invitation to play a few pianoforte pieces in the concert arranged for Robert Franz’s benefit. I replied that an interval of 25 years separated me from my last public appearance as a pianist, andthat I considered it advisable for me to remain within the interval. As I told you last October, it is not my intention to officiate in any way this winter in Vienna.
Herewith I send you an extract from the sitting of the Chamber of the day before yesterday, the result of which is almost as unexpected as it is important. The deputies of the conservative party and of the opposition voted almost unanimously in favor of raising the funds for establishing a new Musik-Akademie. And an unusual honor was conferred upon me on the occasion,–for, although I have never come forward in the matter, it was nevertheless brought forward in my name, and this certainly puts rather a heavy burden upon me. I will endeavor conscientiously to do justice to the honor as well as the burden. For the last couple of days a stupid feverish cold in the head has kept me in bed. Tomorrow, however, I shall be up and about again.
Faithfully thine,
F. Liszt
Pest, February 10th, [1873]
126. To Eduard von Liszt
My Dear Friend,
Bosendorfer brings you tidings of the Robert Franz Soiree of yesterday. [At this soiree Liszt played Beethoven’s A-flat major Sonata, Op. 26, No, 4; his own “Soirees de Vienne” (after F. Schubert); Schumann’s “Wie aus der Ferne”; and R. Franz’s “Lied.”] In a fortnight’s time I shall have a similar work before me as pianoforte player, at a charity concert which Countess Anna Zichy is patronising. Then follows, further, a matinee of the Liszt-Verein at the Stadtpfarrei [The town parsonage], and the performance of Witt’s Mass, of which I undertake the conducting on the 25th March (in the church). At the beginning of April I shall be with you.
Heartfelt greetings to you and yours from your faithful
F. Liszt
[Pest] March 3rd, 1873
127. To Madame Jessie Laussot
Dear, Excellent Friend,
Your ideas are always very wise, practical and noble; I participate in them beforehand, and esteem myself happy to have them communicated to me direct. With regard to Robert Franz’s little capital, I presume that his zealous friends have already taken decisive measures; on my return to Weimar (before the end of April) I will learn whether it is possible to carry out your idea…You know that a thousand thalers have been sent from here, the result of a soiree arranged in Franzs honor. Perhaps I shall find an opportunity to send him more soon.–
Walter Bache writes me word of his “Ninth Annual Concert” in London, with my 13th Psalm. Bache behaves “eroicamente” with regard to me, and takes rank in the very small group of my friends who are the most determined to show the public–in spite of the contrary opinion, much believed by influential papers– that my music is not absolutely void of sense. I should like to make the task of these friends a little easier, and I try not to increase the merit of their devotion by my faults.
Enclosed is the programme of the concert of our friend Mihalovich yesterday evening. “Romeo and Juliet” was encored, and the “Geisterschiff” did not founder. The audience, very aristocratic, was more select than numerous, which is a good sign for our friend. Item the squashing of some learned articles in the papers.
Will you kindly give my grateful acknowledgments to Mr. Hillebrand for his friendly remembrance, and for sending me his new volume on the French? I had read bits of it in the Augsburg Gazette, and shall take a double pleasure in reading the entire work. Hillebrand, like Alexander von Humboldt, has a passionate attachment to France;–I am proud to feel that I am in accord with him also on this point.
The day after tomorrow I shall be in Vienna, and shall spend a fortnight with my near relative and friend Eduard Liszt. After that I return to Weimar, and hope to see you there in the summer. I will write to you in good time about the performance of the Oratorio Christus…
Respectful homage and cordial friendship,
F. Liszt
Pest, March 30th, 1873
128. To Casar Cui
[Russian composer and musical critic.]
Sir,
Pray excuse my delay in thanking you for your very kind letter that Mr. Bessel brought me with the piano score of your Opera William Ratcliff. It is the work of a master who deserves consideration, renown and success, as much for the wealth and originality of the ideas as for the skilful handling of the form. As I am persuaded that all intelligent and honest musicians will be of this opinion, I should like to add to it some assurance on the next performance of your Ratcliff in Germany. It should be done at once at Weimar were I in active function at the theater as in the preceding years (from 1848 to ’59); but since my retirement I am not any longer in a position to take definite steps, and must confine myself to recommendations–more often counteracted than followed.
Accept, sir, my sincere thanks, and with every expression of high esteem I am, yours truly,
F. Liszt
Weimar, May, 1873
129. To Franz Servais.
Dear Monsieur Franz,
My best wishes accompany you “into your cage.” [This usually means “in durance vile,” but the word “cage” is preserved here on account of the context.–Trans.] You do well to put yourself there, and, if the flight of your genius should find itself somewhat trammelled, for the time being, before the tribunal of counterpoint and fugue, it will soar all the more proudly afterwards. I hope you will come out of your cage glorious and crowned; in case of bad luck do not be too much disappointed; more skilful and more valuable men than you and I, dear Franz, have had to have patience, and to have patience yet again. M. de Buffon, when he said “genius is patience,” did but make the mistake of an incomplete definition; he took a part for the whole; but that part is absolutely necessary in the practice of Art, as in that of earthly life.
Please remember me very affectionately to your mother; give a shake of the hand to your brother from me,–and depend ever on my devoted and affectionate feelings.
