Certainly I could not, without injuring the Tannhauser March, go all through the original, loading it with shakes, and here and there adding arpeggios. However, if "connoisseurs" will look through my transcription in detail, they will easily discover that neither the variation on the principal theme, nor the modulating of the second, nor in any manner the whole setting of the pianoforte arrangement, could be found fault with as a "piracy."

With much esteem,

Very sincerely yours,

F. Liszt

November 12th, 1876

Budapest (where I stay the whole winter)



200. To Constantin Sander, Music Publisher in Leipzig

[Autograph in possession of M. Alfred Bovet in Valentigney.]

Very honored Sir,

Best thanks for kindly sending me the "collected writings of Hector Berlioz" and some novelties of your firm. The compositions of Tschaikowsky interest me. A few of my pupils here play his Concerto and several of his pieces really capitally. I have also recommended Riedel to include Tschaikowsky's Symphony in the programme of the next Tonkunstler-Versammlung.

Otto Reubke's arrangement of the Schubert Quartet [In A minor, published by Sander (F. E. C. Leuckart).] for one performer on the pianoforte seems to me well done, though the 3rd bar of the first Allegro should stand thus,—

[Here, Liszt illustrates with a musical score excerpt]

because in the latter case the important E of the melody cannot be held on, etc.—

I know the manuscript of an excellent arrangement of Schubert's D minor Quartet for 2 hands, the author of which, a man of very high standing, I do not today mention by name. But should you be inclined to publish this Quartet (arranged for 2 hands on the P.F.) I will gladly give you further particulars.—

By today's post you receive my last revision of Berlioz's "Symphonie fantastique." I have added two remarks to the title which I beg you to notice and adhere to. Thus "Piano Score"—not "Arrangement."...Then it is absolutely necessary to insert the whole programme of Berlioz, French and German, in your 2nd edition (on the 1st page after the title-page). If necessary my friend Richard Pohl will give you the original French text and the translation.

With sincere regard, yours in all friendship,

F. Liszt

Budapest, November 15th, 1867

P.S.—I keep the copy of the Witzendosf edition for a while, and send you today only the Paris edition, together with the last proof copy of the "Symphonie fantastique."



201. To Breitkopf and Hartel

November 23rd, 1876

Dear Sir and Friend,

Before Herr W. Juranyi handed me your letter I had replied to the earlier communication from your esteemed house with reference to the same matter.

Accept once again the assurance that I lay great stress upon the continuation of our friendly relations, which have now existed for 36 years. As far as this depends on me it shall never cease.

Your letter contains two proposals:—

1. To recommend Wagner to sign a legal document.

This is entirely opposed to my peaceable practices.

2. To prepare an enlarged version of the transcription of the "Tannhauser-March."

Acquiescing in this, I will send you the day after tomorrow a couple of pages of notes [musical] for the purpose of an enlarged edition. I cannot decide whether these acquire a legal value, but in any case they prove to you, dear Sir, my sincere readiness.

My "Wagner-Transcriptions," by-the-by, were not in any way a matter of speculation to me. Appearing at the beginning of the fifties, when only the Weimar theater had the honor of performing "Tannhauser," "Lohengrin" and the "Flying Dutchman," such transcriptions only served as modest propaganda on the inadequate Piano for the sublime genius of Wagner, whose radiating glory now and henceforth belongs to the Pride of Germany.

With high esteem most sincerely yours,

F. Liszt

Budapest, November 23rd, 1876



202. To the Music Publisher Constantin Sander

Very honored Sir,

You have rightly guessed that Herr von Keudell's "excellent" transcription of Schubert's D minor Quartet is finished. It now only remains for you to write to His Excellency, that you may put this work in your window.

Reubke has succeeded very well with the B minor Rondo of Schubert, only, to my thinking, he should add the now indispensable pedal marks to it. By the same post I send you his manuscript together with a few remarks, and beg you to thank Reubke for his friendly dedication, and also to compliment him especially on the refined and beautifully effective carrying out of the subject—

[Here appears notated four measures of the theme.]

Yours most truly,

F. Liszt

Budapest, November 29th, 1876



203. To Vera Timanoff

[First Tausig's pupil (also Rubinstein's for a little while), from 1875 she studied every summer with Liszt as long as he remained in Weimar. In 1880 she became pianist to the Court at Weimar.]

Dear Virtuosa,

I telegraphed immediately to you at Laibach, to tell you to come without ceremony. Your talent is such that it would convert even the Turks, and I assure you that the audience at the Pest concerts will be delighted to applaud you. As to the title which you propose to take, I think it is too modest for you, but there would be an excess of modesty on my part in saying anything against it...so let us be reciprocally proud of it and don't let us advertise it!

A revoir soon,—and always

Your affectionately devoted

F. Liszt

Budapest, November 29th, 1876

Be so kind as to give my most cordial regards to Monsieur and Madame Bosendorfer.



204. To Otto Reubke at Halle-on-the-Saale

[Now Music Director at the University there]

Dear Herr Reubke,

Your Arrangement [of Schubert's B minor duet for pianoforte alone] pleases me uncommonly. I beg you to notice the alterations I have made on the accompanying sheet of music-paper. This version is not quite so much like the original as yours, but, as the great thing is to bring out a fortissimo, we may well allow inaccuracies of this kind in favor of the performer and of effect.

You are requested to add to your excellent Arrangement of the Schubert Rondo much pedal and some fingering,

By your warmly attached

F. Liszt

Budapest, November, 1876



205. To Marianne Brandt, Kammersangerin in Berlin

December 3rd, 1876

Dear honored Friend,

What is always very pleasant and dear to me is your goodwill. With my hearty thanks for it I send today the little notice. "Jeanne d'Arc au bucher" ["Joan of Arc at the Stake"] came out a few months ago at Schott's (Mainz). This short dramatic Scena can be sung with either pianoforte or orchestral accompaniment. The chorus is conspicuous by its absence. Johanna [Jeanne] alone has to perform. N.B.—Only the second edition (published 1876) is to be used; not the first, which also came out at Schott's 30 years ago. Schott sent me no copy of it; it was too much trouble for Berlin to correspond with Mainz via Budapest. Herr Capellmeister Mannstadt [Now Capellmeister at the Court theater in Wiesbaden.] will therefore be so kind as to order the "Johanna" (full score and piano score) at Schott's, if you really have the goodness to sing it. [It was done in honor of Liszt's presence in Berlin, which was celebrated by the performance of some of his works.] There might possibly be special feelings now in Berlin against it, in spite of Schiller's Tragedy, "Die Jungfrau von Orleans." Therefore think the matter over.

For years past I have been mostly obliged to dissuade people from the performance of my large works. The general public usually goes by what is said by the critics, whose most prominent organs among the newspapers are hostile to me. Why should I go into useless quarrels and thereby compromise my friends? Peace and order are the first duties of citizens, which I have doubly to fulfil both as honorable citizen and artist.

As for the rest, dear friend, if it suits you to sing any one of my musical compositions, be assured of the sincerest thanks of

Yours most truly,

F. Liszt



206. To the Committee of the Beethoven Monument in Vienna

[From a copy by Dr. Mirus in Weimar]

December 10th, 1876

Honored Gentlemen,

Rejoiced to be able to help you, I will work with you with a full heart and both hands in the concert for the Beethoven Monument.

Allow me to answer your friendly remark about the performance of Beethoven's Choral Fantasia thus,—that I should not think of performing any other work at this concert than one absolutely written by Beethoven, and consequently my share in the concert programme will consist of the E-flat major Concerto. [It did not consist of that. Liszt did after all play the Pianoforte Part of the Choral Fantasia, Op. 80.]

I beg you will kindly communicate to the honored Secretary of the Committee, Herr Zellner, my hints with regard to the Beethoven Scholarship in Leipzig.

Accept, Gentlemen, the expression of my high esteem.

F. Liszt



207. To Eduard von Liszt

Budapest, January 2nd, 1877

Dearest, Most Honored Cousin,

I always remain faithful to thee in heartiest agreement with thy thoughts and feelings. Every year brings us nearer to the fulfilment of our hope in Jesus Christ the Savior!

"He that endureth to the end shall be saved!"—

I am now quite recovered from my little attack. If there were nothing worse in this world than sprained legs and physical suffering, one could be quite satisfied. Moreover I belong to the very favored and happy ones, even as regards physical suffering.

There is nothing particular going on here which I need mention. Four times weekly I have a class for pianists and pianistes, native and foreign. Half a dozen of these distinguish themselves and will be able to grow into capable public artists. Unfortunately there are far too many concerts and concert- players. As Dingelstedt quite truly said, "The theater is a necessary evil, the concert a superfluous one." I am trying to impress this sentence on my disciples of the Hungarian Academy of Music.

As you know, Budapest possesses three musical Institutions: the Conservatorium (which has existed 36 years and counts several hundred scholars), the Hungarian Theatrical School, and the new and still small Academy of Music. An excellent younger friend of mine, Count Geza Zichy, is president of the Conservatorium; an older one, Count Leo Festetics, president of the Theatrical School; and my humble self acts in the same position at the Academy of Music, whose Director Franz Erkel and General Secretary Abranyi proceed most zealously and judiciously. I have only pleasant relations with them both, and the Minister Trefort is already well-disposed towards me, because he knows that I save him unnecessary annoyance and expense. Most likely the Academy of Music will in two years' time be so flourishing that there will be more to say about it; in the meantime let us study—and be silent. .—.

Heartiest greetings to thy family, and au revoir in Schottenhof [Eduard Liszt's home in Vienna.] in the middle of March, on the occasion of the "Beethoven-Monument Concerts."

Thy

F. Liszt

The Christmas week has beggared me. Be so good as to send me very quickly 500 gulden, for I have hardly 60 left.



