With regard to the agreement about the A major Symphony I mean shortly to write to Carl Haslinger, and expect that he will be quite willing to meet my wish. [A pianoforte transcription of this Symphony by Liszt had been published by Haslinger.]

With grateful thanks, dear Herr Doctor, I remain yours in readiness and sincerity,

F. Liszt

Rome, March 26th, 1863

P.S.—The four Symphonies shall be finished before the end of summer and sent to Leipzig. If you are satisfied with my work would you entrust the arrangement of the Overtures to me when I have finished the Symphonies—provided, of course, that you have not made any agreement with any one else?



14. To A. W. Gottschalg in Weimar

Dear Friend,

This year my name-day fell in the middle of Easter week, on Maundy Thursday. Your hearty letter again brought what to me is the pleasantest news in the world. Thank you for it, and let those know of it who share your sincere, friendly, and faithful sentiments! First let me mention Carl Gotze, [A chorister in Weimar (a favorite copyist of the Master's) became a musical conductor in Magdeburg and died in 1886.] whose kindly words I should so gladly like to answer in accordance with his wish, and then my dear Kammer-virtuoso, Grosse. Grosses trombone no doubt officiated brilliantly at Bulow's concert and at the performance of Berlioz's opera! An echo of the former reached me, thanks to your inspired notice in Brendel's paper, where I accidentally came across a little remark which you had addressed to one of the most estimable and graceful of German lady-singers anent my little-heeded songs. I certainly cannot find fault with you for showing some interest in the songs and for thus frankly expressing your opinion. On the contrary, your sympathetic appreciation is always welcome, amid the direct and indirect disparagement which falls to my lot. Unfortunately, however, I must make up my mind that only by way of an exception can I expect to find friends for my compositions. The blame is mine; why should one presume to feel independently, and set the comfortable complacency of other folks at defiance?—Everything that I have written for several years past shows something of a pristine delinquency which is as little to be pardoned as I am unable to alter it. This fault, it is true, is the life-nerve of my compositions, which, in fact, can only be what they are and nothing else.—

In the Psalms I have made some important alterations, and shall shortly send Kahnt the manuscript. A few passages (especially the verse "Sing us one of the songs of Zion") which had always appeared awkward to me in the earlier version, I have now managed to improve. At least they now pretty well satisfy my soul's ear.

The "Christus" Oratorio is progressing but slowly, owing to the many interruptions which I have to put up with this winter. It is to be hoped I may obtain some entire months of work during the summer. I thirst for it.

Of the musical undertakings here you will learn the more noteworthy events from a paper I sent to Brendel last week. Further and fuller news about myself is meanwhile uncertain. Probably I shall in the end not find myself able to do anything better than to put my whole story in the musical notes that I am incessantly writing down, but which need not either be printed or heard.

However that may be, I remain, dear friend, in sincere affection, yours gratefully and in all friendship,

F. Liszt

Rome, April 14th, 1863

P.S.—The Bach-Album and other music which you say you had to send me (e.g., your arrangement of the Dante fugue if it has been printed) please let me have through Kahnt. Enclose also a copy of the Ave Maria for Organ.

[Figure: Musical Score Excerpt]



15. To Dr. Franz Brendel

Dear friend,

The last months brought so many interruptions in my work that I still feel quite vexed about it. Easter week I had determined should, at last, see me regularly at work again; but a variety of duties and engagements have prevented my accomplishing this. I must, therefore, to be true to myself and carry out my former intention, shut myself up entirely. To find myself in a net of social civilities is vexatious to me; my mental activity requires absolutely to be free, without which I cannot accomplish anything.

How things will turn out later about my proposed journey to Germany I do not yet know. Probably my weary bones will be buried in Rome. Till then their immovability will serve you better than my wandering about on railways and steamboats. On the other hand, there is but little for me to do in Germany. War is at the door; drums and cannon will come to the fore; God protect the faith of heroes and give victory to the righteous among humanity! .—.

Where is Wagner, and what about the performances of "Tristan", the "Nibelungen", and the "Meistersinger" in Weimar or elsewhere? Tell me of this. I have not written to Weimar for long, and have also not had any news from there. My only German correspondent (Frau von Bulow) is suffering from some eye-trouble, which has interrupted our exchange of letters...so I am absolutely ignorant of what is going on. The February numbers of the "Neue Zeitschrft" are the last I have received. Your articles on Criticism are excellent, and, indeed, nothing else was to be expected. Give Louis Kohler my most friendly thanks for his kind perseverance in "paving the way for my scores to receive more kindly appreciation." The more thankless the task the more heartily grateful do I feel to my friends.

Most sincerely yours,

F. Liszt

Rome, May 8th, 1863



16. To Eduard Liszt

Dearest Eduard,

Weariness or something of the sort carried my thoughts back to my "Berceuse." Various other "Berceuses" rose up in my dreams. Do you care to join my dreams? It shall not cost you any trouble; without touching the keyboard yourself, you will only need to rock yourself in the sentiments that hover over them. A really amiable and variously gifted lady will see to this. She plays the little piece delightfully, and has promised me to let it exercise its charms upon you. I shall, therefore, ere long send you a copy of the new version of the "Berceuse" addressed "to the Princess Marcelline Czartoryska, Klostergasse 4." [A pupil of Chopin's] Wend yourway thither—and, in case you do not find the Princess at home, leave the manuscript with your card. I have already told her of your contemplated visit, and have spoken of you as my heart's kinsman and friend. You will find the Princess Cz. possessed of a rare and fine understanding, the most charming figure in society, and a kindly and enthusiastic worshipper of Mozart, Beethoven, and Chopin, and, above all this, the illuminating faith of the Catholic Church reflected in Polish blood.

"Patria in Religione et Religio in patria" might be the motto of Poland. God protect the oppressed!

One other commission for the Princess Cz. please undertake for me. During her residence here she on several occasions expressed the wish to become acquainted with some of my compositions (to which, whether intentionally or not, she had hitherto not paid much attention). I played with her my arrangement of the Symphonic Poems for 2 pianofortes—the "Heroide funebre," "Tasso," and the "Preludes"—which she received with kindly and courteous tolerance. Without desiring more—for ample experience has taught me that my compositions more readily rouse estrangement than attraction—I should, nevertheless, like the musical threads of our pleasant relations not to be entirely dropped, and wish therefore to present her, first of all, with various pieces of music by way of making amends. In the badly stocked music shops of Rome I could not find anything suited to her talent, and promised to ask your help in the matter. I beg you, therefore, dearest Eduard, to get the following works simply and neatly bound in one volume (in the following order), and to present them soon to the Princess Cz.:—

1. "Glanes de Woronice" (Leipzig, Kistner). 2. "Melodies de Chopin", transcrites par Liszt (Berlin, Schlesinger). 3. "Mazurka" (Senff, Leipzig). 4. "2 Polonaises" (idem). 5. "2 Ballades" (1 and 2. Kistner, Leipzig.) 6. "Consolations" (Hartel, Leipzig).

If the volume is not too thick with the above you might add the "Valse melancolique" and "Romanesca" (second edition of Haslinger). Of course let all this, contents and binding, be put down to my account, and given to the Princess-artist as a present from me. If the pieces cannot be procured in Vienna, order them speedily from Leipzig through Haslinger or Spina.

A propos of Spina: has the arrangement for 2 pianofortes of my orchestral setting of Schubert's magnificent C major "Fantasia" not yet been published? This delay, or, more properly, this remissness, is by no means a pleasant matter to me. With all my heart, thine,

F. Liszt

Rome, May 22nd, 1863



17. To Dr. Franz Brendel

Dear Friend,

I had to remain in bed all last week—and am still pretty weak on my legs. But there is nothing further wrong: my head is free again; the rest can be imagined. The day after tomorrow I quit my rooms in the Via Felice and move to Monte Mario (an hour's distance from the city). Father Theimer is kind enough to allow me to occupy his apartments in the almost uninhabited house of the Oratorian. The view is indescribably grand. I mean now, at last, to try and lead a natural kind of life. I hope I may succeed in approaching more closely to my monastico-artistic ideal...Meanwhile you may laugh at me about it. In my next letter I will tell you where to address me.

Pastor Landmesser will bring you further news about me to Leipzig, before the end of July, on his way back to Dantzig. I shall get him to take you the manuscript of the Psalms (of which I spoke to you). They are now ready for publication, and will not disgrace Kahnt's house of business.

The corrected copy of the Faust Symphony, too, I will send you by this opportunity, for Schuberth.

With regard to performances of my works generally, my disposition and inclination are more than ever completely in the negative. My friends, and you more especially, dearest friend, have done their part in this respect fully and in the kindest manner. It seems to me now high time that I should be somewhat forgotten, or, at least, placed very much in the background. My name has been too frequently spoken of; many have taken umbrage at this, and been uselessly annoyed at it. While "paving the way for a better appreciation," it might be advisable to regard my things as a reserve corps, and to introduce new works by other composers.

This will sufficiently intimate that the "Legend of St. Elizabeth" may quietly go on slumbering in my paper-box. As may also the work upon which I am now engaged, and which to my regret is making but very slow progress, owing to the many interruptions which perpetually plague me.

Should any one of the programmes be filled with one of my compositions, it would be best to select one of those already published, in order that, at all events, the publisher's approval may, in some measure, be held up to view.

In my opinion you have made a good choice in Porges. The young man is reliable, intelligent, and capable of inspiration, and what he may still lack in skilfulness he will easily acquire. The essential point in a task of this kind is a modest, honest, and not too dry effort. What I have heard and know of Porges makes me feel assured that he will best fulfil the various demands made by the editorial office.

