 |
Cordial friendship and fruitful collaboration.
F. Liszt
Weimar, October 1st, 1873
Herewith the programmes of the 2 concerts at Sondershausen at which I was present. This afternoon I start for Rome,—and on the 1st November shall be at Pest.
137. To Martha Remmert
[A pupil of Liszt's; became later Kammervirtuosin (court-pianist) in Weimar, and lives now in Berlin.]
Pest, December 27th, 1873
Dear Fraulein,
The best "solution" in reply to the ministerial order lies in your hands. Merely play the first page of Henselt's Concerto and no one will doubt that I am very kindly disposed towards you. And I shall be glad to render you further service in your zeal for study and your ambition as a virtuosa. No matter whether I be in Pest or in Weimar.
In all friendliness yours,
F. Liszt
138. To ?
[Autograph without address or date in the possession of Count Albert Amadei in Vienna.—According to him the letter belongs to the year 1873.]
Very dear Fraulein,
Please reply at once per telegram:—"Please do not come.—Liszt does not need or wish to be heard, as he has no one for whom he must strike up."
Tomorrow evening more by word of mouth.
Sincerely yours,
F. Liszt
Monday
139. To Countess Marie Dunhoff in Vienna
[Sketch of a letter in the possession of Herr O. A. Schulz, bookseller in Leipzig.—The addressee, the wife of the German ambassador Von Bulow, lives now in Bucharest.]
[Beginning of January, 1874]
Dear Countess,
You speak to me so eloquently of the merit, talent and superiority of Madame L.B. that I am quite ashamed of not fulfilling her wish subito. But in reality that would be more difficult than she imagines; a "petit morceau de piano" would only be a small part of the matter; the public is a very exacting master, even in its days of favor; the more it gives the more it expects...
Half a dozen such requests as that of Madame L.B. have been addressed to me at Vienna this week. How can one suffice for such a business, which, be it said in passing, is at once outside and far beyond my duties?—At my age one must try to behave reasonably, and to avoid excess; I shall therefore limit myself in Vienna to the one concert of the "Kaiser Franz Joseph Stiftung," [Emperor Francis Joseph Scholarship] which reasons of great propriety, easy to understand, have led me to accept with alacrity. I am told that it will take place on Sunday, 11th January; so be it: I shall willingly conform to the arrangements of the Committee and have no other wish in this matter than...not to inconvenience anybody. [The concert for the "Emperor Francis Joseph Scholarship" did not take place till April; and Liszt did actually play, in the Easter week, for the Countess's protegee, though not in the Concert Room, but in the Palais Auersperg.]
Permit me to hope, dear Countess, that you will not, under the pretext of "discretion," inflict upon me the immense punishment of seeing you less often this time than formerly, and that you will not retract any of your kindness, on which I place the greatest store.
A thousand and a thousand sincere and most respectfully devoted expressions of homage.
F. Liszt
140. To B. Bessel, Music Publisher in St. Petersburg
Horpacs (Chez le Comte Szechenyi), February 2nd, 1874.
Dear Sir,
Pray excuse me for being so late in thanking you,—you and all those who signed the telegram sent to Pest on the occasion of my jubilee fete. I am deeply touched with the noble sentiments it expresses with a chivalrous eloquence, and beg you to convey the tribute of my most sincere gratitude to Messrs. Balakireff, Borodine, Cui, Moussorsky, Rimski-Korsakoff, Scherbatcheff, and Stassoff.
You were kind enough, Sir, to let me see several of their works at Weimar; I appreciate and esteem them highly, and as far as depends on myself I will do all I can to make them known, and shall feel honored thus to respond to the sympathetic kindness which brave colleagues such as these accord to
Their very devoted
F. Liszt
141. To Professor Skiwa in Vienna
[Printed in the Signale, 1874, No. 20.—Skiwa had dedicated his "Beitrage zur Literatur des Harmoniums" ("Contribution to Harmonium Literature") to Liszt.]
Very Dear Sir,
Kindly excuse the delay in my sending you my sincere thanks, which I shall very shortly take the liberty of expressing to you personally in Vienna. I shall then also ask you to do me the favor of making me more intimately acquainted with your excellent transcriptions. In reading them through one at once observes the author's masterly style and his care and artistic handling of the characteristic peculiarities of the harmonium, especially in the management of the basses and the mid-voice parts. But still the mere reading your transcriptions does not satisfy me, and I should like to hear them, so as to be able fully to enjoy them.
Herr Bosendorfer will bring you the manuscript of the "Consolation," the dedication of which is very acceptable to me. The transcription of this small piece into A major appears to me very appropriate, and the arrangement excellent.
With marked esteem and friendly thanks,
F. Liszt
Pest, March 2lst, 1874
142. TO C. F. Kahnt, the Music Publisher
[Published in the Neue Zeitung fur Musik, 14th September, 1892.]
Dear Friend,
The day after tomorrow I again go to Vienna, and remain there about a week. In case the "Prometheus" proofs are ready send them to me to my usual address ("Schottenhof bei Hofrath E. v. Liszt") by the middle of Easter week; after that my address will be rather uncertain, as I intend spending a few days in Pressburg and Kalocsa (with Archbishop Haynald), and do not return here till after April 20th. Hence, if the "Prometheus" proofs are not ready within the next few days, do not send them till after my return to Pest (April 21).
Please send the proofs of Mihalovich's songs as soon as possible to the composer, addressed to
"Servitenplatz, im Teleky'schen Haus."
The Vienna concert in the "Palais Auersperg" is announced for Easter Monday, April 6th. The following Sunday, or at latest on Sunday the 19th April, the concert of the "Kirchenmusik-Verein" is to be given in Pressburg, at which I take a part in piano- playing—it is to be hoped for the last time this year!—
I think of remaining here from April 2lst to the beginning of May, and then of wandering straightway to Rome, and to the Villa d'Este.
I wish you in all friendliness a happy Easter, with satisfactory business at the Easter's fair, and remain your sincerely attached
F. Liszt
Pest, March 29th, 1874
Have you sent Countess Oriolla the omitted copy of the "Wartburg Songs"?
143. To Dr. Franz Witt
[1874?]
I look forward with eager interest to the realisation of your scheme to found a Catholic School of Music. The numerous and important services you have rendered as composer, conductor, teacher, promoter and president of the Cacilien-Verein proclaim and mark you as pre-eminently fitted to organize and direct this highly important kind of School. I should wish that Hungary, my fatherland, might set a good example, and might offer you, my very dear friend, an honorable and influential post in the Musik- Akademie that was voted for last year in the Chamber. This wish of mine was seconded with cordiality by His Eminence the Cardinal Primate, His Excellency the Archbishop of Kalocsa, Haynald, and H. E. Trefort, the Minister of Public Instruction. Various political circumstances interfered with the plan of starting a Musik-Akademie in Pest; but the idea has by no means been given up, and I have still the hope that you may yet at some future day be called upon to give your powerful assistance in connection with the teaching and practice of Church music in Hungary.
144. To Professsor Carl Riedel
Dear Friend,
As at all preceding Tonkunstler-Versammlungen, you have again this year in Brunswick done the best that was possible. [The Meeting took place in Halle, instead of in Brunswick.] Five concerts sound almost alarming, but the programmes are drawn up and arranged with so much forethought and care that your master- hand and that indescribable "with avec" (as dear Frau Dr. Pohl called it) are at once to be recognised. It certainly was advisable to check the "democratic movements" of the orchestra without interfering with the well-meant "command." That the Sondershausen set continue to prove themselves reliable and friendly I am delighted to hear. I wish all possible success to Erdmannsdorfer's "Schneewittchen." The youthful and captivating Frau Kapellmeisterin Erdmannsdorfer is especially capable of doing justice to Raff's Trio (or Concerto) and other pianoforte pieces. [Pauline Fichtner, who married Erdmannsdorfer, was a pupil of Liszt's, and became court-pianist at Weimar and Hesse.]
Will Bulow be able to be present? We have not written to each other for some time past. Do you know where to address him just now?
In case my Faust Symphony is given at the 5th concert (as your programme announces), I beg you to ask Bulow to be conductor. This work has become his property since he conducted it so magnificently at the Weimar Tonkunstler-Versammlung ('61), when the whole orchestra was amazed and astounded at his fabulous memory. You will remember that not only did he not use a score, but at the rehearsal referred to the numberless letters and double letters with unerring accuracy.
With regard to two other matters I wish: A, that Steinway may have the kindness to lend one of his excellent harmoniums for the Hunnenschlacht, and that the instrument may be so placed as to be invisible to the public and yet distinctly heard. B, that the performance of the Sanctus from the Mass for men's voices be taken from the editio nova (published a few years ago by Hartel), and not from the earlier edition. Here, too, Steinway's harmonium would render excellent service, visible and placed close to the chorus. Perhaps our friend Stade would have the kindness to play the harmonium part of the Hunnenschlacht and of the Sanctus.—
I truly regret that I shall not be able to hear that sublime, grand and overpowering Requiem by Berlioz, nor to attend the Musical Festival in Brunswick. I am physically and mentally very exhausted, and need several months' rest; besides my remaining away from Weimar forbids me from meanwhile visiting any other German towns.—Before the middle of May I shall go direct to Rome, and remain there till the end of the year in my former residence at the Villa d'Este (3-1/2 hours from Rome).
With friendly greetings to your wife, I remain, Yours ever in esteem and sincere attachment,
F. Liszt.
Pest, April 17th, 1874
Accept my best thanks for cancelling my promise to Metzdorff (in regard to the performance of his Symphony).
I agree perfectly, of course, with your desideria fog the Musik- Verein, and hope next year to be able to contribute something towards their realisation.
"In patientia vestra possidebitis animas vestras."
To Kahnt I wrote at once on my return from Pressburg on Monday.