F. Liszt
Weimar, June 5th, 1873
130. To the Canoness Adelheid von Schorn
Dear Excellent One,
My little travelling plans have been upset by a letter from Cosima. I did not stop either at Salzungen (where I had arranged to meet Schuberth) or at Meiningen, and came straight here on Saturday, in accordance with an invitation from Cosima to a little fete of the workpeople of the theater of the Nibelungen.
Many idle and gossiping people everywhere are troubling their heads about this theater, and are asking when and how it will be finished building. Instead of descanting foolishly or maliciously about it (the two things sometimes go together), it would be better to get a “Patronats-Schein” [a receipt of membership], and thus to join in the grandest and most sublime work of art of the century. The glory of having created, written and published it is Wagner’s intact; his detractors have only to share the disgrace of having thwarted it and delayed the bringing of it to the full light of day, by performance.–
Next week I go to Schillingsfurst, and towards the middle of August I shall be back at Weimar.
A thousand very cordially affectionate and devoted regards.
F. Liszt
Bayreuth, July 30th, 1873
131. To Eduard von Liszt
Dearest Eduard,
After an absence of 3 weeks I returned here yesterday. I remained first to days in Bayreuth, from August 26th to September 5th, [The dates here ought certainly to be from July 26th to August 5th–as Liszt’s letter is dated the 19th of August.] and then the same length of time in Schillingsfurst (with Cardinal Hohenlohe) and at Langenburg (with Prince Hermann Hohenlohe), whither I had the honor of accompanying the Cardinal.
Cosima, Wagner and the five children are in the best of health. The building of the Nibelungen-Theater is progressing famously; if the necessary sum of 300,000 thalers [some 45,000 pounds] of which as yet only about 130,000 have been forthcoming, is got together in time, the performance of the “Festival Drama”–“The Ring of the Nibelung”–is to take place in the summer of ’75.
.–. Simultaneously with his theater, Wagner is building a beautiful and exquisitely situated house close to the Hofgarten. The King of Bavaria has given him 20,000 thalers [some 3,000 pounds] for this. Next spring Wagner will take up his abode there.
My intercourse with Cardinal Hohenlohe is always pleasant. He leads a very retired life in Schillingsfurst, receives but few visits and pays only a few, and occupies himself principally in building and arranging a large schoolhouse and an institution for girls under the superintendence of a Benedictine Sisterhood.
Great festivities are being arranged here in honor of the marriage of the Hereditary Grand Duke. On September 6th the entry of the bridal pair, on the 7th a Court concert, on the 8th a Festival-play by Devrient in the theater and a performance of Beethoven’s 9th Symphony, etc., etc. I have undertaken to conduct the Symphony and also to play a couple of pianoforte pieces at the Court concert. A second Festival-play, entitled “The Bride’s Welcome to the Wartburg,” written by Scheffel and set to music by me, is to be given on September 2lSt in the Minnesanger Hall in the Wartburg, where you heard the “Elizabeth” Oratorio.
A few days after this I shall travel to Rome, and remain there 3 or 4 weeks. Before the end of October I shall come to you again for a couple of days before returning to Pest on November 1st.
The dedication-copies of the “Szoszat” and the “Hymnus” for Count Andrassy are not yet ready, it seems. Roszavolgyi (Dunkl) has sent me only a fete ordinary copies of the pianoforte version, and not one of the score. I shall therefore have to wait till November before sending or presenting it to Count Andrassy.
From the Grand Duchess I received 1,000 thalers–but these together with your 500 have all been spent. Be so good as to send me another 300 thalers next week! For my journey to Rome I shall probably, towards the middle of September, again have to ask you for a note of 500 francs. Although I do not go in for any luxuries, money vanishes quickly and readily in my hands.
Heartiest greetings to your wife and children, and au revoir in Vienna at the end of October.
Faithfully thine,
F. Liszt
Weimar, August l0th, 1873
132. To Franz Servais
Dear Victorious One,
Your letter had been travelling several days in Bavaria before it reached me here yesterday morning. I thank you for letting me take an affectionate part in the success you have obtained, and I wish to keep that part throughout your future successes–and even failures. The latter will not do you any great harm, provided that you know how to keep that attachment to work, and that perseverance in noble ideas, which are the chief heirloom of the artist. Lassen tells me that we are shortly to hear your “Tasso” here: my attentive sympathy is wide awake; so fulfil your promise, dear Franz, by coming before the end of this month, and we will talk at our ease at the Hofgartnerei of our aims and plans.
Please give my respects to your mother, and my cordial remembrances to Joseph and Godebski.
Your affectionate and devoted
F. Liszt
Weimar, August 19th, 1873
133. To Walter Bache
Dear Friend,
Often I am behindhand and stop short of thanks with you, but it is certainly not for want of sincere affection and esteem.
Your “9th Annual Concert” has again shown the worth of your talents and the firm constancy of your character. Now in our artistic world character is still more rare than talent.
You nobly unite the two; it is a pleasure to me to acknowledge it, and to count you amongst the most devoted champions of progress and of musical good sense.
At their head, by right of age and capability, walks imperturbably and gloriously Hans de Bulow.
Will you give him the enclosed letter? and believe me ever, dear Bache,
Your very cordially affectionate
F. Liszt
Weimar, August 20th, 1873
134. To Max Erdmannsdorfer, Hofcapellmeister in Sonderhausen
[At present Capellmeister in Bremen; he has rendered good service to the cause of the New-German musical tendency both in Germany and Russia.]
