already invited Herbeck. Bulow is giving some concerts this month and next in Berlin, Dresden, Prague, etc. Hence he cannot begin rehearsing the Elizabeth till later. Of the Munich performance you shall hear details when the time comes.
With regard to your communication to the Princess, I assure you again that as soon as and as often as it is possible for me to do you a service, as certainly shall it be done.
Kindest greetings to your wife from
Your truly devoted
F. Liszt
[Rome,] November 1st, 1865.
45. To Dr. Franz Brendel
Dear friend,
My answer to you has been delayed in order that I might at the same time tell you of a variety of things.
A) At the beginning of March I intend going to Paris. The Gran Mass is to be given on March 15th in the Church of St. Eustache at the anniversary “de l’oeuvre des ecoles” to which the Maire of the 2nd Arrondissement, M. Dufour, sent me an official invitation the other day.
B) The report spread in various newspapers about the Hungarian Coronation-Mass which I am to compose, is for the present only officiously correct. Probably it may become true shortly. [This did occur, as is well known.]
C) At the opening of the Dante Gallery here at the end of the month my “Dante Symphony” is to be performed. I enclose the article from the Osservatore Romano in which this extraordinary event is discussed in detail–also another number of the same paper containing a short notice on the “Stabat mater speciosa” (a very simple chorus from my “Christus Oratorio”), that was sung last Thursday in the Franciscan Church Ara Coeli (on the Capitol).
D) I am quite determined to attend the Tonkunstler-Versammlung in Coburg, and expect to hear from you shortly more about it. It is to be hoped that Bulow will conduct. If there should be any thought of giving the “Elizabeth,” Bulow will be indispensable.–
As regards the Elizabeth, pray make my best excuses to Kahnt. I did not reply to his friendly request, because I have made up my mind not to have this work published meanwhile, and hold fast to this negative determination. Do not let Kahnt take this ill of me, and let him be assured of my sincere willingness to meet his wishes in all other matters.
.–. I am in want of a great many things, but most of all in want of more time!
With friendliest greetings, sincerely and devotedly yours,
F. Liszt
The Vatican, January 14th, 1866
46. To Dr. Franz Brendel
Dear Friend,
So there is to be no Tonkunstler-Versammlung this year; in place of it war-cries, and symphonies of bayonets and cannon! Here, probably, we shall remain in peaceful quietude under the protection of France.–As regards my humble self, I mean to try, during the second half of this 66th year, to overtake what I was compelled to neglect during the first half of it. My “Christus Oratorio” shall be finished by Christmas.–Prince Hohenlohe, with whom I have been residing since April 1865, has been made Cardinal and shortly leaves the Vatican. Last Sunday I returned to my old quarters at Monte Mario, Madonna del Rosaraio, where I am as comfortable as possible. Next year I think of going to Germany, first to Munich. As you know, the King of Bavaria has conferred upon me the title of Knight of the Grand Cross of the Order of St. Michael. And the Emperor Maximilian that of the Guadeloup order.–
My stay in Paris will not prove unfruitful. People may say of it what they like.–I must mention to you the name of Camille Saint- Saens in Paris, as specially deserving of notice in the Neue Zeitschrft as a distinguished artist, virtuoso and composer. Last year he was in Leipzig, so he told me, and played his Concerto at the Gewandhaus there. But people could not make anything out of him, and in dignified ignorance allowed him to pass. Langhans [A Berlin musical composer and critic who died in 1892.] sees him frequently and could give you fuller information about him for the Zeitschrift.
Give Kahnt my grateful thanks for carefully carrying out the orders from Paris. I mean to wait another year before publishing the “Elizabeth.” I also want several illustrations for it, for, as the work is dedicated to the King of Bavaria, I wish it to present the choicest and noblest appearance.
If Kahnt should be disposed to take it next year, I shall be glad to come to some arrangement with him about it. Still I am determined not to have the “Elizabeth” published till then; to several publishers who have offered to undertake the publication I have already replied,–may every kind of printing long be held at a distance from this score.–
Allow me to recommend to your friendly interest a few other things I have at heart.
Ask Kahnt, in my name, not to be sparing in supplying Bulow with copies of the Liszt-compositions he has published. I should more especially like my Quartets for male voices circulated, and a few complimentary copies from Kahnt would be useful in this respect. No fear need be entertained of Bulow’s making indiscreet demands, and one may confidently grant him all he wishes.
.–. Hartel will shortly be sending me some music. Please enclose the last numbers of the Neue Zeitschrft in the parcel in order that my ignorance on matters musical may be relieved.
In sincere attachment I remain in unalterable friendship,
Yours,
F. Liszt
Rome, June 19th, 1866
The score of the Gran Mass presumably reached Riedel safely (6 weeks ago). The vocal parts I have meanwhile left with Giacomelli. Later an edition of the choral and orchestral parts will become a necessity.
47. To Dr. Franz Brendel
Dear Friend,
Your last letter but one, the registered one, has reached me safely. As it contained more in the way of answers than was wanted I hesitated to write to you. As already said, I have made up my mind to wait another year before publishing the “Elizabeth.” In the first place it is necessary that I should correct the frequent errors in the copy of the score–a piece of work that will take a couple of weeks.–Then, before its appearance, I should like an opportunity of quietly hearing the work once in Germany, and this perhaps might occur next year. Meanwhile give Kahnt my best thanks for his ready consent, of which, however, I cannot make use till later, provided that an honorarium of a couple of thousand francs (which has been offered me elsewhere) does not frighten him. .–. So far as one can plan a journey nowadays, I intend to be in Germany again for a few weeks during the summer of 1867.–Tomorrow I shall write to Dr. Hartel and tell him that you have kindly expressed yourself ready to discuss with him the small matter about the Draseke brochure. It would please me greatly to hear that some amicable arrangement had been made.
With regard to the publications of the Allgemeine Deutsche Musikverein, I would vote for the Overture by Seifriz. Likewise for the continuation of the Chamber music performances in Leipzig–and, of course, for the compensation from the Society’s purse due to you.
Stade’s article on the “Faust Symphony” I have not yet received. My last number of the Zeitschrift is that of July 6th. I am glad that Stade does not disapprove of these Faust-things.– Schondorf’s Polonaise, Impromptu, etc., which Kahnt has sent me, I have read through with pleasure and interest. With the next sending to Rome please enclose the “Petrus” Oratorio by Meinardus (the pianoforte score). In case the pianoforte score has not appeared, then let me have the full score. And together with the “Petrus” Oratorio please also send me the fragment of the “Christus” Oratorio by Mendelssohn (published by Hartel).
My “Christus” Oratorio has, at last, since yesterday got so far finished that I have now only got the revising, the copying and the pianoforte score to do. Altogether it contains 12 musical numbers (of which the “Seligkeiten” and the “Pater Noster” have been published by Kahnt), and takes about three hours to perform. I have composed the work throughout to the Latin text from the Scriptures and the Liturgy. After a time I shall ask Riedel for his assistance and advice with regard to the German wording.
Please give Alex Ritter my cordial thanks for his Amsterdam report.
I cannot, at present, promise you any literary contributions for the proposed Annual of the D. M. If the instrumental Introduction to the “Elizabeth” (for piano-forte) would suit you I would gladly place it at your disposal, reserving the copyright for the subsequent publisher of the score, that is, his right to publish the same Introduction again.
As far as I can foresee I shall remain here the whole winter. My address is simply: To Commandeur Abbe Liszt–Rome.
Fuller performances of the Beethoven Symphonies and of the Dante Symphony are to be given next Advent in the Dante Gallery. Sgambati is to conduct them, and I have promised to attend the rehearsals.
Heugel of Paris (Director of the Menestrel) is shortly to publish a new edition of my Franciscus-legends.
With friendliest greetings, your attached
F. Liszt
October 2nd, 1866
48. To Breitkopf and Hartel
Much Esteemed Herr Doctor,
It is very mortifying to me to have to confess that I have most awkwardly come to a standstill with the transcription of the Beethoven Quartets. After several attempts the result was either absolutely unplayable–or insipid stuff. Nevertheless I shall not give up my project, and shall make another trial to solve this problem of pianoforte arrangement. If I succeed I will at once inform you of my “Heureka.” [Discovery (from a Greek word).- TRANS.] Meanwhile I am occupied exclusively with the “Christus Oratorio,” which has, at last, advanced so far that all I have now to do is to put the marks of expression in the score and the pianoforte score.
Pray kindly excuse me if a small piece of vanity leads me to address you with a wish. My “Symphonic Poems” have, as you know, had a regular deluge of halberds hurled at them by the critics. After all these murderous and deadly blows that have been aimed at them, it would be very gratifying to me if the analyses of these “Symphonic Poems” in which, a few years ago, Felix Draseke discussed them severally in the Anregungen [Notices] could now be published by you all together in the form of a brochure, for they are written with a thorough knowledge of the subject, yet in a kindly spirit.
On this account I begged Dr. Brendel to discuss the matter with you, and now take the liberty of addressing you personally on the subject of my wish.