145. To Dom-Capellmeister [Cathedral Conductor] Dr. Franz Haberl in Ratisbon
[This letter, like the subsequent one to Haberl, is a copy of the draft of a letter of Liszt's by Dr. Mirus in Weimar.—Haberl is a distinguished musical scholar (born in 1840).]
[1874?]
Pardon me if I again come with claims upon your kindness. You may know that I am working at an Oratorio on St. Stanislaus, and perhaps might be able to give me some assistance with it by communicating to me the liturgic hymns referring to the feast of St. Stanislaus. The Enchyrydion and Directorium Chori designate the Mass, Protexisti, etc., on May 7th. To receive fuller information from you on this point would greatly oblige me. [Haberl also gave Liszt aural communications regarding the Stanislaus legend. "On one occasion," says Haberl, "Liszt was specially and greatly delighted to hear of the man whom Stanislaus summoned out of the grave as a witness that the field had been paid for, and gave me a sketch of his proposed motives and tone pictures."]
Pray accept, reverend Sir and friend, the expression of my marked esteem, and believe me yours gratefully and sincerely,
F. Liszt
146. To Professsor Carl Riedel
Dear Friend,
Herzogenberg's [Formerly Director of the Leipzig Bach-Verein, then Kiel's successor at the Berlin Hochschule, which post he lately resigned.] "Deutsches Liederspiel pleases me very much. The very first chorus with its mixed species of tempi 6/4-3/2 and 6/4-3/2 is fresh and pithy, and the whole work seems to me. excellent, pleasant and effective. Hence I should much like to recommend its being performed.
Where does Herzogenberg live? Has he any appointment anywhere? Let me know, when you can, something of his former and present work.
(N.B.—It would be worth while, later, carefully to arrange the "Deutsches Liederspiel" for orchestra.)
I observe with special pleasure that Grutzmacher has chosen a Suite of St. Saens'. St. Saens will not, however, be able to come,—the less so as a few years ago his appearance in quite a harmless concert in Baden-Baden brought down upon him hideous rebukes and reproaches from the Parisian Press. And the tone in France is not yet more temperate; still it is right that German artists should prove themselves fair and just towards foreigners, and, as long as Auber's and Gounod's Operas are given in all German theaters, I see no good reason against considering and performing other works by French composers. Among modern composers I regard St. Saens as the ablest and most gifted.
I am much satisfied with the choice you have made of my things, dear friend, and thank you cordially for it—at the same time I must express my sincere regret that I am unable to attend the Tonkunstler-Versammlung, and remain, with much esteem, yours most sincerely,
F. Liszt
Pest, May 5th, 1874
147. To Princess Julie Waldburg at Castle Wurzach
Madame La Princesse,
I feel that I am quite inexcusable. You have been so kind as to send me some charming Lieder, and to accompany them with the most gracious lines in the world. How could I fail to thank you for them immediately? What rusticity!—Deign to think of this no longer, Princess; and permit me not to "judge" your songs,— magisterial competency would fail me utterly,—but to tell you that I have read them with much pleasure. The one of which the style and impassioned accent please me particularly is dedicated to Mme. Ehnn—"Liebeshoffnung"; but I do not mean to depreciate the others.
The oriental interval of the augmented fourth, which I scent in the "Mondlied," would be written, I think, more simply thus:—
[Here, Liszt writes a 2-bar musical score excerpt]
and further on
[Here, Liszt writes another musical score excerpt]
(C instead of B-sharp). And to prove to you, Princess, my attention in reading your works, I will venture to observe to you that in the French Romance "Comme a vingt ans" the prosody is neglected in the third couplet. Instead of the printed version (with two syllables omitted) it should run something like this:—
[Here, Liszt writes a 7-bar musical excerpt at the point where the words "Je vis le len—de—main, non plus au hord de l'onde mais as—si—se as che—min la jeune fi—le blonde" are sung.]
If I still had, as in Vienna, the honor of finding myself in your neighborhood, I hope you would grant me a word of indulgence; and meanwhile, Madame la Princesse, I venture to beg you to accept the most respectful homage of
Your very humble and inexcusable servant,
F. Liszt
Pest, May 10th, 1874
148. To Peter Cornelius
Dearest Friend of my Heart,
Again a request. You alone can help me, and give me in German a faithful poetical rendering of Lamartine's "Hymne de l'enfant a son reveil."
Years ago I used to sing this hymn, from my inmost heart, to my three children; you remember them...
And now the composition (what an unknown word for it!) is to appear in print, and the publisher Taborszky in Pest will send you my manuscript together with a copy of the poem. In case any prosodical alterations should seem appropriate, be kind enough to write them down distinctly in notes on a separate sheet of paper.
Tomorrow I travel direct to Rome, and shall spend the summer and autumn in the Villa d'Este (Tivoli). There, at length, our "Stanislaus" shall be pushed forward. [Cornelius translated the text to the Oratorio "Stanislaus."]
With friendliest greetings to all your circle, I am, dearest Cornelius, ever your heartily devoted
F. Liszt
Pest, May 16th, 1874
149. To A.F. Eggers in Liverpool
[From a copy of the draft of a letter by Dr. Mirus, Weimar.]
[Villa d'Este, June 21st, 1874]
Dear Sir,
Your friendly communication rests upon a harmless mistake. You do not seem to know that for 26 years past I have altogether ceased to be regarded as a pianist; hence I have for a long time not given any concerts, and only very occasionally played the piano in public, for some very special reason, to aid some charity or to further some artistic object, and then only in Rome, Hungary (my native country), and in Vienna—nowhere else. And on these rare and very exceptional occasions no one has ever thought of offering me any remuneration in money. Excuse me therefore, dear Sir, that I cannot accept your invitation to the Liverpool Musical Festival, inasmuch as I cannot in any way think of wearying the public with my "whilom" piano-playing.
Respectfully yours,
F. Liszt
150. To Walter Bache
Dear and Honored Friend,
I am often with you in kindest remembrance and cordial sympathy with your admirable efforts, but unfortunately I rarely get any letters written to the friends I value most, for my time is wasted with a number of wearisome and useless notes. I have just despatched one of this sort to a Mr. E. in L. The good man invites me to the Festival to be held there, asks me to consider the matter, and even offers me a remuneration in money for playing—without imagining that I have anything else or better to do than to accept such invitations. To me concert tours would be absolutely senseless; to fulfil my duties in Pest and Weimar gives me trouble and interruptions enough. All the other things need not be enumerated.
The summer and autumn (till my return to Pest in January '75) I mean to spend here quietly and at work. Last Monday and Tuesday I had the special pleasure of a visit from Bulow. And we thought of you in all friendship.—Bulow is now going to Salzungen (near Meiningen) for a couple of months, to recover from the terrible fatigues of his concert tour, and next October goes again to London.
Remember me most kindly to Mr. Dannreuther with assurances of faithful attachment, and do me the favor to give the enclosed notes of thanks to Messrs. Hueffer and Gounod.
Our very able and dear patroness, Madame Laussot, told me that you, dear Bache, will probably soon be wandering towards Italy.
A hearty welcome, therefore, to the old place where again is resting your old and sincere friend,
F. Liszt
June 2lst, 1874
(Villa d'Este,—Tivoli, per Roma—Italia.)
151. To Dr. Franz Witt
[Villa d'Este, Early Summer, 1874.]
Much-esteemed Sir and Friend,
The lively recollection I entertain of the truly edifying Church- music performances in Eichstatt under your direction [On the occasion of the 3rd General Assembly of the Cacilien-Verein in Eichstatt, August 1871] increases my regret that I am unable to accept your friendly invitation to the 5th General Assembly of the Cacilien-Verein in Ratisbon (between the 1st and 7th August) [The Assembly was held on the above-mentioned days.]. A wearisome piece of work will keep me here till my return to Pest in January '75. Next summer, however, I hope again to pay you a visit, and to gather excellent precepts and examples from you. Meanwhile I am reading your Essays with peculiar satisfaction, and more especially your com-positions in the "Musica sacra" and the "Fliegende Blatter." "Fliegend" [flying] must here be taken in the higher, angelic sense; in the latter sense O salutaris hostia sounds altogether comforting Musica angelorum, such as pleasantly animates all your Church tone-works.
152. To Dr. Franz Haberl
[A portion of this letter is printed in Dr. Mirus' brochure, "Das Liszt-Museum in Weimar" (1892), which contains many interesting relics of Liszt.]
[Villa d'Este, Early Summer, 1874.]
Much-esteemed Sir and Friend
To my sincere regret I find myself prevented from attending the Cacilien-Verein in Ratisbon.
The efforts and performances of the Verein I follow with the deepest interest, and anticipate that its promoters—who are so capable, careful and learned—will accomplish all that is truly of advantage in Church music. And in this Ratisbon has for many years past deserved to rank first, and you, my much-esteemed friend, deserve the fullest recognition that can be offered for the abundant services you have rendered in the cause. Accept my grateful thanks for kindly sending Vittoria's Missa pro defunctis, [A six-voiced Requiem given by Dr. Haberl at the 5th General Assembly of the Cacilien-Verein in Ratisbon in 1874, and published in the "Musica divina," Annus II., Tom. I, by Pustet] which was brought to me by the Chaplain of the Anima Church. Will you be so kind as to get Herr Pustet to send me also, through Leukoch, [Perhaps ought to read Leuckart?] "Mannuale breve canticum," etc.? [A little book of Chorales by Joh. Georg Mettenleiter]
In spite of the grievous news of your continued sufferings I do not give up the hope of seeing you here again soon, and of taking all friendly care of you; and you shall not in the least degree be troubled or wearied; merely recruit from your over-exertions by living simply and comfortably amid quiet and congenial surroundings.
Hence I take the liberty again of inviting your Reverence to spend the next months with me here in the Villa d'Este, where you will find rest, quiet and cosiness, mild air, glorious scenery, pleasant walks, good eating, good wine, books, music, pianos to make use of ad libitum, and a temperature mentally agreeable.