What is one to think of the marvels which Pohl has brought back from Lowenberg? I haven't sufficient imagination to form any clear idea about them from the preliminary hints you communicated to me. Let me have a fuller report, therefore, if you think that, under certain conditions, I should mix myself up with the matter. And also tell me frankly, without periphrase, what the Musik- Verein wishes and expects from the patronage of the Grand Duke of Weimar?—One ought not to shoot about at random with Royal Highnesses! It would only lead to a vexatious loss of powder.

How is Kap[ellmeister] Wehner? Is he still in his King's good graces? [He was in the service of the King of Hanover; and is long since dead.] Kapellmeister Bernhard Scholz was here last month—but he did not honor me with a visit.

Today's post has brought me some very friendly lines from my worthy precentor Gottschalg in Tieffurt. He tells me of a concert in Denstedt, where several pieces of mine were performed—among others one of the Psalms (which I shall shortly send to Kahnt by Landmesser, an essentially improved version); they were sung by Fraulein Genast. This lady, so Gottschalg writes, is to be married today. Do you know to whom? I am so entirely cut off from all my Weimar connection that I had not heard anything about this. But as I still retain a very friendly recollection of this excellent lady-exponent of my songs, I beg you, dear friend, to let me have her new name and to tell me whether her husband resides in Weimar or elsewhere.

I am perfectly satisfied with my new abode at Monte Mario.— Pastor Landmesser will give you a description of it—and perhaps I may find a photograph of the place—if not I shall order one for you later.

Your sincerely devoted

F. Liszt

Rome, June 18th, 1863



18. To Dr. Franz Brendel

Dear Friend,

You will receive these lines in the lovely Sondershausen Park. One gladly accustoms oneself to the place, and the admirable performances of the Loh-concerts—I derive the word from "Lohe" [flame]—give the atmosphere a certain spiritual stimulus. My friendly greetings to Stein—and present my warm thanks to the courageous orchestra, which has not been scandalised by the "Symphonic Poems"! . . .

The parcel from Kahnt reached me safely a few days after your letter (of 26th June). Mililotti [Director of the Classical Music Association in Rome; he had requested Professor Riedel to send him the programmes of his concerts.] intends writing to Riedel to thank him for his kindness in forwarding his programmes. When Mililotti's concerts prove more of a success he may, by way of a return, send his Roman programmes to Leipzig. But at present the musical doings here are of but small interest to other countries.

By sending me the score edition of "Mignon" and "Loreley" Kahnt has given me peculiar pleasure. It seems to me correct, and I am foolish enough to find the instrumentation pretty. By the way, other instrumental settings occur to me: those of several of Schubert's songs ("Erlking," "Gretchen," "The Young Nun," and a few others) that I wrote for Fraulein Genast. They are not mere manufactured arrangements, and might not altogether displease musicians of fine feeling. The manuscript of the scores was left with Seifriz in Lowenberg. If any publisher should feel inclined to accept them they are at his disposal. .—.

In answer to an important point in your letter, I quite agree about presenting the Grand Duke of Weimar with a Report describing the object and aims of the Allgemeine Deutsche Musik- Verein. And on this occasion H.R.H. should be respectfully and graciously invited to address an appeal to his illustrious relatives to take some interest in the progress and success of the Association; in plain language, to strengthen his protectorship by letters of recommendation, or in some other way. In presenting the Report (which might most appropriately be undertaken by Pohl and Regierungsrath Muller) the Grand Duke or His Excellency Count Beust might be addressed directly by word of mouth, and be distinctly given to understand the desirability of obtaining the sympathy of the Grand Duchess, the Queen of Prussia, the King of Holland, T.R.H. the Grand Duchesses Helene and Marie (of Russia), the Grand Duke Peter of Oldenburg (in St. Petersburg), the Grand Duke and Grand Duchess of Baden, the Hereditary Prince of Meiningen, the Dukes of Altenburg and Coburg, etc. I give these names because, owing to their near relationship with the Grand Duke and their own personal fondness for music, they should stand first as patrons and supporters of the Allgemeine Deutsche Musik-Verein.

Gladly would I have undertaken the duties of diplomatist to the Association in Weimar, and endeavored to obtain the Grand Duke's active intervention...But at this distance I cannot, for the time being, accomplish anything. My gracious Master has no leisure for lectures on artistic subjects that I might concoct in the Eternal City; and if I tried to enlighten him in any such way his first and only word in reply would be "Why does not Liszt come back, in place of writing such allotria?" [Observations beside the mark.]- -A short time ago I received from him a very kind, monitory letter, calling upon me to return to Weimar for the Kunstler- Versammlung in August. .—. I would advise you to make use of your stay at Sondershausen by getting an introduction to the Prince, and by obtaining his support as regards the Musik-Verein. Discuss this matter with Stein, for he is best able to attend to it. Possibly a larger performance in the Loh might be got up for the benefit of the Association. .—.

This letter is so filled up with Royal Highnesses, Majesties, and illustrious personages, that it offers me a natural transition to tell you of an extraordinary, nay, incomparable honor I received last Saturday evening, the 11th of July. His Holiness Pope Pius IX. visited the Church of the Madonna del Rosario, and hallowed my apartments with his presence. After having given His Holiness a small proof of my skill on the harmonium and on my work-a-day pianino, he addressed a few very significant words to me in the most gracious manner possible, admonishing me to strive after heavenly things in things earthly, and by means of my harmonies that reverberated and then passed away to prepare myself for those harmonies that would reverberate everlastingly.—His Holiness remained a short half-hour; Monsign. de Merode and Hohenlohe were among his suite—and the day before yesterday I was granted an audience in the Vatican (the first since I came here), and the Pope presented me with a beautiful cameo of the Madonna.—

I must add one other princely personage to this letter, and with this I am obliged to close. A visit at this very moment is announced from the Principe della Rocca, who has driven up with his photographic apparatus. You shall, therefore, ere long have a little picture of the Madonna del Rosario which, since the Pope's visit here, has been the talk of Rome.

A thousand hearty greetings.

F. L.

July 18th, 1863



19. To Breitkopf and Hartel.

Rome, August 28th, 1863

My Dear Sir,

The work that you were good enough to entrust to me is almost finished, and by the same post you will receive the Piano score of 8 Symphonies of Beethoven, whilst awaiting the 9th, which I propose to send you with the proofs of the preceding ones. Nos. 1, 2, 3, 4, and 8 are bound in one volume; there is only the "Funeral March" from the "Eroica Symphony" wanting, which is published in the Beethoven-Album by Mechetti, Vienna. I shall require to see this arrangement again (which you will oblige me by sending with the next proofs), for probably I shall make numerous corrections and modifications in it, as I have done in the Symphonies in C minor, in A, and the "Pastoral," which were edited some twenty years ago. The copies of these are returned to you today with a great many alterations, errata and addenda, inasmuch as—in order to satisfy my own criticism—I have been obliged to apply to them the torture of red pencil and gum, and to submit them to a very considerable alteration.

Whilst initiating myself further in the genius of Beethoven, I trust I have also made some little progress in the manner of adapting his inspirations to the piano, as far as this instrument admits of it; and I have tried not to neglect to take into account the relative facility of execution while maintaining an exact fidelity to the original. Such as this arrangement of Beethoven's Symphonies actually is, the pupils of the first class in the Conservatoires will be able to play them off fairly well on reading them at sight, save and except that they will succeed better in them by working at them, which is always advisable. What study is deserving of more care and assiduity than that of these chefs d'oeuvre? The more one gives oneself to them the more one will profit by them, firstly in relation to the sense and aesthetic intelligence, and then also in relation to the technical skill and the attaining of perfection in virtuosity—of which one should only despise the bad use that is sometimes made.

By the title of Pianoforte score (which must be kept, and translated into German by Clavier-Partitur or Pianoforte- Partitur?) I wish to indicate my intention of associating the spirit of the performer with the orchestral effects, and to render apparent, in the narrow limits of the piano, sonorous sounds and different nuances. With this in view I have frequently noted down the names of the instruments: oboe, clarinet, kettle- drums, etc., as well as the contrasts of strings and wind instruments. It would certainly be highly ridiculous to pretend that these designations suffice to transplant the magic of the orchestra to the piano; nevertheless I don't consider them superfluous. Apart from some little use they have as instruction, pianists of some intelligence may make them a help in accentuating and grouping the subjects, bringing out the chief ones, keeping the secondary ones in the background, and—in a word—regulating themselves by the standard of the orchestra.

In order to be perfectly satisfied with regard to my work allow me, my dear sir, to beg you to let Mr. Ferdinand David and Monsieur Moscheles see it before it is printed. The minute familiarity they have acquired with the Symphonies of Beethoven will show them in a moment any errors, oversights, faults and misdeeds of which I, very unwittingly, may have been guilty. Will you please assure them that any information from them in these respects will be most valuable to me, and that I shall not fail to profit by it for the honor of your edition. In particular I should like to know from Mr. David whether the N.B. placed on page 78 of the manuscript (Finale of the 8th Symphony—"the execution of the principal figure, etc.") is authorised,—and I should be very grateful to him for any other particulars he is kind enough to give me. As to Mr. Moscheles, I hope he will not disapprove of my having followed his example in putting a profuse fingering for the greater ease of the mass of performers; but perhaps he would be so kind as to suggest a better fingering himself, and to let me know his observations upon such and such an artifice of "piano arrangement" of which he is a consummate master. There is only one point on which I would venture even to an act of rebellion—it is that of the pedals, a bass [base] passion of which I cannot correct myself, no matter how annoying the reproaches it may draw upon me!—["Even if one may presuppose," he writes on another occasion (27th August, 1861) to Breitkopf and Hartel, "a correct use of the pedal on the part of piano-players, I am nevertheless, through manifold unpleasant experiences to my ears, brought back to giving the most minute indications of it."]