With much esteem, yours sincerely,
F. Liszt
Rome, October 4th, 1866
Will you kindly send Cantor Gottschalg in Tieffurt a good copy of my pianoforte scores of the nine Beethoven Symphonies? 49. To Dr. Franz Brendel
Dear Friend,
My heartfelt sympathy in the grievous loss which you have sustained. [On November 15th, 1866, Dr. Brendel lost his wife, Elizabeth nee Trautmann (born in St. Petersburg 1814). She was a pianist and a pupil of Field and Berger. Dr. Brendel survived her only two years.] It is an immeasurable sorrow on which one can only be silent!–
Let us pass over to the business part of your letter. Our Grand Duke informs me that there is to be a Wartburg Festival this summer (a Jubilee in celebration of the 800th year of the Wartburg’s existence). And for this fete he wishes a performance of the “Elizabeth-Legend” under my personal direction. I have agreed to this, for, as the occasion is an exceptional one, I too am enabled to make an exception to meet his commands. Now as the Duke is Patron of the Tonkunstler-Verein, it seems to me appropriate that this year’s T. K. Versammlung should be brought into some connection with the Wartburg Jubilee. Think the matter over and discuss it with Gille. The date of the Wartb. Festival has not been announced to me, and will probably not be settled till later. As for myself I could not promise to remain more than one month in Germany. Hence it would be agreeable to me personally if the T. K. Versammlung were not kept apart from the Wartburg Jubilee, and were arranged for about the same date; I could then attend both. In case Bulow cannot undertake to act as conductor, those to be mentioned as substitutes would be, no doubt, Seifriz, Riedel, Damrosch, Lassen.– Seifriz’s hesitation with regard to the publication of his Overture I consider to be scrupulous beyond measure, and am of the opinion that he should not hold to it any longer. Gille’s circular (of December 9th) I, of course, agree with, only the compensation of 50 thalers [about 71 British pounds sterling, 0s., 0d.] is somewhat too modest. I should like to see an 0 added to the 50.–
The full score and pianoforte score of the “Elizabeth” contain a mass of errors. The revising will take me a couple of weeks. At the beginning of February I will send you the manuscript for Kahnt’s disposal, that is, if he is willing to comply with my conditions about the publication (which I will write out carefully for you). You know that I should have preferred to postpone the publication of the “Elizabeth” for some time longer- -still I understand Kahnt’s difference of opinion, and desire to prove myself willing, provided that you approve of my willingness.
.–. Kindly, when you have an opportunity, remind Hartel about sending the dedication-copy of my pianoforte scores of the Beethoven Symphonies to Bulow. The copy ought to be properly bound (in three volumes–3 Symphonies in every volume), and addressed to Bulow, Johanniss-Vorstadt 31, Basel.
With sincere thanks and hearty good wishes for the year 1867, I remain in unchanging friendship, yours,
F. Liszt
Rome, January 6th, 1867
The Neue Zeitschrift has not come for more than six months.
50. To Doctor Cuturi, Pisa
[From a rough copy of Liszt’s in possession of Herr Alexander Ritter in Munich]
Sir,
I am told that you would be good enough to take into consideration my recommendation of Mr. Alexander Ritter. I hasten therefore to assure you of the sincere esteem in which I hold his remarkable talent as a violinist and his capability as an orchestral conductor. His very extensive musical knowledge, his frequent and close connection with virtuosi and celebrated composers, and his practical experience of the best-known works and orchestras qualify him in a high degree for the post that would be offered to him at Pisa. The best judges discern in Mr. Ritter not merely a brilliant virtuoso, able to obtain everywhere applause and approbation, but also–which is more rare–a consummate musician, endowed with the most noble feeling for Art, and possessing the most perfect understanding of the works of the great masters.
Besides this, sir, I am sure that you will find much pleasure in your personal relations with him. All who know him bear testimony to his honorable character as well as to his gentlemanly manners; and I will merely add that amongst all my German friends there are few of whom I preserve so affectionate a remembrance.
Pray accept, Monsieur le Docteur, the expression of my esteem and distinguished consideration.
F. Liszt
Rome, January 22nd, 1867
51. To Julius von Beliczay in Vienna
[Hungarian composer, living in Budapest since 1871]
Dear Sir,
Accept my sincere thanks for your very friendly letter and for the dedication of the Beethoven Cadenza. It sounds well and is pleasant to play. Of course somewhat more might have been made of the thing, and a different key taken at the outset than C minor. But it is easier for me to play the critic than to do things myself, and so today I will merely thank you and assure you of my interest in your efforts and your success.
Very truly yours,
F. Liszt
Rome, April 29th, 1867
52. To Madame Jessie Laussot
Dear Madame,
I cannot tell you how your generosity of mind and heart touches me. The favorable reception you have obtained at Florence for the “Beatitudes” and the “Pater noster” is a link the more in the chain of my musical obligations to you, dear and valliant Maestra. Will you kindly convey my best thanks to your co- operators. .–.
As a slight musical indication observe that in the “Pater noster” I simply modulate and develop somewhat,–in the somewhat confined limits of a sentiment of trusting and pious submission,–the Gregorian intonation as sung in all our churches–
[Figure: Musical score excerpt setting the words “Pater noster qui es in coelis”]
following the traditional intonations for each verse. This framework was naturally adapted to the arranging of my Oratorio– “Christ”,–in which I employed two or three other intonations of the plain-song, without considering myself guilty of a theft by such a use.
You know that the rehearsals of the “Christ” have begun. With the help of our dear and admirable Sgambati it will be able to be given here at the end of June. I shall invite you to come and hear it, and shall send you shortly the programme of the whole work, which is going to be published previously.
But since you interest yourself with so rare a zeal in my poor works and in making them known, I am tempted to propose to you the 23rd and 137th Psalms for your Florence programmes. The latter has been sung here this winter with some success. It is not very troublesome to study; provided that the singer understands what she has to say the rest goes of itself. The accompaniment is limited to four instruments,–Harp, Violin, Harmonium and Piano; and, as in the Magnificat of the Dante Symphony, the chorus is written for Soprano and Alto voices (without Tenors or Basses). The text is excessively simple, and is reduced to the one word, Jerusalem!
Perhaps you may also meet with a kind soul who is willing to translate into Italian the Chorus of Reapers (“Schnitterchor”) from the Prometheus, which could be performed quite simply with piano accompaniment.
I will permit myself to send you the two Psalms next week by Mrs. Pearsoll (of New York), to whom I have sung your praises, a matter in which I yield to no one. Happily the opportunity for practising this recurs often: Mme. d’Usedom (whom I met the other evening at Bn. Arnim’s) will speak to you of it. .–.
As soon as I receive positive tidings about the coronation at Pest you shall know. I shall certainly not stir from Rome this time without coming to spend some hours with you at Florence.
Continue your friendship to me, and believe in mine, very cordial and grateful.
F. Liszt
Rome, May 24th, 1867
The success of Bronsart’s Trio delights me. You will give him great pleasure if you will write him a couple of lines, which you must address simply “H. v. B. Intendant des Hoftheaters. Hannover.” Tell him about Sgambati and his Trio at Rome and Florence. I, on my side, will write to Bronsart as soon as my summer plans are fixed.
53. To Eduard Liszt
Very dear Eduard,
You know that the Coronation Mass has met with the most kind reception. [At its performance at Ofen (Budapest)] None of my works up to the present time had been so favorably accepted. I have begged Franz Doppler in particular to let you know about it, knowing that you would like to hear me praised, even with some exaggeration, by a friend as competent as he is affectionate. Since the performance of the “Gran Mass” Doppler has always shown the kindest feelings towards me. Tell him that I am very sincerely grateful to him. I am anxious to thank Schelle [Musical critic of the Vienna Presse, since dead] for his excellent article in the Presse, and send you herewith a few lines which you will be good enough to give him…
The rehearsals of my Oratorio “Le Christ” are progressing. It will probably be performed in the early part of July, and I will have the programme sent to you.
Towards the end of July I shall go to Weimar. The “Wartburg Festival” is fixed for the 28th August. On that day the Elisabeth will be heard in the hall of the Minnesingers. A fortnight before that the concerts of the Tonkunstler-Versammlung will take place at Meiningen. Possibly you may be able to come and look me up in the course of this same month of August.
Yours ever from heart and soul,
F. Liszt
Rome, June 20th, 1867
54. To William Mason in New York
Dear Mr. Mason,
Your kind letter gives me a very cordial pleasure, and I beg you to be assured of the continuance of my very affectionate feelings. I frequently hear your success in America spoken of. You deserve it, and I rejoice to know that your talent is justly appreciated and applauded. Your compositions have not yet reached me, but I am fully disposed to give them a good reception. In about a fortnight I shall start for Weimar. The Tonkunstler- Versammlung is to take place at Meiningen this year from the 22nd to the 25th August. I shall be present at it, as also at the Jubilee Festival at the Wartburg, at which my Oratorio “Saint Elizabeth” will be performed on the 28th August. Perhaps I shall meet there Mr. Theodore Thomas and Mr. S.B. Mills, of whom you speak. I have heard the highest praises of the capability of Mr. Thomas, whom I have to thank particularly for the interest he takes in my Symphonic Poems. Artists who are willing to take the trouble to understand and to interpret my works cut themselves off from the generality of their fraternity. I, more than any one, have to thank them for this, therefore I shall not fail to show my thanks to Messrs. Thomas and Mills when I have the pleasure of making their acquaintance.