Cardinal Hohenlohe requests me to say that you will be heartily welcome, and this message is communicated with unmixed pleasure by your very respectful and sincerely grateful
F. Liszt
153. To Edmund von Mihalovich
Very Dear Friend,
Your Prologue to the Nibelungen in course of performance at the Walhalla-Roszavolgyi has royally amused me. [A joke of Mihalovich, who had nicknamed several mutually known people with the names and characters out of the Nibelungen] I wish that Wagner may find in Messrs. Betz, Scaria, Niemann, etc., interpreters as well suited to their roles as Richter-Wotan, Dunkl-Loge, Abranyi-Thor and Gobbi-Mime.
At Bayreuth "fervet opus" The preparatory piano rehearsals are going on; celebrated artists are growing thick on the ground, like the suitors at Penelope's court. Joseph Rubinstein suspends his commercial occupations, and returns from Cracow to drive the four-in-hand accompaniment of Rheingold. The architects, painters, decorators, machinists, costumiers and their people are continuing their work; therefore, in spite of difficulties and obstacles, the great work of Art of this century—Wagner's Tetralogy of the Nabelungen—will come to pass, and I hope to be present at the first performance with my very dear friends Mi and Do. [Mihalovich was called Mi by Liszt, and Count Apponyi Do.]— Meanwhile let us go on patiently at our own modest work, and endeavor to make it as suitable as possible. Next winter we will make an exchange of our latest sheets of music. I will bring a pretty thick packet to Sir Hagbar. [An Opera by Mihalovich (Hagbar and Sigurd)]
Schuberth promises me the "Geisterschiff" in the autumn; we will then launch it at once with Sgambati, who has just composed several Lieder, exquisite in sentiment. I have recently written, as an Impromptu, without any forethought, an Elegie in memory of Mme. de Moukhanoff, entitled "Schlummerlied im Grabe" [Slumber Song in the Grave.]
Your kind wishes for my repose are being realised here. I pass my days very peaceably, and my evenings alone, in reading, writing or playing. Since the departure of Bulow, who gave me his most eminent company for two days (in the middle of June), I have, so to say, seen nobody. He is now making his villeggiatura at Salzungen near Meiningen, returns to England in the month of November, and will not go to America till the autumn of '75.
Pay me a visit sometimes in thought, dear Mi, and believe me ever your very cordially devoted friend,
F. Liszt
Villa d'Este (Tivoli), July 30th, 1874.
Let me hear something about Do and Horpacs. [An estate of Count Emmerich Szechenyi, the former Austro-Hungarian ambassador in Berlin, whom Liszt frequently visited.] I will write to them later.
154. To Peter Cornelius
[The letter is addressed to Neuenahr, where Cornelius had gone for a water-cure, shortly before his death. The translation of the Cacilia-legend he did not accomplish.]
Dear and valued Friend,
You have again presented me with a marvellous gift. Your German translation of Lamartine's "Hymne de l'enfant a son reveil" is exquisitely successful, and retains all the fragrance and aroma of the original poem.
"Kein Wurmlein vergissest Du...Das Zicklein an Staude und Beere...Am Milchkrug Mucklein saugt den Saft...Und die Lerche das Kornlein picket."...
["No worm dost Thou e'er forget...The kid amid the shrubs and berries...The fly that sips the sweetest juice...And the lark that pecks the blade of corn."...]
All and everything fits in so exactly with the music, syllable by syllable, that it seems as if the poem and music had sprung up together. Verily, dear friend, you are an extremely kind and most perfect magician. Now do not be vexed with me if my grateful appreciation of your skill should prove somewhat covetous, and I again ask you to do me a favor. A little French poem of 48 short lines, "Sainte Cecile, Legende," by Madame Emile Girardin (Delphine Gay) is awaiting your poetic courtesy. Allow me to send you my finished composition of this Cacilia, the musical foundation of which is furnished by the Gregorian antiphone: "Cantantibus organis, Caecilia Domino decantabat." It is to be hoped that I have not spoilt it, and I trust to your friendly kindliness to send me a German translation of it before the next Cacilia Festival (22nd November), soon after which it shall be printed, and a performance of it given in Pest.
The delay with the edition of your two Operas I sincerely regret. They deserve much greater appreciation and a much wider circulation than hundreds of others that are printed, and the publication of the pianoforte scores is sure to effect this for them. Meanwhile I am glad that you have made use of my suggestion to base the Overture of the "Barber" on the pleasantly characteristic motive—
[Here, Liszt illustrates with a 4-bar musical score excerpt.]
Next summer we shall meet in Munich.—With hearty thanks, your sincerely attached
F. Liszt
Villa d'Este (Tivoli), August 23rd, 1874
If you should see Frau Schott in Mainz, give her my kindest remembrances. For some time past various manuscripts have been lying ready which I should have liked to hand over to Schott's house of business; but fear that they might arrive at an inopportune moment. The very title, "Drei symphonische Trauer- Oden" ["Three Symphonic Funeral Odes"] might prove alarming; and besides, the scores—all about 20 pages in length—would have to be published simultaneously with the pianoforte transcriptions (for one or two performers). Well, "we can wait."...
I am working pretty industriously at the "Sanct Stanislaus." Of this you will tomorrow receive a full report—and an urgent request for speedy, energetaeally accentuated pains over the essential but not lengthy alterations of the text.
155. To Ludwig Bosendorfer in Vienna
[Head of the celebrated pianoforte manufactory, now Commerzienrath (Councillor of Commerce)]
Dear friend,
With my sincere thanks for your interesting reports of the Vienna musical world I would gladly have given you something of the same kind in return. But there is here nothing whatever in the way of novelties or specialities in the way of concerts; be content, therefore, if my letter today mentions only one, but to me a very important artistic item—namely, the frequent use of your piano, which, among other virtues, possesses a wondrous power of not getting out of tune [Unverstimmtheit]. Since its despatch from Vienna not a tuner has touched it, and yet it keeps in beautiful tune, and steadily resists all variations and effects of temperature.
Till the end of January I shall remain quietly at work here; then go direct to Pest—and by the middle of April on to Weimar. My thoughts and efforts require now only peace and seclusion. These are things that suit me best in my old age, and uphold me in spiritual intercourse with my dear and true friends. As such I greet you and your wife heartily and sincerely.
F. Liszt
Villa d'Este, August 28th, 1874
156. To Adelheid von Schorn in Weimar
Dear and Most excellent One,
For our grand coup you come in completely in your role of providence, which you fill with such complete good grace, and with an admirable mastery! I cannot tell you what immense comfort your letter brings me, with its assurance of your speedy arrival in Rome. Try not to delay it beyond the 25th-30th November, and if possible come sooner. Princess Wittgenstein is still very suffering, and has kept her bed entirely for six weeks; your company and the inspirations of your solicitude will do her more good than all the Allo-and Homoeopaths put together.
I beg that you will write to her speedily to announce your coming, for she is ignorant and must be kept in complete ignorance of the plot we have hatched with Princess Marie [The daughter of Princess Wittgenstein.], the happy success of which you will crown. (questions of detail will be easily settled to your satisfaction, in such a manner that the stay in Rome will be thoroughly pleasant to you.
It is understood that you will not mention the question of where you will live to Princess W., who has already only too much worry about her own rooms. In my opinion it would be best for you to go to the Hotel d'Amerique, Via Babuino (close by the house of the Princess and of the one where I live), and to spend some days there, until you see where you can settle yourself comfortably, whether at the Pension (also very near the Babuino) where your cousin Octavie stayed, or elsewhere.
When you reach Bologna, please let me know by telegram on what day you will arrive; I will meet you at the station, and it will be a real joy to me to escort you to your first abode in Rome.
Thank you with all my heart, and yours ever,
F. Liszt
Rome October 12th, 1874 (Vicolo de Greci, 43.)
The Princess is living at Via Babuino 59.
Your letter was only returned to me from Tivoli yesterday evening.
I shall remain here, or at the Villa d'Este, till the end of January.—
157. To Breitkopf and Hartel
Very dear Sirs,
The kind reception you gave the last sending of my somewhat cumbersome manuscripts and revisions pleased me greatly. I will always gladly do what I can to not increase the publishers' worries, and henceforth print only what has been carefully worked out and will prove tolerably acceptable.
With regard to the form in which the Songs and Wagner- transcriptions are to be published, you may act altogether as you think best. I did certainly think that the convenient and neat edition in small octavo would be preferable (like the last edition of Chopin and my "Etudes transcendantes"): hence in from 5 to 6 little volumes:—
1. Beethoven (The "Adelaide" and other Songs); 2. Mendelssohn (6 Songs); 3. Robert and Clara Schumann; 4. Robert Franz; 5 to 6 (?). Wagner-transcriptions.
This would in no way prevent the songs and pieces of several pages (such as the "Adelaide," Mendelssohn's Songs, the "Tannhauser-March," the "Rienzi-Fantasia," etc.' being sold singly—in the same small 8vo form which, candidly speaking, I always like best. As long ago as the year '39 I induced Haslinger to publish Schubert's songs in an edition of this kind—and at that time it seemed rather a doubtful innovation. Also about placing the words below the music. I wish this, for the sake of the poetical delivery in all of the songs, except the "Adelaide," because the poem roams about rather too freely in rococo style. Let us leave "the flow'ret at the grave" to bloom on quietly without retouching it again.
I must unfortunately again trouble you to send me all the proofs. It is a matter of great moment to me to have the things arranged as accurately and as appropriately for the piano as possible. And for this I require the last proofs, in order finally to revise them in reading and playing them over. (For the printer's consolation be it remarked that no new alterations shall now crop up again; my zeal in correcting shall be confined to making some pedal marks and fingerings.) First of all I should like to try over Sgambati's duet arrangement of the "Ideale" with him; and you will doubtless do me the favor of sending me the proof sheets stitched together before I leave here (at the end of January).—
I leave the matter concerning the small honorarium confidently to your well-known kindly disposition, and remain, very dear Sirs,
Yours respectfully and most obediently,
F. Liszt
Villa d'Este, November 24th, 1874
158. To Count Albert Apponyi in Budapest
[From an undated rough draft of a letter in the possession of Herr O. A. Schulz, bookseller in Leipzig. (The date has been ascertained from a letter to Mihalovich.)—The addressee was the well-known Hungarian statesman.]