208. To Walter Bache

Truly, dear Bache, you are a wonder-working friend. Your persevering trouble, exertions, expenditure of time and money for the production of my bitterly-criticised compositions in London during the past fifteen years, are among the most uncommon occurrences in the annals of Art. Once again heartiest thanks; please also to thank Mr. Manns properly for his excellent conducting of "Mazeppa." Things of that kind are awkward both for conductors and performers. But how can one go on making music with what is idly convenient, even when this is raised into importance under the guise of being classical?

Hueffer's translation of Wagner's letter pleases me. Friendly greeting to Hueffer [Musical author in London, lately deceased] and Dannreuther [Musician in London] from

Your grateful and very devoted

F. Liszt

Budapest, March 9th, 1877

At the beginning of April I shall be back in Weimar. I am pleased that you included the old "Loreley," with fresh orchestral accompaniments, in your concert programme. Give my respectful compliments to the friendly singer Mrs. Osgood.



209. To Eduard von Liszt

Weimar, July 3rd, 1877

Dearest Eduard,

For some weeks I have been much on the go and disturbed in many ways. Several musical performances occasioned me to go about in the neighborhood. On the 17th June some portions of the "Christus Oratorio" were splendidly sung in the Thomaskirche (Leipzig) by the Riedel Verein. Last Friday "Elizabeth" came brilliantly to the fore again in Eisenach, and yesterday Gille, my untiring friend of many years' standing, arranged a large concert of sacred music (with several items of mine), at which I was present.

I do indeed regret that I am not able to accept in person the kind invitation of my beloved nephew Franz for his wedding-day. It would be much better for me to be more with you all!...Enclosed are a few words to Franz. Arrange for my proxy as a witness at the marriage ceremony. Whoever is chosen by you will be worthy and right to me: as for me I should choose my friend Bosendorfer.

I go the day after tomorrow to Berlin for two days; then I am bidden farther and nearer till the end of July. I shall respectfully announce to the Frau Furstin [Princess] my arrival in Rome—beginning of August. Please send me here on the 20th July the money for the journey, and something over—about 1200 marks [about 60 pounds]. I must not have any other debts except moral ones. Our name Liszt in the Hungarian language means Flour: we will provide good wheaten meal "ex adipe frumenti" with thee, Franz, and thy children.

Truly devoted,

F. L.

.—. I shall visit you in the middle of November on the return journey from Rome to Pest,—where I think of spending the winter, as formerly.

Heartiest greetings to your wife and Marie.



210. To Ludwig Bosendorfer

Honored Friend,

You have been just as much a pianoforte maker as I have been, and still remain, alas! an almost posthumous pianoforte player.

My friend Berlioz asked: "Do you believe that I can listen to music for my pleasure?" Nevertheless we intend to continue our Music and Piano "for our good pleasure."

Thanks for letter and telegram.

Heartily devoted,

F. Liszt

Weimar, July 12th, 1877



211. To Edmund von Mihalovich

.—. In order to obtain this performance [Of Mihalovich's Opera "Hagbar."] I think it necessary and indispensable (as I have already told you) that you should lay a regular siege in person to the Intendant, the Capellmeister, and the singers, male and female, of the theater which you choose.

The new serious Operas are now regarded with suspicion and are in disgrace everywhere. Several trials have been made of them here and there of late years. In the happiest of them the public applauded warmly during the first performances, and abstained from attending the following ones. Consequently the coffers remained empty: ergo, it is the receipts which prove real success. If Wagner's marvellous chefs d'oeuvre hold their own in the repertoire, it is because they make money and continue to draw even a large contingent of detractors. .—.

Weimar, July 20th, 1877

Towards the middle of August I shall be in Rome, and shall stay at the Villa d'Este until my return to Pest in November.



212. To Kornel von Abranyi

Weimar, July 28th, 1877

Honored Friend,

Dear Secretary-General of the "Zene Akademia," [i.e. Academy of Music of the Country.] Sincere thanks for your significant communication, which I answer immediately, point by point. [Abranyi had informed Liszt, as President of the Academy, of the course of instruction (1877) and concerts, and had also asked him for his opinion on several Art questions.]

1. The conclusion of the year '77 with the examination concerts (25 to 28 June—and the "Magyar Hangverseny" [An Hungarian Concert.] on the 30th June) has been very gratifying. Let us rejoice in the praiseworthy performances of Messrs. Juhasz, Agghazi, Swoboda, and of the ladies Frau Knapp, Fraulein Lepessy, [The above-mentioned were favorite pupils of the Master at the Academy.] etc., in Counterpoint, Harmony, Composition, Aesthetics, Hungarian music and the indispensable Piano-playing.

The work best praises the Master: in like manner do the pupils, when preparing themselves for pre-eminence, praise their teacher. The "Zene Akademia" has not to work for the universally usual kind of musical study, but has indeed a weightier, higher task to fulfil.

2. The publication of your "Academic lectures" I had especially recommended to His Excellency Minister Trefort. "Suitable teaching and departmental books" printed in the Hungarian language are inaccessible. You, my honored Secretary-General, have to look after that,—and the Minister will certainly support your scientific-patriotic work for the use and benefit of learners and teachers at the "Zene Akademia"—and further, in all Hungary.

3. As to the "Plan of classes in the department for Church music, Singing and Organ," I can now only repeat my previously expressed wish that the right and able person of good working capability may be found for conducting these classes. Neither invalids nor dabblers may officiate at No. 4, Fischplatz!—[Liszt's house, and, for the time, the locale of the Academy.] If unfortunately the right reverend Herr F. Witt should continue unable to fill the post offered to him in Budapest, I shall propose that the new director should come for a year on trial. And a complaisant sort of Protection is thereby to be avoided, for the matter in question is nothing less than the worthy thriving and culture of Church music in Hungary.

4. I consider as necessary the appointment of an experienced Pianoforte Professor, one who is pushing forwards, and who will be able to relieve our highly honored Director Herr F. Erkel of a part of his very meritorious but excessive exertions. Meanwhile I protest strongly against desiring to have a professorship without salary. Fees with honor; judicious restrictions without beggarly management; otherwise we shall come to grief.

5. I beg that my "jubilee-stipend," entrusted to me in the most honorable manner by the municipality of Budapest, may next year ('78) be apportioned to the same artists as this year. I will gladly sign all the papers having reference to this. Looking forward to the speedy appearance of your Study of Harmony, and of the collected writings of our never-to-be-forgotten friend Mosonyi, together with his biography and Abranyi's new compositions, and greeting your laudable and persistent endeavors in the cause of Art with sympathetic recognition,

I remain, with best regards, yours truly,

F. Liszt

Next week I journey farther—shall be in Rome by the middle of August—and in November in Pest, where I intend to spend the winter again. Write to me in September: my address will be Villa d'Este, Tivoli, (presso) Roma, Italia.

I beg you to give the enclosed lines to Frau Knapp.



213. To the Music Publisher Constantin Sander

Very dear Sir,

I shall have much pleasure in preparing the re-discovered manuscript of the "Harold Symphony" (Score for Piano and Alto [viola]) for the dress and in entrusting it to you. Send me the manuscript soon, together with the original score of Berlioz, which is necessary for the accurate revision of the arrangement. My fee shall be a moderate one, as I am pleased that your firm is going to publish this arrangement, which was finished in Switzerland forty years ago. I would have made it public long since, if the manuscript had not been lost.

Sincerely yours,

F. Liszt

Villa d'Este, Tivoli (near Rome), September 5th, 1877

Please send with it a copy of the excellent Trio of Edward Napravnik. My friend Sgambati will produce it publicly in Rome, and make it a success.



214. To Adelheid von Schorn at Weimar

Dear and honored One,

When one is at a loss what to say or write, well—one tries to help oneself with music. Enclosed I forward you the song of your noble-hearted mother: "Ach, was ist Leben doch so schwer!" [Ah, why is life so burdensome!] My setting is so managed that you will easily master it, as well in the singing as in the accompaniment. [Published in the 8th book of Songs under the title "Sei still" ("Be still")]

Faithfully yours,

F. Liszt

Rome, September 15th, 1877



215. To Breitkopf and Hartel

Honored Sirs,

.—. May my slight share in your edition of Chopin's works, which nearly all belong to your firm, be of use to you. I remarked before how little really remains to be done to Chopin's compositions, as he himself, with praiseworthy and exceptional accuracy, added every possible instruction to the performer—even to the pedal indications, which in no other author appear so frequently.—Your collaborators will certainly find accuracy and authenticity of the original text in Karl Klindworth's Moscow edition of Chopin. I chose the "Etudes," because the first volume was dedicated to me, and the second too for the matter of that (at that time). I gladly dispense with a revision of both, and beg you particularly, dear Sirs, not to expose me to an unseemly rivalry. I will always maintain a most peaceful attitude towards my honored colleagues, and, wherever they please, allow their influence and opinion to have free play.

According to your letter, you repudiate the idea of "an instructive edition with other additions" of Chopin's works. Are then the directions for fingering also to be omitted?...All the more undisturbed will the leisure of the collaborators be.—

Last week I sent you the corrections of the "Triomphe funebre du Tasse," as well as the "Impromptu." Tomorrow "Heroide funebre" (for four hands) will follow, and very soon I am expecting the "Hunnenschlacht," which completes all the arrangements for four hands of the 12 "Symphonic Poems." A complete edition of them in 3 or 4 volumes (as you may judge best) will be a pleasure to me.

In spite of the much criticising, ignoring, and denunciation, which these things have had to suffer for 20 years, they are perhaps not yet quite done to death.