The news which reaches me from time to time about musical matters in America is generally favorable to the cause of the progress of contemporaneous Art which I hold it an honor to serve and to sustain. It seems that, among you, the cavillings and blunders and stupidities of a criticism adulterated by ignorance, envy and venality exercise less influence than in the old continent. I congratulate you on this, and give you my best wishes that you may happily pursue this noble careerof an artist,–with work, perseverance, resignation, modesty, and the imperturbable faith in the Ideal, such as was indicated to you at Weimar, dear Mr. Mason, by your very sincerely affectionate and attached
F. Liszt
Rome, July 8th, 1867
55. To E. Repos, director of the “Revue de Musique sacree” in Paris
[Autograph of all the letters to Repos in the possession of Herr Dr. Oscar von Hase in Leipzig.]
Dear sir,
I am very much obliged to you for the kind feelings you express to me, and beg to assure you of my desire to correspond to them. By your activity and the character of your publications our interests are naturally similar; I will take care to make them as agreeable as possible to you.
The day after tomorrow I will send you four or five small pages which, if I mistake not, will suit you,–and which may be propagated. It is a simple and easy version for Organ of the hymn “Tu es Petrus,” lately performed here on the eighteen-hundredth anniversary of St. Peter. I hope you will find an organist in Paris who is willing to appropriate this piece and by his talent to make it worth hearing.
As I am anxious that your edition should be perfectly correct I beg that you will send me the proofs. Address them to me, from the loth to the 30th August, at Weimar, Grand Duke of Saxe- Weimar, Germany. The performance of my Oratorio “Saint Elizabeth,” at the jubilee Festival of the Wartburg on the 28th August, calls me into those parts of Thuringia which “Saint Elizabeth” has illustrated.
I shall start from here in about a week. Will you therefore defer what you are so kindly intending to send me until my return to Rome (end of October)? Accept, dear sir, my best thanks, together with the assurance of my very distinguished and devoted sentiments.
F. Liszt
Rome, July 12th, 1867
Here, as in Germany, my name is enough without any more detailed address.
56. To Prince Constantine Czartoryski
[From a rough copy in Liszt’s own handwriting enclosed in the following letter. The addressee, President of the Society of the Friends of Music, died in 1891 in Vienna, where he was Vice- President of the Herrenhaus.]
My Prince,
The two letters which you have done me the honor to address to me at Rome and Munich have reached me at the same time. I cannot but feel myself highly flattered at your kind proposition with regard to the performance of my Oratorio “Saint Elizabeth” at one of the concerts of the musical society over which you preside. The great renown of these concerts, the rare capability of their conductor Mr. Herbeck, the talent of the artists who take part in them, and the care that is taken to maintain the traditions of the musical glory of Vienna, make it very desirable for every serious composer to take a place in their programme. Thus I am most sincerely grateful to you, my Prince, for procuring me this honor, which however, much to my regret, I should not be able to accept without some delay.
It would be wearisome to enter into many details; one fact alone will suffice: the score of the “Elizabeth” is to be sent back to be engraved, and I promised the editor not to let it go anywhere else before its publication. Besides this the voice and orchestral parts which were used at the Wartburg are no longer available.
Kindly pardon me therefore that I cannot in this matter satisfy your favorable intentions as I should like. “What is deferred is not lost,” says a proverb to which I prefer to attach myself today, while begging you to accept, my Prince, the expression of the sentiments of high esteem and consideration with which I have the honor to be
Your Highness’s very humble and devoted servant,
F. Liszt
Munich, October 14th, 1867
57. To Eduard Liszt
Dearest Eduard,
My hearty thanks to you for your letter. It almost made me determine to send Prince Czartoryski an answer in the affirmative; but when I came to think the matter over more fully it did not seem suitable, considering my peculiar position. Enclosed is a copy of my letter to Czartoryski; I hope you may not disapprove of it; let me give you a few more reasons.
1st. I really cannot at present send off the only existing copy of the score of the “Elizabeth”, for it is required for printing. Nor should I care to have the orchestra and chorus parts from Munich used, and this I wrote to Prince Cz. It was for this very same reason that I declined offers respecting performances of the “Elizabeth” from Dusseldorf, Leipzig, Dresden, etc.
2nd. I do not share your rosy hopes of this work proving a success in towns where my earlier works not only met with little appreciation, but even received unseemly rebuffs. In Vienna, Leipzig, Berlin and even larger cities, the hisses of half a dozen stupid boys or evil-disposed persons were always sufficient to delude the public, and to frustrate the best intentions of my somewhat disheartened friends. In the newspaper criticisms these hissing critics are sure to find numerous supporters and pleasant re-echoes as long as the one object of the majority of my judges of this species is to get me out of their way. The improvement, which is said of late to have shown itself in regard to my position, may be interpreted somewhat thus: “For years in his Symphonic Poems, his Masses, Pianoforte works, Songs, etc., Liszt has written mere bewildering and objectionable stuff; in his “Elizabeth” he appears to have acted somewhat more rationally– still, etc., etc.”–Now as I am in no way inclined to cry peccavi for all my compositions, or to assume that the castigations they received were just and justifiable, I do not consider it advisable to subscribe to the supposed extenuating circumstances of the “Elizabeth”. I well know the proverb: “Non enim qui se ipsum commendat, ille probatus est,” and do not think I am sinning against it. However it is possible that my resolute friends may, in the end, be right in asserting that my things are not so bad as they are made out to be!–Meanwhile what I have to do is to go on working quietly and undismayed, without in the smallest degree urging the performance of my works-nay in restraining some friendly disposed conductors from undertaking them.
3rd. After having two years ago excused myself to Herbeck about allowing a performance of the “Elizabeth” in Vienna, I cannot now immediately accept the friendly offer of Prince Czartoryski. It might be somewhat different had Herbeck attended the Wartburg performance, as I invited him to do through Schelle. But much as I appreciate and admire Herbeck’s talent as a conductor, still I cannot know in advance whether he likes my work or not, or how far he agrees with my intentions. At all events I should have to come to some personal understanding with him on the subject before a performance is given in Vienna, just because this is a matter of importance to me, and the performance ought not to be a dementi of the preceding ones. It is much more to my advantage not to have my works performed at all, than to allow them to be performed in a half-and-half or unsatisfactory manner.–I may say quite frankly that it would certainly be very agreeable to me to stand in a somewhat better light in Vienna as a composer than I have hitherto done. But the time has not come for that–and if it should ever come, half a dozen of my compositions, for instance the 13th Psalm, the Faust and Dante Symphonies, some of the Symphonic Poems, and even, horribile dictu! the Prometheus Chorus, would have to be introduced to the public in proper style. Three concerts would be necessary for this, and would have to be announced beforehand, arranged and rehearsed, and there the “Elizabeth” might also then find a place among them. Herbeck would be an excellent one to arrange and conduct these concerts, provided he were not too much afraid of the obligations due to criticism. My personal position will not permit of my taking any part in them as a conductor; nevertheless I should not care to be altogether idle on the occasion, and hence should like, first of all, to have a careful discussion with Herbeck about various points that must absolutely be given thus and in no other way. It was in this sense that I wrote to Czartoryski that: “Ce qui est differe nest pas perdu” (“Aufgeschoben ist nicht aufgehoben”) [“Put off is not given up.”]–and so I may possibly come to Vienna–in the winter of ’69.
First of all, however, I need several quiet months in Rome in order again to take up the work that has been interrupted for so long. The Bulows have persuaded me to spend my birthday with them. The Munich Musik-Schule is in full activity and seems as if it were likely to outstrip the other Conservatoires. Bulow is assuredly justified in saying, “Go and do likewise”!–
Before the end of the month I shall be back in Rome. All hearty good wishes to you and yours, from your faithfully attached,
F. Liszt
Munich, October 16th, 1867
P.S.–Before long you will receive a visit from August Rockel. This name will probably call up to your imagination–as it has done in many other cases–an ultra-revolutionary agitator; in place of which you will find a gentle, refined, kindly and excellent man. I should like you to cultivate his acquaintance, and can cordially recommend him to you. His daughter (at the Burg Theater) you are sure to know–and you will also know of his old friendship with Wagner and Bulow. It was not till I came here that I became acquainted with Rockel and learned to value him.
Have you read in the Augsburger Allgem. Zeitung the extremely kind notice of my stay in Stuttgart? Best thanks also for sending me your article on the “Wanderer.”