[Villa d'Este, December 6th, 1874]
Dear and Very Honored Friend,
Your excellent letter of the 27th November reached me here yesterday evening. I hasten to give you my very sincere thanks, and to add a frank reply on the question of the Academy of Music.
First of all I think the "moyen violent" [violent means] of Huszar, which will deliver us from barren tittle-tattle, is right; let us throw the Seeschlange [sea serpent] into the Danube, and if he wants an epitaph here is one: "It is better to do nothing than to do stupidities."
Now, are we the stupid ones?—The Government is much interested in this affair; the Sovereign's decision has been obtained; I know not what official publication has followed. You yourself, dear Count, have brilliantly persuaded the Chamber of Deputies that the said Academy would be of use in raising Art in Hungary; my necessary humble reserve has been taken by the public as consent.—Is it possible now to take no account of such precedents, and to draw back when it is a question of advancing? I do not think so, and I am quite of your opinion, as wise as it is opportune.
In spite of the difficulties of a position embroiled with divers worries, and in spite of the scantiness of the financial means, we ought to stick to our affirmative position and not in the least to give way.
As to my "personal convenience," which you are good enough to take into such kind consideration, permit me to assure you anew that I aspire to one only blessing—quiet time for work in my own room. Orare et laborare. The point of honor, which no one understands better than yourself, attaches me to Hungary, our country. May I fulfil there all my duty of gratitude!—
I shall be back at Pest (Fischplatz) on the 10th February, and shall rejoice to hear the Ballade of our valiant friend Mihalovich, to whom I shall write tomorrow.
Yours from my heart,
F. Liszt
159. To Edmund von Mihalovich
Dear Excellent Friend,
I wrote the day before yesterday to Do, and was about to continue with a letter to you when a telegram called me subitissimo back to Rome. The thread of my ideas has not been broken on the journey, and I resume our conversation, a trois, on the long gestation—omen of abortion—of the Hungarian Academy of Music.
I trust that my very dear and honored friends will be convinced of my perfect disinterestedness in the question; the idea of an Academy is in no way mine if I become sponsor to it, it will be in self-defence and without any connivance at paternity whatever; I even refuse to help in the procreation of the marmot [brat]; and, far from making myself, before my time, in any way its champion or propagandist, I hesitate over the difficulties which are opposed to its birth. I have explained these many a time to my Budapest friends, and the difficulties have increased rather than diminished during these last three years...
1stly. The financial situation of the country appears to be such that one must scruple to burden the budget with an expenditure beyond urgent needs. My patriotism is sufficiently sincere and lively to counsel me to abstention, including every renunciation that is compatible with my strict duty.
2ndly. It would be a poor luxury to add a third music school to the two schools already existing (meagrely) at Pest. If one cannot emulate with honor the similar establishments of Vienna, Leipzig, etc.—what is the good of troubling any further about it? Now, to give a vigorous impulse to Art among us, we must first unite and fuse into one spirit a set of professors of well- known capability,—a very arduous and ungrateful task, the accomplishment of which demands much intelligence, and a sufficient amount of cleverness and of money.
Other minor, local considerations complicate the matter stilt further; I pass them over in silence today, and will not repeat myself any more except on one point,—my religious devotion to our country and our art. To serve them somewhat, according to the moderate degree of my talent, whether it be in working by myself at my manuscripts (which is what I much prefer), or in cooperating with my friends in public things, this is my simple and exclusive desire, totally removed from the personal pretensions or anxieties of vanity which are wrongly imputed to me.
"Tiszta lelek, tiszta szandek, akar siker, akar nem." ["Pure soul, pure intention, whether the results be favorable or not."— Maxim of Stephan Szechenyi.]
My friends are those who haunt the Ideal; there, dear friend, we "recognise" each other, and shall always do so,—but not "in the mud," illustrated by a fascinating poet, too much celebrated and tainted by the triviality of vulgar applause—Heine. Amongst other things he had predicted that the Cathedral of Cologne would never be finished. "In vain will Franz Liszt give his concerts," etc.—
You know that Wagner is coming to Pest in Lent. It is only right that several of your compositions—especially the last, "Sello"— should be performed in public at that time. Talk the matter over with Richter. I on my side will ring the "Bells." Please beg Abranyi to hurry with the Hungarian translation of Longfellow's poem (the Prologue to the "Golden Legend"), and to follow, not the German translation of the "Pianoforte score," which I have sent to Engesser, but the original English text. [Liszt had set to music the Prologue to the "Golden Legend," under the title "Die Glocken des Strassburger Munsters"—"The Bells of Strassburg Cathedral."]
Yours in cordial friendship,
F. Liszt
Villa d'Este, December 8th, 1874
I will write tomorrow to the very gracious chatelaine of Horpacs.
160. To Carl Hoffbauer in Munich
[From a copy belonging to Dir. Aug. Gollerich.—Hoffbauer, born in 1850, became in 1872 Director of the Gesang-Verein in Munich, went to Frankfort in 1880, and put an end to his own life. He composed, among other things, the Operas "Cotzzata" and "Demetrius."]
[End of 1874.]
My hearty thanks for the kindly zeal with which you have taken up the "Christus Oratorio." But a performance of it in Munich appears to me so doubtful, and connected with so much trouble, expense, and difficulty, that I must for the present dissuade you from the undertaking. Besides, it would not be possible for me to accept your invitation for the end of February, as several engagements will keep me in Pest till Easter. And, if ever you give a performance of the Christus in Munich, I should much like to be present. As yet the whole work has been only twice heard, in Weimar and Pest (in May and last November, '73).
In reply to your inquiry, I must mention Herr and Frau von Milde and Frau Dr. Merian as specially well acquainted with and capable of taking the solo parts.
Accept the assurance of my utmost gratitude for your eagerness to give a performance of the Christus in Munich.
Most respectfully and sincerely yours,
F. Liszt
101. To Edmund Von Mihalovich
Very Dear Friend,
In spite of the legion of Dessoff, calm plains or storms, go on roaring bravely in the waters of the "Phantom Ship." Even should we not succeed in arriving safely in port, and should we meet no other Senta than Her Highness Madam Criticism, it matters not; those who follow us in the same waters of the Ideal will be more fortunate...
"Et quasi cursores vitai lampada tradunt!"—
We will talk about all this fully in February, in the Fischplatz.
Will you be so kind as to send the enclosed letter to my gracious and admired translator of the "Chopin"—Mme. la Comtesse Ottilia Wast? [A translation into Hungarian from the old edition of the book.]
Further, I beg that you will recommend Taborszky to publish before Easter my St. Francois de Paule, which our very dear friend Albert Apponyi has been good enough to adorn with his poetry,—and also "L'hymne de l'enfant a son reveil," which Taborszky must have received in November (with the German words by Cornelius and the addition of a harp part).
Schuberth has been seriously ill. I shall be after him to bring out your Geisterschiff [Phantom Ship] without any more delay.
A revoir in six weeks, and always
Very cordially yours,
F. Liszt
Villa d'Este, December 29th, 1874
On the occasion of the Wagner concert in Pest I should like my "Bells" to ring, and beg Abranyi to attune the Hungarian Klingklang [ding-dong] of them speedily and beautifully.
[Liszt's "Glockengelaute" (Bell-ringing) consisted in this—that he played the Beethoven E Concerto at the Wagner concert in Pest. He allowed himself to be persuaded to do this, as people were afraid that, on account of the high prices, the concert would not be full.—The "Bells of Strassburg Cathedral" were not performed.]
162. To Carl Hoffbauer in Munich.
[From the copy of a draft of a letter by Dr. Minis.]
[Probably Pest, at the beginning of 1875.]
Very Dear Sir,
Your last letter exhibits so convincing a character of truth and noble-mindedness that I sincerely rejoice at the prospect of becoming personally and in spirit better acquainted with you. And first of all be assured of my special interest in your Opera "Comata." Whatever I may be able to do as regards a representation of it in a theater I shall not fail to do. In Munich we will read the score over together, and discuss further details.
Of your persistence in wishing to have the "Christus" performed I wrote to Schuberth yesterday, and shall in full confidence leave the whole matter to your considerate zeal. You will best know whether and how a successful performance can be made possible, and please therefore arrange matters altogether according as you think fit. I beg you merely to let me know the day you fix upon some 10 or 12 days previously, and address me to Pest (at Easter), if earlier to Weimar, and I will then come for the full rehearsal.
[The performance took place on the 12th April, 1875. As a result of this King Ludwig II ordered a separate performance in the Court theater, and this again was followed by a public one.]
Respectful greetings to the poetess of the "Comata," and believe me, with marked esteem, yours gratefully and sincerely,
F. Liszt
163. To Professor Julius Stern in Berlin
Dear Friend,
For years past and again lately I have been very much indebted to you. Our eminently learned and dear friend Weitzmann [Theorist and contrapuntist in Berlin (1808-1880)] told me of the careful rehearsals, and of the admirable manner in which you conducted the Faust Symphony. Owing to critical circumstances and negativings I have, as a rule, to dissuade people everywhere from giving performances of my scores. All the more pleasantly am I affected by the goodwill of the few friends who carefully and courageously march on in front.
Therefore, while offering you my sincerest thanks, I beg you to excuse my not being just now able to accept the tempting invitation to Berlin.
Yours most respectfully and sincerely,
F. Liszt
Rome, February 4th, 1875
(Next week I return to Pest, and at the beginning of April go to Weimar, where I should be delighted to welcome you again.)
