar complaint to Daniel!—

I have satisfactory tidings from the Princess from Rome. The climate is having a very beneficial effect on her nerves, and she feels herself, in that respect, far more at home than in Germany...

She writes wonders to me about the last cartoons of Cornelius, [The celebrated painter was the uncle of the addressee.] and her personal relations with the great master have proved most friendly.

What will become of me in the latter part of the summer does not yet appear. But let us hold fast to our meeting again here at the beginning of August.

Yours from my heart,

F. Liszt

April l8th, 1861

A thousand hearty greetings to Tausig.



255. To Hoffmann von Fallersleben

Dear, excellent friend,

I have received the enclosed note for you from the Princess. It comes to you with my most heartfelt greetings. Please forgive me for not having this time sent you my good wishes on the 2nd April; [Hoffmann's birthday, and at the same time Liszt's name- day] but as long as the Princess's absence lasts I recognize only sorrowful anniversaries and no festivals of rejoicing. Meanwhile rest assured that I think of you always with faithful friendship, and remain ever truly devoted to you.

F. Liszt

April 18th, 1861

P.S.—I send you herewith the "Vereins-Lied"—and three other of your songs.



256. To Peter Cornelius

[Autograph in the possession of Constance Bache.]

Dearest Cornelius,

Will you quickly sign the accompanying announcement to the Tonkunstler-Versammlung with your good, beautiful name? You must not fail me on this occasion in Weymar!

And yet another request, dearest friend. Will you go and see F. Doppler and tell him that I very much wish he could arrive with you on the 4th August at latest? I hope he will not refuse me this pleasure—and if it is not inconvenient to him will he also bring his flute and undertake the part in Faust?

With regard to the travelling expenses I have already written to my cousin Eduard; he is to put a couple of hundred florins at your disposal; for it goes without saying that neither you nor Doppler will be allowed to spend a groschen out of your own purse for the journey.

You will meet Eduard here—and also Wagner, Hans, Draseke, Damrosch, Tausig, Lassen, and my daughter (Madame Ollivier).

To our speedy meeting then, my best Cornelius!

Bring your "Cid" with you as far as it is done, and kindly dedicate some days to your heartily devoted

F. Liszt

Weymar, July 12th, 1861

P.S.—Shortly after the Tonkunstler-Versammlung I shall be leaving Weymar for a long time.-



256A. To Peter Cornelius

[Autograph in the possession of Constance Bache. This letter was left out by La Mara, but is inserted by the translator.]

Dearest Cornelius,

I have just been told that the score of the "Barber of Baghdad" is not in the theater library here, as I thought, but that you have kept it.

I can therefore no longer keep it a secret from you that I am intending to give the Terzet [Canon] from the beginning of the second act at the third concert (7th August) of the Tonkunstler- Versammlung, and I have not the smallest doubt as to the capital effect that this exquisite piece of music will produce.

But do send me by return of post the score of your "Barber."

The Terzet is a necessary integral part of our programme, which will consist of the "performance of manuscript works of the present day."—

With heartfelt greetings, your

F. Liszt

July 14th, 1861



257. To Alfred Dorffel

My dear Sir,

Whilst giving you my warmest thanks for the great pains you have taken with the "Faust" score [as corrector of the score] I have, in conclusion, one more request to make.

I wish to modify the prosody of the passage in the tenor solo,

[Here, Liszt writes a 4-measure music score excerpt of the treble portion of the piece at the point where the words, "das Ewig Weibliche" are sung.]

each time, just as I have written it on the accompanying note- sheet. If I mistake not, it would in this way be more singable and weiblicher [more womanly]. [Referring to Goethe's words "Das ewig Weibliche" ("The eternal womanly")]

Accept, my dear sir, the assurance of my highest esteem and most friendly gratitude.

F. Liszt

Weyar, July 18th, 1861

P.S.—The "Faust" Symphony is to be given here on the 6th August. Perhaps it would be possible to you to be present at that concert, and to give me the pleasure of a visit from you.



258. To Hofconcertmeister Edmund Singer in Stuttgart

Dear Friend,

The article in the Allgemeine Zeitung on the Tonkunstler- Versammlung (12th August) is an event, and I thank you sincerely for the part you have taken in it. [It was written by Singer.]