58. To Eduard von Liszt
Dearest Eduard,
By some mistake I did not receive your letter of the 16th till today. From my last you will have clearly seen that I do not wish any further performance of the “Elizabeth” before the score is published. As I told you, I have declined the offers from Dusseldorf, Dresden and other towns. Even as regards Leipzig, where I am under special obligations to Riedel (for he has on several occasions got his Society to give excellent performances of the “Gran Mass,” the “Prometheus” choruses, the “Seligkeiten,” etc.), I shall endeavor to defer the promised performance of the “Elizabeth.” The matter would be one of special importance to me as regards Vienna,–and for this very reason I am anxious not to be in too great a hurry. Hence I most gratefully accept your mediation with Prince Czartoryski. Be my kind mediator and point out to him my peculiar position, so that there may not be any sort of vexation–and let the “Elizabeth” remain unperformed. I think I have clearly stated my reasons for this passive, or, if you prefer it, this expectative mode of action.
It would interest me to know how the “Coronation Mass” was performed and received in Vienna. Ask Herbeck in my name not to drag the tempi; the “Gloria,” more especially, must be taken the more rapidly as it proceeds–the time to be beaten throughout alla breve. Send me word about this to Rome.
To please the Bulows I shall remain here till October 24th,–and be back in Rome, at latest, on the 30th.
If Bulow goes on working here for a couple of years, Munich will become the musical capital of Germany. In addition to my interest in all musical matters here, my stay has offered many other points of interest and pleasure by my intercourse with Kaulbach, Liebig, Heyse, Geibel, Redwitz, etc.–
Cordially yours,
F. Liszt
Munich, October 20th, 1867
Enclosed is a tolerably good photograph of my humble self.
59. To Peter Cornelius in Munich
Dearest Cornelius,
I am grieved not to have met you yesterday, so as to have thanked you at once for the indescribable pleasure your poem gave me. The little interpreter Lulu [Daniela, the eldest daughter of H. v. Bulow, now married to Prof. Dr. Thode] recited it twice admirably without the smallest error or stumbling. I most sincerely wish that all your works may find such interpreters as Lulu, so fully able to grasp your sentiments that your audience has nothing to do but to weep–as was our feeling yesterday with Cosima, when we both wept like children!
With all my heart, your
F. Liszt
Wednesday, October 23rd, 1867 [Munich]
60. To Eduard von Liszt
Dearest Eduard,
The enclosed letter from Chordirector Kumenecker [The Director of the Altlerchenfelder Kirchenmusik-Verein, in Vienna, had requested Liszt to grant him permission to give a performance of the “Coronation Mass.”] I received only on my return to Rome (November 6th). Be so good as to pay the writer of it a visit in my name, and ask him kindly to excuse my not complying with his request. Also tell him that I have not got either the chorus or the orchestral parts of the “Coronation Mass.” The only existing copies are those belonging to the Court orchestra of Vienna; hence these parts would have either to be obtained or to be copied if a performance of the work is to be given elsewhere, and this I should not care either to advise or disadvise.
The Mass fulfilled its object in Pest on the Coronation Day. If it should be given on any future occasion, I would recommend the conductor to take the tempi solemnly always, but never dragging, and to beat the time throughout alla Breve. And the “Gloria,” more especially towards the middle and before the commencement of the “Agnus Dei” up to the Prestissimo, must be worked up brilliantly and majestically. Whether and when the “Coronation Mass” is to appear in print I do not know. Dunkl (Roszavoglyi) in Pest had intended to publish it, but the honorarium of 100 ducats seems to make him hesitate, and I will not accept any smaller sum. Two movements from it (the “Offertorium” and “Benedictus”) I have transcribed for the piano, and these may be bought separately, which will be an advantage to the publisher. And the pianoforte arrangements for one or two performers are to appear simultaneously with the score.–It is of no importance to me to have the work published immediately. If you should meet Carl Haslinger and have an opportunity, ask him whether he would risk 100 ducats upon it. As he has already published a number of Masses, this one might suit him as well. If not, it is all the same to me. Only I cannot make any alteration about the honorarium I have now fixed upon. [The “Coronation Mass,” like the “Gran Mass,” was published by Schuberth, Leipzig.]
Yours,
F. Liszt
Rome, November 6th, 1867
61. To E. Repos
Dear Sir,
Pray excuse me for replying so late to your kind and cordial letter. Various matters detained me in Germany longer than I expected, and I have only been back three days at my house at “Santa Francesca Romana,” where I shall spend the winter. Your publications will be excellent company to me here. I accept with gratitude the Gradual and Vesperal [Gradual–a portion of the Mass. Vesperal–book of evening prayer] (in–12) that you are kind enough to offer me, and beg you to let me have them shortly. What can I on my side send you that will be agreeable to you? Something will be found, I hope, for I sincerely desire to satisfy you.
It seems to me that it would not be of any use for you to undertake to publish now one or two large works of my composition. In order to be somewhat accredited, they must first of all be performed and heard, not en passant, but seriously and several times. For this I have no support in France, and should even expose myself to unpleasant dispositions and interpretations if I in the least endeavored to bring myself forward there. It is only in Germany, Hungary, and Holland that, in spite of frequent and lively opposition, my name as a composer has acquired a certain weight. In those countries they continue performing my music by inclination, curiosity, and interest, without my asking anybody to do so. You have probably heard of the favorable reception that the “Legend of St. Elizabeth” met with at the Festival of the Wartburg at the end of August. For two years past this work has been performed several times at Pest, Prague, Munich, and I have recently been asked for it from Vienna, Dresden, Leipzig, Aix-la-Chapelle, etc., but as the score has to be sent to be engraved I have not been able to lend it further. I shall give myself the pleasure of sending you a copy towards Easter.-It is also in Germany (probably at Munich) that my Oratorio “Le Christ” will be first given: now, as it is important to me that the first complete performance (for the one in Rome on the occasion of the centenary of St. Peter was only a tentative and partial one) should be as satisfactory as possible, I must be present at it. Consequently it will not take place till the winter of ’69–if I am still in this world then,–it being my intention not to leave Rome for a year.
Pardon me these details, dear sir. As the cordiality of your letter assures me that we shall have long business relations with one another, it is better to put you at once in possession of the facts of my musical situation. It prescribes to me duties attached to many restrictions which my ecclesiastical capacity increases still more. “Providemus enim bona non solum coram Deo sed etiam coram hominibus.”–
To return to your publications. Palestrina, Lassus, the masters of the 16th and 17th centuries, are your models par excellence. You have plenty of work for years to come to edit their admirable works, and to put yourself on a par with the collection published (cheap) at Ratisbon under the title of “Musica divina.” Moreover there is nothing to prevent you from adding many a composition more or less modern. Dispose of my few, as you are pleased to admit them. You might begin with the “Credo” (from the “Coronation Mass”), and the “Te Deum” in plain song [cantus planus] of which you speak. Later on a tolerably simple Mass, with organ accompaniment only, might perhaps find a place. Then, two excerpts from the Oratorio “Christ,”–“the Beatitudes” and the “Pater noster”–which have already appeared at Leipzig, might reappear in Paris, especially if there were any favorable opportunity of getting them heard. As to the Oratorio entire, it will be better still to wait awhile longer.
“Expectans expectavi”…and let my biographical notice which you have in view also wait. In order to make it exact and comprehensive, it would be necessary for me to give some data to the writer who would undertake the task of representing me today to the public. Many things have been printed about me in a transient way. Amongst the most remarkable articles that of Mr. Fetis, in his “Biographie universelle des Musiciens” (second edition), of which you tell me, takes the foremost place. Nevertheless, however much disposed I am to acknowledge the conscientious and kind intentions towards myself of the illustrious and learned man, and even whilst really thanking him for raising the importance of my works which he connects with “one of the transformations of Art,” I shall not have the false humility of accepting some of his valuations as definitive judgments. Of all the theorists whom I know, Mr. Fetis is the one who has best ascertained and defined the progress of harmony and rhythm in music; on such chief points as these I flatter myself that I am in perfect accord with him. For the rest he must excuse me for escaping in different ways from the critical school whose ways he extols. According to his theory Art ought to progress, develop, be enriched, and clothed in new forms; but in practice he hesitates, and kicks against the pricks,–and, for all that, would insist that the “transformation” should take place without in the least disturbing existing customs, and so as to charm everybody with the greatest ease. Would to Heaven that it might be so! Between this and them, pray accept, dear sir, my best thanks, together with the expressions of my very distinguished and devoted sentiments.
F. Liszt
Rome, November 8th, 1867–Santa Francesca Romana
P.S.–My sincere congratulations for the cross of St. Sylvestre. People outside are quite mistaken in thinking that they are lavish with decorations here.
I have informed the Princess W. of your kind arrangements relative to the edition of the work that Monseigneur de Montault mentioned to you.
62. To Madame Jessie Laussot
Dear Maestra,
No one knows better than you how to relieve the virtue of obligingness by the most cordial kindness. You make a point of persuading your friends that you are in their debt for the services you render them. In so far as they give you the opportunity of exercising your fine qualities you are perfectly right, but further than that you are not; and for my part I beg you to be as fully assured of my sincere gratitude as of my entire devotion.