If, as I venture to flatter myself, my arrangement of the Symphonies satisfies you, I should be tempted to propose to you, for next year, a similar work on the Quartets, those magnificent jewels in Beethoven's crown which the piano-playing public has not yet appropriated in a measure suitable to its musical culture.

But I really fear to exhaust your patience by giving you proofs of mine...consider therefore this project of the Quartets as not having been proposed if it seems to you inopportune, and pray accept, my dear sir, the expression of my very sincere and devoted sentiments.

F. Liszt

(Monte Mario, Madonna del Rosario)

P.S.—As it has been impossible for me to hunt out here a copyist who will fulfil the conditions that may reasonably be exacted (the one whom I employed pretty much last year divides his time between the prison and the public-house!), I am compelled to send you the manuscript such as it is, with many apologies for its badly written appearance. To make a fair copy of it someone with plenty of experience is needed; and I can safely recommend you such an one in Mr. Carl Gotze ("Member or Vice-director of the theater chorus") at Weimar. He is accustomed of old to my writing, and would make the copy of the Symphonies with intelligence and care.

N.B.—A copy of the Orchestral Score of the Symphonies will be a great help to the work of the copyist of my manuscript, for exactness in nuances, division of parts and indication of the instruments.

In any case it will be necessary for me to revise the final proofs. .—.

Let me add, in conclusion, that I shall be glad to receive, with the proofs or even sooner, a copy of my "Etudes d'execution transcendante," and also those "d'apres Paganini" (Breitkopf and Hartel edition), which I have promised to give to an excellent pianist here, Mr. Sgambati, who is most capable of playing them well in public;—and, besides these, a copy of my "Ave Maria" (for chorus with Organ accompaniment) which is shortly to be performed here.



20. To Dr. Franz Brendel

Dear Friend,

This morning I sent off manuscripts and corrections to Hartel and Schuberth—and thus had to write the word Leipzig several times. It struck me as a reproach as regards yourself, and I mean forthwith to get rid of it. You shall not hear of me through others without having the trouble of reading my own bad handwriting yourself. I have not, however, anything very special to relate. The summer has passed quietly and I have not wandered abroad much; have, in fact, been pretty constantly sitting at my work. My abode continues to suit me more and more, so I intend to spend the winter here. You no doubt received with my last letter the photograph of the "Madonna del Rosario." Unfortunately I cannot send you a picture of the grand, truly sublime view that can be enjoyed from every window. So you must imagine it to embrace all Rome, the wondrous Canmpagna, and all the past and present glories of the district.

For some time past I have had no other news of you than your excellent articles on "artistic individuality," etc., in which, among many other right and fine observations, I was specially pleased with the axiom: "The artistic temperament, when genuine, corrects itself in consequence of the change of contrasts." May it prove so in my case;—this much is certain,—that in the tiresome business of self-correction few have to labor as I have, as the process of my mental development, if not checked, is at all events rendered peculiarly difficult by a variety of coincidences and contingencies. A clever man, some twenty years ago, made the not inapplicable remark to me: "You have in reality three individuals to deal with in yourself, and they all run one against the other; the sociable salon-individual, the virtuoso and the thoughtfully-creative composer. If you manage one of them properly, you may congratulate yourself."—Vedremo! [We shall see!]

Weitzmann's "Carnival in Rome towards the Middle of the Seventeenth Century," I read with great pleasure in the "Neue Zeitschrift." It is a pleasant, lively sketch, spiced with learning but without pedantic lead. Did a very remarkable "History of the Pianoforte," etc., by the same author, appear in your paper? Frau von Bulow wrote to me lately that Hans is busy with some essays for the N. Z. Probably he is writing a review of Weitzmann's "History of the Pianoforte," which would be most appropriate; if this is not the case I would advise you to get one of your staff to undertake the work and to give several quotations from it. The confounded pianoforte has its unmistakable significance, were it only because of the general abuse to which it is put!—In honor of Hartel's edition of Beethoven I have been occupying myself again with studies and experiments in pianoforte pieces. The arrangements of the 8 Beethoven Symphonies which I am about to send to Leipzig are, I trust, successful. They cost me more trouble, in attempts of various sorts, in corrections, eliminations and additions, than I had anticipated. As we grow old we deliberate more and are less readily satisfied...

To Schuberth I have sent the corrections of the 2-pianoforte arrangement of the "Faust Symphony," together with a pretty, tuneful arrangement of the "Preludes" by Herr Klauser (of New York), and was thus induced to play the hackneyed piece through again, to touch up the closing movement and give it new figuration. In the hands of a skilful player it will prove brilliantly effective.

But enough of all this pianoforte stuff! I feel forced to set to work again in blackening score-sheets—and first of all the "Christus Oratorio" shall be proceeded with.—Write and tell me whether Kahnt is publishing the two Psalms which Pastor Landmesser took him, and advise him to request Herr von Bulow to revise the last proofs. There is nothing more vexatious to me than careless editions, full of errors, such as Schuberth would like to have if one gave free reins to his good nature! From the Committee of the Association for the Completion of Cologne Cathedral I have received an invitation to the Festival arranged for the 14th and 15th October. The letter reminds me, in the most courteous terms, that in the year '42 I had the honor of being a member of the Council. I had not forgotten this peculiar distinction; but the worthy gentlemen seem absolutely not to have considered how my activity could now appropriately be of service, and they wisely guard against mentioning any of my ecclesiastical compositions, although it might have occurred to them that I could manage something in that species of music. However, the worthy Committee find the old story of the "period of my brilliancy," and the "bewitching strains I drew from the keys," etc., more voluble and convenient. Besides which some small sum would have to be forthcoming were I to agree in considering myself what the good folks would like to consider me. Fortunately the determination of my work does not lie in their hands, and on account of this very evident conviction I answered their communication most courteously, modestly referring to my present occupation in Rome, and enclosing an extract from one of the Hymns of St. Ambrosius, from the Liturgy of the "Three Holy Kings," an incident intimately connected with Cologne Cathedral. At the same time I feel satisfied that I have not shown any intention to give annoyance, and declared myself as perfectly content to fulfil my duties as an honorary member of the Council, in quietude, by composing a work specially for the Cathedral (which I shall not fail to do), but without laying the slightest claim to the sympathy—much less to the patronage—of the worthy gentlemen of Cologne.—I flatter myself that I am not in the bad graces of the Three Holy Kings, consequently do not need to trouble myself about the rest of the Cologne folk!

Now my Leipzig parcels can be despatched with an easy mind.

With heartiest greetings,

Yours devotedly,

F. Liszt

September 7th, 1863

Monte Mario (Madonna del Rosario)

P.S.—Sgambati, an excellent Roman pianist, wishes to study my A major Concerto. Schott has as yet omitted to send me the complimentary-copy of this piece, to which I am entitled, so I beg you to enclose in Kahnt's next sending a duplicate copy (arranged for 2 pianofortes, as there can be no thought of an orchestral performance of it here). From Hartel I have also ordered for Sgambati and Bach [This is no doubt meant for Bache.] my Etudes, the Paganini ones, and my "Ave Maria" (chorus-score and voice parts, for a performance at the Classical Concerts conducted by Mililotti). It would be advisable, owing to the expense of forwarding music, to send the things all in one parcel; please be kind enough to suggest this to Hartel, and to get the 3 opus from him, and I do not wish to have to wait beyond the end of October for them. Gottschalg will soon have some copy to send me which might come at the same time.



21. To Justizrath Dr. Gille of Jena

Dear friend,

I trust you will forgive my long silence. I could not excuse myself in any other way than by a worse lamentation about the variety of circumstances, moods and occupations that have more and more encouraged my habitual dislike to letter-writing. Unless some definite object demands it of me, I do not write to any one in Germany, with the exception of Bulow, my cousin Eduard in Vienna, and Brendel, to whom I am very grateful for the kindness with which he looks after the more important details connected with my musical affairs. As regards my Weimar friends, my inclination to communicate with them is spoilt by my imagining that they would as gladly see me among them as I should feel at home among them. And as I cannot write to them and say: "I am coming to remain with you," I get more and more silent.

My stay in Rome is not an accidental one; it denotes, as it were, the third part—(probably the close) of my life, which is often troubled, but ever industrious and striving upwards. Hence I require ample time to bring various long works and myself to a good ending. This requisite I find in my retirement here, which will probably become even more emphatic; and my present monastic abode provides me not only with the most glorious view over all Rome, the Campagna and the mountains, but also what I had longed for; quiet from without and peacefulness.—Enclosed is a photograph of the "Madonna del Rosario," as an illustration to the notices that have lately appeared in the newspapers in connection with the Holy Father's visit here.

Your friendly lines came strangely in conjunction with the "Dettingen Te Deum" to which you refer, and which I was playing through at the very moment your letter was handed to me. A very amiable English lady delighted me a little while ago by presenting me with the praiseworthy London edition-"Novello's Centenary Edition"—of the Oratorios of Handel, Haydn, Mendelssohn, etc. (and all sold at from 1 to 3 shillings each); these works are always welcome society to me. The number containing the "Dettingen Te Deum" also contains the "Coronation Anthem" (composed in 1741). "Zadok the priest, and Nathan the prophet, anointed Solomon King." [This sentence is written in English by Liszt.]

The commencement is wonderfully grand and powerful, like the Bible itself.—

However notwithstanding all my admiration for Handel, my preference for Bach still holds good, and when I have edified myself sufficiently with Handel's common chords, I long for the precious dissonances of the Passion, the B minor Mass, and other of Bach's polyphonic wares.