164. To Count Albert Apponyi
[From a rough copy of a letter in the possession of Herr O. A. Schulz, bookseller in Leipzig.]
February 18th, [1875?]
This morning the Politische Volksblatt [The Political People's- Paper] brings me your portrait, my honored and dear friend. The notice accompanying it pleases me only in so far as it predicts a great future for you, based on your very evident merits and great talents. People are agreed upon your great height ("Haupteslange")—all the better, for it corresponds to the height of your character, and I bet a hundred to one that you will never combat "the spirit of the times" ("Herr von Zeitgeist und Frau von offentliche Meinung," [Mr. Spirit of the Times and Mrs. Public Opinion.] as the honorable Count Gozzi ceremoniously said), except when you meet with stupidities and adventures on which this spirit of the times is astride.
A friendly invitation for tomorrow evening at the house of
Your very devoted and grateful
F. Liszt
165. To Johann Von Herbeck
Very Dear Friend,
My sincere thanks for your letter; gladly would I follow your very kind and "unselfish" request. To say "nay" to my friends always comes hard to me. But how can I act otherwise in face of the negativings of critics? And why should I not prefer abiding my time in peace alone?
Now-a-days an artist is reckoning without his host if he places honest faith in the public. For people now-a-days hear and judge only by reading the newspapers.
I mean to take advantage of this in so far that the leading and favorite papers of Vienna, Pest, Leipzig, Berlin, Paris, London, etc.—which abhor my humble compositions and have declared them worthless and objectionable—shall be relieved of all further outward trouble concerning them. What is the good of performances to people who only care to read newspapers?
Hence, dear good friend, let the "Gran Mass" [Herbeck, however, did have them performed.] and the "Glocken" ["Die Glocken des Strassburger Munsters"—"The Bells of Strassburg Cathedral"] remain unperformed in Vienna, where (in Easter week) you shall receive a visit from yours most warmly and gratefully,
F. Liszt
Budapest, March 3rd, 1875
166. To Eduard Von Liszt
Dearest Eduard,
Give Lenbach my kindest thanks, and at the same time ask him to send his extremely poetical portrait of Frau von Moukhanoff here soon in honor of the noble lady and of the musical Commemoration Festival which we have announced for the middle of May. [Liszt dedicated an Elegie to the memory of this gifted lady.]
Tomorrow morning early I go to Hanover; my address there till May 29th [This must mean the 29th April.] will be: "at Freiherr von Bronsart's, Intendant of the Hoftheater." On Saturday is the performance of the "Elizabeth," and on the 29th the concert for the benefit of the Bach monument.
My gracious Grand Duke is very urgent about my speedy return; I shall, therefore, probably spend only 8 or 10 days at Schloss Loo (from the 2nd to the 12th May), and then return here forthwith.
The Tonkunstler-Versammlung is to be held in Dresden at the end of June. I long for some rest and quiet work.
Thine with all my heart,
F. Liszt
Weimar, April 22nd, 1875
167. To Adelheid Von Schorn in Rome
Dear Excellent One,
I come to keep you company a little in your convalescence,—far advanced, I hope, so as to be something like a complete cure. For a tisane [A soothing drink] I offer you some news of your cara patria. There are few variations at Weimar: the Grand Duke and Grand Duchess remain there till the end of June; the Emperor of Russia is announced for the 25th June; the Hereditary Highnesses are going to the waters (Marienbad and Pyrmont) in a few days, and will return before the Grand Duke's fete (24th June); Gutschen Watzdorf is going on his own account independently to Carlsbad, Mme. de Loen to Reme (in Westphalia).
At the theater a tempered, but lively activity; during these latter weeks a new Drama by Otto Roquette has been given—Der Feind im Hause. [The enemy in the house.] The subject is taken from the quarrel of the Colonna in Rome; the success of the piece will not occasion any fresh quarrels; nor will that of two new Operas that I have seen—Der Widerspanstigen Bezahmung [The subduing of the refractory ones.] by Gotz and Golo of Scholz, which have come inopportunely into competition with Schumann's Genoveva—a work which has been taken up again with marked success this year (after it had been prudently ignored for twenty years—except at Leipzig and Weimar) at Leipzig and Wiesbaden. Other theaters will mix themselves up with it, in spite of the non-success of Genoveva at Vienna, where it was put on the stage in the winter of '74 with a most praiseworthy luxury of decoration and costumes.
At the time of the performance which I conducted, and that is some twenty years ago, I said: Genoveva is musically the sister of Fidelio; only Leonora's pistol is wanting.
Tristan and Isolde, announced here for the 15th and 19th May,...have remained at Munich with M. and Mme. Vogel, who have lost a child. Loen [The Weimar Intendant] and all the public are very much put out at this untimely mourning; possibly the Vogels will be able to come towards the end of June; I don't reckon on it much, but have written to them on the subject at Loen's request. If they accept, the Commemoration Matinee of Mme. Moukhanoff will take place between the two performances of Tristan, and the "Tempelherrenhaus" in our park has been chosen by us as the spot for this musical commemoration. I will send you the programme.
Meanwhile here is that of Saturday last at the "Orchestral School"—a very useful establishment, well adapted to our modestly proud situation of Weimar, and which Muller-Hartung conducts according to my wishes. [The concert "in honor of Liszt's first visit to the School" consisted entirely of works by him.] Bruch's Odysseus—a musical illustration of Preller's admirable pictures in the Weimar museum—was performed last Thursday, conducted also by Muller-Hartung.
Lassen is in the middle of composing some fine choruses for the two "Fausts," which Devrient is intending to get up here in two evenings, in conformity with his new scenic arrangement.
Very cordially yours,
F. Liszt
Weimar, May 17th, 1875
168. To Eduard von Liszt
Dearest Eduard,
.—. The day after tomorrow I join the Duke of Weimar's party at Schloss Wilhelmsthal, and shall remain there several days. After that I should have liked to wait upon Cardinal Hohenlohe in Schillingsfurst; but His Eminence is at present at Bad Ragaz (Switzerland) undergoing some after-cure for a foot-trouble, the result of some accident he met with last winter. When I receive his answer I shall so arrange things that my visit to Schillingsfurst is paid as is agreeable in tempore opportuno.
From the 3rd to the 15th August I shall be in Bayreuth; after that I shall this year end with Weimar (without playing "Tannhauser" there, as a guest!) at the Carl-August Festival on September 3rd, for which I have written a short and simple chorus in popular style, the text of which is furnished by King David: "The Lord preserveth the souls of His saints, and light is sown for the righteous."
In contemplating this light in all humility,
I am, in true affection,
Thine,
F. Liszt
Weimar, July 17th, 1875
Enclosed are a few words for our Marie. If I had to choose a cousin I should choose her. Hence I confess my innermost elective-affinity with papa and daughter.
Lenbach's wondrously inspired portrait of Madame Moukhanoff will tomorrow be sent back to Vienna to the Countess Coudenhoven.
169. To Louis Kohler
Very Dear Friend,
Merit and success, in your case, would seem always to stand in perfectly delightful harmony. Best thanks for your kindly letter and for sending your Opus 147: "Technische Kunstler-Studien" ["Technical Artist-Studies"]. And although I am more disposed to turn away from than towards Methods and Pedagogics, still I have read this work of yours with interest. The entrance of the pedal after the striking of the chords as indicated by you at the beginning of page 3, and as consistently carried through by you almost to the utmost extreme, seems to me an ingenious idea, the application of which is greatly to be recommended to pianoforte players, teachers and composers—especially in slow tempi.
I regret that we are geographically so far apart; but sympathetically I remain in sincere esteem and in all friendliness yours,
F. Liszt
Schloss Wilhelmsthal, July 27th, 1875
My friendly greetings to your very talented pupil Alfred Reisenauer. Perhaps you may be coming to Weimar again shortly; I should be pleased to hear this.
One line in your friendly letter I answer herewith: proud of my Konigsberg title of doctor, and anxious to do it credit, I willingly refrain from giving performances of my humble compositions anywhere.
170. To Carl Hillebrand in Florence
[The celebrated author of "Zeiten, Volker und Menschen" ["Times, People and Mankind"] and other works; born 1820; lived, from 1870 until his death, in Florence, where a memorial tablet, in gratitude to his memory, was erected over his house in the Lung' Arno.]
Dear and Very Honored Friend,
Your friendly letter leaves me a good hope...for next year. I have just transmitted your thanks and the data relative to our concerted idea to the Grand Duke, who arrived at Ostend on Thursday last, with his daughters, his son and his daughter-in- law. Their Royal Highnesses return to Weimar the 1st September for the fete of Carl August, which the Emperor and Empress of Germany will solemnise with their presence. Monseigneur tells me to invite you to it. I observe to him that you will probably be detained elsewhere; nevertheless, if you should come to Germany at that moment, be assured that you will be warmly welcomed and received at the Court of Weimar.
The monument of Carl August will be inaugurated on the 3rd September. The ceremony of the "Toison d'Or" ["Golden Fleece"], at which the Emperor will be the sponsor of his brother-in-law, our Grand Duke, will take place on the 4th. Then T.R.H. will leave Weimar, and my poor self return to the Villa d'Este (towards the middle of September) for as long a time as my very dear compatriots will allow of it. They press me strongly to return to Pest on the 1st November; before obeying them I shall come and see you at Florence.
Please count always on the feelings of sincere and high esteem of your very cordially devoted
F. Liszt
Bayreuth, August 2nd, 1875
The papers keep you au courant of the marvels of Wagner's theater here. The performances (announced for the month of August '76) of the Tetralogy, "Der Ring des Nabelungen," will be the chief event of dramatic Art, thus royally made manifest for the first time in this century in its ensemble and unification of Poetry, Music, Acting, and their decorations of Painting and mise-en-scene.
There is not merely the chance, but the guarantee of a grand and striking success, in view of the sublimity of the work itself, and also of the enthusiasm which it already excites amongst the numerous staff of artists chosen to interpret it. In spite of the difficulties of this new transcendental style of Wagner, the preparatory study and rehearsals are an enchantment for the singers and the musicians of the orchestra.