I am not going to set about pitying you much for the difficulties and contradictions that your artistic zeal encounters. The world is so formed that the practice of the Good and the search for the Better is not made agreeable to any one; not in the things of Art, which appear the most inoffensive, any more than in other things. In order to deserve well one must learn to endure well. The best specific for the prejudice, malice, imbroglios and injustice of others is not to trouble oneself about them. It seems that such and such people find their pleasure where we should not in the least look for it: so be it, reserving to ourselves to find ours in nobler sources. Besides, how could we dare to lament over difficulties that run counter to our good pleasure? Have not the worthiest and most illustrious servants of Art had to suffer far more than we?…This consolation has its melancholy side, I know; nevertheless it confirms the active conscience in the right road.
This a propos of the prelude extra muros of your last concerts. Let us pass on to the programmes of them, dear and victorious Maestra.
The “Panis Angelicus,” [By Palestrina.] the Schumann Quintet and the sublime Prelude to “Lohengrin” are works which a well- brought-up public ought to know by heart. You will do well therefore to reproduce them often. There is no criticism admissible on this subject; and, if you absolutely exact it that I should make one at all, it would only be on the adjective “celebrated,” appended to the Schumann Quintet, which would do without it without disadvantage. Pardon me this hairsplitting.-
As to the “Beatitudes” I entirely approve of your not having exhibited them a second time. You know, moreover, that I usually dissuade my friends from encumbering concert programmes with my compositions. For the little they have to lose they will not lose it by waiting. Let us then administer them in homoeopathic doses- -and rarely.
I am delighted with what you tell me of Wilhelmj. Please assure him of my best regard and of the pleasure I shall have in showing it to him with more consequence. The Concerto for which he asks has already been begged for several times from me by Sivori and Remenyi. I don’t know when I shall find time to write it. There is not the least hurry for it, as long as criticism constrains violin-virtuosi to limit themselves to a repertoire of four or five pieces, very beautiful doubtless, and no less well known. Joachim naively confessed to me that after he had played the Beethoven and Mendelssohn Concertos and the Bach Chaconne he did not know what to do with himself in a town unless it were to go on playing indefinitely the same two Concertos and the same Chaconne.
Sgambati and Pinelli announce six matinees of Chamber Music every Wednesday, beginning the day after tomorrow. The audience will be more numerous this year than formerly. People are beginning to talk about these matinees in the aristocratic salons in which it is often de bon ton not to listen to good music.–
Towards spring Sgambati will bring you his new laurels, and will also tell you about his future prospects. The deciding of his marriage will influence all the rest: it might almost be regretted that our friend should abandon himself to an excess of honorable feeling!
Without offending any one, the famous saying about the Chassepot rifle may be applied to the Chickering Piano; it is doing wonders at Rome. Everybody talks to me of it, and wants to see and hear it. One of my archeological friends calls it “the Coliseum of Pianos”!
My affectionate respects to your mother;–sympathetic remembrances to Miss Williams; a friendly shake of the hand to Callander;–admiring chirps to Bocage;–warmest compliments to the Pearsolls, and
Very cordially yours,
F. Liszt
Rome, January 13th, 1868
63. To Dr. Franz Brendel
Dear Friend,
My hearty congratulations upon our Falcon-colleagueship [Brendel had received the Weimar Order of the Falcon of Watchfulness (Falkenorden der Wachsamkeit)] and henceforth always, “Vigilando ascendimus.”
As I was expecting parcels and news from Leipzig I delayed answering your friendly letter. I have not yet received either the Almanack, or the corrected proofs of the “Elizabeth”. How did the performance in the Pauliner Church [Riedel had arranged a performance of the “Elizabeth” in Leipzig.] go off? Ask Kahnt to let me have one or two of the notices of it–especially the unfavorable ones. Remind him also to write to Otto Roquette about the translation of the Latin chorus at the end, to which I referred in my last letter to him.
Berlioz’s “Requiem” is the corner-stone of the programme for the Altenburg Tonkunstler-Versammlung. I have often speculated about the possibility of having this colossal work produced. Unfortunately the Weimar churches were not sufficiently spacious, and in Brunswick, where the Egidien church would be a magnificent place for musical festivals of any kind, other difficulties stood in the way. Probably Altenburg also does not possess any building sufficiently large to hold an orchestra for the “Dies Irae”, and Riedel will have to reduce the 16 drums, 12 horns, 8 trumpets and 8 trombones to a minimum. But, even though it should not be possible to give a performance of the whole work, still there are portions of it–such as the “Requiem Aeternam,” the “Lacrymosa and Sanctus”–that are extremely well worth hearing and appreciating.
The sketch of the programme furnishes an excellent antidote to Berlioz’s Requiem, in Handel’s “Acis and Galatea”; and some smaller things of Draseke, Lassen and my humble self might be introduced in between.
Sgambati’s co-operation will depend upon my journey. I am unable as yet to say anything definite about it. Not till June can I decide whether I can come or not. To speak frankly it will be difficult for me to leave Rome at all this year.
With regard to your personal affairs I can but again assure you that I take the liveliest interest in them. The modesty of your claims, dear friend, is very much out of proportion with the importance of the services you have rendered. One rarely meets with demands that are as just and as unpretending as yours. Be assured of my sincere readiness to promote your interest in higher quarters, and to do what I can to satisfy you.
With warmest thanks and kindest greetings yours,
F. Liszt
Rome, January 26th, 1868
Sgambati’s matinees for Chamber-music are better attended than ever this winter. They include all that is musically interesting as regards Rome.
64. To Walter Bache
Dear Mr. Bache,
I thank you cordially for your kind letter, and beg you to rely always on my feelings of sincere affection and esteem.
It would certainly be a great pleasure to me to see you again in London this summer, yet I could not venture to promise or to keep my promise, and must abstain from either.
Please therefore to make my excuses to the Secretary of the Philharmonic Society, and to thank him for his kind intentions towards me. If an opportunity of realising them should occur later on,–without disappointment or disagreeableness to any one,–I should be much pleased. As regards the present time it is superfluous to give any thought to the proposition you transmit to me, in view of the obligations which will retain me elsewhere. I am even doubtful whether it will be possible for me to accept the invitation of my German friends to the Tonkunstler- Versammlung at Altenburg in July.–
The good news you give me of Klindworth is very pleasant to me. May he remember me sufficiently well to know how much I appreciate him and what an affection I have for him.
Sgambati is very much in fashion this winter, and the fashion is perfectly right in this. He sends you a thousand affectionate greetings, and Lippi, [A Roman pupil of Liszt’s] Mdlle. Giuli [Liszt’s best lady-pupil in Rome] and the other patients of the “Scuola” [School] hold you in warm remembrance.
Accept also, dear Mr. Bache, the assurance of my very sincere devotion.
F. Liszt
Rome, January 30th, 1868
The performance of my symphonic works in London must, like the concert of the Phil. Society, be postponed. Your zeal in this matter touches me much. I would not wish tosuppress it, and only beg you to moderate it so that it may be all the more fruitful.
65. To Dr. Franz Brendel
Dear Friend,
I have nothing to find fault with in the sketch of the Altenburg programme except that my name occurs too often in it. I am afraid of appearing obtrusive if several works of mine are produced at every Tonkunstler-Versammlung. Certainly the repetition of the 13th Psalm might be permissible and even advantageous to myself, as you kindly remark; also I should not care to raise any protest against the chorus “An die Kunstler,” and simply because it has hitherto been more screamed at than heard, for it has been accounted one of my most culpable heresies to have set these words of Schiller’s to music after Mendelssohn, and indeed without copying Mendelssohn and without humoring the customary taste of Vocal Societies. Parenthetically be it said that Schiller and “Manhood’s dignity” forbade me to make this composition any pleasanter. I dreamt a temple and not a kiosk!–
If you run the risk of giving this Artists’ Chorus in Altenburg I must beg the conductor to take all possible care in rehearsing it–and to aim at the most dignified composure in the performance. Like reverberating marble-pillars must be the effect of the singing!–
Please thank Stade [Director of the Court orchestra, and Court organist in Altenburg (born 1817); he was a friend of Liszt’s for many years.] most warmly for his friendly intention to play one of my Organ pieces. He will probably choose either the Variations on the Basso continuo of Bach’s Cantata “Weinen, sorgen, seufzen, klagen” (“Weeping, grieving, sighing, lamenting”)–or the BACH- Fugue.
Discuss the matter again with Riedel and Stade, as to whether 3 items by Liszt on the programme are not too much. I will gladly yield to your decision, and wish only there were more prospect of my being able to attend this Tonkunstler-Versammlung. However I cannot say anything definite about it till June.
Sgambati gives a concert next week in Florence. On his return at the end of April it will be decided whether he can undertake the journey to Altenburg or will have to remain here all summer.