Remember me kindly to your wife, and with heartiest greetings to M. Gille, junior, I am Your sincerely attached

F. Liszt

Rome, September 10th [1863]

(Monte Mario, Madonna Del Rosario.)

Do not omit in your next letter to tell me something about your musical Jubilee in Jena.



22. To Dr. Franz Brendel

Dear Friend,

I am deep in my work. The more we sow a field the more it spreads. One would need to live to the age of a Methuselah to accomplish anything plentiful!

Your letters, unlike so many others, are always so welcome, and I thank you most sincerely for all the goodness, kindness, honesty and warmth of feeling that the continuance of our friendship brings with it. For even though you may not always be able to communicate pleasant or enjoyable news, still things disagreeable I can tolerate more readily from you, because of your ever moderate and characteristically steadfast interpretation. The experience you had lately to make with Y.Z. I regret sincerely, and would gladly make you some compensation for a loss that is as unexpected as it is unfortunate. But I am sorry to say I do not know of any one who would exactly suit you. There is truly a great dearth of men [Menschen] in this world! When they are put to the test they prove themselves useless. My ten years' service in Weimar gave me abundant proof of this!

Probably you will just have to drag on with your contributors, till we finally get into smoother water again. It is more than three months since I received any numbers of the Neue Zeitschr.; do not forget to enclose the numbers in the next sending (together with the music I want from Hartel), and address always to "Madonna del Rosario (of which a photograph herewith), Monte Mario—Rome."

Kahnt's willingness to publish the score of the two Psalms is very flattering to me. He shall have the manuscript soon, and I should like to enclose the instrumentation of the Songs from Wilhelm Tell. Should a convenient opportunity occur some kindly- disposed singer might be found to bring them into notice (perhaps Schnorr?). The instrumental-fabric is not plain or ordinary, and enhances the effect of the vocal part. My critical ex-colleague Stor praised it formerly when performed at one of the Court- Concerts at which Caspari sang the songs,—and since then I have added some dainty little bits. One must praise oneself, especially when others too often fail in doing so!—

With regard to the Tonkunstler-Versammlung, it seems to me that the choice of Leipzig is most advantageous for the purpose at present, and I would advise you to adhere to this. In the course of the winter we will have an "exchange of thoughts" ("un echange d'idees," as Prince Gortschakoff is ever saying) about the programme and arrangements, and this will assuredly lead to more harmonious results than the Russian notes. Fortunately we do not need to quarrel about the extent of the treaties of 1815!

Hearty greetings from your sincerely devoted

F. Liszt

October 10th, 1863

P.S.—About six weeks ago there appeared in the Leipzig "Illustrirte Zeitung" a biographical notice of F. Liszt, together with a portrait. Let me have the number, and tell me who wrote the article.

.—. Has anything new in the way of scores or pianoforte pieces been published that is likely to interest me? Here people speak of Mendelssohn and even Weber as novelties!



23. To Madame Jessie Laussot

Herewith, dear Madame, are a few lines that I beg you to forward to Madame Ritter (mere), as I do not know where to address to her. [She had lost her daughter Emilie, the sister of Carl and Alexander Ritter.]

The melancholy familiarity with death that I have perforce acquired during these latter years does not in the least weaken the grief which we feel when our dear ones leave this earth. If at the sight of the opening graves I thrust back despair and blasphemy, it is that I may weep more freely, and that neither life nor death shall be able to separate me from the communion of love.—

She whom we are mourning was especially dear to me. Her bodily weakness had perfected the intuitive faculties in her. She took her revenge inwardly and lived in the beyond...At our first meeting I thought I should meet her again. It was at Zurich at Wagner's, whose powerful and splendid genius she so deeply felt. During several weeks she always took my arm to go into the salle a manger at the hour of dinner and supper,—and she spread a singular charm of amenity, of sweet and conciliatory affection in that home to which a certain exquisite degree of intimacy was wanting. She possessed in a rare degree the secret of making her presence agreeable and harmonious. Everything in her, even to her very silence, was comprehensive, for she seemed to understand, or rather to determine the thoughts which words render in only an unformed manner, and worked them out in her noble heart.

May her soul live for ever in the fulness of the light and peace of God!—

Very cordially yours,

F. Liszt

October 15th, 1863

(Madonna Del Rosario, Monte Mario.)

Pray excuse my delay in these few lines. It was only yesterday that I learned your address through Mr. Sgambati.



24. To Dr. Franz Brendel

Dear Friend,

Kahnt's last sending that reached me last week brought me much that I found pleasant and encouraging in the numbers of the Neue Zeitschrift. I could verily not have imagined that so mild and kindly a ray of light could have been shed over my compositions discussed there, as is given under cipher 8. Let me know who writes under cipher 8—I promise not to divulge the secret—and meanwhile present my as yet unknown reviewer with my sincerest thanks for his appreciation of my nature, which he manifests in so kind and sympathetic a manner in his commentary to the "Seligkeiten" [Beatitudes] and the instrumentation of "Mignon's Song." [The review was written by Heinrich Porges.] He has formed the most correct estimate of my endeavors by pointing to the result, namely, to throw life into the truly Catholic, universal and immortal spirit—hence to develop it—and to raise the "culture that has been handed down to us from the remote Middle Ages, out of the heavy atmosphere of the monasteries and, as it were, to weave it into the life-giving ether of the free spirit pervading the universe."

I also perfectly agree with the extremely applicable close of the same article: "Our age has not yielded its right to feel itself connected with the Infinite," and I intend to set to work in earnest to comply, as far as possible, with the kindly expectations of my reviewer. His reference to my Psalms leads me to wish that I might soon see the four Psalms published in score (they are very diverse, both as regards feeling and musical form). Kahnt's willingness to publish them is, therefore, welcome news to me, and I beg he will give me a proof of his goodwill by kindly having them ready for next Easter's sale.

He can settle everything about the form and equipment "al suo commodo" (as people say here).

Still the Psalms should be published in the same form, and should Kahnt decide upon retaining the form of the Prometheus score (as he writes to me) I shall be quite content and satisfied. The day after tomorrow I shall send him the instrumentation of the 23rd and 137th Psalms together with the score of the 13th. The latter is one of those I have worked out most fully, and contains two fugue movements and a couple of passages which were written with tears of blood. Were any one of my more recent works likely to be performed at a concert with orchestra and chorus, I would recommend this Psalm. Its poetic subject welled up plenteously out of my soul; and besides I feel as if the musical form did not roam about beyond the given tradition. It requires a lyrical tenor; while singing he must be able to pray, to sigh and lament, to become exalted, pacified and biblically inspired.—Orchestra and chorus, too, have great demands made upon them. Superficial or ordinarily careful study would not suffice...

Pardon me, dear friend, for having troubled you to such an extent with marginal comments to my manuscripts. I will only add that I should be glad to see the short Choral Psalm for men's voices ("The Heavens declare the glory of God") printed in time for the Easter's sale, in score-form from the copy I left Kahnt before I went away;—and now to return to the Articles in the Neue Zeitschrift, I feel specially grateful, in the first place, for the communications concerning the Hungarian orchestra in Breslau.

To hear again of my Ex-Chamber-Virtuoso Josy in so friendly a way pleased me extremely, and I beg you to send my sincerest thanks to the author of the article for having so carefully studied my Rhapsodies and the less well-known book (not to speak of the erroneous interpretation it has had to endure at other hands!) on "Hungarian Gipsy Music"; at the same time will you beg him to accept the enclosed photograph of my humble self, in return for the one he gave Josy?

[An extremely musical gipsy boy of this name was presented to Liszt in Paris in 1844 by Count Sandor Teleki. Liszt's endeavors to train the boy as an artist failed, however, owing to the impossibility of accustoming the child of nature to engage in earnest study, as Liszt himself relates in "Die Zigeuner und ihre Musik in Ungarn" [The Gipsies and their Music in Hungary] (Ges. Schriften, Bd, vi.)]

In your next let me have some account of the position and work of this worthy Breslau correspondent, for I have not before met with anything from his pen in the Neue Zeitschrift. I herewith send you a second photograph of my present abode, "Madonna del Rosario," as the first one went astray, but to prevent a like accident in the post I shall register this letter.

Bulow's searches into and out of the subject are splendid, and his farewell words in memory of Fischl show the noblest beat of heart. When are the articles on Offenbach, etc., from the same intellectual region, to appear?...I am curious also to see what news there will be of the Berlin Orchestral concerts, instituted and conducted by Bulow.

You mention cursorily some new programme-form concerning which "you rather flatter yourself." Tell me more about this and send me a few of the programmes.

From Pohl I lately received a very cordial letter which I answered forthwith. His Vorschlag zur Gute, etc., in the N. Z. I have not yet read, and this is the case with many other articles in the last numbers, which, however, I mean ere long to overtake. In spite of my retirement and seclusion I am still very much disturbed by visitors, duties of politeness, musical proteges— and wearisome, mostly useless correspondence and obligations. Among other things the St. Petersburg Philharmonic Society has invited me, during the Lent season, to direct two of their concerts, giving performances of my own compositions. The letter certainly reads somewhat more rationally than that of the Cologne Cathedral Committee (of which, I told you); but the good folks can nevertheless not refrain from referring to the trash about "my former triumphs, unrivalled mastery as a pianist," etc., and this is utterly sickening to me—like so much stale, lukewarm champagne. Committee gentlemen and others should verily feel somewhat ashamed of their inane platitudes, in thus unwarrantably speaking to my discredit by reminding me of a standpoint I occupied years ago and have long since passed.—Only one Musical Association can boast of forming an honorable exception to this since my departure from Germany, namely the Society "Zelus pro Domo Dei," in Amsterdam, which, in consequence of the approval and performance of my Gran Mass last week, has conferred on me their diploma by appointing me an honorary member, in addition to a very kind letter written in a becoming tone.