By the 18th August I shall be back at Weimar, and shall stay there till the 6th September.
To Madame Laussot my tender and grateful regards.
171. To Adelheid von Schorn
Dear Excellent One,
It is not without regret that I have given up the very sincere pleasure of meeting you now at Nuremberg. If you remained there till towards the middle of September I should come and ask you what commissions you have for Rome, where I expect to arrive before the 20th September.
Here we are sailing in the full tide of the marvels of art. Every day, morning and evening, one act of the "Ring des Nibelungen" is rehearsed in Wagner's new theater. The enthusiasm of the whole staff of singers and orchestral players, to the number of about 150, is as sincere as it is abundant, and everything augurs for next year some prodigious performances of the immense and sublime work which royally dominates all contemporary Art, including the former works of Wagner.
Cosima sends you a thousand affectionate messages, and is expecting to see you at the time of the definite succession of the Nibelung-Ring in the month of August 1876. You were present at the laying of the first stone of the monument, and must not be absent at the crowning moment. .—.
Mme. de Schleinitz is staying here a fortnight longer, and is living at the castle. She keeps herself continually at the highest diapason of grace and charm, without ever missing the opportunity of effectually obliging her friends.
A revoir soon, dear and very excellent one; and ever from my heart your devoted
F. Liszt
Bayreuth, August 7th, 1875
I shall be back at Weimar by the 18th August.
172. To Dr. Franz Witt
[Probably August or September, 1875]
Much-esteemed Friend,
While greatly regretting to hear of your indisposition and thanking you sincerely for your last letter, I now ask you: How are you going to answer the ministerial communication of Trefort?—Are you willing to render important help as regards Church music in Hungary? Superfluous words are unbecoming to me; let us onward and act; and may your noble and stimulating influence be granted to Hungary. Assuredly you will find there admiration, affection, and the necessary assistance in the great services you will render.
In a word: Come to us, and let us work together in Budapest!
173. To Lina Ramann
[Authoress of "F. Liszt als Kunstler und Mensch" ("F. Liszt as Artist and Man"), 2 vols. (Leipzig, Breitkopf and Hartel, 1880 and 1887)]
Dear Friend,
Thanks to your care I had excellent and very inspired company during my two days' journey from Nuremberg to Rome. Your parallel "Bach and Handel" delighted me more than the famous landscapes of the Brenner. Allow me specially to praise your fine insight into and correct interpretation of the various musical forms of culture from the Motet to the Mass and the Oratorio.
Some portions also of the "Allgemeine musikalische Erzieh-und Unterrichtslehre" [Universal Musical Instruction] pleased me—(in spite of my inaptitude in things pedagogical), especially the main idea of the work:—that musical instruction should not be separated from, but form a part in, the course of education; a relevant thought, the practical application of which will essentially benefit, and prove useful to, art as well as education.
Again my cordial thanks for the hours at Nuremberg, and best greetings to the amiable comrades in art Fraulein Ida and Auguste.
Yours respectfully and sincerely,
F. Liszt
Rome, September 28th, 1875
174. To Eduard von Liszt
Rome, September 29th, 1875
Dearest Eduard,
Wherever we may be we ever remain one in heart. Probably I shall be in Budapest as early as the middle of November, on account of the Musik-Akademie, which it is my duty to shape in accordance with the standard of somewhat difficult local circumstances. Appointments have already been made by the Minister Trefort: Franz Erkel as Director, Volkmann as Professor of Composition, and Abranyi as Secretary. Witt and Bulow had the first offers from Trefort: unfortunately Witt is still too ill, and Bulow could not come till later, after his return from America. Of course Bulow would have received the largest possible sphere of action—somewhat the same as he occupied in Munich, where, for a couple of years, he acted as Director of the Conservatoire in the most successful manner...
All hearty greetings to your circle, and believe me ever your gratefully and sincerely attached
F. Liszt Address: 43, Vicolo dei Greci, Roma (Italia). Till the beginning of November I stay here or at the Villa d'Este, and then travel direct to Pest.
Pray send me news of our dear and amiable Marie.
175. To Kornel von Abranyi
Dear Friend,
A thousand thanks for your letter with its weighty contents. [Abranyi had informed Liszt that the Hungarian Landes-Musik- Akademie—which had been called into existence by Trefort, the Minister of Education—had already been organised and was shortly to be opened, and that Liszt was invited to the inauguration ceremony.] All things considered, it does not appear to me advisable to hurry my return. As I did this year, I mean next year also to reach Pest towards the middle of February—in time for Lent and the concert season. By that time the work at the Musik-Akademie ought to have fairly established itself.
I gladly undertake to conduct a pianoforte-class for virtuosi and teachers,—first of all from the 1st March to Easter 1876. And should the undertaking give indications of proving a success, I would be willing to devote several months a year to this species of instruction in the Musik-Akademie of Budapest.
I look forward to being on the best and most cordial terms with Erkel. [Franz Erkel (born 1810), a celebrated Hungarian composer, at that time Director of the Musik-Akademie and Capellmeister at the National Theater in Pest. Died 15th June, 1893] Also with Volkmann and the other professors.
As regards the very worthy Secretary, I rejoice to labor with him as next-door neighbor (on the Fischplatz, where assuredly we shall not dry up "like fish out of water"), and remain always
His grateful and truly attached friend,
F. Liszt
Villa d'Este, October 14th, 1875.
My friendly greetings, please, to Engessers, Zimay, Siposz, [All were Hungarian musicians] and to our dear composer of the "Liszt- Cantata," Gobbi.
176. To Walter Bache
Highly Esteemed and Dear Friend,
Hearty thanks for your kindly remembrance of the 22nd October.
With regard to the "Elizabeth" performance (at your "Twelfth Annual Concert" on the 24th February) I am somewhat anxious on account of the great exertions and expense which the performance will entail upon you. Still I will not make any further objection to your characteristically firm incorrigibleness in your steadfast wish and endeavor to do the utmost possible for the good of your old friend, now 64 years of age.
To Frau Blume (whom I often called upon in Rome) please give my friendliest remembrances. If the part of Elizabeth does not displease her she is certain to give an excellent interpretation of it.
I am most glad to grant friend Banz the permission he desires, and am grateful to him for his kindly sentiments.
Till the middle of February I shall stay here—and then go direct to Budapest—and remain your faithfully attached
F. Liszt
Villa d'Este, October 26th, 1875.
In case you receive direct news of Von Bulow, please let me know.
177. To Eduard von Liszt
Most Dear Friend,
Your letters are as full of heart as they are of mind. They both comfort and exalt me. My prayers always include you. May the "Supreme Spirit" strengthen us!
For me to appear at the opening of the Musik-Akademie in Pest on November 7th, is, I think, neither necessary nor desirable. It will be better that the undertaking (the official part of which I did not call into existence!) should be more fully started before I take any part in it. Hence till the middle of February I remain at the Villa d'Este (quietly finishing a few compositions) and then return direct to Pest.
Herbeck is said to have promised to conduct a concert there. I trust we may meet in friendship on the "Fischplatz" during Lent. How could he manage to have the Gran Mass performed in the Burgkapelle? The dimensions of the work require rather a goodly amount of space for chorus and orchestra...Next summer it is proposed to give a grand concert-performance of the Gran Mass in Dusseldorf (where they have a splendid hall, admirably adapted for musical festivals). I shall look for your report of the Vienna performance.
As regards the "Prometheus," I beg you to fix with Her-beck that in Vienna the new improved edition, published by Kahnt (Leipzig), shall be used, and get him to procure it from Kahnt: pianoforte score, full score, and voice parts. If Herbeck should entertain any doubt about the new edition on account of the expense, I shall be quite ready to settle the small "difference" with a few gulden, which you will advance me for the purpose. [Eduard von Liszt managed Liszt's money affairs for him.]
I am very anxious that this "Prometheus"—who is ready to "unchain" himself next summer in Dusseldorf and at the Musical Festival at Altenburg—should not again be a failure in Vienna, after his late want of success there.—
Give Kulke my best thanks for his excellent essay with its kindly sentiments (in the Vaterland of September 17th); I am specially pleased with the close: "In the same way as Sebastian Bach could not conceive a musical thought in any other way than from a contrapuntal point of view, Liszt cannot conceive a theme in any other way than from a thematic point of view," etc.
Heartiest greetings to all your circle: Marie will always prove herself noble and firm.
Your faithfully attached
F.L.
(Villa d'Este) October 31st, 1875
178. To Madame Jessie Laussot
Very Dear and Kind Friend,
Although I scarcely know how sufficiently to express my gratitude to you for all the proofs of friendship you have constantly shown me during twenty years, I am quite convinced that no misunderstanding would ever be possible between us. You know my good intentions from the outset, and in case of necessity you divine them with the heart's most penetrating and delicate intelligence.
I add to my thanks for your last letter a request which you will certainly grant, by assuring our very honored friend Hillebrand of my sincere devotedness. In addition, assure him also that my zeal in serving my gracious master, the Grand Duke of Saxony, will never be used to the detriment of any one, and that I especially take into consideration the proprieties appropriate to the merits and position of individualities that I esteem and love.
So then we will discuss "academicamente," at your house in Florence (after my return from Hungary, towards the middle of February), the subject of Hillebrand's spending some months each year at Weimar.
This could be brought about under reciprocally pleasant conditions; I confess that I take a rather egotistical interest in it...but without failing in the duties of friendship.
In a week's time, Mdlle. Adelheid de Schorn accompanies her aunt- -"the Lady Abbess von Stein"— back to Germany. She will bring you two or three books of music from me.
Sgambati has finished a second, very remarkable Quintet (for Piano and Strings), which will soon be heard in Rome.
Zarembski (whom I introduced to you) works valiantly, and deserves to be reckoned as an unusually excellent pianist of the first rank.