I beg you to add the Prefaces and Poems (French and German) to the edition for four hands, as well as to the scores, and also to the further editions for 2 pianos. The same with regard to the transcription for piano of the "Triomphe funebre" (Italian and German), because, as a matter of fact, a well-disposed programme composer uses such hints more than is generally supposed. Of course the dedication of the "Impromptu"—"a Madame la Baronne Olga de Meyendorff, nee Princesse Gortschakoff"—must not be left out.

With distinguished respect,

Your obedient

F. Liszt

Villa d'Este, September 26th, 1877

Till the end of October my address will be: 43, Via dei Greci, Roma (Italia). From the middle of November: Budapest (Hungary).



216. To Frau Ingeborg von Bronsart in Hanover

Dear Kind Friend,

I am much touched by your charming letter, and grieved at not being able to accept your friendly invitation. That would certainly be more agreeable than to attend to all sorts of duties; but, since three parts of these are self-imposed, I am all the more bent upon fulfilling them; and, in order to keep faith with myself, I am returning to Budapest before the middle of November, and shall remain there till April. Perhaps I am less useless there than elsewhere; it is an idea or an illusion of mine.

What excellent and beautiful things the two Hans are going to do at Hanover! [Hans von Bulow had been appointed Hofcapellmeister in Hanover, where Hans von Bronsart was Intendant of the theater.] It is a matter of lively joy to me, and next summer I hope that my ears will benefit by the new musical regime all in honor of Art, and the example of which will be of service and bear fruit far and wide.

Last week I forwarded from the author to your address a copy of Sgambati's Quintet, dedicated to Bulow; and also a Fugue (preceded by a grand Prelude and ending in a Chorale—the same which Guido d'Arezzo made use of to name the six notes of the gamut: "Ut queant taxis resonare fibris, etc.!"...One of the two Hans will tell you the rest of the hymn, which is always chanted on the 24th June, the feast of St. John the Baptist).

Once on a time you used to cultivate fugues with maestria: will that of Sgambati seem to you classical enough? I almost doubt it, since in these matters your strictness is extreme. In consequence of H.M. the Queen of the Netherlands being in mourning, the "auditions" at the chateau of Loo do not take place this year. I shall therefore go straight from here to Pest.

Please give my love to your children, and believe me to be for all time the heartily devoted friend of their papa and mamma.

F. Liszt

(Villa d'Este,) October 2lst, 1877



217. To Eduard von Liszt

Dearest Eduard,

.—. I am told that one or two newspapers announce that I am going to Paris. I have no thought of doing so, and am moreover very weary of travelling. What I should prefer would be to remain firmly fixed in one place, it matters not what, village or city, till my end, and to go on as quietly as possible with my work. As this is not permitted to me, I try at least to avoid unnecessary perambulations, do not go (in spite of various invitations) to Paris or London, and keep within that already far too extensive and troublesome triangle, Pest, Weimar, Rome!—So I shall again spend the next four months here, and then, at the beginning of April, pay you a week's visit.

Write and tell me where my dear cousin Marie is. [She had shortly before married Baron von Saar, an officer.] Is her husband established in Wiener-Neustadt, and in what capacity?

How are our Franz in Graz and his wife?

Heartiest greetings to the Frau Generalissimus-Procuratorin [Eduard v. L. had in December 1875 become General Procurator. Liszt called his wife in joke "Generalissima" or "Generalin."] from your heartily and faithfully affectionate

F. Liszt

Budapest (Fischplat 4), November 23rd, 1877

All friendly greetings to Bosendorfer.



218. To Jules de Zarembski

[A highly gifted pupil of Liszt, born in 1854 in Russian Poland, died in 1885 at Brussels, where he was Professor in the Conservatoire.]

Dear Friend,

Thinking that you would spend some weeks at Berlin, I sent the day before yesterday a letter for you to our friend Bosendorfer, begging him to have it punctually delivered to you. This letter enclosed another, which you will remit to Paris to Madame la Comtesse Taida Rczewazska. She promised me lately at Rome to take an interest in your success at Paris, and I assured her that your talent and intellectual gifts would not make her patronage irksome. Therefore be careful not to give me the lie, and to show yourself of an amiable disposition at Countess Rczewazska's.

I forgot to ask her where she lives in Paris; but you will find out without difficulty from some compatriot, or from other people of the world, which is society. Enclosed are a few lines of introduction to the illustrious, indefatigable and unageing publicist, Emile de Girardin. They say of him in joke that he has an idea every day. If he were to reach the age of Methuselah ideas would certainly never fail him.

At one time there used to be music in his salon; he understands it quite as well as the late M. Thiers or the Marechal MacMahon. However, if M. de Girardin invites you, play there, as I did when I was last in Paris (in the year '66).—

An excellent recipe against unjust criticisms (of the kind like that of M. X. which you quote to me) is to criticise oneself thoroughly before and after—and finally to remain perfectly calm and follow one's own road!

Cordially yours,

F. Liszt

Budapest, December 13th, 1877

An enthusiastic account of your success at Vienna was given me by Mme. Tony Raal, who yesterday evening played Tausig's "Zigeunerweisen" admirably at a concert of M. de Swert. [A Belgian violoncellist, recently deceased]



219. To Madame Jessie Laussot

Dear and most excellent Friend,

Your "intrigues" are noble, salutary, beneficent, and would win every advantage in the broad light of day. To take my part in them, at your command, is one of my most agreeable duties.

[Mme. Laussot was trying to obtain the nomination of Antonio Bazzini, the excellent violinist and composer (born 1818), as director of the Conservatoire at Milan, and begged Liszt to support this choice through the German ambassador Baron Keudell in Rome, which he did. Bazzini however did not at that time receive the office, which he at present holds.]

I sent my letter direct to Rome to Baron de Keudell yesterday..—. Bazzini deserves the post of director of the Conservatoire at Milan, which ought to be offered to him at the first onset.

Your most heartily devoted

F. Liszt

Budapest, January 29th, 1878

Our friend Mihalovich will give you news of Budapest. As elsewhere, I am absorbed here in the most difficult of tasks—to put up with myself. Happily I receive plenty of help; noble friendships and dear and beautiful memories light up the path which I still have to follow before I reach the grave.



220. To Madame Jessie Laussot

Dear and Excellent Friend,

Under present circumstances (indicated in your note of this evening) I doubt whether your just and noble efforts will attain their end. [Refers to the as yet unsuccessful candidature of Bazzini for the directorship of the Milan Conservatoire. See the preceding letter.]

Without pretending to Catonism, it is a good thing to attach oneself to good causes, whether favored by the gods or not.

"Victrix causa diis placuit."...So, if you are vanquished on the battle-field between the Cathedral and the Conservatoire of Milan, I shall remain on your side, in spite of my reasonable leaning towards Caesar, and the lawful inheritors of his idea,...not towards the others, please, because that would drag me too low and roll me in the mire.

From my heart your old servant and friend,

F. Liszt

Budapest, February 3rd, 1878



221. To the Music Publisher B. Bessel

Dear Sir,

You have been unusually parsimonious in only sending me a single copy of the Ballade of Count Tolstoy. ["The Blind Bard." Liszt wrote the melodramatic piano accompaniment to it (1874).] Allow me then to make use of this copy to indicate the version which I think should be put into the arrangement for piano (alone without declamation). I add, the necessary notes and alterations, for you to publish or not, as you think best, the version subjoined. I have no claim to the sale of my wares, and am only manufacturing them...for the honor of Castile!—Count Tolstoy understood this sentiment; he only has to make a bargain: that is why I have sung with Tolstoy his Ballade of the "Blind Bard," hoping too for "peace" at last "for all noble boyars." [Slavonic noblemen.] You sent me some other publications of your house: "six morceaux pour piano" by Liadoff; they are pleasantly refined; and the "Russian national songs edited by N. Rimsky-Korsakoff," for whom I feel high esteem and sympathy. To speak frankly, Russian national music could not be more felt or better understood than by Rimsky- Korsakoff. His notation of the "popular songs" is most intelligent and most musical; and the accompaniment and harmonies seem to me admirably adequate. If you publish the version for piano of "Tolstoy's Ballades" I beg you to send me the proofs beforehand.

A thousand affectionate compliments.

F. Liszt

Budapest, March 11th, 1878

Please send me in any case half a dozen copies of the "Ballade," already printed, to Weimar, where I remain from mid-April till the end of July.



222. To Walter Bache

Very honored and dear Friend,

I have always to be thanking you; it is from my heart, and will ever be so.

The programme of your fourteenth "Annual Concert" is again an act of courage; particularly in London, where my compositions meet with all manner of obstructions—almost more than elsewhere, from the Leipzig Gewandhaus down to many greater and smaller Gewandhausler.

It stands clearly written, a hundred times over, that I cannot compose; without indulging in unseemly protests against this, I quietly go on writing, and set all the greater store by the constancy of some of my friends, particularly Walter Bache, for the stout-* heartedness which till fourteen times fourteen he has for so many years displayed.

In the introduction to your fourteenth Programme F. Niecks [Friedrich Niecks, Professor of Music at the University of Edinburgh; the writer of the excellent work "F. Chopin as Man and Musician"], a propos of F. Liszt, said very truly:—

1. "Form is an abstract idea."

2. "A harmonic combination or progression may be against the rules of a system," etc.

3. "Programm-music is a 'legitimate genre of the art.'" [Portion in quotes (' ') written in English by Liszt]

Give Niecks my sincere thanks; also to Mr. Manns and courtoisement Miss Williams [The well-known vocalist Miss Anna Williams]. The "Funeral Pyre of Joan of Arc" will, I trust, have done away with her coolness.

With regard to the Tempi I am very yielding in my small pieces, and gladly allow well-disposed artists to decide this.