Very Dear Herr Capellmeister,
Your friendly invitation for me to attend the performance of your “Schneewittchen” I am unfortunately unable to accept. Owing to the festivities at the Wartburg it is impossible for me to get away next week. Will you kindly convey to the Princess Elizabeth my regrets as well as my most gracious thanks?
On Sunday, September 28th, I shall have the pleasure of thanking you personally in Sondershausen for arranging and carrying out the extraordinary concert programme. It is my special wish that the two “Faust Episodes” should not be separated–even at the risk of wearying the public for a few minutes with the “Nachtlicher Zug.” [Two Episodes from Lenau’s Faust (Leipzig, Schuberth).] But this piece does not appear to me altogether so bad…
I beg you again to repeat my sincere praise to the Sondershausen artists who played so admirably here last Monday in the 9th Symphony, and remain, very dear Sir, with marked feelings of esteem,
Yours in all friendship,
F. Liszt
Weimar, September 16th, 1873
Kahnt, Gille, J. Schuberth, Lassen and several other friends of mine are going to attend the Sondershausen concerts on the 28th and 29th September.
The Weimar presentation I will bring you.
135. To Otto Lessmann
Dear Friend,
Best thanks for sending Kiel’s “Christus”–a work full of spiritual substance, of noble and fine sentiments, and masterly in execution. Riedel proposes to give a performance of it next winter it Leipzig.
With such a clause as Joachim introduces for the “Novitaten- Concerten”–“that only such composers shall be taken into consideration in the programmes whose renown as artistic representatives of the German nation is established”–Handel, Bach, Mozart, nay even Beethoven, would have come off badly in their life-time!
Whether it is appropriate for the Berlin Hochschule to act in so specially a high and mighty manner remains to be seen. Still it is to be expected that such procedure is likely itself to meet with some other restricting “clauses.”
Of the arrangement for 8 hands of the Pastorale and March [From Liszt’s Oratorio “Christus.”] which I wish to have from you, you will have already heard from Schuberth. Likewise from Kahnt of the couple of pieces from the “Elizabeth.”
Au revoir on Sunday, the 28th September, in Sondershausen, where we shall have a curious (sonderliches) Programme. Receive herewith, dear friend, a special invitation, together with the assurance of my friendly attachment.
F. Liszt
Weimar, September 24th, 1873
I shall bring you back your copy of Kiel’s Christus to Sondershausen.
136. To Kornel von Abranyi
Dear Valiant Friend,
Your letter, and the printed paper of great fame which accompanies it, recalls to me the saying, “La joie fait peur.” [Abranyi, who was the Secretary of the Festival Committee which had been formed for the celebration of Liszt’s Artist-Jubilee in November 1873 at Budapest, had in their name invited Liszt to take part in this.] Nevertheless I could not suit myself to the role of a coward; I will therefore endeavor to surmount my fear and to make myself worthy to share with my brave compatriots in the joy they have prepared for me.
I beg you, in your capacity of secretary of the Festival Committee, to present my most grateful thanks, in good Hungarian, to the most illustrious and most reverend President, Monseigneur Haynald, [The Archbishop of Kalocsa, afterwards Cardinal, Liszt’s friend of many years. (Being interested in the present collection, he promised to contribute to it the letters addressed to him “by the great artist and noble man.” His death unfortunately prevented the fulfilment of his promise, and the Archiepiscopal Chapter of Kalocsa did not accede to the request of the editor to be allowed to have these letters.)] and to the members of the Committee.
Baron Augusz had written me word that he would come here in the middle of September, to be present at the “Festspiel” [Festival Play] at the Wartburg. He shall soon receive news from me from Rome, where I shall arrive on Sunday. Schuberth is sending you the score and the piano score of the “Christ,” together with the biographical notices for which you asked me. My cousin Eduard will send you the “postscript” immediately.
Cordial friendship and fruitful collaboration.
F. Liszt
Weimar, October 1st, 1873
Herewith the programmes of the 2 concerts at Sondershausen at which I was present. This afternoon I start for Rome,–and on the 1st November shall be at Pest.
137. To Martha Remmert
[A pupil of Liszt’s; became later Kammervirtuosin (court-pianist) in Weimar, and lives now in Berlin.]
Pest, December 27th, 1873
Dear Fraulein,
The best “solution” in reply to the ministerial order lies in your hands. Merely play the first page of Henselt’s Concerto and no one will doubt that I am very kindly disposed towards you. And I shall be glad to render you further service in your zeal for study and your ambition as a virtuosa. No matter whether I be in Pest or in Weimar.
In all friendliness yours,
F. Liszt
138. To ?
[Autograph without address or date in the possession of Count Albert Amadei in Vienna.–According to him the letter belongs to the year 1873.]
Very dear Fraulein,
Please reply at once per telegram:–“Please do not come.–Liszt does not need or wish to be heard, as he has no one for whom he must strike up.”
Tomorrow evening more by word of mouth.
Sincerely yours,
F. Liszt
Monday
139. To Countess Marie Dunhoff in Vienna
[Sketch of a letter in the possession of Herr O. A. Schulz, bookseller in Leipzig.–The addressee, the wife of the German ambassador Von Bulow, lives now in Bucharest.]