A revoir in February, and yours very devotedly,
F. Liszt
Villa d'Este, November 17th, 1875
If you should see the Jaells before their concerts in Rome, give them my most affectionate remembrances.
179. To Eduard von Liszt
My Honored Friend,
What you felt at the performance of the Gran Mass has extremely rejoiced me. "He who loves understands."
Give Herbeck my warmest thanks for the carefulness of the rehearsals and performance of this work, about which I allowed myself to make the remark (in Paris 1866), to a personage of the very highest rank, that "it had been more criticised than heard."
On no account would I press Herbeck to give a performance of the "Prometheus-choruses"; according to my thinking, it would be better to wait and see how these choruses are done next spring in Dusseldorf and at the Tonkunstler-Versammlung in Altenburg before bringing them back to Vienna. I should also like to be present at the Vienna performance, which will not be possible tha's winter. I shall probably only be able to stay one day with you (at the beginning of April). I almost doubt whether the "Hunnenschlacht" could be performed amongst the "Philharmoniker" [lovers of harmony] without defeat to me. Nevertheless, "vincit qui patitur."
Heartiest greetings to our Franz, who will prove himself worthy of you.
Most faithfully thy
F. Liszt
(Villa d'Este, Tivoli) November 26th, 1875
.—. As I already told you, I shall remain here till the middle of February, and then return direct to Budapest. From next April I am threatened with much travelling about. My threefold domicile, Pest, Weimar and Villa d'Este, and all that is connected with it, makes my life very onerous. Even the well- known consolation, "Tu l'as voulu, Georges Dandin" [it is your own doing], fails me...Still there is hope in the proclamation "Et in terra pax, hominibus bonae voluntatis."
Once more thanks for your kind intercession in my friend Vincenz Kirchmayer's [Liszt's former travelling companion in Spain and Portugal during the forties, and especially recommended by Liszt to his cousin Eduard.] affairs. When the decision has been given let me know it.
180. To Hans Schmitt, Professor at the Conservatorium of Music in Vienna
[Well known as an excellent teacher of the pianoforte, also as a writer on music]
[End of 1875]
My Dear Sir,
It is well known how much mischief is done to the piano both with hands and feet. May your instructive pamphlet on the right use of the pedal duly benefit pianoforte players. [Footnote: "The Pedal of the Piano." Vienna, Doblinger (3rd ed. 1892).] With best thanks for sending me the pamphlet, I remain
Yours respectfully,
F. Liszt
181. To Kornel von Abranyi
Dear Honored Friend,
In the affairs of the Academy of Music I had till now simply to wait. [The opening of the Academy of Music had taken place meanwhile in the middle of November, 1875.] Now comes the time when a different, an active line of conduct presents itself to me. I shall always endeavor to come up to the expectations of my friends. First of all in the middle of February we begin our peaceful academical conferences, and, as I have already written to you, I willingly undertake, from the 1st March, to conduct a pianoforte class (for virtuosi and teachers)—provided that Erkel and you, dear friend, agree to this harmless proposal. My further activity in the Royal Hungarian Academy of Music had better be favored, measured and decided by the circumstances. I can only lay claim to be the well-intentioned zealous servant of Art and of Hungary.
Please to give Erkel my heartiest thanks for the Liszt-paragraph in the "Inaugural Address." The kindly confidence which Erkel has reposed in me for more than 30 years shall never be abused.
The notice "Count Geza Zichy, President, and Bartay, Director of the Pest Conservatorium," affects me very pleasantly. Engesser's constancy in conducting the Liszt-Verein [Engesser founded the Liszt-Verein in Pest (for mixed voices)] particularly rejoices me. Is Gobbi's Cantata come out? Friendly greetings to the composer and recently "well-known composer of album-leaf waltzes," from your old, truly attached
F. Liszt
Villa d'Este, January 20th, 1876
(Before my arrival—16th February—I will telegraph to you from Venice, where I shall visit Count Imre Szechenyi.) In case there were anything to write to me, address, till February 5th, Rome, Vicolo dei Greci, 43.
182. To Eduard von Liszt
(Villa d'Este,) January 23rd, 1876
My Dear Beloved Friend,
Your letter has deeply affected me. I preserve it in the secret cell of the heart, where the last words of my dear mother remain- -and give me consolation. I cannot thank you in words. My thanks rise in prayer to God. May His blessing ever be with your generosity and constancy in all that is good.
At the "Decisions of the Court of Cassation" (the 2nd October and 16th November) you spoke so forcibly and beautifully clearly about blasphemy, and of the symbol of redemption, the crucifix— and thus truly fulfilled the teaching of our Savior: "Thesaurizate autem vobis thesauros in Coelo." Let us continue to the end, dearest Eduard, in the love of Christ!
I absolutely wrote the "Hunnenschlacht" for the sake of the hymn "Crux fidelis." Kulke in a very generous manner determined on the production of this work in Vienna. For very many years Kulke has always been well-affected towards me. I enclose a few lines of thanks which I beg you to hand to him. His "Moses before Pharaoh" I have, alas, not the power to compose. To compose philosophy and politics in music appears to me an all-too-difficult task. I almost doubt whether it could be accomplished.
Heartiest greetings to your family, and most truly yours,
F. Liszt
I shall arrive in Pest again in the middle of February.
183. To Dr. Eduard Kulke in Vienna
My Dear Sir,
During long years you have constantly shown me so much kindness that I cannot sufficiently thank you for it. I am also ashamed not to compose better works, so as to make the kindly interpretation of them more easy and pleasanter to you. Nevertheless all the more valuable is your insight and indulgence.
The "feathered thief" [A comedy by the addressee, a well-known and meritorious author, and sent by him shortly before to Liszt.] reconciles me with the "newspaper geese." It will, without plagiarism, win its laurels on the stage. The dialogue and action are full of humor and wit...and the final catastrophe of the thrashing must make an impression on the public.—
Excuse me, my dear Sir, if I do not feel myself equal to the task of an Old-Testament Oratorio. [Kulke had sent a poem, "Moses before Pharaoh," to Liszt in Rome, with the question whether he would be inclined to make it the subject of an Oratorio.] Michael Angelo represented his Moses mighty and horned (perhaps as a most excellent ideal forerunner of Pope Julius II.?); Rossini sang exquisitely the "preghiera di Mose," with which Europe is still enraptured; and Marx's Oratorio Moses, less well-known, contains many excellent parts.
"Non omnia possumus omnes." My humble self can do but little, and remains most humbly grateful to the "Caritas Christi."
With especial regards and thanks, yours most truly,
F. Liszt
Villa d'Este, January 23rd, 1876
184. To Marie Lipsius
My Honored Patroness,
Your kind promise to translate the "Chopin" into beautiful German rejoices me extremely. Hearty thanks for it. I will soon send the revised (French) copy, and I hope the work will be easy and pleasant to you. In the 3rd edition of "Musikalische Studienkopfe" I lately read "Berlioz"—an excellent characterisation and recognition of this extraordinarily great master, who perhaps hovers more in the untrodden regions of genius than anywhere else.
The addition of the "index" is a valuable completion of this third edition. Its success augurs well for what will follow.
With much respect and gratitude,
F. Liszt
(Villa d'Este,) February 3rd, 1876
185. To August von Trefort, The Hungarian Minister of Education in Budapest
[Printed in the Pester Lloyd of that date.—Addressee died 1888.]
Herr Minister,
Although I scruple to weary the extraordinary good-will which the public of Budapest has evinced towards me, I nevertheless make so bold as to offer the assistance of my two hands for the concert shortly to be given in aid of the sufferers by the floods, if Your Excellency is of opinion that this could still be at all useful. In the year 1838, when I returned for the first time to Vienna, I gave my first concert there in aid of the sufferers by the inundation at Pest. It will be a comfort to me if I can now close my protracted career as virtuoso by the fulfilment of a similar duty. [The concert in aid of the sufferers by the floods in Budapest took place with Liszt's co-operation on the 13th March, 1876] I remain, until death, Hungary's true and grateful son.
Your Excellency's most obedient
F. Liszt
Budapest, March 1st, 1876
186. To Walter Bache
Honored and Dear Friend,
You, in your London "Annual Concerts," have for 12 years worked more wonders than I was able to compose in the "Rosenwunder" [Rose miracle] of Elizabeth. Hearty thanks for your account of the 12th concert, and all the exertions connected with it! I beg you to present my most respectful compliments to Mrs. Osgood ("Elizabeth"), and, before all, to Constance Bache, the kind translator of the Legend.
Entirely approving of the use of the mute in the passage
[Here, Liszt illustrates with a musical score excerpt]
and during the chorus of angels, remains, in sincere esteem for the steadfast conductor and friend Walter Bache, his faithful and grateful
F. Liszt
Budapest, March 8th, 1876
187. To Madame Jessie Laussot,
Dear excellent Friend,
The Commander Casamorata has written to me again about the fete of Bartolomeo Cristofori. I have replied to him that my answer had been already received by you in the month of January '75, and that I can only repeat the same excuses. I copy the last lines of my letter to Casamorata that you may have the exact particulars:- -
"Without reckoning that for more than thirty years I have not belonged to the active lists of pianists and only desire the honorable repose of an invalid, I permit myself to remark that the duty of celebrating the inventor of the pianoforte in Italy belongs by preference to Italian pianists of note, such as M. Buonamici (in Florence) and M. Sgambati (in Rome), etc."—
In conclusion, I scarcely could leave Germany all this summer (except for the visit to the Chateau de Loo), and I shall probably be obliged to return to Hungary after Bayreuth, where I hope still to find you.
Yours very devotedly,
F. Liszt
Budapest, March 18th, 1876
188. To Dr. Leopold Damrosch in New York
[Draft of a letter from a copy by Dr. Mirus in Weimar.—Addressee (1832-1885) came to Weimar in 1855 as a violinist under Liszt, went to Breslau in 1858, and in 1871 to New York, where he had great success and influence as a conductor.]