The diploma is headed: "Roomsch Catholiek Kerkmusiek Collegie," and the Society was founded in 1691.

For your wife's amusement and as a piece of French reading I send a copy of my answers to the letters from St. Petersburg and Amsterdam. When you have read them please send both copies to my daughter in Berlin, as an addition to her small collection of my miscellaneous correspondence.

Most cordial greetings.—Yours in all friendship,

F. Liszt

November 11th, 1863



25. To Breitkopf And Hartel

Dear Sirs,

.—. Pray present my kindest thanks to Conzertmeister David for his consent to the N.B. in the Finale of the 8th Symphony. The method of execution, as indicated, was the one important question to me; by the satisfactory solution of this I am now perfectly content, and it is pleasant to me, therefore, to be able to agree to your wish to undertake the publication of the 9 piano-scores forthwith, without asking advice elsewhere. My former request on this subject was meant only to serve as a proof of my sincerest conscientiousness; as soon as you consider it superfluous let it be so.

Your letter also settles the copyist-difficulty. Still, notwithstanding all the model-works that issue from the House of Breitkopf and Hartel, I could scarcely expect that the printers would worry over my bad musical writing, that is rendered even more indistinct by my numerous erasures and corrections—and for this reason I recommended Herr Carl Gotze of Weimar by way of help; he is very quick at deciphering my untidy manuscripts. But of the best copyists it may be said "Better none," to use Beethoven's words in pronouncing his verdict upon Malzel's metronome.

Permit me therefore, dear sirs, to reduce all these preliminaries and details to the simplest form, by giving you absolute power concerning the publication of the 9 Symphonies—provided that the last proofs are sent to me for revision.

While awaiting the Beethoven scores (Quartets, Egmont, and "Christ on the Mount of Olives") I send you my best thanks in advance, and shall hope to send you later a specimen of my small savoir-faire in the matter of Quartet arrangements to look at. If it should meet with your approval I would gladly, next summer, proceed in working out a former pet idea of mine; to make pianoforte transcriptions of Beethoven's Quartets "for the home circle," and, as it were, to make them a link in the Master's catena aurea, between his Sonatas and Symphonies.—No considerations in the way of honorarium need form any hindrance to this project, especially as in such matters not the smallest difficulty has ever arisen in our relations with one another, which have now lasted over 20 years. Besides, the way and manner you accept my proposal offers the best prospect for its realisation, to our mutual satisfaction in tempore opportuno.

.—. I beg you, dear sirs, to accept my sincere thanks as well as the assurance of my respectful attachment.

F. Liszt

Rome, November 16th, 1863

(Monte Mario, Madonna Del Rosario.)



26. To Dr. Franz Brendel

Dear Friend,

By way of excusing my delay in writing I must tell you at once of an indisposition, which during Christmas week prevented my undertaking any other occupation or amusement than that of keeping in bed. For several weeks after that there were other things, entirely unconnected with musical doings and affairs, which, however, urgently demanded attention. Your admirable New Year's letter I received yesterday. It perfectly confirms my opinion of the state of affairs (as became clear to me long since), and my agreement with you as regards our "Debit and Credit." The latter, unfortunately, does not show the right equilibrium—but must be made to do so. In the first place three points have to be secured; and to save useless explanations between us, I shall describe these in geographical style, under the names of Weimar, Lowenberg, Carlsruhe. They at present embrace and solve all the essential questions: division of work, appointment of suitable persons, procuring adequate means, active organisation of the Musik-Verein, etc., etc. And, granted that you are not deceiving yourself about my very limited influence, my personal presence and intervention would seem indispensable. Still I will not conceal the fact that it is, at least, inconvenient for me to leave Rome even for a short time, and people should not object to my finding more satisfaction in my retirement here than in the barren unpleasantries of a so-called "circle of activity." But if, as you assure me, the question affects the good cause, and I could really be of service to a few dear friends,—well in that case every other consideration shall give way and my willingness be put to the proof. Although it will be very difficult for me to make up my mind to start, I will towards the beginning of June have my passport vise'd for Carlsruhe, in order that I may attend the Musical Festival there, provided that Bulow conducts. In the intervals between the rehearsals and performances we should discuss with active friends the Whys and Wherefores connected with the Musik-Verein which, first of all, requires to be placed on a firm footing. And so far as I can assist in doing this (especially by advocating its cause with our patron and the Hohenzollern princes) it certainly shall be done.

Pohl seems to have put on wrong spectacles if he reads in my letter that I have no greater wish than to return to unique Germany! People may think about it what they please; the positive truth is that I do not bother myself about fools of any species, whether German, French, English, Russian or Italian, but am peacefully industrious in my seclusion here. "Let me rest, let me dream," not indeed beneath blossoming almond trees, as Hoffmann sings, [A song which Liszt set to music] but comforted and at peace under the protection of the Madonna del Rosario who has provided me with this cell. My German friends would certainly be acting much more reasonably were they to come and visit me here, instead of tempting me abroad. However you may assure the rest of my acquaintances that I will not inconvenience them with my presence for any length of time, and that my interference at the Musical Festival in Carlsruhe is only a temporary one and altogether harmless. By the middle of July, at latest, I intend to be back here again, or earlier if possible.

The Pro memoria of the A. D. Musik-Verein, addressed to the Grand Duke, together with the protocol of the audience on the 17th of November, I received through Gille. My thanks and reply I shall send shortly. Likewise also the programme of a very exceptional solemnity which takes place on the 5th February, and which is already engaging my attention in a variety of ways.

In all friendliness,

Your cordially devoted

F. Liszt

January 22nd, 1864

To Kahnt my best thanks for having sent the last parcel of music correctly. Postage and dues cost over 13 Prussian thalers. By the way, do not offend me any longer by franking your letters. I on my part frank my letters only when I send you a letter-parcel containing copies, etc.

Last postscript. .—. Do me the one other favor of seeing that my enclosed answer safely reaches Herr B. I do not know his address- -and, although we may have met in Weimar, as he once wrote to me, I have scarcely any recollection of the fact.

Do not be vexed at the apparent presumption and vain-glory of this last communication for today...My modesty will sufficiently come to my rescue to prevent my putting too many feathers in my cap! [The German proverb of which Liszt makes use is "allzugrosse Rosinen im Kopfe tragen." Besides, thank God, I am too honest and truth-loving to fall a victim to vanity.



27. To Dr. Franz Brendel

Dear Friend,

Excuse an intermezzo on music-publishers today. I have received from Julius Schuberth and from Peters' Bureau de Musique contradictory letters about some right or unrighteous edition of my arrangement of Beethoven's "Septet". Schuberth's communication is many-sided, the other very one-sided, but neither of them enlightens me in the least, for it is a question of long since, and I scarcely remember where and for whom I arranged the "Septet", now more than 20 years ago. And although Schuberth has given me but little cause to be satisfied with his editions, still I should not wish to do him any injury by this piece of business, [An untranslatable pun on the words Handel and Handel] and hence I have not sent him any reply. For the same reason I shall leave Peters' communication unanswered, and must get you, dear friend, to make these two gentlemen understand that I cannot mix myself up with any of their disputes as publishers. And in order that you may obtain an insight into the matter I send you, herewith, Peters' letter, with regard to which I can only say that I have no recollection of having made a duet arrangement of Beethoven's "Septet"...Yet this is precisely what I do not wish to say. Let the two gentlemen settle the matter amicably between themselves and ignore my existence altogether.

As Bulow is happily back, the programmes of the Carlsruhe Musical Festival will now soon be finally drawn up. Remenyi, who has played here some half-dozen times in the Teatro Argentina with extraordinary success, has a decided inclination to appear at the Musical Festival; I told him, however, that Conzertmeister Singer had probably already been engaged. Should Singer not be able to come, I would recommend Remenyi with absolute confidence. Of all the violinists I know, I could scarcely name three who could equal him as regards effect. Tell Bulow of Remenyi's friendly offer, and let me know at your convenience whether it is accepted.—

As soon as I hear more definitely about the programme I shall answer Gille's friendly note. Meanwhile (after 4 months' incessant interruptions) I have again set to work, and cannot now leave it till the time comes for my journey.

What a royal and marvellous act is Ludwig of Bavaria's letter to Wagner! It ought verily to be engraved in the Walhalla in letters of gold. Oh that some other Princes would adopt a similar style!—

In all friendship, yours sincerely,

F. Liszt

Rome, May 28th, 1864



28. To Dr. Franz Brendel.

Dear Friend,

Shortly after sending off my letter anent the Peters-Schuberth squabble, I received the programme-sketch of your last letter but one. Exceedingly important and indispensable are the Wagner- numbers. Let me hope he has already given you a favorable reply. Bulow will be the best one to arrange things and to conduct. I wrote to him the day before yesterday to advise him again to be strictly moderate with regard to the number of my compositions. The half of what is given in your sketch of the programme would be amply sufficient. People do not want to hear so much of my things, and I do not care to force them upon them...On this occasion, especially, my wish is only to see some of my friends again—in no way to seek appreciative approval from the public. Such misleading abuses have long since and entirely ceased for me. Hence, dear friend, do not have me playing the braggart on your programme! If a place is to be retained for Remenyi he will fill it brilliantly. For both as a soloist and a quartet player his accomplishments are extraordinary.