Sophie Menter-Popper was recently here and will probably (middle of May) play in Sir Benedict's model monster-concert, which for forty years has wielded the sceptre of London successes. Call on my honored friend Sophie Menter—a rarely natural and excellently schooled musical individuality. You will feel yourself quite at home with her, and I told her this beforehand. Yours affectionately,

F. Liszt

Budapest, March 19th, 1878

From the middle of April till the end of July I remain in Weimar; later, at the end of August, I go again to the Villa d'Este.



223. To Professor Dr. Ludwig Nohl

Honored and dear Friend,

Of the many pictures of the remarkable group of cypresses in the Villa d'Este your brother's [Max Nohl, painter] beautiful poetical drawing is my favorite. For the present of this and the inscription on it I thank you most heartily. I attempted (last October) to put down on music paper the conversation which I frequently hold with these same cypresses. ["Au Cypres de la Villa d'Este" [To the Cypress of the Villa d'Este). 2 numbers. Schott, Mainz.] Ah! how dry and unsatisfactory on the piano, and even in the orchestra,—Beethoven and Wagner excepted—sounds the woe and the sighing [Das Weh and Wehen] of almighty nature!—

Nevertheless I will most modestly show you this Cypress-Memento at the piano when we next see each other—I hope in Vienna, where I am staying during the first week of April with my dear cousin as usual. Afterwards I go to Bayreuth and Weimar.

Sincerely yours,

F. Liszt

Budapest, March 20th, 1878



224. To Professor Dr. Siegmund Lebert

Honored Friend,

Quite excellent so. Let us divide the revision of the Cotta edition of the 4-handed Schubert, and for your part look after all the Sonatas, "Lebenssturme," Scherzi, etc.—If you wish it, a few pedal marks. and fingerings shall willingly be added to the Variations Op. 10 and 82. Send me both works to Weimar, with the rest of Schubert's Waltzes for four hands, which show more creative power than many big compositions—old or new.

With the few Schubert pieces send me also the scopes of the Beethoven Concertos and their accompaniments, arranged for a second piano by Moscheles. My arrangement I will forward you at the beginning of August. Meanwhile I beg you to give the Freiherr von Cotta my most grateful thanks.

Very respectfully yours,

F. Liszt

Budapest, March 27th, 1878

From the middle of April till the end of July I remain in Weimar.



225. To Edmund von Mihalovich

Very dear Friend,

I most sincerely feel with you in your grief. "Non ignara mali"...for I too have wept at the grave of my mother.

A sad but well-written book, "Stello" ("Consultations of the black doctor"), depicts the sufferings and death of three young poets,—Millevoye, Andre Chenier, Chatterton,—gathered home before they had acquired glory here below.

In these moving pages of Alfred de Vigny he asks, "What is one to think of a world which one enters with the hope of seeing one's father and mother die?"...Prayer alone can answer this question. Let us then pray our heavenly Father that His Will may be done on earth as it is in heaven, and that the work of our life may be ever conformed to the Divine Will.

Ever yours,

F. Liszt

Bayreuth, April 13th, 1878



226. To Kornel von Abranyi

.—. What could I write to you about Wagner's "Parsifal?" The composition of the first act is finished: in it are revealed the most wondrous depths and the most celestial heights of Art.

Ever very sincerely yours,

F. Liszt

Bayreuth, April 14th, 1878



227. To Frau Ingeborg von Bronsart

Dear Kind Friend,

If you have not already done so, you will end by having a bad opinion of your old and very affectionate servant. My share of free locomotion is very limited. Having arrived at Weimar last Wednesday I could not pack off again immediately without inconvenience. I must therefore await a favorable week for my Hanover wish. In May "Rheingold" is to be given here, and St. Saens's "Dalila" again, which I wish to hear and see. Monseigneur the Grand Duke assured me yesterday that this work made a success at its first performances; and several people, who often hold a contrary opinion, agree in their praises of "Dalila."

From the 13th to the 15th June (Whit week) a Tonkunstler- Versammlung is announced at Erfurt. It will seem pale as compared with that of Hanover of last year; but I want to be present at it, considering my unvarying interest in the work undertaken by the late Brendel and bravely continued by Riedel and Gille. After having said A, and even B and C, I ought to go through the whole alphabet.

Formerly, in the first period of your success, I had the pleasure of applauding and admiring you at the old theater of Erfurt. Now there is a new and very handsome one, I am told, with more than 1100 seats; besides that a new concert room which I do not know, any more than I do the theater. I dare not invite you to favor them with your presence, but if you should come with Hans it would be charming.

The next time I see X. I shall come upon him to show himself an editor rather than a shopkeeper ("Kramer") in the little negotiation of which you speak.

A thousand sincere wishes for the finishing of "Hiarne" [The Opera composed by Frau von Bronsart, which was given for the first time in 1892 in Berlin with great success.] and my constant and very devoted homage to the persevering composer.

F. Liszt

Weimar, Saturday, April 20th, 1878



228. To Eduard von Liszt

Dearest and most honored Cousin,

The accompanying copy of the Budapest telegram will tell you that I must go to Paris probably at the end of May. I had indeed refused several private invitations to visit the Paris Exhibition; for years past both long and short journeys-unless there is some special reason for them—have been inconvenient, difficult and repugnant to me. It was on that account that I told you and others of my having given up the collective-wonder of Paris.

Now the telegram from Trefort and Szapary (President of the Hungarian Exhibition in Paris) alters my negative decision. Without ever talking twaddle about patriotism, yet in all modesty I will not be wanting where there is something to be done for Hungary.

[The telegram, dated 21st April, is as follows: "Abbe Franz Liszt, Weimar. Universal wish that you should represent Hungary in International Jury of Paris Universal Exhibition. Jury begins on 1st June, lasts about 2 to 3 weeks. Please accept confidential mission, and wire reply immediately to Presidential Bureau, Handelsministerium, Budapest. Minister Trefort. Count Julius Szapary."

To this Liszt replied: "Most ready for service, Liszt begs for full particulars of his duties."]

As soon as my duty in Paris as an Hungarian Member in the International Jury is fulfilled I shall return here. I have promised to be present at the Tonkunstler-Versammlung in Erfurt in the last week of June, and on the 8th July Weimar celebrates the jubilee of the 25th year of the accession of the Grand Duke.

.—. I shall be much pleased to make the acquaintance of Herr Adalbert Goldschmidt. I have several times hankered after the score or pianoforte score of his grand work "Die Todsunden" ["The Mortal Sins"], which, so I am told, has not yet appeared in print. Is the composer staying long in Hanover? Probably I shall go to see Bulow and Bronsart there immediately after the Erfurt Tonkunstler-Versammlung, at the end of June.

You remember that I categorically dissuaded Fraulein Remmert from giving an orchestral concert in Vienna. In spite of that she had it announced and advertised,...and in the end there only came of it a vexatious mancando, perdendosi!

Ah! the artist-world is full of troubles! Thy faithful and heartfelt-devoted

F. Liszt

Weimar, April 26th, 1878



229. To Hofconcertmeister Edmund Singer

Dear Honored Friend,

Your charming, gifted illustration of my little Quelle [spring] [Liszt's "Au bord d'une source" (Annees de Pelerinage), for three violins concertante (Schott, Mainz)] delights me anew. The three violins flow, splash, bubble and sing—and sound like rainbow colors.

With friendly thanks for this Artist-gift, I remain your ever respectfully obliged

F. Liszt

Weimar, May 10th, 1878



230. To Adolf von Henselt in St. Petersburg

[The "German Chopin," as Henselt has been called (1814-1889), lived in St. Petersburg from the year 1838, where, after Liszt's first visit there in 1842, they became warm friends. Henselt sent his "interpretation" of Liszt's Lucia-Fantasia to the latter "for correction." The above letter is in answer to that.]

My Honored Friend,

The original works of Adolf Henselt's are the noblest jewels of Art. One longs for more of them...

By-the-by, when Henselt gives a hope of arranging, "interpreting," "making an effect with" other compositions, he succeeds so admirably that the public,

the pianists, and the compositions in question are thereby enriched and favored. Even my little "Lucia"-transcription has gained much by throe "interpretation," dear friend. Hearty thanks for this reminiscence of our Petersburg intimacy.

The proof-copy I simply sent back to you, unaltered and nothing crossed out, as all the various readings are admirably suitable, and henceforth I leave it to your good pleasure to decide about the publishing. (In Russia Hofmeister's German copyright holds good, does it not? . . .)

Tomorrow I go to Paris, and will observe there your recommendation of the Russian instrument.

Many of your admirers frequently tell me about you; above all Zschocher and Topfer. You come backwards and forwards to Dresden and Leipzig; why not also to Weimar?...Answer this modest question in person here to throe old and most faithful

F. Liszt

Weimar, June 5th, 1878



231. To Eduard von Liszt

[Weimar, June 6th, 1878]

Dearest Eduard,

Adalbert Goldschmidt has brought you Weimar news. I consider his "Todsunden" a remarkable Art-work. If the composer maintains himself on these heights in his next Opera his name will become famous in spite of all the critics...

Nowadays, more than ever, the public thirst for Opera alone. Everything else in music is nonsense to them. There is a French saying—"There is some one who is wittier than Mr. de Voltaire; that is everybody"—and when all the world gets a fancy into its head one must certainly consider it either reasonable, or stupid,—but necessary—

With With regard to the delay of the Jury (Class 13, "Instruments de Musique") I go to Paris next Sunday, 8th June, remain there till the 19th, and return here on the 20th June on account of the Erfurt Musical Festival...

Thy faithful, loving

F. Liszt

To simplify our correspondence call me also "Dearest Franz."

My Grand Duke much wishes to have the photograph of your son-in- law's cousin, the poet Saar. Send me this speedily.



232. To Professor Carl Riedel

Dear Friend,

The further carrying out and arranging of the Erfurt programme I lease to your long-tried and complete mastery.