Sgambati is decidedly not an artist for a watering-place, although as a virtuoso his talent is extraordinary and undoubtedly effective. He plays Bach, Beethoven, Chopin, Schumann, and my most troublesome things with perfect independence and in a masterly style. His artistic tendencies and sympathies are altogether “new-German.” This winter we heard two of his larger works: a Pianoforte-Quintet and a Nonet for strings. Both of these deserve to be brought out by our Musik- Verein.
Ad vocem of the dedication of Seifritz’s Overture, you have come to the right resolution in dedicating the 2nd year’s issue of the Almanack to Prince Hohenzollern. I likewise approve of the following numbers being dedicated to the Princes in whose capitals the Tonkunstler-Versammlungen are held.
The first number of the Almanack seems to me very successful. But the historical Calendar might gain in interest by omissions and additions. Mediocre local celebrities such as “H.S. in E., T.D. in B., L.A. in L.,” etc., etc., do not need to figure as historical. As little do a couple of first performances that were given in Weimar under my conductorship. See to it, dear friend, that more important data are collected in good time, and that superfluous data are rejected.
As I told you in Leipzig, the Grand Duke has determined to have me in Weimar for a couple of months during the winter (towards the beginning of ’69). Perhaps I may go somewhat sooner.
With the next sending of proofs please ask Kahnt to enclose the manuscript of the 18th Psalm (“The Heavens declare the glory of God”) for male voices. It is written on very large sheets of music-paper and bound in boards. But in order that the parcel may be made a more convenient size let the boards be removed and the manuscript paper doubled up. Kahnt will remember that I left him this manuscript seven years ago.
With hearty greetings, yours most sincerely,
F. Liszt
March 3lst, 1868
66. To Johann von Herbeck
Dear Friend,
My cousin Eduard will bring you the score of the 18th Psalm intended for the Mannergesang-Verein [Vocal Society for Men’s Voices] in Vienna. Allow me at this opportunity again to offer you my sincerest thanks for the kindly feelings you have always entertained for me. The further fate of the Psalm forwarded to you I leave wholly in your hands. You will have to decide whether it is suitable for being performed at the Jubilee Festival of the Mannergesang-Verein. If you think it is I shall be glad; still I beg you not to make it any special consideration, and if you think it more advisable not to burden the Festival-programme with it, I shall be quite content, feeling convinced, dear friend, that you will know best what is most to my advantage.
Otherwise the study of it would give no trouble. The Psalm is very simple and massive–like a monolith. And, as in the case of other works of mine, the conductor has the chief part to play. He, as the chief virtuoso and artifex, is called upon to see that the whole is harmoniously articulated and that it receives a living form. In the rhythmical and dynamical climax, from letters B to E (repeated from H to L), as also in some of the ritenuti; especially in the passage:
“The law of the Lord is perfect,
Converting the soul;
The testimony of the Lord is sure,
Making wise the simple, etc.,”
you will find substance to prove your excellence as a conductor.
Well, dear friend, you know what it is brilliantly to arouse a flaming spirit out of dead notes.
Accept the assurance of my sincere esteem and affection.
F. Liszt
Rome, June 9th, 1868
67. To Dr. Franz Brendel
[This is the last of the many letters Liszt addressed to Brendel, who died a few months afterwards.]
Dear friend,
As might have been foreseen, I must unfortunately give up all thought of paying you and my friends of the Tonkunstler- Versammlung a visit this year. Were it possible for me to get away from here, I should today start for Munich, in honor of the “Meistersinger” which is to be performed next Sunday–and thence I should go to Weimar and Altenburg. In place of this I have to remain here till the end of the month. After that I mean to go to the neighborhood of Ancona for some sea baths. Please send me at once, in a wrapper, the notices of the Altenburg Musical Festival that have appeared in the Neue Zeitschrift.
Sgambati asks me to send you his kindest excuses. He would have much liked to wander to Germany, but he too is nailed here for this summer. His concerts in Florence with Wilhemj a few weeks ago were very successful. Sgambati is quite a phenomenal pianist for Italy, and is certain to do himself credit elsewhere on account of his sterling qualities, and his rare excellence as a virtuoso is combined with a personality of the greatest amiability and reliable artistic feeling. There is some talk of his getting an appointment in St. Petersburg.
A fortnight ago I heard from Paris that Berlioz was failing in health and suffering greatly. When I saw him last (in the spring of ’66) he was then already physically and mentally broken down. Our personal relations always remained friendly, it is true, but on his side there was somewhat of a gloomy, cramped tone mixed with them…
Neither Schumann nor Berlioz could rest satisfied at seeing the steady advance of Wagner’s works. Both of them suffered from a suppressed enthusiasm for the music of the future.
I shall not be able to decide about my proposed stay in Weimar till the end of the year. Till then I shall keep quiet here or in the neighborhood, the extreme boundary to which is indicated by the sea baths of Ancona. Several other invitations have had to be courteously declined. But next year a considerable change may take place in my outward circumstances, and may again draw me closer to Germany. How this last chapter of my life will shape itself I cannot yet foresee.
The Vienna Mannergesang-Verein have kindly asked me to provide a composition for their Jubilee Festival. This is the reason why I asked Kahnt for the score of the 18th Psalm (“The Heavens declare the glory of God”), which has at last come, and was despatched to Vienna the day before yesterday [published by Schuberth, Leipzig]. Kahnt has no doubt also received the corrected pianoforte score of the “Elizabeth.” And there happily remains only the full score to do, the proofs of which I am expecting now.
During the winter my innumerable social duties rendered it absolutely impossible for me to write any longer compositions. This enforced idleness vexes me extremely–and I intend to assume an air of rudeness to rid myself of a great many people. It is more especially intrusive correspondents who are a vexatious waste of time to me. Since the “Coronation Mass,” I have in fact only written one solitary work: a “Requiem” for male voices with simple organ accompaniment [published by Kahnt, Leipzig].
How much I should like to hear Berlioz’s colossal Requiem in Altenburg!–Think, when there, in all friendliness of
Your sincerely attached
F. Liszt
Rome, June 17th, 1868
Again I beg you to send me regularly the programmes and the notices of the Altenburg T.K.V. in the Neue Zeitung.
68. To E. Repos
Dear Sir,
As you are kind enough still to remember about the “Ave Maris Stella” it would be inexcusable of me to forget it. My first manuscript having gone astray I spent the whole of yesterday in rewriting this very simple song, of which you will receive two versions at once by the next possible occasion; one for mezzosoprano voice with Piano or Harmonium accompaniment, the other for 4 male voices with a little Organ accompaniment. In this latter please excuse my very bad writing, over and above whatever there may be defective in the composition. I cannot, here, have several copyists at my disposal as in Germany. The only one whom I can employ is ill–and I have not time to wait till he gets well, for from tomorrow I undertake my pilgrimage to Assisi and Loretto–after which I shall make a villeggiatura of at least six weeks at Grotta-mare (near Ancona, on the shores of the Adriatic).
I depend on your kindness to send me the final proofs of the “Ave Maris Stella” to the address which I will give you shortly.
How shall I manage to get you my biographical notice published in 1843 in the voluminous collection of the Biographae Pascallet? I really do not know. This notice is both the most exact, the best edited, and the kindest of all that have appeared about me in French. Mr. Fetis quotes it in my article of the Biographie univ. des Musiciens, and I have asked Mr. le Chanoine Barbier de Montault to look for it at Angot the editor’s.–The entire collection of the Biographaie Pascallet must be, amongst others, in the library of Mr. Emile de Girardin, but the illustrious publicist has so many great matters to attend to that I should scruple to trouble him about such a trifle.
In any case it will be easy to unearth our unhappy little Opus in question in the Bibliotheque imperiale, where, if necessary, it can be copied for the use of Mr. le Ch. de Montault.
Please, dear sir, count on my very sincerely affectionate and devoted sentiments.
F. Liszt
Rome, July 1st, 1868
A thousand thanks for your kind sending of the Repertoire of St. Sulpice, which is this moment come.
69. To Prof. Carl Riedel in Leipzig
[1827-88, founder and director of the celebrated Riedel Verein in Leipzig, and after Brendel’s death President of the Allgemeine Deutsche Musikverein.]
Dear Friend,
My sincere congratulation upon your glorious accomplishment–the performance of Berlioz’s Requiem in Altenburg, and also my kindest thanks for all the trouble and care you have bestowed upon the “Elizabeth” and the “13th Psalm.” I hope to hear Berlioz’s “Requiem” next winter in Leipzig, and also some of Bach’s contrapuntal “feste Burgen.” My ears thirst for them!
Meanwhile let me ask Frau Professor Riedel kindly to accept me herewith in effigy as an inmate.
With sincere esteem, I remain, dear friend,
Your gratefully attached
F. Liszt
Grotta Mare, August 12th [1868]
70. To E. Repos
Dear Sir,
By the same post I return you the proofs of the “Ave Maris Stella,” which reached me yesterday. Will you be kind enough to have the various errors of these first proofs corrected on the plates. Exactitude in editions is a duty of the profession, too often neglected.