You ask me about "definite news of my journey." As already said, I am determined to attend the Tonkunstler-Versamammlung, and afterwards to go to Weimar for a few days. My departure from here depends upon the date of the Carlsruhe concerts. I shall arrange to be there a few days previously, and shall ask Bulow to secure apartments for me. A variety of considerations (among which are economical ones too) compel me not to extend my absence from Rome beyond a month, and before returning I am in duty bound to pay my mother a visit in Paris. Hence I shall have but little time for strolls on the banks of the Ilm or elsewhere...But let me hope that my journey will not prove pure idling, and I shall do my best "to pave the way" to meeting all your wishes in as satisfactory a manner as possible. Further details on this subject I shall give you by word of mouth towards the end of August. All mere reports about my remaining in Germany for some length of time I beg of you to contradict most emphatically. Some newspapers seem anxious that it should be known that I am about to settle in Hungary. There is nothing whatever in this report beyond the anticipated order for my composing a second "Gran Mass", and perhaps publishing an Hungarian translation of the "Elizabeth." These two tasks may, during the course of next year, lead to my revisiting Hungary (?).

Kindly present my excuses to Riedel, who wishes me to attend his concert in the St. Thomas Church (at the beginning of July). I am delighted that the "Seligkeiten" find a place in his programme, and I am sincerely grateful to H. von Milde for having contributed so much to their success by his fine interpretation and inspired delivery. Whether the Psalm ("By the waters of Babylon") is not somewhat too low for Frau v. Milde's voice, I should not like to say. I remember, however, that she sang it on one occasion at the Altenburg gloriously. Of course I can consider it only a very flattering mark of attention and amiability on the part of Frau von Milde to venture anywhere to introduce any one of my compositions under her vocal protection, but especially in Leipzig.

With hearty thanks and kindest greetings yours,

F. Liszt

Rome, June 13th, 1864



29. To the Committee of the Society for the Support of Needy Hungarian Musicians in Pest.

Gentlemen,

You are good enough to invite me in a very flattering manner to take part in the Association that you are starting, with the object of helping needy and infirm musicians in Hungary. Every tie which unites me to our noble country is dear to me. I cordially accept to be entirely yours, and am pleased to hope that the esteem in which you are held, added to your intelligent solicitude for this good work, will secure it speedily and lastingly excellent results.

The good that you propose to realise is not liable to controversy, but is so plainly evident that you will receive on all sides nothing but approbation, encouragement, help and support. Nevertheless, as you do me the honor to ask my explicit opinion with regard to the statutes of your Society, I will venture to observe that it seems to me desirable not to limit oneself exclusively and for ever to helping sick and infirm musicians—and their needy heirs. Those who are in health, when they are at the same time well-deserving, have a claim also on your sympathy...Without enlarging on this point here, I only recommend to your attention, gentlemen, the statutes (published at Leipzig) of the Association which was formed at Weimar in August 1861, under the name of "Allgemeiner Deutscher Musik- Verein," in which the needs of music and of musicians of our day have been taken into consideration simultaneously.

If I had not the sad honor of being poor I should hasten to put a considerable sum at your disposal. Pray pardon me, then, the moderate offering of a hundred florins which you will shortly receive (through my cousin Dr. Eduard Liszt, of Vienna), and I beg you to accept, gentlemen, the assurance of my sincere desire to render in future the best service to your work, as also the expression of my very distinguished and devoted sentiments.

F. Liszt

Rome, June 18th, 1864 (Madonna Del Rosario)



30. To Eduard Liszt

Very dear Eduard,

Assuredly I have not been "complaining" of you to Count Gallenberg nor to anybody else in the world. Quite the contrary, and on every occasion I boast of my beloved cousin, and am happy and proud of his loyal, delicate and noble friendship, which is one of the sweetest kindnesses of Providence to me.

Nevertheless I am much obliged to Count Gallenberg for having somewhat driven you to write to me, extra, so good and tender a letter, for which I thank you from my heart and soul.

The electoral circular you added to it gives me real satisfaction, and I am pleased at the public evidence that has been attained of your "honorableness, firmness of character and great capability." It seems to me that it was not possible, under the actual circumstances, to have obtained a more complete success in the competition with Schuselka; [Eduard Liszt was at that time standing against Schuselka as a andidate for the Reichstag (Parliament), but without success.] but I hope that your turn will come soon. The waiting is painful for you, without doubt, and is also too prolonged as regards your deserts...still one must be resigned to it, and that as simply as possible, by abstaining from useless words and taking useless steps. To be ever deserving, though only occasionally obtaining—much or little—is still the wisest thing to do in this world, where "he who endures little will not endure long!"—

.-. Shall I see you at Carlsruhe at the end of August? I hope so most truly. Before returning here (at the beginning of October) I shall spend a few days with my mother in Paris. You will not be vexed with me for beginning with her first, and for postponing till another year my transient visit to you at Vienna, which I accept in the same manner as you offer it, and for which the occasion will be found when I return to Hungary, supposing that they are inclined (as appears likely) to give me an order similar to that of the "Graner Messe." Otherwise, and unless there be any determining circumstance for me, I am resolved not to tire people with my presence, as also to withdraw myself from the idle fatigue that people cause me. Thank God I have something to work at without disturbing myself at my work further than is necessary for the good conscience I hope always to keep. For this Rome is peculiarly adapted to me, and I shall not go away for the smallest thing without well knowing what it is for.

I send herewith my answer to the Committee of the Association in aid of poor musicians in Hungary, [See the foregoing letter of 18th June.] to which I beg the Princess to authorise you to add the sum of 200 florins. Let them be sent at once to the Committee, begging for an acknowledgment, which you will send to me.

Remenyi will come and see you shortly. He has spent nearly two months here, and has been heard very often at the Argentina Theater with extraordinary success. I have invited him to come to Carlsruhe, as I am persuaded that he will succeed no less well there than in Rome. Meanwhile I beg you to give him a cordial reception.

Yours ever affectionately,

F. Liszt

June 22nd, 1864 [Rome]

Greetings and love to your dear ones.

It goes without saying also that I think most affectionately of Cornelius and Tausig, which you will tell them.



31. To Dr. Franz Brendel

Dear Friend,

.—. I can assure you of Remenyi's co-operation. By the middle of July I expect a letter from him with his fuller address. It will be superfluous to mention him in the preliminary programme of the concert-performances. But what about Wagner?—Frau von Bulow sends me very sad news of him...If he definitely refuses to attend the Tonkunstler-Vers. all we can do is to obtain his consent to give the extracts—previously enumerated in the programme—from his "Meistersanger" and other of his works (together with the scores and voice parts). In my opinion these pieces are indispensable for the principal day of the Carlsruhe programme. It would be best if Bulow alone brought the matter to the desired issue. It seems to me impossible that Wagner could give him and all of us the pain of an absolute refusal! At all events everything must be done to avoid such a misfortune—nay, I may even say, such a scandal.

For the future, dear friend, you shall be totally relieved of the trouble of sending me these detailed communications. Frau von Bulow is going to report to me of the further progress of the preliminary arrangements concerning the Tonk.-Vers.; you yourself have more than enough to do with writing, negotiating, deciding, preparing, weighing to and fro, and in thinking things out, etc., etc.

It is settled, therefore, that I am coming, and you will have to look after me during my couple of weeks' stay in Germany, as it is mainly your fault that I am coming. Between ourselves I may tell you that, had it not been for your pressing letters, I should probably have confined myself to giving the Bulows a rendez-vous in Marseilles, and to paying my mother a few days' visit in Paris. Of other roads there are extremely few for me nowadays—and those that I have still to tread are not to be found in journeys, but only indeed at my quiet writing-table!

With hearty greetings and in all friendship, yours,

F. Liszt

July 1st, 1864

Yesterday I received a friendly letter from Seroff. Could not some fragment from his "Judith" be fitted into your Carlsruhe programme?



32. To Walter Bache in London

[The addressee (1842-1888), a pupil of Liszt's, settled in London as teacher, pianist and conductor, devoted his whole life there to making Liszt's music known in England. His annual Recitals and Orchestral concerts were devoted mainly to this object.]

I reply to your letter, dear Mr. Bache, by assuring you once more of my very sincere and affec-* *tionate interest. You will never find me wanting or behindhand when it is a question of proving this to you; be very sure of that.

The good news you give me of Madame Laussot is very welcome to me. I hope she will give me the pleasure of coming again to Rome, for I see no chance of my coming to Florence. Towards the middle of August I shall start for Carlsruhe, where I have promised to be present at the third Tonkunstler-Versammlung. Thence I shall go to Weimar, and shall take Paris on the way in order to see my mother again before returning here at the beginning of October.

Please tell Madame Laussot that she would wrong me if she did not count me amongst her most truly affectionate and devoted adherents. I especially preserve a grateful remembrance of her in connection with the "Ideale," and all that attaches to it. She is of the very small number of noble and intelligent exceptions in the too great number of my friends and acquaintances. I was speaking to this purpose the day before yesterday to a young person of Grecian origin who lives in Florence at the Count de Sartiges' house (and who frequents Madame Laussot's concerts). The Athenian plays the piano marvellously and charmingly.

You will bring me Ehlert's Scherzo with other of his compositions.

Meanwhile I commission you to give my best compliments to Ehlert.

A thousand cordial and affectionate things, and a revoir next winter.

July 2nd, 1864, Madonna del Rosario

F. Liszt

Thanks for the triple photograph, [Probably of Mme. Laussot, Pinelli and Bache, who were taken together.] which is thrice welcome.



33. To ?

[Autograph letter (without address) in the possession of Monsieur Etienne Charavay in Paris. The letter appears to be addressed to a friend in Vienna.]