I once more recommend Borodin's Symphony; the quartet parts that are wanting can certainly be speedily written out next week (at my expense).

The study of the numerous works will offer no difficulties in Sondershausen; there they are accustomed to step boldly forward.

Friend Riedel conducts my 13th Psalm; Bulow undertakes the two Faust-episodes (in case these are not struck out, as I did advise you to do); and I retain the "Hungaria" and Bronsart's Concerto; but for several reasons I beg that my name may not be put on the programme as conductor.

I told Concertmeister Kompel [A pupil of Spohr's; died not long ago at Weimar] and L. Grutzmacher [Solo violoncellist] (the Weimarer) yesterday that Bulow wishes to play the Bronsart Trio with them. Both gentlemen are quite agreed about this.

If Frau Erdmannsdorfer would play some other brilliant piano piece (not of my composition), rather than the often-heard Hungarian Fantasie, I should prefer it, just because the programme already contains too many Liszt things, and I could not myself bear the false appearance of making use of the Tonkunstler-Versammlungen for bringing forward my compositions...

My real feeling on this matter has been known to you for years past.—

Early on Saturday, at half-past nine, I go direct from here to Paris—and on the 2lst June arrives in Erfurt

Yours ever with sincere esteem,

F. Liszt

Weimar, Thursday, June 7th, 1878

My Paris address (from the 10th to the 18th June) will be: Maison Erard, Rue du Mail, 13.

Do publish the programme in the next number of the Zeitschrift; two or three slight alterations will not matter in the least.



233. To Vera Timanoff

Dear illustrious One,

I don't know how you will manage to adapt the "Sonnambula" to your little hands; they will have to trot about on the roofs in the style of somnambulists.

A revoir, wide awake, the day after tomorrow,—and a thousand affectionate and devoted regards.

F. Liszt

Thursday [Summer, 1878]



234. To Eduard von Liszt

Dearest Eduard,

I have very little in the way of musical matter to tell you about my stay in Paris from the 9th to the 18th June. I scarcely found time to hear the two last acts of Gounod's "Faust" at the Grand Opera. I was prevented from attending concerts by invitations and visits elsewhere. But I was able to follow attentively the plain- song during High Mass at Notre Dame on Trinity Sunday, together with a very intelligent friend, R. P. Joseph Mohr (Societate Jesu), a competent judge and promoter of Church music.

Hanslick—who showed himself friendly to me in Paris—will report in the Neue Freie Presse concerning the 13th class (musical instruments, etc.), of which he is vice-president.

Madame Erard placed at my disposal a princely suite in her house, Rue du Mail, 13 (with which Spiridion [Liszt's valet] I was quite satisfied); a carriage also in addition. Thanks to this hospitality my expenses were very much diminished, and I only required 1500 francs..—.

My old friend Belloni has also proved himself most faithful this time in Paris, and saved me many expenses. It is wonderful how honest and disinterested he remains, with all his constant contact with the artist-world!—

Immediately on my return I went to Erfurt for the Tonkunstlcr- Versammlung (from the 22nd to the 25th July). The whole affair went off well. I send you in addition the whole programme. Bulow played in a marvellous and masterly manner.

Everything in Weimar is now in a state of commotion over the Ducal-Jubilee-Festivities, which begin the day after tomorrow. The King of the Netherlands, the King of Saxony, Prince Friedrich Carl of Prussia, several reigning German Dukes and foreign Princes are expected. Our Emperor and King is sending Prince Windischgratz with congratulations to the Grand Duke. Victor Scheffel (the author of "Ekkehard," the "Trompeter von Sackingen," the "Bergpsalmen," etc.) has written the Festival Play, which is to be performed in the theater here on the 9th July. My "Carl-Alexander" March, which was published 20 years ago (by Bote and Bock) in Berlin, is to serve as Prelude.

For 30 years past I have been incrustated into the Royal house of Weimar, and shall remain faithful to it.—

My dearest cousin Marie wrote me a loving, witty note with respect to the photograph of her cousin, Ferd. von Saar, which I wanted for my Grand Duke. I will write my thanks to Marie shortly. Send the accompanying lines to Franz in Gratz; I am congratulating him, in them, that you are now grandpapa.

Heartfelt greetings to the Generalissima.

Thy

F.L.

Weimar, July 6th, 1878



235. To Robert Franz

[A facsimile appeared in the "Musikalisches Wochenblatt." Liszt worked untiringly, like no other of his contemporaries in art, to make the great German Master of Song, Robert Franz (1815-1892), understood and appreciated (See "Robert Franz." Gesammelle Schriften, IV.); and, when increasing deafness prevented this artist from practical musical work, Liszt founded the fund in his honor.]

My Much-Honored Friend,

How beautiful, how deep, how fervently and truly finished are, once more, your "Six Songs" (Opus 48)!

Heartfelt thanks far so kindly sending them. You well know that for thirty years past your genius—a fixed star in German lyrics- -has been sincerely admired by your ever most faithful

F. Liszt

Weimar, July 12th, 1878



236. To Kornel von Abranyi

Dear and Honored Friend,

On arriving here yesterday evening I found your letter, together with the enclosure to Minister Trefort, which I return immediately to you, signed. Agghazy deserves to be helped, because his hands and his head are very musically endowed. [Agghazy (now teacher of pianoforte playing at Stern's Conservatorium in Berlin) received a stipendium from the Hungarian Government, through Liszt's intercession, in order to make a livelihood in Paris.] Juhasz and he will certainly do honor everywhere to the Budapest Academy of Music. Agghazy must have some letters of introduction for Paris. Advise him to ask for there from Minister Trefort, Ministerial-Counsel Hegedus Friedrich Harkany and Count Geza Zichy. Before his departure I will send him a few lines to Madame Erard, and to my loyal old friend Belloni, who is ever ready to do me a service.

I need scarcely ask, dear Abranyi, how you have passed your summer. The chief thing is to hold out steadfastly, and you show this in the noblest manner by your unwearied, meritorious endeavors after the high goal of Art. "Perseverons!"

I think of staying here till the beginning of January, and of returning then direct to Budapest. First of all I must finish a little extra work: as soon as the new setting of the text for the dramatic Oratorio "Der heilige Stanislaus," which Baron Dingelstedt has kindly promised me, comes to hand the composition shall proceed. I am often quite anxious about further writing of music, but I do not give it up, although I do not imagine at all that I can express that which floats before my mind. But my self- dissatisfaction finds ample consolation in the ever-fresh joy at the master-works of the Past and Present:—most of all in Wagner's majestic word-tone-creations. King Ludwig II. of Bavaria rightly addressed "to the Tone-poet Master Richard Wagner."—

Hearty greetings to your family, and ever yours

Sincerely and gratefully,

F. Liszt

September 13th, 1878 (Villa d'Este, Tivoli)

The loss of Augusz touches me most painfully. Since the first performance of the Gran Mass, more than twenty years ago, we have been one in heart. He it was also who especially decided me to carry out my wish to settle myself in Budapest.

After the opening of the new Academical Course write to me about it.



237. To Eduard von Liszt

Dearest Eduard,

I give my heartiest thanks to the highly-honored friendly Frau General for writing at your dictation.

We take the heartiest interest here in your recovery. It is to be hoped you are already on the best road to vigor.

My dearest cousin Marie has now happily made me a great-uncle. Enclosed are two words of thanks to Marie.

I am now waiting for the new setting of the poem of "Stanislaus" from Dingelstedt in order to take up my interrupted composition again—I want at least a year and something over to finish it.

Meanwhile I have not quite lost my time. In the last two months I have completed a "Via crucis" (the 14 Stations) and pretty full responses to the 7 Sacraments (for Chorus and Organ). I rejoice [to think] that I shall play them to you on the 2nd April, '79, at the Schottenhof.

Thy faithful

F. Liszt

Rome, November 4th, 1878



238. To Freiherr Hans von Wolzogen in Bayreuth

[The well-known writer on Wagner and publisher of the Bayreuther Blatter]

Highly-honored Baron,

The October number of your Bayreuther Blatter brought me the highest intellectual gift. [Wagner's Essay "The Public in Time and Space"] No temporal ruler can bestow one like it. The estimation of it lays me all the more under an obligation to that true humility with which I have long and most devoutly paid homage to our incomparable master, Richard Wagner.

Accept my sincere thanks for the friendly words in remembrance of the performance of the Dante Symphony in your house, and kindly recall to the good graces of the Frau Baronin von Wolzogen.

Yours most respectfully and devotedly,

F. Liszt

November 15th, 1878 (Villa d'Este, Tivoli)



239. To Eduard von Liszt

.—. I take a hearty interest in the improvement of your health. You are the younger, the more sensible and useful of us two; therefore you should outlive me many years in good health.

I have been dreadfully industrious with my music-writing since the middle of September. I sit and walk in it like one possessed!

The "Via crucis" (now finished) has brought me back to a long- cherished idea—namely, the composition of choruses to be made use of at Church festivals during the giving of the 7 holy sacraments; thus 7 pieces of music of about a hundred bars each. These have now been 8 days at the copyist's, and, according to my thinking, are not quite a failure. If you also think this it will heartily rejoice

Your most faithfully devoted

F. Liszt

November 2lst, 1878

[Tivoli]

This evening I shall be in Rome, and will have this letter and the signed enclosure attended to at the post.

Hearty greetings and thanks to the dear Frau Generalissima.



240. To Eduard von Liszt

Budapest, January 22nd, 1879

Dearest Eduard,

.—. On Sunday, the 12th January, His Holiness was so gracious as to give me, for the second time, a private audience. I will tell you shortly, by word of mouth, the friendly sentiments of the Pope towards me.