I will send you, by the first opportunity, a short “Offertoire” (of some 40 bars) for men’s voices. The text forms part of the service of St. Francis–“Mihi autem adhoerere Deo bonum est,” and I composed it lately at Assisi.–In about a week’s time I shall be back in Rome, where I left my manuscripts; amongst others a “Requiem” for men’s voices with Organ accompaniment. The style of it is very simple, and whatever goodwill one brings to it the execution will also be very simple. If it would suit you to publish this “Requiem” (of about some thirty small pages of print) I will send it you with the “Offertoire” of St. Francis.
Accept, dear sir, the expression of my distinguished and devoted sentiments.
F. Liszt
Grotta Mare, August 26th, 1868
Address Rome.–I have not received any letter from you for several months.
71. To Prof. Dr. Siegmund Lebert in Stuttgart
[The addressee was a distinguished pianoforte teacher (1822- 1884), co-founder of the Stuttgart Conservatoire, co-editor of the Grosse Clavierschule (Lebert and Stark), and of the instructive edition of Classical pianoforte–works published by Cotta, in which Liszt, Bulow and Faisst took part. It is to these last-mentioned works that the letters here given refer.]
Dear Friend,
To satisfy rational and righteous people is the better part of my life. I am very glad that you approve of the letter to the French edition of your Method, and that you find it appropriate. I have simply said what I think. I pledge myself always to be true in speech and action, however many annoyances and misinterpretations may be hurled at me in return. In confidence I will tell you what is the rule of my whole existence; it consists of the daily prayer: “O veritas Deus, fac me unum tecum in perpetua caritate!”–
Excuse the delay in the return of the 3rd part of the Method. I thought of making use of some favorable opportunity of sending it to Stuttgart to save you the expense of postage; but no such opportunity has presented itself, and so this concluding volume of the Method was despatched to you through the agency of Herr Kolb (Wurtemberg consul in Rome). The added notes are very unimportant, because, in fact, I had no other weightier remarks to make. While playing through the Etudes I found myself put into a thorough good humor, and this must be my excuse for the few bad jokes which my mischievous pencil scribbled down. Please do not let them go further; such jests must be kept quietly to ourselves.
In Grotta mare I wrote about 20 pages of the technical exercises. Unfortunately a host of correspondence prevents my making progress with the work I have already begun and which is finished in my head. The Italians say: Give time, time (“dar tempo al tempo”), which often provokes me utterly!–
First of all I shall set to work at the Weber and Schubert edition, which I hope to send you by the beginning of November.
Please present my best thanks to Baron Reischach for his kind letter. The business point of it (the Weber and Schubert edition) I herewith answer; that I shall redeem my promise by the beginning of November; and that with an easy conscience I shall then give proof of my gratitude by writing to Baron R. myself.
In sincere and friendly collaboratorship, I am
Yours most sincerely,
F. Liszt
Rome, September l0th, 1868
72. To E. Repos
Dear Chevalier and Friend,
Your last letter interests me much, and I thank you very sincerely for the confidence you show me. Certainly I should ask nothing better than to reply to it as you wish; but there is the difficulty. Shall you reproach me with “claudicare in duas partes”? No, I do not think you will, for I do not intend to have any hitch; it is simply that the small influence which, in certain given circumstances, I could exercise, is paralysed by other circumstances that now predominate. I should be obliged to explain various things to make you understand my extrinsic inaptitude, and consequently my obligatory abstention on some points which touch me closely. I prefer not to enter into these details in writing; perhaps we shall have an opportunity of speaking about them: as to the present time the following is my reply, reduced to the most concise terms:
I entirely approve of your two projects of the competition of sacred Music, and of the definitive, normal and really Catholic edition of the Plain-Song of the Church. These two enterprises are opportune and desirable, and may be carried out to your honor and advantage. All the same I am not in a position to serve you efficaciously utraque. Therefore I ought not to be mixed up with it,…unless any contingency as unforeseen as decisive should supervene.
You will have read in the Correspondance de Rome that the work of M. Sre. Alfieri has remained in suspense. It is not a posthumous obstacle with which your edition would have to contend, but another, which might also be called Legion.
The “Requiem” and the “Offertoire of St. Francis” shall be sent to you in a fortnight. Before sending them to you I want carefully to look through the copy, so as to save the engraver as many corrections as possible.
I shall not leave Rome till Christmas; from January till the end of March I shall be at Weimar.–
Pray accept, dear Chevalier and friend, the assurance of my affectionate devotion.
F. Liszt
September 19th, 1868
When will the 1st volume of your publication of the History of the Popes and Cardinals come out? I shall be much obliged if you will send it me.
73. To C.F. Kahnt, the Musical Publisher
[Facsimiles of this and No. 99 appeared in the Neue Zeitschrift fur Musik, June 18th, 1890.]
Dear Sir and Friend,
The delay in the receipt of your letter did not in any way lessen the very welcome news it contained, for which I thank you cordially. Herewith also my warm congratulations in regard to the little red-colored Altenburg volume.
Of the gracious acceptance accorded to the dedication copy of the “Elizabeth” I have already received a full report, which is altogether satisfactory. The second copy de luxe please to keep for the present. I should like to present it to our Grand Duke ad honorem of the Wartburg Library.
Your intention of sending the third copy next Easter to the Exhibition of the German Products of the Printing Press, I, as the author, consider both very appropriate and a pleasant piece of news.
As I am expecting corrected proofs of the “Elizabeth” score, I beg you to enclose Wieseneder’s “Kindergarten Lieder-Buchlein” [Book of Kindergarten Songs]. Probably this will be your last sending to Rome for the year ’68, as I shall be in Weimar again by the beginning of January. I shall, therefore, leave all further discussions in extenso till then. Meanwhile there is scarcely anything positive or to the point to write about.
My friendly greetings to Brendel; he knows how much it is my wish to obtain reliable support and some profitable advantage for the endeavors of the A. D. Musik-Verein. Rest assured of this, dear friend, and count upon my sincere and unalterable attachment.
F. Liszt
Rome, September 20th [1868]
Be quick with and out with the 69th Almanack!–
74. To E. Repos
Dear Monsieur Repos,
Here is the Requiem. If you think it would be well to publish the five parts separately (Requiem, Dies irae, Offertoire, etc.) in the 5 numbers of the Revue de Musique sacree, I have not the slightest objection to it; and will only ask you to announce the complete edition, to be had by itself, at the same time as the detached pages appear.
The copy is very distinct and correct; please beg the engraver not to add any wrong notes of his own composition, and send me the proofs to Rome.
I should be glad if the “Offertoire” of St. Francis (added to the book of the Requiem) could come out at once. The manuscript is only two pages,–and I do not think I shall be infringing too much St. Francis’s rule of poverty by reserving to myself, for this Offertoire as well as for all my compositions that you publish, author’s rights for Germany and Italy, in order to keep my promise to several publishers.
Accept, dear Monsieur Repos, the expression of my very distinguished and devoted sentiments.
F. Liszt
Rome, September 22nd, 1868
75. To Prof. Dr. S. Lebert
Dear Friend,
Today I deserve a little praise. The Weber task is finished, and hence I have kept my promise a few weeks in advance.
How I have understood my task you will see from the short Preface on the first page of the various readings to the “Conzertstuck.” The printer will have to act in strict conformity with what is there stated, and to give the necessary letters and signs. Unfortunately I cannot help giving this unusual trouble, for two kinds of letters and signs are positively indispensable.
My responsibility with regard to Cotta’s edition of Weber and Schubert I hold to be: fully and carefully to retain the original text together with provisory suggestions of my way of rendering it, by means of distinguishing letters, notes and signs,–and these I beg you will again have fully explained to the printer.
In the various readings you will probably find some things not inappropriate;–I flatter myself that I have thus given performers greater licence, and have increased the effect without damaging or overloading Weber’s style. Get Pruckner, who is acquainted with my bad musical handwriting, to play the various readings to you.
N.B.–They must be printed in small notes throughout the whole edition.
The parcel containing the “Conzertstuck,” “Momento capriccioso,” 4 Sonatas of W[eberj (and the 2 Beethoven ones of the Bulow edition) will be despatched to you tomorrow by Kolb. Send me, at your early convenience, Weber’s 2 Polonaises (Hartel’s last edition), which must not be omitted in Cotta’s edition; also let me have all Schubert’s Dances (Valses, Landler, Eccossaises, in Holle’s edition revised by Markull). And as I have now got into the way of revising, I should like at once to prepare the Schubert volume and submit to you, before the end of November, the result of many years of most delightful communion with Weber’s and Schubert’s pianoforte compositions, with fingering, marks for pedal and expression, and various readings.
The Schubert volume I shall limit to 3 or 4 Sonatas, the great Fantasia, some 8 Impromptus, the Moments Musicals, and all his Dances. A few other pieces as duets may follow later, more especially his Marches and the Hungarian Divertissement.
Let me hope that my work may prove intelligible, temperate and satisfactory, and also of some service to ordinary pianists.