[Beginning of January, 1874]
Dear Countess,
You speak to me so eloquently of the merit, talent and superiority of Madame L.B. that I am quite ashamed of not fulfilling her wish subito. But in reality that would be more difficult than she imagines; a “petit morceau de piano” would only be a small part of the matter; the public is a very exacting master, even in its days of favor; the more it gives the more it expects…
Half a dozen such requests as that of Madame L.B. have been addressed to me at Vienna this week. How can one suffice for such a business, which, be it said in passing, is at once outside and far beyond my duties?–At my age one must try to behave reasonably, and to avoid excess; I shall therefore limit myself in Vienna to the one concert of the “Kaiser Franz Joseph Stiftung,” [Emperor Francis Joseph Scholarship] which reasons of great propriety, easy to understand, have led me to accept with alacrity. I am told that it will take place on Sunday, 11th January; so be it: I shall willingly conform to the arrangements of the Committee and have no other wish in this matter than…not to inconvenience anybody. [The concert for the “Emperor Francis Joseph Scholarship” did not take place till April; and Liszt did actually play, in the Easter week, for the Countess’s protegee, though not in the Concert Room, but in the Palais Auersperg.]
Permit me to hope, dear Countess, that you will not, under the pretext of “discretion,” inflict upon me the immense punishment of seeing you less often this time than formerly, and that you will not retract any of your kindness, on which I place the greatest store.
A thousand and a thousand sincere and most respectfully devoted expressions of homage.
F. Liszt
140. To B. Bessel, Music Publisher in St. Petersburg
Horpacs (Chez le Comte Szechenyi), February 2nd, 1874.
Dear Sir,
Pray excuse me for being so late in thanking you,–you and all those who signed the telegram sent to Pest on the occasion of my jubilee fete. I am deeply touched with the noble sentiments it expresses with a chivalrous eloquence, and beg you to convey the tribute of my most sincere gratitude to Messrs. Balakireff, Borodine, Cui, Moussorsky, Rimski-Korsakoff, Scherbatcheff, and Stassoff.
You were kind enough, Sir, to let me see several of their works at Weimar; I appreciate and esteem them highly, and as far as depends on myself I will do all I can to make them known, and shall feel honored thus to respond to the sympathetic kindness which brave colleagues such as these accord to
Their very devoted
F. Liszt
141. To Professor Skiwa in Vienna
[Printed in the Signale, 1874, No. 20.–Skiwa had dedicated his “Beitrage zur Literatur des Harmoniums” (“Contribution to Harmonium Literature”) to Liszt.]
Very Dear Sir,
Kindly excuse the delay in my sending you my sincere thanks, which I shall very shortly take the liberty of expressing to you personally in Vienna. I shall then also ask you to do me the favor of making me more intimately acquainted with your excellent transcriptions. In reading them through one at once observes the author’s masterly style and his care and artistic handling of the characteristic peculiarities of the harmonium, especially in the management of the basses and the mid-voice parts. But still the mere reading your transcriptions does not satisfy me, and I should like to hear them, so as to be able fully to enjoy them.
Herr Bosendorfer will bring you the manuscript of the “Consolation,” the dedication of which is very acceptable to me. The transcription of this small piece into A major appears to me very appropriate, and the arrangement excellent.
With marked esteem and friendly thanks,
F. Liszt
Pest, March 2lst, 1874
142. TO C. F. Kahnt, the Music Publisher
[Published in the Neue Zeitung fur Musik, 14th September, 1892.]
Dear Friend,
The day after tomorrow I again go to Vienna, and remain there about a week. In case the “Prometheus” proofs are ready send them to me to my usual address (“Schottenhof bei Hofrath E. v. Liszt”) by the middle of Easter week; after that my address will be rather uncertain, as I intend spending a few days in Pressburg and Kalocsa (with Archbishop Haynald), and do not return here till after April 20th. Hence, if the “Prometheus” proofs are not ready within the next few days, do not send them till after my return to Pest (April 21).
Please send the proofs of Mihalovich’s songs as soon as possible to the composer, addressed to
“Servitenplatz, im Teleky’schen Haus.”
The Vienna concert in the “Palais Auersperg” is announced for Easter Monday, April 6th. The following Sunday, or at latest on Sunday the 19th April, the concert of the “Kirchenmusik-Verein” is to be given in Pressburg, at which I take a part in piano- playing–it is to be hoped for the last time this year!–
I think of remaining here from April 2lst to the beginning of May, and then of wandering straightway to Rome, and to the Villa d’Este.
I wish you in all friendliness a happy Easter, with satisfactory business at the Easter’s fair, and remain your sincerely attached
F. Liszt
Pest, March 29th, 1874
Have you sent Countess Oriolla the omitted copy of the “Wartburg Songs”?
143. To Dr. Franz Witt
[1874?]
I look forward with eager interest to the realisation of your scheme to found a Catholic School of Music. The numerous and important services you have rendered as composer, conductor, teacher, promoter and president of the Cacilien-Verein proclaim and mark you as pre-eminently fitted to organize and direct this highly important kind of School. I should wish that Hungary, my fatherland, might set a good example, and might offer you, my very dear friend, an honorable and influential post in the Musik- Akademie that was voted for last year in the Chamber. This wish of mine was seconded with cordiality by His Eminence the Cardinal Primate, His Excellency the Archbishop of Kalocsa, Haynald, and H. E. Trefort, the Minister of Public Instruction. Various political circumstances interfered with the plan of starting a Musik-Akademie in Pest; but the idea has by no means been given up, and I have still the hope that you may yet at some future day be called upon to give your powerful assistance in connection with the teaching and practice of Church music in Hungary.