Dear Friend,

The parcel of music you kindly announce has not yet come; but I will not delay in sending you my thanks, as I am about to leave here for six or seven weeks.

The day after tomorrow I travel to Carlsruhe to attend the Tonkunstler-Versammlung, the concerts there (conducted by Bulow) being given between August 22nd and 26th. Thence I go to Weimar on a visit. By the end of September I shall be with my dear mother in Paris, and back here by the middle of October. You must not be surprised if in newspaper-fashion I leave it undecided whether or not I change my abode and remain in Rome for ever.

The words for ever remind me of the 22nd Psalm (according to the usual Protestant numbering the 23rd) which, in reality, I composed for a tenor, whereas the 137th is meant for a mezzo- soprano (Fraulein Genast, now married to Herr Merian, in Basle).

I am therefore surprised that you should have proposed the latter Psalm and not the 22nd for Herr Erl, and I fear the effect of it will not be good sung by a tenor. The violin accompaniment which on several occasions is in unison, as well as the concluding chorus, "Jerusalem, Jerusalem," are written exclusively for women's (or boys') voices, and thus demand a female soloist. Besides which it seems to me that the sentiment and spiritual tonality of the Psalm do not move in the masculinum. Israelitish gentlemen must not be called upon to sigh, to dream and to abandon themselves to their grief in any such way.

I shall be much pleased to become fully acquainted with the new works by Kremser, Hasel and Ziehrer, which you promise me, on my return.

Meanwhile with best thanks and kind greetings, yours in all friendship,

F. Liszt

Rome, August 7th, 1864 (Madonna del Rosario)



34. To Eduard Liszt

Weimar, September 7th, 1864 (In the blue room of the Altenburg)

It grieved me to have to do without your presence at the Tonkunstler-Versammlung in Carlsruhe, dearest Eduard. Your letter, however, speaks of your having made some advance in your career, and this greatly delights me. I hope you will soon have more definite news to communicate to me on the subject. You know that to see you prosperous is one of the satisfactions I most desire in life!—

As regards the Tonkunstler-Versammlung you will find a kindly and satisfactory resume of the proceedings in the supplement of the Allgemeine Augsburger Zeitung—3lst August, 1st to 3rd September. Bulow was unfortunately prevented by serious illness from conducting. From a personal as well as an artistic point of view I felt his absence very keenly—however no complaint whatever can be made about the performance, and the reception accorded by the audience, especially to my Psalms, was extremely favorable. I assuredly never expected to meet with such sympathetic appreciation, after my experiences of former years. Friend Lowy had, on this occasion, no reason to hide himself in a seat at the back! In the Chamber-music soirees three of my Songs ("Es muss ein Wunderbares sein," "Ich liebe Dich," and "Mignon") were sung by Herr and Frau Hauser, and an encore was demanded. Remenyi played magnificently, and Fraulein Topp [Alida Topp, a pupil of Liszt's.] is a marvel.

At the conclusion of the Tonkunstler-Versammlung I started early on Sunday morning for Munich with Cosima (who remained with me the whole week of the concerts). Hans was confined to bed at the Bairischer Hof; his nervous rheumatic complaint has now settled in his left arm, which he will probably be unable to move for several weeks to come. In addition to the physical pain he suffers most grievously from this enforced state of inactivity. To endure things patiently is to some natures an absolute impossibility. He travelled back to Berlin, ill as he was, last Saturday, accompanied by his wife, and I have promised to go and spend a couple of days with him after my visit to Prince Hohenzollern in Lowenberg, where I go in a day or so.

Of Wagner's wondrous fortune you are sure to have heard. No such star has ever before beamed upon a tone-or a word-poet. N.B.— H.M. the King of Bavaria addresses his communication, "To the Word-and Tone-Poet, Richard Wagner." More by-and-by about this remarkable affair of Wagner's. I saw him in Munich on several occasions, and spent one day alone with him in his villa on the Starnberger See.

I have been here since the day before yesterday. .—.

Continue to love me—as I do you.

With all my heart your

F. Liszt

Address me to Weimar (at the Altenburg). I must return here from Lowenberg (between the 15th and 8th September) in order to await the Grand Duke at the Wartburg.



35. To Breitkopf and Hartel

Dear Herr Doctor,

Together with the corrected proofs of the Pastoral and the C minor Symphonies (in which I found one or two errors) I sent you (from Weimar) my pianoforte arrangement of the 3rd instrumental movements of the 9th Symphony. After various endeavors one way and another, I became inevitably and distinctly convinced of the impossibility of making any pianoforte arrangement of the 4th movement for two hands, that could in any way be even approximately effective or satisfactory. I trust you will not bear me any ill-will for failing in this, and that you will consider my work with the Beethoven Symphonies as concluded with the 3rd movement of the 9th, for it was not a part of my task to provide a simple pianoforte score of this overwhelming 4th movement for the use of chorus directors. Arrangements of this kind have already been made, and I maintain that I am not able to furnish a better or a more satisfactory one for helpless pianofortes and pianists, and believe that there is no one nowadays who could manage it.

In my edition of the 9th Symphony for two pianos, prepared for Schott, the possibility was offered to me of reducing the most essential parts of the orchestra-polyphony to ten fingers, and of handing over the chorus part to the second piano. But to screw both parts, the instrumental and vocal, into two hands cannot be done either "a peu pres or a beaucoup pres!"

In case other proofs of the remaining Beethoven Symphonies are ready, you might send me them to Weimar before Tuesday, 20th September. I should be glad at the same time to receive the splendid 6 Mottets of Bach in eight-voice parts (among which is "Sing unto the Lord a new song"). I am all the more in need of reading such works, as I am at present unable to hear a performance of them.

Next week I shall again spend a few days in Weimar (or Wilhelmsthal); thence I go to pay my mother a visit in Paris, and by 18th October, at latest, I shall be back in Rome.

Yours respectfully and sincerely,

F. Liszt

Schloss Lowenberg, September 14th, 1864

I requested Herr Kahnt to return to you with my best thanks the copy of the Symphonic Poems which was kindly forwarded to me in Carlsruhe.



36. To Breitkopf and Hartel

Dear Herr Stadtrath, [Town Councillor]

In compliance with the wish you so kindly express, I will again make an attempt to "adapt" the 4th movement of the 9th Symphony to the piano, and soon after my return to Rome will set to work upon the required tentative. Let us hope that the variation of the proverb: "Tant va la cruche a l'eau qu'a la fin...elle s'emplit"—may prove true. [So often goes the pitcher to the water that at last it is filled.]

While talking of various readings allow me to draw your attention to an exceptionally valuable collection. A very carefully and well-trained musician with whom I have been acquainted for many years past—Herr Franz Kroll (in Berlin)—has, with industrious and unceasing perseverance, been collecting, copying and arranging for publication the noteworthy various readings of Bach's manuscripts of the "Wohltemperiertes Clavier." [The well- tempered Piano] Last week he showed me several of them, and I became convinced of the substantial interest of the collection and encouraged friend Kroll to send you a full account of them. In now enclosing his letter to you—written at my instigation—I take upon myself, with pleasure and the fullest conviction, the musical duty of advocating the publication of these various Bach readings, and of heartily recommending Kroll's work as an essentially useful, complementary addition to your admirable edition of the "Bach-Gesellschaft" [The Bach Society].

Pray accept, dear Herr Stadtrath, the assurance of my sincere esteem and devotion.

F. Liszt

Wilhelmsthal, October 1st, 1864



37. To Madame Jessie Laussot

You will be good enough to excuse me, dear Madame, for having delayed replying to your kind letter. Amongst your many rare qualities there is one that I particularly admire; it is the prowess of your musical sympathies. Nevertheless I must scruple to expose you to too harsh trials, and, knowing by experience with how little favor my works meet, I have been obliged to force a sort of systematic heedlessness on to myself with regard to them, and a resigned passiveness. Thus during the years of my foreign activity in Germany I constantly observed the rule of never asking any one whatsoever to have any of my works performed; more than that, I plainly dissuaded many persons from doing so who showed some intention of this kind—and I shall do the same elsewhere. There is neither modesty nor pride in this, as it seems to me, for I simply take into consideration this fact—that Mr. Litz [Liszt quotes the very common misspelling of his name which has frequently been seen since he was "le petit Litz" in Paris.] is, as it were, always welcome when he appears at the Piano (—especially since he has made a profession of the contrary—) but that it is not permitted to him to have anything to do with thinking and writing according to his own fancy. The result is that, for some fifteen years, so-called friends, as well as indifferent and ill-disposed people on all sides, sing, enough to split your head, to this unhappy Mr. Litz, who has nothing to do with it, "Be a pianist, and nothing but that. How is it possible not to be a pianist when, etc., etc."

Possibly they are right—but it would be too much to expect me to sign my own condemnation. Far from that, I confess that contradiction ends by tempting me seriously, and that I am resolved to pursue it to the end, without any illusion or approbation whatever. Only at certain moments I fancy that that judicious maxim of Champfort is somewhat applicable to me "Celebrity is the punishment of talent and the chastisement of merit."

Our friend Sgambati is happily in a fair way to incur this punishment and chastisement—and certainly with very good reason. He has done wonders this winter at his four concerts, which have had a success both of fashion and of real good taste. I, for my part, have gained a thorough affection for Sgambati, and the remarkable development of his talent of so fine and noble a quality interests me keenly.

A thousand very cordially affectionate and devoted things.