I spent last Wednesday evening in Gorz with Frau Baronin Augusz, and arrived again at Fischplatz, No. 4., early on Friday. The roof is already on the new Music Academy building, Radialstrasse, and is said to look very well. In November of this year I shall inhabit it.

My friends in Budapest, Abranyi, Mihalovich, Count Albert Apponyi, Count Geza Zichy and several others, are strongly and heartily attached to me. Archbishop Haynald only comes to Pest in the beginning of January. I was not caught in the other base spider's web. "Honesty is the best policy!"

Bosendorfer called on me yesterday and told me of the intention of the Vienna Friends of Music to perform the "Gran Mass" at the end of March. If Bosendorfer's intimations are correct I am not disinclined to conduct this performance, although for many years I have refused all such invitations—and only a little while ago to London, Aix-la-Chapelle, Berlin, etc. I should be rejoiced if at last the "Gran Mass" had a fair hearing in Vienna.

A hearty greeting to Frau Generalissima from thy faithfully devoted

F. Liszt

Looking forward to our speedy meeting at the end of March.

[It did not come to pass. Councillor E. von Liszt died on the 8th February, 1879. "It is for me a constant sorrow at the heart that Eduard is no longer with us," wrote Liszt to the widow a year after Eduard's death.]



241. To Ludwig Bosendorfer

Dear and honored Friend,

I take your friendly hint by enclosing these lines to Hellmesberger; please to give them to him. During many years, in Vienna, Weimar and Budapest, Hellmesberger has always shown himself kindly disposed towards me. In ingratitude there is, alas, only too much rivalry; the matter grows contemptible, and contemptible people like to find amusement in it. My nature absolutely forbids me such despicable behavior. Count Geza Zichy tells me, dear friend, that he expects you shortly. Perhaps you will come with Hellmesberger to our Kunstlerabend [Artists' Evening] here on the 7th March, when we shall be honored by the fine composer and splendid virtuoso, my excellent friend, Saint- Saens.

Count Zichy writes you the rest about the Klausenburg journey.

A hearty greeting to your wife.

Truly devoted,

F. Liszt

Budapest, February 19th, 1879

I have just received Zellner's letter. Give him my hearty thanks for it.

Sophie Menter went to Warsaw the day before yesterday, and gives a concert there tomorrow with her husband Popper,—and afterwards in St. Petersburg,



242. To Adolf von Henselt

Very dear Friend,

Hast thou still pleasure in beautiful, distinguished virtuoso piano-playing? If so then go and hear the eminent pianiste Frau Menter. She brings thee the hearty greeting of thy old friend

F. Liszt

Budapest, February, 1879



243. To Marie Lipsius

My dear Friend,

Hearty thanks for your dear lines of sympathy. The loss of my cousin and most intimate friend Eduard von Liszt is a deep grief to me. You wish for the dates of the Budapest and Vienna concerts; for this I was obliged to ask the help of my excellent friend Kornel Abranyi. He knows these and other things far better than I. For ten years he edited the Hungarian musical paper, and now officiates as General Secretary and Professor at the Royal Academy of Music in Budapest, the Director being Franz Erkel, and my humble self the President.

Here is the result of Abranyi's researches, by which it is evident that I have neither been idle nor used anything for my own benefit.

At the same time let it be mentioned to the praiseworthy and amiable authoress of "Musikalische Studienkopfe," La Mara, that since the end of '47 I have not earned a farthing by pianoforte playing, teaching or conducting. All this rather cost me time and money.

Since the year '47 I only played in public twice in Rome—'63 and '64—at the gracious command of Pope Pius IX.; often in Budapest later on, twice in Vienna, once in Pressburg and Oedenburg (my native town) as a child of the country. Nowhere else. May my poor pianoforte performing at last come to an end! It has long been a torment to me. Therefore—Amen!—

On the occasion of the celebration of their Majesties' silver wedding I shall have the honor, in accordance with the invitation of the Gesellschaft der Musikfreunde [Society of friends of music,] of conducting the "Gran Mass" in Vienna on the 8th April (the Tuesday before Good Friday). Performances of this Mass (after the first at Gran in '56) took place in Pest, Prague, Vienna, later in Leipzig and Amsterdam, in '66 in Paris, and again in Amsterdam, as also in '77 in Weimar and Dusseldorf, the latter under the conductorship of Ratzenberger. This Mass has also been heard in America.

In conclusion also the following memoranda for La Mara: Without a written engagement, yet indeed morally bound, since '71 I spend several months of every winter in Budapest, from April to July in Weimar, then the autumn months, and more, chiefly in the Villa d'Este near Rome, where His Eminence Cardinal Hohenlohe affords me the kindest reception. There I wrote the "Christmas-tree," the "Via Crucis," the "Responses to the Seven Sacraments," etc. These three works are quite ready, and indeed beautifully copied, as well as the "Cantico del Sole" of the marvellous St. Francis of Assisi. Their publication troubles me little, for they are not suitable to the usual musical customs and trade...

So why bargain with them?

I have only fragmentarily sketched the Oratorio "Stanislaus," but wish to finish it, which will take at least a year.

My "Technical Piano-Exercises"—improperly advertised in the papers as "Pianoforte-School"—still require a few months for revision and arrangement with fingering, etc., but could come out next year if I have no hindrances.

Accept, my dear friend, my sincere and grateful attachment.

F. Liszt

Budapest, March 2nd, 1879

The middle of April I shall be in Weimar again



244. To Otto Lessmann

My dear Friend,

The enclosed programme proves to you that in spite of all fatigue my invalided piano-playing still contributes in a small degree to the relief of the sufferers of Szegedin.

[According to the programme, Liszt played Schubert's "Funeral March"; "To the memory of Petofi," and "Cantique d'Amour" of his own composition, as well as, with Mihalovich, Schubert's Fantaisie (C major) for two pianofortes.]

To assist in other concerts than in this country would not become me, and I have already declined many invitations of that sort with excuses and thanks.

For the celebrations preceding the silver wedding of their Majesties I shall have the honor of conducting the "Gran Mass" in Vienna on the 8th April ("Society of the friends of music").

To our speedy meeting in Weimar, and ever yours in all friendship,

F. Liszt

Budapest, March 23rd, 1879



245. To Von Trefort, the Hungarian Minister of Instruction

[From a copy in the possession of K. v. Abranyi.]

Monsieur le Ministre,

I learn through M. Abranyi that Your Excellency continues to show your solicitude for the Royal Academy of Music at Budapest. The work of this institution is to serve Art in Hungary, and thus to help, in this connection, in making your patriotic, grand intentions fruitful. My colleagues at the Academy of Music are of one mind and devoted in their activity.

I permit myself to recommend once more particularly to your kindness M. Abranyi. He perseveres in his meritorious career as writer, theorist, composer, translator, professor, and Magyar character of the noblest stamp. The evidence of his merits will assuredly be recognised in many languages by a heap of laudatory phrases...after his death. A brilliant obituary is assured to Abranyi, but I hope that Your Excellency will accord him the modest satisfaction that he claims while he is alive.

I have the honor to be, Monsieur le Ministre, your very humble and very devoted servant,

F. Liszt

Weimar, May 12, 1879



246. To Walter Bache

Very honored, dear Friend,

Hearty thanks for your letter and for letting me see Manns's Commentary on the "Hunnenschlacht." Please give to Manns the accompanying short explanation of the idea of my "Symphonic Poem." In spite of my spending several hours in letter-writing almost every day, it is impossible for me to be regarded as a punctual correspondent. Intelligent and kindly-disposed persons will excuse me, and the many others I can scarcely entertain any longer, because I don't require any such entertainment! [Play upon the words "wirthschaften" (to manage) and "Wirthschaft" (housekeeping, or a public house]

Next Whit-week "Tonkunstler-Versammlung" in Wiesbaden. On the 5th June Bulow conducts the first concert there, at which Bronsart's beautiful and valuable "Fruhlings-Fantasie," Billow's music to Shakespeare's "Julius Caesar," and my "Faust Symphony" will be performed. Bulow kindly plays the piano the same evening, and has chosen Tschaikowsky's Concerto. Besides this his favorite pupil Schwarz produces several "Etudes transcendantes." [By Liszt] Till the middle of July I stay here. Then Bayreuth, and at the end of August Villa d'Este. To Frau Jessie Hillebrand and her husband [who were just then in London] give heartfelt and faithful devotion, with respectful thanks, from

Theirs in old friendship,

F. Liszt

Weimar, May 25th, 1879

[The explanation, accompanying this letter, of the idea of the "Hunnenschlacht" is as follows:]

Kaulbach's world-renowned picture presents two battles—the one on earth, the other in the air, according to the legend that warriors, after their death, continue fighting incessantly as spirits. In the middle of the picture appears the Cross and its mystic light; on this my "Symphonic Poem" is founded. The chorale "Crux fidelis," which is gradually developed, illustrates the idea of the final victory of Christianity in its effectual love to God and man.



247. To Ludmilla Schestakoff

Madame,

Your illustrious brother Glinka is one of the well-chosen admirations of my youth. His genius has been known to me ever since the year 1842; and at my last concert in St. Petersburg (in '43) I played the "Marche tscherkesse" from "Russlan and Ludmilla," and a brilliant transcription by Vollweiler of several themes from the same Opera.

Glinka remains the Patriarch-prophet of music in Russia.