144. To Professsor Carl Riedel
Dear Friend,
As at all preceding Tonkunstler-Versammlungen, you have again this year in Brunswick done the best that was possible. [The Meeting took place in Halle, instead of in Brunswick.] Five concerts sound almost alarming, but the programmes are drawn up and arranged with so much forethought and care that your master- hand and that indescribable “with avec” (as dear Frau Dr. Pohl called it) are at once to be recognised. It certainly was advisable to check the “democratic movements” of the orchestra without interfering with the well-meant “command.” That the Sondershausen set continue to prove themselves reliable and friendly I am delighted to hear. I wish all possible success to Erdmannsdorfer’s “Schneewittchen.” The youthful and captivating Frau Kapellmeisterin Erdmannsdorfer is especially capable of doing justice to Raff’s Trio (or Concerto) and other pianoforte pieces. [Pauline Fichtner, who married Erdmannsdorfer, was a pupil of Liszt’s, and became court-pianist at Weimar and Hesse.]
Will Bulow be able to be present? We have not written to each other for some time past. Do you know where to address him just now?
In case my Faust Symphony is given at the 5th concert (as your programme announces), I beg you to ask Bulow to be conductor. This work has become his property since he conducted it so magnificently at the Weimar Tonkunstler-Versammlung (’61), when the whole orchestra was amazed and astounded at his fabulous memory. You will remember that not only did he not use a score, but at the rehearsal referred to the numberless letters and double letters with unerring accuracy.
With regard to two other matters I wish: A, that Steinway may have the kindness to lend one of his excellent harmoniums for the Hunnenschlacht, and that the instrument may be so placed as to be invisible to the public and yet distinctly heard. B, that the performance of the Sanctus from the Mass for men’s voices be taken from the editio nova (published a few years ago by Hartel), and not from the earlier edition. Here, too, Steinway’s harmonium would render excellent service, visible and placed close to the chorus. Perhaps our friend Stade would have the kindness to play the harmonium part of the Hunnenschlacht and of the Sanctus.–
I truly regret that I shall not be able to hear that sublime, grand and overpowering Requiem by Berlioz, nor to attend the Musical Festival in Brunswick. I am physically and mentally very exhausted, and need several months’ rest; besides my remaining away from Weimar forbids me from meanwhile visiting any other German towns.–Before the middle of May I shall go direct to Rome, and remain there till the end of the year in my former residence at the Villa d’Este (3-1/2 hours from Rome).
With friendly greetings to your wife, I remain, Yours ever in esteem and sincere attachment,
F. Liszt.
Pest, April 17th, 1874
Accept my best thanks for cancelling my promise to Metzdorff (in regard to the performance of his Symphony).
I agree perfectly, of course, with your desideria fog the Musik- Verein, and hope next year to be able to contribute something towards their realisation.
“In patientia vestra possidebitis animas vestras.”
To Kahnt I wrote at once on my return from Pressburg on Monday.
145. To Dom-Capellmeister [Cathedral Conductor] Dr. Franz Haberl in Ratisbon
[This letter, like the subsequent one to Haberl, is a copy of the draft of a letter of Liszt’s by Dr. Mirus in Weimar.–Haberl is a distinguished musical scholar (born in 1840).]
[1874?]
Pardon me if I again come with claims upon your kindness. You may know that I am working at an Oratorio on St. Stanislaus, and perhaps might be able to give me some assistance with it by communicating to me the liturgic hymns referring to the feast of St. Stanislaus. The Enchyrydion and Directorium Chori designate the Mass, Protexisti, etc., on May 7th. To receive fuller information from you on this point would greatly oblige me. [Haberl also gave Liszt aural communications regarding the Stanislaus legend. “On one occasion,” says Haberl, “Liszt was specially and greatly delighted to hear of the man whom Stanislaus summoned out of the grave as a witness that the field had been paid for, and gave me a sketch of his proposed motives and tone pictures.”]
Pray accept, reverend Sir and friend, the expression of my marked esteem, and believe me yours gratefully and sincerely,
F. Liszt
146. To Professsor Carl Riedel
Dear Friend,
Herzogenberg’s [Formerly Director of the Leipzig Bach-Verein, then Kiel’s successor at the Berlin Hochschule, which post he lately resigned.] “Deutsches Liederspiel pleases me very much. The very first chorus with its mixed species of tempi 6/4-3/2 and 6/4-3/2 is fresh and pithy, and the whole work seems to me. excellent, pleasant and effective. Hence I should much like to recommend its being performed.
Where does Herzogenberg live? Has he any appointment anywhere? Let me know, when you can, something of his former and present work.
(N.B.–It would be worth while, later, carefully to arrange the “Deutsches Liederspiel” for orchestra.)