Any remarks and objections you may have to make in connection with these, I shall be quite willing to consider.
With friendly greetings and thanks,
Yours most sincerely,
F. Liszt
Rome, October 19th, 1868
P.S.–Let me hear from you at once, as soon as you receive the parcel.
76. To Richard Pohl at Baden-Baden.
Rome, November 7th, 1868
.–. My very kind biographer La Mara writes me a few charming lines telling me that she is shortly sending me her volume “Studienkopfe” [“Studies of heads”]. “Das junge Volk hat Muth,” [“Young folk have pluck”] as you say, and I quite approve of their not letting themselves be intimidated. Courage is the vital nerve of our best qualities; they fade away when it is wanting, and unless one is courageous one is not even sufficiently prudent. To examine, reflect calculate and weigh are assuredly necessary operations But after that one must determine and act without troubling too much about which way the wind blows and what clouds are passing. .–.
77. To Johann von Verbeck
Much esteemed Friend,
I have just answered the invitation of the “Musikfreunde,” and trust you will agree with what I have written. I am quite aware that the performance of the “Elizabeth” in Vienna–which is considered a mark of honorable distinction to me–I owe to you. My not having complied with your offer before was mainly due to my desire to spare you any embarrassments in connection with the performance, embarrassments which I, owing to my peculiar position and my distance from active circles of the Press, can readily ignore without the slightest “bitterness of feeling.”
Well, let us hope that your favorable augury will prove true. Your earlier letter I have not received. But I was heartily delighted with your last. Shortly before receiving it I had been hearing a number of excellent things about the composer, conductor and friend Herbeck, all of which tallied perfectly with what I remembered and of what I myself feel convinced. You will guess who communicated all this to me.
To return to the “Elizabeth” performance in Vienna; I should like to be present. The Committee of the Musikfreunde name two days in March; the last mentioned would be the most convenient one for me. I must tell you beforehand, in confidence, that on this occasion I should not be able to remain in Vienna beyond a couple of days, and that I wish especially to keep quiet while there, and to meet as few people as possible. It is no longer in any way appropriate that I should appear anywhere in person; [Liszt had been requested to conduct his “Elizabeth”, a request he declined (probably in consideration of his having taken holy orders).] it suits me much better, when necessary, to be trodden down an effigy by all the different chatter. And as you, much esteemed friend, are the one and only person who shall conduct the “Elizabeth” in Vienna, I wish to leave the distribution of the vocal parts entirely to your care. I would merely remind you that my two compatriots Bignio and Fraulein Rabatinsky (now in Vienna) sang splendidly in the parts of the Landgrave Ludwig and the spiteful Landgravine Sophie, at the first performances of the Oratorio in Pest. Hence, if no categorical objections are raised against them by the worthy theatrical potentates, it would seem advisable and well to secure these singers for parts for which they have already proved themselves competent.
As an unnecessary remark let me add that the small Magyar Cantilena of the Magnate (in the first number) requires a powerful voice.
In sincere esteem, I remain yours in all friendliness,
F. Liszt
Villa d’Este, December 1st, 1868
P.S.–I am expecting the promised manuscript of the “Tanzmomente.” [Composed by Herbeck for orchestra; transcribed by Liszt for the pianoforte] By the beginning of January I hope to be in Weimar.
78. To Prof. Dr. S. Lebert
Dear friend,
The annotations to Schubert’s Sonatas demanded more time than I had anticipated. For some weeks past I have been working industriously at them–now they are finished ad unguem.
Our pianists scarcely realise what a glorious treasure they have in Schubert’s pianoforte compositions. Most pianists play them over en passant, notice here and there repetitions, lengthinesses, apparent carelessnesses, and then lay them aside. It is true that Schubert himself is somewhat to blame for the very unsatisfactory manner in which his admirable piano-forte pieces are treated. He was too immoderately productive, wrote incessantly, mixing insignificant with important things, grand things with mediocre work, paid no heed to criticism, and always soared on his wings. Like a bird in the air, he lived in music and sang in angelic fashion.
O never-resting, ever-welling genius, full of tenderness! O my cherished Hero of the Heaven of Youth! Harmony, freshness, power, grace, dreamings, passion, soothings, tears and flames pour forth from the depths and heights of thy soul, and thou makest us almost forget the greatness of thine excellence in the fascination of thy spirit!—-
Let us limit our edition of Schubert’s pianoforte compositions to 2 Sonatas, the G major Fantasia (a Virgilian poem!), the splendid “Wanderer”-dithyramb (C major Fantasia), 2 books of Impromptus, Moments Musicals and all his Valses (among which there are gems of the first water). All this will be sent to you forthwith; and in addition Weber’s Polonaises.
In the Sonatas you will find some various readings, which appear to me tolerably appropriate. Several passages, and the whole of the conclusion of the C major Fantasia, I have re-written in modern pianoforte form, and I flatter myself that Schubert would not be displeased with it.
The pianoforte Duets of Schubert (Holle’s edition) please address to Weimar, as I have no time left for revisings in Rome. Send me also a copy of the “Aufforderung zum Tanz” [“Invitation to the Dance”] that is so drummed at everywhere. You forgot to let me have this piece of salon-fireworks with the other music, and I too did not remember it at the time; years ago I had to play this “Invitation” over and over again, times innumerable–without the smallest “invitation” on my part–and it became a detestable nuisance to me. However, such a show-piece must not be omitted in Cotta’s edition of Weber.
Your visit to Weimar, dear friend, will be very welcome and agreeable to me. When there we shall be able to discuss, weigh and settle a number of things very conveniently.
With sincere thanks, I remain
Yours in all friendship,
F. Liszt
Villa d’Este, December 2nd, 1868
P.S.–I have not received the French translation of your Method.
79. To Eduard von Liszt
Dearest Eduard,
Your promotion [Eduard von Liszt had been appointed Oberstaatsanwalt (Chief State attorney) in Vienna.] is a real and great joy to me. It does my heart good to see your continual services receive recognition, and to know you about to enter a more promising sphere. Your new position does not, indeed, free you from all effort and exertion, but you have long since become accustomed to bear the yoke on work-days like a man, and although the yoke may not appear altogether enviable, still it is always the most honorable and most secure.
I wish only that you may ever remain true to yourself, and by perfectly satisfying your own conscience you may deeply feel God’s unfailing promise “Dominus non privabit bonis eos qui ambulant in innocentia.”–
.–. From the President and the Vice-President of the Society of Musikfreunde, Drs. Egger and Dumba, I received a very friendly letter inviting me to fix upon one of the three day–2lst February, 7th or 23rd March–for the performance of the “Elizabeth” in Vienna, and to undertake to conduct the work. To do the latter is absolutely impossible to me, for reasons that you know; hence I shall decline to fix upon a date. My answer conveys to the above-named gentlemen my thanks for this distinguishing mark of their good-will, and, at the same time, I express my wish to attend the performance, and mention that the end of March would be the most convenient time for me.
I also wrote to Herbeck pretty fully, saying that he, and he alone, should conduct this performance; it is to be hoped that under his direction the whole thing will run a successful course.
Hearty greetings to all yours, and I look forward to seeing you again soon.
F.L.
December 6th, 1868 [Villa d’Este]
80. To Johann von Herbeck
Very dear Friend,
Although I feel absolutely sure that you will conduct the “Elizabeth”-performance in a perfect and brilliant style, I gladly comply with your wish that I should be in Vienna a few days beforehand. As I have already said, it would be more convenient to me to leave here towards the end of March. Meanwhile present my most gracious thanks to the Committee of the “Musikfreunde,” with the request that they will in future regard me as quite inadmissible as a conductor. Your question whether I attach “any special importance” as to how the different parts should be filled, I answer simply thus: arrange things wholly and entirely as you think best. The few indefinite suggestions in my last letter are of importance only in so far as they agree with your competent arrangement, otherwise in no way. One point only I should like adhered to in the Vienna performance, namely that no foreign singers be engaged for it. To have one’s own house in good order is always the wisest and safest plan.
I have heard much in praise of Fraulein Ehnn [A singer at the Royal Opera House in Vienna]; and should feel specially indebted to her if she would undertake the Elizabeth: the part does not go against the grain, and should Fraulein Ehnn wish any alterations I should be quite willing to consider them.
With warm thanks, yours most sincerely,
F. Liszt
Rome, December 29th, 1868
The “Tanzmomente” are still dancing on their way here, for they have not yet come.
81. To Edvard Grieg
[Published in Gronvold “Norwegische Musiker” (Norwegian Musicians, Warmuth, Christiania).–The addressee was the clever leader of the Young School of Northern Composers. He was born at Bergen in 1843, and educated at Leipzig.]
Sir,
I am very glad to tell you what pleasure it has given me to read your Sonata (Op. 8). It bears testimony to a talent of vigorous, reflective and inventive composition of excellent quality,–which has only to follow its natural bent in order to rise to a high rank. I am pleased to think that in your own country you are meeting with the success and encouragement that you deserve: these will not be wanting elsewhere either; and if you come to