April 15th, 1876
My dear honored Friend,
You have recommended our young friend Max Pinner to me. He shows himself to be an excellent artist, and I have become much attached to him [Pinner died young.] I beg you to accept through him the renewed expression of my former faithful friendship.
Your beautifully conceived and nobly executed work "Ruth" I have read with sympathetic interest and pleasure. I will not fail to suggest its performance in Germany.
How shall I thank you for the edifying goodwill which you manifest towards my compositions? Your intelligent enthusiastic conducting of my scores prevents any one noticing the defects of the composition.
A hearty greeting to your wife, and with warmest esteem ever yours,
F. Liszt
189. To Friedrich von Bodenstedt
[From a copy by Director Aug. Gollerich in Nurnberg.—Addressee, who died in April 1892, the poet of Mirza Schaffy]
June 8th, 1876
My very honored Friend,
Your very agreeable and genial friend, Frau Major von L., sends the September leaflet about the concert in Hanover. A thousand thanks for it. .—.
On the occasion of my happy 50 years' jubilee you rejoiced me with a poem, of which Iam proud. You have admirably succeeded in coaxing such poetical euphony from an old worn-out instrument like my humble self.
Au revoir in Hanover, and friendly greetings to your family.
With thanks, yours sincerely,
F. Liszt
190. To the Music Publisher Bessel
Sir,
Although the music which you have been so obliging as to send me through Mr. Kahnt has not yet reached me, I hasten to assure you again of the strong interest which I take in the works of the new Russian composers—Rimski-Korsakoff, Cui, Tschaikowski, Balakireff, Borodine—which you edit. You know that lately, at the Tonkunstler-Versammlung at Altenburg, the Ballade "Sadko" was well performed and received. Next year I shall propose that other works of the above-named Russian composers be produced. They are worth serious attention in musical Europe.
When you return to Weimar in July I shall better express to you my thanks and regards.
F. Liszt
Weimar, June 20th, 1876
Kindly give the accompanying note to Mr. Cui.
191. To Prince Carl Lichnowsky
[Communicated to the Musical Chronicle, 20th February, 1888, by A. Gollerich.—Addressee is the brother of Liszt's intimate friend, Prince Felix Lichnowsky, who, as a member of the Parliament of Frankfort, fell on the Heath at Bornheim (Bornheimer Haide), a sacrifice to the Revolution of 1848.]
Your most Serene Highness and Friend,
In old attachment I thank you heartily for your kind lines. The most grateful recollections ever bind me to the House of Lichnowsky. Your highly endowed father and your admirable brother Feliz showed not less kindness to me, than Prince Carl Lichnowsky showed before that to the young Beethoven, who dedicated his Opus I. (3 Trios) to the Prince Lichnowsky, and felt himself quite at home in the so-called Krzizanowitz "Palace," and in the Castle of Gratz. [Krzizanowitz is Lichnowsky's inherited estate in Prussian Silesia, the Castle of Gratz his dominion in Austrian Silesia. Franz Liszt like Beethoven, was a guest in both these places.] May it be permitted, dear Prince, to find you again there (perhaps next year) to
Your faithful and most devoted
F. Liszt
June 21st, 1876
192. To Hofcapellmeister Max Erdmannsdorfer
Very honored Friend,
Thanking you very much for your kind invitation, I shall willingly come next Sunday, and rejoice that I shall again hear a special Sondershausen concert. Berlioz's "Harold-Symphony" is to me an old, ever-fresh recollection: the Sondershausen orchestra played it capitally at the first Festival of the "Music of the Future" in Ballenstedt, which I conducted.
Send me soon the whole printed programme. Can you already conduct Wagner's new "Fest Marsch?"
I beg for Bulow's "Nirwana," if possible, and in case there should be room for anything, not long, of mine, I would most modestly suggest the Symphonic Poem "Hamlet," which I never heard. Most friendly greetings to your wife, and believe me always
Yours most sincerely,
F. Liszt
Weimar, June 27th, 1876
I suppose the concert takes place on Sunday afternoon, so that the visitors from Weimar can get back here again?
Which train, in the lately altered railway guide—as I was told yesterday—will bring me in tempo (non rubato) [in time—not broken] to Sondershausen and back?—
193. To Kornel von Abranyi
Dear honored Friend,
Best thanks for your letter. Please to make my apologies to the mayor Herr Karoly and to the Festival Committee in Szegedin. [The town of Szegedin and the Hungarian Vocal Society had begged Liszt's active sympathy for the Musical and Singers' Festival about to be held in that place. Karl Wagner was president of the Festival Committee.] With reference to the first invitation to Szegedin (last March) I made the observation immediately that "During the whole month of August I belong to Bayreuth." Consequently it is no fault to remain there,—if the principle is correct.
Now, dear faithful friend, I invite you once again to come hither. The "Festival-Play" is of the very most serious historical significance...So do come at the latest from the 27th till the 30th August for the third series of these stupendous performances of the "Nibelung's Ring." The Montecuculi-an matters will be gladly arranged for you here [i.e. the expenses.] by
Your old, most sincerely faithful
F. Liszt
Bayreuth, August 6th, 1876
194. To Richard Wagner
[Autograph of this curiosity in possession of Herrn Commerzienrath Bosendorfer in Vienna.]
Incredible One,
Hast thou a moment's time for the Leipzig "affaire"? then please come down here (where Herr Neumann now is) to thine own
F. L.
[Bayreuth, August, 1876]
[This referred to the performance of the "Nibelungen" in Leipzig, striven for by Angelo Neumann and interceded for by Liszt, for which purpose the former came to Bayreuth.—Wagner wrote in pencil on Liszt's letter as follows:—
"Still more incredible One!
"I am in my shirt-sleeves and under no circumstances inclined to give my work to Leipzig or anywhere else!
"Love me!
Thy
R. W."]
195. To the Kammersangerin [Private Concert Singer to the Court] Marie Breidenstein in Erfurt
[Died 1892. She dedicated herself with satisfaction to the rendering of Liszt's compositions, and was also his pupil for piano.]
Dear honored One,
Perhaps the Schubert songs with my most modest instrumentation would suit somewhere in your programme. Here are the printed scores with the orchestral parts. "Gretchen" and "Erlkonig" have been much used and are played out. This is not so much the case with the "Young Nun"; and Mignon's wonderful song, "So lasst mich scheinen bis ich werde" [So let me seem till I become], is scarcely heard—or appreciated!
But if you will once more spare me an hour in Weimar, I will accompany these 4 instrumented Schubert-Songs for you.
Next Saturday departs from here
Your sincerely devoted
F. Liszt
Weimer, Monday, September 18th, 1876
N.B.—The instrumentation compelled me to a few little different readings in Schubert's four songs: on this account the singer must go by my score-edition as regards the rests and the very slight alterations.
196. To Camille Saint-Saens
Very Dear Friend
In sending you today the transcription of your "Danse macabre," I beg you to excuse my unskilfulness in reducing the marvellous coloring of the score to the possibilities of the piano. No one is bound by the impossible. To play an orchestra on the piano is not yet given to any one. Nevertheless we must always stretch towards the deal across all the more or less dogged and insufficient forms. It seems to me that Life and Art are only good for that.
In sincere admiration and friendship,
Your very devoted
F. Liszt
Hanover, October 2nd, 1876
197. To Professor L. A. Zellner, General Secretary of the Conservatoire of Music in Vienna
[From a copy of a draft by Dr. Mirus in Weimar.]
October 3lSt, 1876
Honored Friend,
Be so very kind as to convey my sincere thanks to Directors Mosenthal and Herbeck for the friendly communication about the Beethoven-Monument Concerts in Vienna next March. A few weeks earlier I beg you to send me the programmes, to which Beethoven's Concerto in E-flat major, and also as a Finale, in case the "Hammerclavier" appears admissible, the "Choral Fantasia," will willingly be added with his old hands by
Your faithful and most obedient
F. Liszt
198. To Hans Richter, Conductor of the Royal Opera in Vienna
[From a copy by Dr. Mirus in Weimar.-Addressee (born 1843 in Hungary) the renowned conductor, since 1876, of the Bayreuth Festspiel, and, in addition to his opera work in Vienna, conductor of the Philharmonic Concerts there and of the Richter- Concerts in London.]
November 10th, 1876
I thank you most sincerely for your friendly intention of giving my Beethoven-Cantata in the performance at the Royal Opera House for the benefit of the monument to Beethoven. By today's post you will receive the whole printed score, together with a separate edition of the orchestrated Andante (from the B-flat major Trio), which shines, like a guiding star, above my insignificant work. The Cantata was published by Kahnt, Leipzig, in the year 1870, and was also first brought out in Weimar, then in Pest, on the occasion of the Beethoven Jubilee Celebration. If, my dear Sir, the orchestration to some extent pleases you, I should advise you to take up this alone in your programme on the 15th December.
The remaining movements might meet with many hindrances in Vienna...and, frankly, I have become altogether somewhat shy as regards the performance of my compositions. Although I quietly endure their foregone want of success with prevailing criticism, it is my duty not to let my friends be injured by it.
Once again hearty thanks for your goodwill and meritorious conducting of Wagner.
F. Liszt
199. To Breitkopf and Hartel
Dear Sirs,
Your communication to me of the 25th October has been very much delayed, owing to my change of residence several times during the past weeks. There is surely no need to assure you that I never thought of causing any unpleasantness at all to any one—more especially judicially [The publisher of "Tannhauser" had tried to make out that Liszt's arrangement of the March was a "piracy."] In particular my connection with your very honorable house for more than 30 years has ever been most simple and honest. This is also shown by my two quoted letters of the 17th February and 3rd April, 1853, with reference to the publication by your firm of the "Tannhauser and Lohengrin pieces," whose publication at that time I was quite "the agreement" with Richard Wagner in suggesting. |
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