F. Liszt

Rome, March 6th, 1865



38. To Dr. Franz Brendel

Dear Friend,

While awaiting from you definite word about the next Tonkunstler- Versammlung in Dessau, let me, meanwhile, thank you for your last communication. The main interest of the musical performances is, of course, on this occasion centred in Riedel and his Verein. In the programme-sketch I notice my Psalm 137 at the very beginning. What lady takes the solo?—mind and soul are indispensable in it.

Bronsart wrote to me at the beginning of March that he entertained the idea of a concert-tour to the Russian provinces on the Baltic. I should be glad to hear that the Euterpe squabble and quarrel in connection with the T.K.V. in Dessau were at an end, and that Bronsart was to undertake the conductorship.

As a supplement to this I send you herewith the programme of the concert held in the hall of the Capitol, where for some years past no special festivities have been given, and probably never anything of this kind before. For the first time the different orchestras in Rome (the Sistine, St. Peter's, Lateran and Liberian) all united to give a performance which upon the whole may be said to have been as successful as it was well received.

The concert was proposed to the Holy Father, and approved of by him. Owing to the exceptional character of the undertaking, which, like that of last year, was made to fit in with the plan of the detailed arrangements—(some ladies belonging to the aristocracy, and commissionaires distributed the tickets which were sold at a minimum, no advertising, etc.), I determined to give my co-operation. I played the "Cantique" (the last number of the "Harmonies poetiques et religieuses" published by Kistner), and, as there was no end to the applause, I added my transcription of Rossini's "Charite" (published by Schott). Everybody in Rome with any claim to culture was present, and the hall was more than full.

With friendliest greetings, your sincerely devoted

F. Liszt

April 3rd, 1865

P.S.—Please get Kahnt to inquire of Hartel as soon as possible, how far the printing of my arrangement of the Beethoven Symphonies has progressed, and whether I may rely upon his sending—during Easter week as already settled—the orchestral parts (autographed) of several of my Symphonic Poems,—more especially of the Dante Symphony? It is possible that the Dante Symphony may be performed here towards the end of April. But you shall have further news of me before that.

Bote and Bock will shortly publish a very simple Hymn of mine (for pianoforte) entitled "The Pope's Hymn."



39. To Prince Constantine of Hohenzollern-Hechingen

Monseigneur,

Your Highness will understand that it is a necessity of my heart to speak to you of a very happy juncture that assures me henceforth, in full degree, the stability of feeling and of conduct to which I aspired. It seems to me that I should be guilty of ingratitude and wanting in respect to the condescending friendship with which you are good enough to honor me, did I not let you know of the determination I have taken. On Tuesday the 25th April, the festival of St. Mark the Evangelist, I entered into the ecclesiastical state on receiving minor orders in the chapel of H.S.H. Monseigneur Hohenlohe at the Vatican. Convinced as I was that this act would strengthen me in the right road, I accomplished it without effort, in all simplicity and uprightness of intention. Moreover it agrees with the antecedents of my youth, as well as with the development that my work of musical composition has taken during these last four years,—a work which I propose to pursue with fresh vigor, as I consider it the least defective form of my nature.—

To speak familiarly; if "the cloak does not make the monk" it also does not prevent him from being one; and, in certain cases, when the monk is already formed within, why not appropriate the outer garment of one?—

But I am forgetting that I do not in the least intend to become a monk, in the severe sense of the word. For this I have no vocation, and it is enough for me to belong to the hierarchy of the Church to such a degree as the minor orders allow me to do. It is therefore not the frock, but the cassock that I have donned. And on this subject Your Highness will pardon me the small vanity of mentioning to you that they pay me the compliment of saying that I wear my cassock as though I had worn it all my life.

I am now living at the Vatican with Monseigneur Hohenlohe, whose apartment is on the same floor as the Stanze of Raphael. My lodging is not at all like a prison cell, and the kind hospitality that Monseigneur H. shows me exempts me from all painful constraints. So I shall leave it but rarely and for a short time only, as removals and especially journeys have become very burdensome to me for many reasons...It is better to work in peace at home than to go abroad into the world,—except in important cases. One of these is awaiting me in the month of August, and I shall fulfil my promise of going to Pest at the time of the celebration of the musical fetes that are being got up for the 25th anniversary of the establishment of the Conservatoire. My Oratorio of "Saint Elizabeth" and the Symphony of the "Divina Commedia" form part of the programme.

Next year, if Your Highness still thinks of realising your noble project of a musical congress at Lowenberg, I should be very happy to take part in it, and place myself entirely at your orders and service.

Permit me, Monseigneur, to express anew to you my most grateful thanks for the evidences of sympathy you have so generously accorded to myself and to my works; and graciously accept the homage of unchanging sentiments of most respectful devotion with which I have the honor to be

Your Highness's most humble and affectionate servant,

F. Liszt

Vatican, May 11th, 1865



40. To Breitkopf and Hartel

Dear Herr Doctor,

My old musical weaknesses have not left me! The weakest and worst thing about them is perhaps that I never cease composing; but such wondrous things go wandering about in my head that I cannot help putting them down on paper. And I have wanted to hear something about the fate of the manuscripts I sent you for printing. Have the pianoforte scores of the Beethoven Symphonies been published? How has the printing of the Concerto for 2 pianos (in E minor) [Concerto pathetique] progressed? Would you kindly let me have a few copies soon?

With regard to the autographed orchestral parts of my "Symphonic Poems," I should be glad if they could be out by the end of July. Probably at the beginning of August I go to Pest, where several of my compositions (more especially the "Dante Symphony") are to be performed in connection with the festivities at the Conservatoire. If the parts should be ready, please, dear Herr Doctor, forward them to me to Pest. At present I do not require them here; but should the "Preludes" be ready you would greatly oblige me by sending all the orchestral parts, with four copies of the quartet, if possible by the beginning of next month, to Dr. R. Pohl (571, Hirschgasse, Baden-Baden). I have been asked for the loan of them for some festival in Baden conducted by Monsieur Reyer.

Pray kindly excuse all the trouble I am giving you, and receive the expression of my most sincere esteem.

F. Liszt

The Vatican, May 27th, 1865



41. To Dr. Franz Brendel

Dear Friend,

Your favorable accounts of the Tonkunstler-Versammlung in Dessau delighted me greatly. Owing to the crooked way in which my works have been listened to in past years, I have felt oppressed; and in order that my freedom in my work might remain unaffected, I was obliged wholly to disregard their outward success. Hence my absolute distrust of performances of my own compositions, and this was not to be accounted for by any exaggerated modesty on my part. As to the "Battle of the Huns" I was specially doubtful; the Christian significance of Kaulbach's picture—as represented in the "Chorale"—seemed to me a stumbling-block in the way of favorable criticism. Kaulbach had indeed suggested this interpretation by having thrown a special light upon the cross...yet there are neither mendicant friars nor bishops in the picture...and, besides, at the time of the "Battle of the Huns" the organ was not yet invented! This last sweeping argument was triumphantly hurled at me in Weimar by the infallible censors. Since then I have hesitated to allow the work to be performed, and have remained satisfied with sending Kaulbach the arrangement for 2 pianofortes. And in that form it was executed [Executirt.] in his salon, whereupon, of course, there were loud lamentations about my squandering my time upon such an abominable jumble of sounds, when I might be charming people in a more agreeable fashion with my piano-playing!...So if the Dessau Meeting really derived some pleasure from the "Battle of the Huns" I feel richly rewarded for my small amount of suffering.

I beg you to present my best thanks to Fraulein Wigand. [Emilie Wigand, studied under Prof. Gotze in Leipzig.] It is a good deed of hers to have obtained willing ears for my Psalm—and if I am in Germany again next year I shall want to hear it.

I will with pleasure take Weitzmann's place as examiner of the manuscripts sent in. Send them to me in parcel form to Rome; I promise to look through them quickly and to let you have my good or bad opinion of them. For such work I am always inclined, and am, perhaps, not an awkward hand at it.

.—. From the Committee in Pest I have not had any news for some time past. I shall, however, hold myself in readiness to start from here by the beginning of August. Meanwhile let nothing be sent to me to Rome. As soon as I know anything definite about my stay in Hungary I will let you know.

With all friendly greetings to your wife, I am your sincerely attached

F. Liszt

July 21st (Villa d'Este-Tivoli), 1865

Any probable performance of the "Elizabeth" in Coburg we can discuss later. I should consider it advisable to have my name but little mentioned in the programme of the next Meeting of the Tonkunstler-Versammlung. As regards a larger work (one to occupy a whole concert) it would be well for Gille to leave the choice of it to the Duke. The local taste would be a very important point in the matter, and, for my own part, I know only too well that people do not want to know or to hear too much of me—in Coburg as well as in many other places!—



42. To Abbe Schwendtner in Buda-Pest

[Autograph in the possession of Frl. Therese v. Lavner in Pest.— Liszt became acquainted with the Abbe in 1865, and frequently enjoyed his hospitality when visiting Pest, up to the time when he himself became connected with the Musik-Academie there.]

Right Reverend Sir and Friend,

Having returned to my abode here, I cannot refrain from again thanking you most heartily for all the goodness and kindness you showed me in so unusually abundant a measure, during my stay in the town-vicarage of Pest. The five weeks I spent there in the pleasantest way—owing to your considerate care and attention— will remain an unextinguishable point of light in my life. You admonish, and at the same time encourage and strengthen me, to carry out further the artistic task that is set me. In the hope that your Reverence will in the future continue to show me the sympathy so kindly and generously expressed, I pray you to implore God's blessing to keep me ever a good child of the State and Church.

May I add another request? On the 22nd October (my birthday) for some years past a Mass has been read in the Franciscan Church in Pest, and at the words: "Memento Domini" I [am] held in remembrance...I would ask your Reverence to remember my wish that this may be done also on the same day in the parish church.