Although, as you know, I must on principle keep myself unconcerned as regards criticism, as I cannot allow it the first word in matters of Art, yet it has long been my wish to see the "systematic opposition" to the present incontrovertible tendency (or, better, "development") of music not exclusively represented in the Allgemeine Zeitung. Just because this paper is not a merely local, but an European and intellectually historical one, did the local aversions and the diatribes of the island "Borneo" appear to me far more inadmissible than in other papers. The reporter of the Tonkunstler-Versammlung has taken an important step towards agreement; may he continue to work with us yet further!

The Altenburg has been closed and locked up since last Sunday— and in a few hours I am leaving Weymar for a long time. In the first place I shall spend some weeks with my patron, Prince Hohenzollern (who is musically very well disposed!), at Lowenberg. I intend to take up again there and quietly to carry on my work which has been too long interrupted. My promised contributions to Herr Stark's Pianoforte School must also soon be taken in hand. Meanwhile remember me most kindly to Herr Lebert, [Professors at the Stuttgart Conservatorium. For the great Pianoforte School edited by Lebert and Stark, Liszt wrote the concert-studies "Waldesrauschen" and "Gnomenreigen."] and assure him that I am most anxious to discharge the task allotted to me in a satisfactory manner.

Pohl has promised me that he will soon send you the "Prometheus" and "Faust" notices that you want. For the rest you don't require any further explanation to enable you satisfactorily to instruct the public in these things. As I am pressed for time I must only give you for today once more my best thanks, and remain

Yours in all friendship,

F. Liszt

August 17th, 1861

My best greetings to your wife.



259. To the music publisher, C.F. Kahnt

Don't be alarmed, dear sir! Once more a manuscript of mine is coming to you. "Ich glaube, die Wellen verschlingen, Am Ende Schiffer und...Kahnt!" [A quotation from Heine's poem "Die Loreley," set to music by Liszt:

"I fear me the waters engulfing Are drawing the boatman beneath,— 'Tis Loreley, with voice enchanting, Who lures him on to death!

Liszt makes a play on the words Kahn (a boat) and Kahnt (the publisher).]

The pianoforte transcription of the "Loreley" has cost me more trouble than I expected. But I hope therefore that it has not succeeded badly. Let a clean and correct copy be made of it by a reliable musician (Corno perhaps?) [August Horn in Leipzig, whom Liszt held up as being "very exact and reliable."] before you give the little piece into the engraver's hands. N.B.—The words are to be engraved with it, as in the Vienna edition of my transcription of the Schubert Songs.

As regards the publishing of the scores of my three songs— "Loreley," "Mignon," and the "Zigeuner"—I leave them entirely to your pleasure or the reverse, as also the size of the edition (whether larger or smaller—but in any case, not quite full size)..—.

I shall be staying at Lowenberg up to the 8th September.

I beg that you will send the final proof of "Loreley" to Herr von Bulow—and also the second edition of "Mignon" in time, which is to be engraved from the score left behind by Brendel—for voice and pianoforte accompaniment (without instrumentation) in the first place—as you were kind enough to promise me.

With best greetings, your obliged

F. Liszt

Lowenberg, August 27th, 1861



260. To Dr. Franz Brendel

Dear Friend,

A musical scribble that I had promised, and which I wished to finish here, and various little excursions in the neighborhood, have prevented me from answering your letter sooner.

The Prince [Of Hohenzollern-Hechingen] continues to show me the same amiable friendship as ever, so that it is hard to me to leave Lowenberg. Seifriz will write you word a couple of weeks beforehand to which concert your coming here would be most advantageous. The concert season does not begin till November, and, with the exception of the winter months, when the musical performances take place, a great proportion of the members of the orchestra is absent. His Highness adheres always firmly and faithfully to the endeavors of the "New German School," and is desirous of supporting it still further. On this account I think it would be desirable to elect Seifriz as a member of the Committee of the Allgemeane Deutsche Musikverein. I also vote especially for Stein (of Sondershausen), Eduard Liszt, Herbeck, Ambros, David—without a word against the rest of the names which you have proposed.

As regards the other points of your letter I write as follows:—

1. I believe that N.'s reliability and extensive influence in the affairs of the Mozart Society are a bit hypothetical. You find out more exactly what he is likely to accomplish.

2. I will undertake with pleasure the examination of the manuscripts and the decision as to what works shall be performed at the general assembly—but please do not give me the title of President, but simply the name of Reporter or Head of the musical section.

3. I entirely agree with the intention of distributing Pohl's ["On the Tonkunstler-Versammlung in Leipzig in 1859."] pamphlet gratis to the members of the Society.