I observe with special pleasure that Grutzmacher has chosen a Suite of St. Saens’. St. Saens will not, however, be able to come,–the less so as a few years ago his appearance in quite a harmless concert in Baden-Baden brought down upon him hideous rebukes and reproaches from the Parisian Press. And the tone in France is not yet more temperate; still it is right that German artists should prove themselves fair and just towards foreigners, and, as long as Auber’s and Gounod’s Operas are given in all German theaters, I see no good reason against considering and performing other works by French composers. Among modern composers I regard St. Saens as the ablest and most gifted.
I am much satisfied with the choice you have made of my things, dear friend, and thank you cordially for it–at the same time I must express my sincere regret that I am unable to attend the Tonkunstler-Versammlung, and remain, with much esteem, yours most sincerely,
F. Liszt
Pest, May 5th, 1874
147. To Princess Julie Waldburg at Castle Wurzach
Madame La Princesse,
I feel that I am quite inexcusable. You have been so kind as to send me some charming Lieder, and to accompany them with the most gracious lines in the world. How could I fail to thank you for them immediately? What rusticity!–Deign to think of this no longer, Princess; and permit me not to “judge” your songs,– magisterial competency would fail me utterly,–but to tell you that I have read them with much pleasure. The one of which the style and impassioned accent please me particularly is dedicated to Mme. Ehnn–“Liebeshoffnung”; but I do not mean to depreciate the others.
The oriental interval of the augmented fourth, which I scent in the “Mondlied,” would be written, I think, more simply thus:–
[Here, Liszt writes a 2-bar musical score excerpt]
and further on
[Here, Liszt writes another musical score excerpt]
(C instead of B-sharp). And to prove to you, Princess, my attention in reading your works, I will venture to observe to you that in the French Romance “Comme a vingt ans” the prosody is neglected in the third couplet. Instead of the printed version (with two syllables omitted) it should run something like this:–
[Here, Liszt writes a 7-bar musical excerpt at the point where the words “Je vis le len–de–main, non plus au hord de l’onde mais as–si–se as che–min la jeune fi–le blonde” are sung.]
If I still had, as in Vienna, the honor of finding myself in your neighborhood, I hope you would grant me a word of indulgence; and meanwhile, Madame la Princesse, I venture to beg you to accept the most respectful homage of
Your very humble and inexcusable servant,
F. Liszt
Pest, May 10th, 1874
148. To Peter Cornelius
Dearest Friend of my Heart,
Again a request. You alone can help me, and give me in German a faithful poetical rendering of Lamartine’s “Hymne de l’enfant a son reveil.”
Years ago I used to sing this hymn, from my inmost heart, to my three children; you remember them…
And now the composition (what an unknown word for it!) is to appear in print, and the publisher Taborszky in Pest will send you my manuscript together with a copy of the poem. In case any prosodical alterations should seem appropriate, be kind enough to write them down distinctly in notes on a separate sheet of paper.
Tomorrow I travel direct to Rome, and shall spend the summer and autumn in the Villa d’Este (Tivoli). There, at length, our “Stanislaus” shall be pushed forward. [Cornelius translated the text to the Oratorio “Stanislaus.”]
With friendliest greetings to all your circle, I am, dearest Cornelius, ever your heartily devoted
F. Liszt
Pest, May 16th, 1874
149. To A.F. Eggers in Liverpool
[From a copy of the draft of a letter by Dr. Mirus, Weimar.]
[Villa d’Este, June 21st, 1874]
Dear Sir,
Your friendly communication rests upon a harmless mistake. You do not seem to know that for 26 years past I have altogether ceased to be regarded as a pianist; hence I have for a long time not given any concerts, and only very occasionally played the piano in public, for some very special reason, to aid some charity or to further some artistic object, and then only in Rome, Hungary (my native country), and in Vienna–nowhere else. And on these rare and very exceptional occasions no one has ever thought of offering me any remuneration in money. Excuse me therefore, dear Sir, that I cannot accept your invitation to the Liverpool Musical Festival, inasmuch as I cannot in any way think of wearying the public with my “whilom” piano-playing.
Respectfully yours,
F. Liszt
150. To Walter Bache
Dear and Honored Friend,
I am often with you in kindest remembrance and cordial sympathy with your admirable efforts, but unfortunately I rarely get any letters written to the friends I value most, for my time is wasted with a number of wearisome and useless notes. I have just despatched one of this sort to a Mr. E. in L. The good man invites me to the Festival to be held there, asks me to consider the matter, and even offers me a remuneration in money for playing–without imagining that I have anything else or better to do than to accept such invitations. To me concert tours would be absolutely senseless; to fulfil my duties in Pest and Weimar gives me trouble and interruptions enough. All the other things need not be enumerated.
The summer and autumn (till my return to Pest in January ’75) I mean to spend here quietly and at work. Last Monday and Tuesday I had the special pleasure of a visit from Bulow. And we thought of you in all friendship.–Bulow is now going to Salzungen (near Meiningen) for a couple of months, to recover from the terrible fatigues of his concert tour, and next October goes again to London.
Remember me most kindly to Mr. Dannreuther with assurances of faithful attachment, and do me the favor to give the enclosed notes of thanks to Messrs. Hueffer and Gounod.
Our very able and dear patroness, Madame Laussot, told me that you, dear Bache, will probably soon be wandering towards Italy.
A hearty welcome, therefore, to the old place where again is resting your old and sincere friend,
F. Liszt
June 2lst, 1874
(Villa d’Este,–Tivoli, per Roma–Italia.)