With my sincere thanks to you for sending me the beautiful score of "Russlan," carefully edited and well arranged by Messrs. Rimsky-Korsakoff, Balakireff and Liadoff [The score was published in 1879.], I beg you to accept, Madame, the expression of very respectful homage of your very humble servant,

F. Liszt

Weimar, June 14th, 1879



248. To Alexander Borodin, Caesar Cui, Anatolie Liadoff and Nicolas Rimsky-Korsakoff in St. Petersburg

Very Honored Gentlemen,

You have done a work of serious value under the form of a jest. Your "Paraphrases" charm me: nothing can be more ingenious than these 24 Variations and the 16 little pieces upon the favorite and obligato subject

[Here, Liszt writes a 4-bar musical score excerpt of the main theme of the 24 Variations]

In short, here we have an admirable compendium of the science of harmony, of counterpoint, of rhythms, of figuration, and of what in German is called "The Theory of Form" (Formenlehre)! I shall gladly suggest to the teachers of composition at all the Conservatoires in Europe and America to adopt your "Paraphrases" as a practical guide in their teaching. From the very first page, the Variations II. and III. are true gems; and not less the other numbers continuously, up to the grotesque Fugue and the "Cortege" which crown the whole work gloriously. Thanks for this dainty feast, gentlemen, and I beg that when any one of you brings out a new composition he will let me know it. My most lively, my highest and most sympathising esteem has for many years been assured to you; pray accept also the expression of my sincere devotion.

F. Liszt

Weimar, June 15th, 1879



249. To Capellmeister Professor Jos. Bohm in Vienna

Honored Herr Vereinsleiter [Conductor of a Verein (Society)], I follow your edifying endeavors in the Cacilien-Verein with sincere interest. It seems singular that they should stumble on obstacles. What is in question? Innovations?...By no means. The noblest Conservatism remains the essence and aim of the Cacilien- Verein; it merely demands a serious study and proper performances of the most dignified classical authors in Church music, Palestrina and Lassus at the head. Nothing can reasonably be objected to this, and you may confidently maintain, dear sir, that "recognition must take place and the good cause prove victorious."

I beg you will put down my name as a subscriber to your "Vienna journal for Catholic Church music," [Professor Bohm was at that time the editor of it, and had invited subscriptions for a monument to the musical historian Ambros.] and have the numbers which have already appeared addressed to me in Weimar.

Be so good as to employ the enclosed hundred florins for the gravestone of my highly esteemed friend the late A. W. Ambros.

Yours with all esteem,

F. Lizst

Weimar, June 22nd, 1879



250. To Vera Timanoff

A hearty welcome to you, Illustrissima, and pray tell M. Sauret that I shall be delighted to make closer acquaintance with him. I greatly admired his superb talent in Vienna.—You know my rule never to bother anyone, and least of all artistes; but if M. Sauret should feel inclined to play something at the Hofgartnerei this morning, it would give me great pleasure.

In any case I invite him to come (at eleven) with you, and I shall request you to fulfil your promise of captivating us by your performance (not by dancing, but by your superior fingering) of Rubinstein's Ballet, "Feramors."

Yours affectionately,

F. Liszt

Sunday Morning [Summer, 1879]



251. To Adolf von Henselt

Very dear friend,

Our meeting once more is a cordial pleasure to me. According to your last letter, you purposed arriving on the 19th inst. Why delay? Still, arrange it entirely according to your own convenience. Only allow me to make one observation: on Wednesday evening, 23rd July, I am invited by somebody where a refusal would be wrong and stupid. But if you were favorably inclined, our extra three-handed whist might be quite well arranged at the house of this somebody.

[Henselt was in Weimar the 19th and 20th July. "We played together, not on the piano, but certainly half a dozen games of whist, of which I fortunately lost five at least," wrote Liszt to Fraulein von Schorn.]

Your version with the grace note [passing note?] B flat pleases me best.

[Figure: musical example, two bars]

[The two bars of music refer to C. M, v. Weber's "Episodic Thought," which Henselt had transcribed for piano and amplified; he published it in March, 1879, dedicating it to "his friend Franz Liszt." Henselt at first meditated calling it "Hymn of Love." But Liszt found the term rather too highflown for this favorite melody. "Episodic thought is more suitable," he wrote, and so that title remained.]

In expectation of seeing you, and in faithful and admiring friendship,

Weimar, July 12th, 1879

F. Liszt



252. To Dr. Siegmund Lebert

Dear friend,

I keep a long-standing promise today, by sending you the 3 last Concerti by Beethoven arranged for 2 pianos. This arrangement is distinctly different from all other existing arrangements of the same Concerti for 2 pianos. Till now it has been the habit of arrangers to content themselves with setting the Tutti (or better, the orchestral parts) for the 2nd piano only, leaving the 1st to rest entirely or to support the 2nd according to inclination. By this a grievous disproportion in the effect of the orchestra parts is induced, let alone the fact that some of the arrangements are exceedingly scanty.

In my opinion this sort of proceeding belongs to the past and is hackneyed. What good is there it the first player sitting there at all, if he does not know how to take part in the whole? Ergo, I had to occupy him almost constantly.

As a matter of course I have not altered a single note of Beethoven's original version (of the so-called Soli parts), and have only added a tolerable amount of indications for pedal and fingering, for the convenience of pupils and teachers.

2 identical copies (printed on 4 lines—excepting the Cadenzas) are necessary for the performance of this arrangement.

It may prove useful and effective, as well in studing at the "homely fireside" and in musical schools, as also in performances in small concerts (where there is no orchestra), in Conservatoires, at examination: and drawing-room performances.

The chief title stands on the first page; on the 2 following ones are remarks for the printer, which I leave to your masterly hand as a pedagogue, dear friend, to render more distinct and to complete. With special regard I remain always yours sincerely,

F. Liszt

Rome, September 25th, 1879

I have great pleasure in the perusal of the 2nd edition of Weitzmann's "History of Pianoforte Playing."



253. To Professor Bassani in Venice

[A well-known teacher of the pianoforte in Venice, and friend of Liszt's]

Much-esteemed Colleague,

You are so forcibly exceptional a person, and prove this by truly uncommon musical and poetical works.

Mademoiselle Giuli has already written to tell you the lively pleasure I have had in hearing her play one of your compositions remarkably well; several others, for piano or for the voice, deserve a similar success, and will obtain it as soon as they are known.

Pray accept, dear Monsieur Bassani, the very sincere esteem and sympathy which is offered to you, together with best wishes for the extension and widespread fame of your "Armonie dell' Anima," by

F. Liszt

(Villa d'Este) October 28th, 1879



254. To the Composer Anatolie Liadoff in St. Petersburg

Dear Sir,

All your compositions bear the stamp of distinction and of good taste. This one is charmed to find again in the "Arabesques" you are kind enough to send me. Pray accept my thanks and the expression of my very sincere and devoted esteem.

F. Liszt

(Villa d'Este,) December 25th, 1879.



255. To Frau Reisenauer-Pauly in Rome

[The mother of Liszt's pupil, Alfred Reisenauer]

Dear Madame,

My best thanks for your kind notice of the Roman concert of January 23rd. It seems to me that "populations necessiteuses" [distressed population] would have been better on the programme than "populations affamees" [starving population] of Silesia.

Mendelssohn's excellent Concerti always hold their ground without risk, especially since Berlioz's witty article (published nearly 30 years ago), according to which they are occasionally performed by the pianos alone, without further trouble on the part of the pianist.

While taking affectionate part in the success achieved by your son Alfred, whose talents are duly valued by me, I remain, dear Madame,

Yours truly,

F. Liszt

Budapest, January 30th, 1880.

My cordial greetings to Madame Helbig.



256. To Professor Klindworth in Moscow

Much-esteemed dear Friend,

My sincere thanks for your masterly arrangement of Chopin's Concerto. [The Concerto in F minor; score, orchestral parts and arrangement for 2 pianos published by Jurgenson (Moscow) and Bock (Berlin).] You showed me the first movement of it some years ago in Munich. I consider the modifications in the instrumentation and in the piano part successful. As much transparency as possible should be preserved in the melodious parts.

I conclude that you will impress on M. Jurgenson the necessity of not giving way to the ancient careless abuses of publishers in the 2-piano edition. Thus four lines and two identical copses are requisite for performance.

As leader and head of the now numerous Chopin-Editors, your excellent Jurgenson-Edition authorises you to advance a proudly modest "Sic vos non vobis."

Au revoir this summer in Hall, dear Klindworth. Give my kind regards to your wife.

Yours faithfully,

F. Liszt

Budapest, February 16th, 1880

The last corrected proofsheets of Tschaikowsky's Polonaise dedicated to you leave by today's post addressed to Jurgenson.



257. To the Kammervirtuoso Professor Hermann Scholtz in Dresden

[Pianist and composer (born 1845, pupil of Bulow and Rheinberger), is especially famous as an admirable player of Chopin.]

Much-esteemed Sir and Friend,

I have sincere pleasure in praising and recommending your Chopin- Edition. To Klindworth belongs the merit of having preceded you by his intelligent and practical work. Your publisher, Peters, might be advised in the next thousand copies he issues of the Chopin-Edition signed Hermann Scholtz:—

A. Not to fill up the first volume with Waltzes. Why make this paltry concession to the trifling requirements of the drawing- room? Chopin's Waltzes are certainly charming, elegant and full of invention...still his Polonaises and Mazurkas have a far higher importance.

Chopin is the bewitching musical genius in which the heroically chivalrous Polish nationality finds expression. This chief characteristic ought to be distinctly emphasised in classifying his works. So, first volume: Polonaises, Mazurkas and the Fantasia upon Polish motives.

B. The clear notation of the melodies (indicated by tails turned upwards!), as in the Klindworth-Edition, should be maintained.

C. In works having an orchestral accompaniment an arrangement of that accompaniment for a second piano ought to be printed under the Solo part of the first piano.

(The brains of most pianists become addled by the usual editions, where the essentially melodious and rhythmical character, nay often even the correct bass, is wanting.)

D. This is again addressed to Mr. Peters. He ought not to withhold from the audience your admirable version of the Recitative in the Adagio of the F minor Concerto for Piano Solo, and should add these few pages to your Chopin-Edition.