Of course the two speeches by yourself and Draseke must be included in it. Should it be necessary, I will gladly contribute a few thalers towards the publication.

4. According to my opinion the Society should not be placed under the protection of the Grand Duke "until everything is ready." According to what he has said to me there is no doubt about his acceptance of it, but still it is indispensable that you should write to H.R.H. about it. Pohl and Gille will be the best to help you in composing the letter to the Grand Duke, and perhaps they will sign their names to it also. Later on we shall have to discuss in what form and fashion other German Princes are to be invited to give their countenance to the Society-or not.

5. Wagner's photograph has unfortunately been locked up in the Altenburg against my wish. I cannot therefore be of any help with it—and can only advise you to write to Wagner himself, in order to learn which of his likenesses would be the most suitable for publication in the Modenzeitung.

.-.I shall be in Berlin by the evening of the day after tomorrow, and shall probably stay there till the 24th-26th of this month. May I also beg you to remind Pohl of his promise to send me my arrangement of the Dance of Sylphs (from Berlioz' "Faust")? I am now wanting this little piece, of which I did not keep any copy. It is the same with my arrangement of the "Tannhauser" Overture, which I left behind with Pflughaupt. Get Pohl to send me the Dance of Sylphs and the "Tannhauser" Overture as soon as possible to Bulow's address in Berlin. I will then send him my thanks in writing, and will quietly wait for the catalogue of music in his possession out of my library (which he wanted to send me some days after my departure!).

How is it with regard to Damrosch's leadership of the orchestra at Weymar? Pohl must tell me all about it.

Has Bronsart's marriage taken place yet?

If it is not giving you too much trouble, I should be glad to receive the pamphlets, marked with red pencil, by Bronsart, Laurencin, Wagner, and Ambros, while I am in Berlin. The publication of Zellner's brochure on "Faust" shall meanwhile be left to the geniality and munificence of Schuberth. A propos of Lassen's songs (which Schuberth boasted that he should bring out so quickly that last evening he was with you!), the first book only—say three songs!—and not the second, has come out, although Schuberth presented me with two books, relying on my being absent-minded and preoccupied! But he has such an extraordinary talent for tricks of that kind that it would be almost a pity if he did not exercise it here and there!.-.

With friendliest greetings to your wife,

Most faithfully,

F. Liszt

Lowenberg, September 16th, 1861

[Shortly after this Liszt departed from Lowenberg. He took the road which the Princess Wittgenstein had gone before him, and went, by way of Paris, to Rome.]



END OF LETTERS OF FRANZ LISZT, VOL. I.



INFO ABOUT THIS E-TEXT EDITION

This volume of "Letters of Franz Liszt" is the first volume of a 2-volume set. The letters were selected by La Mara, and translated into English by Constance Bache. The edition used was an original 1893 Charles Scribner edition, printed in America. Each page was cut out of it and fed into an Automatic Document Scanner to make this e-text; hence, the original book was fragmented in order to save it.

Some adaptations from the original text were made while formatting it for an e-text. Italics in the original book were ignored in making this e-text, unless they referred to proper nouns, in which case they are put in quotes in the e-text. Italics are not easily rendered in ASCII text, and in the original book they generally do not seem to add much to Liszt's expression.

Also, special German characters like U with an umlaut, and French characters like a's and e's with various markings above them were ignored, replaced with their closet single-letter equivalents. U with an umlaut is U, A with a caret above it is A, and so on. Words altered include Gotze, Tonkunstler, Gluck, Handel and Bulow, among others.

In addition, the English spellings of words like "honour," "colour," "humour" and "theatre" were changed into American equivalents like "honor," "color," "humor" and "theater."

This electronic text was prepared by John Mamoun with help from numerous other proofreaders, including those associated with Charles Franks' Distributed Proofreaders website. Special thanks to S. Morrison, R. Zimmerman, K. McGuire, A. Montague, M. Fong and N. Harris for proof-reading, and also thanks to B. Schak, D. Maddock, C. Weyant, M. Taylor, K. Rieff, J. Roberts, K. Peterson and others.

This e-text is public domain, freely copyable and distributable for any non-commercial purpose, and may be included without royalty or permission on a mass media storage product, such as a cd-rom, that contains at least 50 public domain electronic texts, whether offered for non-commercial or commercial purposes. Any other commercial usage requires permission. The biographical sketch was prepared for this e- text and is also not copyright and is public domain.

THE END