151. To Dr. Franz Witt
[Villa d’Este, Early Summer, 1874.]
Much-esteemed Sir and Friend,
The lively recollection I entertain of the truly edifying Church- music performances in Eichstatt under your direction [On the occasion of the 3rd General Assembly of the Cacilien-Verein in Eichstatt, August 1871] increases my regret that I am unable to accept your friendly invitation to the 5th General Assembly of the Cacilien-Verein in Ratisbon (between the 1st and 7th August) [The Assembly was held on the above-mentioned days.]. A wearisome piece of work will keep me here till my return to Pest in January ’75. Next summer, however, I hope again to pay you a visit, and to gather excellent precepts and examples from you. Meanwhile I am reading your Essays with peculiar satisfaction, and more especially your com-positions in the “Musica sacra” and the “Fliegende Blatter.” “Fliegend” [flying] must here be taken in the higher, angelic sense; in the latter sense O salutaris hostia sounds altogether comforting Musica angelorum, such as pleasantly animates all your Church tone-works.
152. To Dr. Franz Haberl
[A portion of this letter is printed in Dr. Mirus’ brochure, “Das Liszt-Museum in Weimar” (1892), which contains many interesting relics of Liszt.]
[Villa d’Este, Early Summer, 1874.]
Much-esteemed Sir and Friend
To my sincere regret I find myself prevented from attending the Cacilien-Verein in Ratisbon.
The efforts and performances of the Verein I follow with the deepest interest, and anticipate that its promoters–who are so capable, careful and learned–will accomplish all that is truly of advantage in Church music. And in this Ratisbon has for many years past deserved to rank first, and you, my much-esteemed friend, deserve the fullest recognition that can be offered for the abundant services you have rendered in the cause. Accept my grateful thanks for kindly sending Vittoria’s Missa pro defunctis, [A six-voiced Requiem given by Dr. Haberl at the 5th General Assembly of the Cacilien-Verein in Ratisbon in 1874, and published in the “Musica divina,” Annus II., Tom. I, by Pustet] which was brought to me by the Chaplain of the Anima Church. Will you be so kind as to get Herr Pustet to send me also, through Leukoch, [Perhaps ought to read Leuckart?] “Mannuale breve canticum,” etc.? [A little book of Chorales by Joh. Georg Mettenleiter]
In spite of the grievous news of your continued sufferings I do not give up the hope of seeing you here again soon, and of taking all friendly care of you; and you shall not in the least degree be troubled or wearied; merely recruit from your over-exertions by living simply and comfortably amid quiet and congenial surroundings.
Hence I take the liberty again of inviting your Reverence to spend the next months with me here in the Villa d’Este, where you will find rest, quiet and cosiness, mild air, glorious scenery, pleasant walks, good eating, good wine, books, music, pianos to make use of ad libitum, and a temperature mentally agreeable.
Cardinal Hohenlohe requests me to say that you will be heartily welcome, and this message is communicated with unmixed pleasure by your very respectful and sincerely grateful
F. Liszt
153. To Edmund von Mihalovich
Very Dear Friend,
Your Prologue to the Nibelungen in course of performance at the Walhalla-Roszavolgyi has royally amused me. [A joke of Mihalovich, who had nicknamed several mutually known people with the names and characters out of the Nibelungen] I wish that Wagner may find in Messrs. Betz, Scaria, Niemann, etc., interpreters as well suited to their roles as Richter-Wotan, Dunkl-Loge, Abranyi-Thor and Gobbi-Mime.
At Bayreuth “fervet opus” The preparatory piano rehearsals are going on; celebrated artists are growing thick on the ground, like the suitors at Penelope’s court. Joseph Rubinstein suspends his commercial occupations, and returns from Cracow to drive the four-in-hand accompaniment of Rheingold. The architects, painters, decorators, machinists, costumiers and their people are continuing their work; therefore, in spite of difficulties and obstacles, the great work of Art of this century–Wagner’s Tetralogy of the Nabelungen–will come to pass, and I hope to be present at the first performance with my very dear friends Mi and Do. [Mihalovich was called Mi by Liszt, and Count Apponyi Do.]– Meanwhile let us go on patiently at our own modest work, and endeavor to make it as suitable as possible. Next winter we will make an exchange of our latest sheets of music. I will bring a pretty thick packet to Sir Hagbar. [An Opera by Mihalovich (Hagbar and Sigurd)]
Schuberth promises me the “Geisterschiff” in the autumn; we will then launch it at once with Sgambati, who has just composed several Lieder, exquisite in sentiment. I have recently written, as an Impromptu, without any forethought, an Elegie in memory of Mme. de Moukhanoff, entitled “Schlummerlied im Grabe” [Slumber Song in the Grave.]
Your kind wishes for my repose are being realised here. I pass my days very peaceably, and my evenings alone, in reading, writing or playing. Since the departure of Bulow, who gave me his most eminent company for two days (in the middle of June), I have, so to say, seen nobody. He is now making his villeggiatura at Salzungen near Meiningen, returns to England in the month of November, and will not go to America till the autumn of ’75.
Pay me a visit sometimes in thought, dear Mi, and believe me ever your very cordially devoted friend,
F. Liszt
Villa d’Este (Tivoli), July 30th, 1874.