Yours faithfully,

F. Liszt

Weimar, April 29th, 1880



255. To Sophie Menter

Dear Friend,

The signature of the telegram front Rome announced to me your return to "Hungaria." I met friend Bosendorfer the day before yesterday in Frankfort: we began at once of course to talk about Sophie Menter and her new thickly-leaved Petersburg laurels. Similar plants will bloom for you everywhere according to the capacity of the soil, and will always shade your artistic peregrinations through Europe and America.

Give my kindest regards to Neuschul, from yours cordially,

F. Liszt

Weimar, May 26th, 1880



259. To Jules de Zarembski

Dear Friend,

You have made an excellent choice; and M. Gevaert also. The Brussels Conservatoire keeps in the first ranks: its very active and intelligent Director will take good care not to allow it to degenerate or to sink into idleness; on the contrary, he gives and will give it an entirely progressive impulse. You will have to see that your piano class does honor to the Conservatoire, to its head and to your own name. This will take some years to do; therefore, persevere.

Your three studies are most uncommon, remarkable and successful. The second, in F minor, might be signed Chopin. This exceedingly high praise does not imply that you have in any way been guilty of plagiarism, for in your works original power is manifest.

Perhaps there may be a slight falling-off towards the middle of the third Study; still this does not disturb the total good impression.

When we are chatting together again about music I will explain to you viva voce my antiquated ideas concerning the whys and wherefores of matters belonging to our profession.

I am sending Simon at Berlin at once the good copy of your three Studies. He has sent me the rather bad one of your Mazurkas for two performers. These I played over with the Baroness von Meyendorff yesterday evening. She begs me to tell you our very favorable opinion of these charming productions of your Polish muse.

I am telling Simon that publishers cannot do better than bring out works of value such as Zarembski writes.

Pray, dear friend, present the sincere regards to Mme. Zarembska of your cordially attached

F. Liszt

Weimar, June 1st, 1880

I am just sending off the copies of the Studies and Mazurkas to Simon.



260. To Professor Bassani

Dear Friend,

Your "Studio sinfonico" is fine poetry in music. It reminds me of Venice when I was twenty. The solemn, sad motive (5/4) corresponds to the lagoons and to the gloomy stroke of their waves round the Bridge of Sighs: the other subject soars on high accompanied by the gentle sound of the belfries, announcing, as it were, from a distance the joyfulness of divine hopes.

My cordial sympathy and friendship.

F. Liszt

Weimar, June 4th, 1880



261. To Marie Lipsius

Dear Friend,

Hearty thanks for your persistent kindness; "Carmen" has just arrived, and I now beg you to find out for and send to me another tale of Merimee's, called "Les ames du Purgatoire" [Souls in Purgatory]. It narrates the adventures of Don Juan de Marana, immortalised by Mozart and Lord Byron. Grabbe has also turned his poetical attention towards this mauvais sujet, and gives him as a companion to Faust, which might perplex His Excellency von Goethe.

I hope soon to see you either in Leipzig or Weimar.

Ever yours gratefully,

F. Liszt

Weimar, June 10th, 1880

Tomorrow I shall write to Hartel's that the edition of my "Gesammelte Schriften" could not do better than begin with your excellent version of the "Chopin."



262. To Kornel von Abranyi

Highly Esteemed Dear Friend,

My hearty thanks for the dedication copy of your charming "Nocturnes." "Near the chapel" and "Starry night" belong to my most select intimate Programme.

Aladar Juhasz needs but health to stand forth and hold his own as an excellent artist, virtuoso and composer. The matter of his stipend is now arranged—as we wished it. Juhasz will certainly also greatly distinguish himself at the Klausenburg Musical Festival. My lines of introduction to Trefort, the Minister, must no longer be presented to His Excellency as mustard after dinner. The less scribbling and gossiping the better. "Vitam impendere vero."—

I request that the two accompanying letters in Hungarian may be answered by the General Secretary of the Royal Hungarian National Academy of Music, Abranyi Kornel, in my name. Before I left Budapest we read together the polyphone tattoo by J. K., and I then requested you to make the composer understand that Meyerbeer's far-famed "Rataplan, Rataplan, plan, plan" (in the "Huguenots") is quite enough henceforth for the audience.

Do not delay any longer returning his score to J. Beg Herr P. A. to excuse me for not being a millionaire.

Till the end of July remains in Weimar Yours most faithfully and gratefully,

F. Liszt

Weimar, June 20th, 1880



263. To Freiherr Hans von Wolzogen

Highly esteemed Freiherr and Friend,

.—. Wagner has shown and taught us triumphantly "what style is." You explain the mighty matter admirably in your last writing, dear Sir. That a "School for the culture of style in Bayreuth" should be established, is wished by no one more seriously than by

Yours most sincerely,

F. Liszt

Weimar, July 28th 1880



149. To Friedrich Hofmeister, Music Publisher in Leipzig

Weimar, August 17th, 1880

Dear Sir,

For the last twenty years or more Kirchner has known how sincerely I esteem his compositions. I rejoice to see that he continues adding to their number with freshness and vigor, and am much obliged to you for sending me his "Toys," "Caprices," "Leaves," etc., which you have brought out.

Yours truly,

F. Liszt



265. To Baroness Helen Augusz, Sister of Mercy in Graz

[Daughter of Liszt's late friend, Baron Anton Augusz, of Szegzard in Hungary]

Most revered Sister of St. Vincent de Paule,

Pray always dispose of my feeble services. I am writing to the Baroness de Roner according to your instructions, and request that you will send her the enclosed lines.

M. Tirindelli's [Professor at the "Liceo Marcello" in Venice; violinist and composer.] abilities deserve attention, consideration and encouragement. This you have well understood, and it will be a pleasure to me to second you.

How can I be of use to him?

By recommending him to some publisher in Germany?

Does he intend to travel and give concerts? Your protege, M. Tirindelli, may count upon my sincere readiness to oblige him: the only thing I ask is, that he should write me distinctly in what way I can be of service to him. Yesterday I took the liberty of noting several alterations in his melody "All' Ideale," his Mazurka, and in the Adagio of the Trio which pleases you by its fine feeling.

By the way, this Adagio has been so badly copied that another less faulty one will have to be made before sending it to print. By this same post you will receive the three works with my alterations.

Having arrived here last Saturday, I shall remain at the Villa d'Este till New Year. In the middle of January will return to Budapest

Your very respectful and devoted servant,

F. Liszt

Rome, September 1st, 1880

The most convenient address for me during the next months is: Albergo a Via Alibert, Roma.



266. To Madame A. Rubinstein

Allow me, dear Madame Rubinstein, to dedicate to you my transcription of your husband's charming and very famous Lied. To the very conservative burden "Ach! wenn es doch immer so bliebe" [Ah! could it remain so for ever!] I add that what will certainly always remain as now is, your most respectfully and affectionately obedient servant,

F. Liszt

(Villa d'Este,) October 24th, 1880



267. To Frau Amalie von Fabry in Budapest

Dear Madame,

I do not know whether I talk too much; but I certainly write too little to those who remain constantly in possession of my sincere gratitude. I crave your kindly indulgence therefore for my involuntary shortcomings.

Through your nephew Imre [Baron Augusz, son of Anton Augusz. He died at an early age.] I hear that his mother, Baroness von Augusz, has been so good as to look at my new dwelling in the Academy of Music, and that the arrangement of it, as yet unknown to me, meets her approval. The solicitude you have shown, Madame, in this matter—as well as in other similar ones in the Palatingasse and Fischmarkt during the last 8 years—I beg to acknowledge with warmest thanks. It never enters my head to make exaggerated pretensions with regard to my residential requirements. Decency without display continues to be the right thing for me. I only have one wish at all times: never to be a trouble to my friends anywhere.

It will be agreeable to me if Fanny feels disposed to undertake my modest household service again this winter. She adapts herself well to it with her pretty smiling face.

Pray accept, dear Frau von Fabry, the renewed expression of my old devoted affection.

F. Liszt.

Villa d'Este, Tivoli, November 1st, 1880

On the 15th January I shall again arrive at Budapest.



268. To Frau Anna Benfey-Schuppe

[Autograph belonging to Herr Fritz Donebauer at Prague.—The addressee is an authoress residing at Weimar.]

Dear Madam,

A thousand apologies. I ought long ere this to have written you and my esteemed friend, Dr. Benfey, a letter of thanks, and to have sent your sheetful of questions back answered. [The answers follow in the letter.] Pray excuse this delay.—

I frankly confess that the title of the pamphlet, "Beethoven and Liszt," [Alludes to a pamphlet contemplated by the late husband of the lady addressed.] at first frightened me. It called to my mind a reminiscence of my childhood. Nearly fifty years ago, at the Jardin des Plantes in Paris, I used often to notice a harmless poodle keeping company in the same cage with a majestic lion, who seemed to be kindly disposed towards the little chamberlain. I have exactly the same feeling towards Beethoven as the poodle towards that forest-king.

With sincere thanks and regards,

Yours, F. Liszt

November 11th, 1880 (Villa d'Este, Tivoli)

At the end of September, Breitkopf and Hartel sent my own duet arrangements of my twelve "Poemes Symphoniques" at my request to Gottschalg (Weimar). This copy is intended for Dr. Benfey. Gottschalg will likewise willingly place the scores of the "Dante" and "Faust" Symphonies, as well as the arrangement for two pianos of both these works, at your disposal.

The names of the greatest performers figure in the Court concerts, such as, Joachim, Ernst, Vieuxtemps, Bulow, Rubinstein, Bronsart, Tausig, Madame Viardot-Garcia, etc., etc. A few of these concerts were conducted by Berlioz, and their programmes in every case contained nova et vetera (as prescribed in the gospel).