Let me hear something about Do and Horpacs. [An estate of Count Emmerich Szechenyi, the former Austro-Hungarian ambassador in Berlin, whom Liszt frequently visited.] I will write to them later.
154. To Peter Cornelius
[The letter is addressed to Neuenahr, where Cornelius had gone for a water-cure, shortly before his death. The translation of the Cacilia-legend he did not accomplish.]
Dear and valued Friend,
You have again presented me with a marvellous gift. Your German translation of Lamartine’s “Hymne de l’enfant a son reveil” is exquisitely successful, and retains all the fragrance and aroma of the original poem.
“Kein Wurmlein vergissest Du…Das Zicklein an Staude und Beere…Am Milchkrug Mucklein saugt den Saft…Und die Lerche das Kornlein picket.”…
[“No worm dost Thou e’er forget…The kid amid the shrubs and berries…The fly that sips the sweetest juice…And the lark that pecks the blade of corn.”…]
All and everything fits in so exactly with the music, syllable by syllable, that it seems as if the poem and music had sprung up together. Verily, dear friend, you are an extremely kind and most perfect magician. Now do not be vexed with me if my grateful appreciation of your skill should prove somewhat covetous, and I again ask you to do me a favor. A little French poem of 48 short lines, “Sainte Cecile, Legende,” by Madame Emile Girardin (Delphine Gay) is awaiting your poetic courtesy. Allow me to send you my finished composition of this Cacilia, the musical foundation of which is furnished by the Gregorian antiphone: “Cantantibus organis, Caecilia Domino decantabat.” It is to be hoped that I have not spoilt it, and I trust to your friendly kindliness to send me a German translation of it before the next Cacilia Festival (22nd November), soon after which it shall be printed, and a performance of it given in Pest.
The delay with the edition of your two Operas I sincerely regret. They deserve much greater appreciation and a much wider circulation than hundreds of others that are printed, and the publication of the pianoforte scores is sure to effect this for them. Meanwhile I am glad that you have made use of my suggestion to base the Overture of the “Barber” on the pleasantly characteristic motive–
[Here, Liszt illustrates with a 4-bar musical score excerpt.]
Next summer we shall meet in Munich.–With hearty thanks, your sincerely attached
F. Liszt
Villa d’Este (Tivoli), August 23rd, 1874
If you should see Frau Schott in Mainz, give her my kindest remembrances. For some time past various manuscripts have been lying ready which I should have liked to hand over to Schott’s house of business; but fear that they might arrive at an inopportune moment. The very title, “Drei symphonische Trauer- Oden” [“Three Symphonic Funeral Odes”] might prove alarming; and besides, the scores–all about 20 pages in length–would have to be published simultaneously with the pianoforte transcriptions (for one or two performers). Well, “we can wait.”…
I am working pretty industriously at the “Sanct Stanislaus.” Of this you will tomorrow receive a full report–and an urgent request for speedy, energetaeally accentuated pains over the essential but not lengthy alterations of the text.
155. To Ludwig Bosendorfer in Vienna
[Head of the celebrated pianoforte manufactory, now Commerzienrath (Councillor of Commerce)]
Dear friend,
With my sincere thanks for your interesting reports of the Vienna musical world I would gladly have given you something of the same kind in return. But there is here nothing whatever in the way of novelties or specialities in the way of concerts; be content, therefore, if my letter today mentions only one, but to me a very important artistic item–namely, the frequent use of your piano, which, among other virtues, possesses a wondrous power of not getting out of tune [Unverstimmtheit]. Since its despatch from Vienna not a tuner has touched it, and yet it keeps in beautiful tune, and steadily resists all variations and effects of temperature.
Till the end of January I shall remain quietly at work here; then go direct to Pest–and by the middle of April on to Weimar. My thoughts and efforts require now only peace and seclusion. These are things that suit me best in my old age, and uphold me in spiritual intercourse with my dear and true friends. As such I greet you and your wife heartily and sincerely.
F. Liszt
Villa d’Este, August 28th, 1874
156. To Adelheid von Schorn in Weimar
Dear and Most excellent One,
For our grand coup you come in completely in your role of providence, which you fill with such complete good grace, and with an admirable mastery! I cannot tell you what immense comfort your letter brings me, with its assurance of your speedy arrival in Rome. Try not to delay it beyond the 25th-30th November, and if possible come sooner. Princess Wittgenstein is still very suffering, and has kept her bed entirely for six weeks; your company and the inspirations of your solicitude will do her more good than all the Allo-and Homoeopaths put together.
I beg that you will write to her speedily to announce your coming, for she is ignorant and must be kept in complete ignorance of the plot we have hatched with Princess Marie [The daughter of Princess Wittgenstein.], the happy success of which you will crown. (questions of detail will be easily settled to your satisfaction, in such a manner that the stay in Rome will be thoroughly pleasant to you.
It is understood that you will not mention the question of where you will live to Princess W., who has already only too much worry about her own rooms. In my opinion it would be best for you to go to the Hotel d’Amerique, Via Babuino (close by the house of the Princess and of the one where I live), and to spend some days there, until you see where you can settle yourself comfortably, whether at the Pension (also very near the Babuino) where your cousin Octavie stayed, or elsewhere.
When you reach Bologna, please let me know by telegram on what day you will arrive; I will meet you at the station, and it will be a real joy to me to escort you to your first abode in Rome.
Thank you with all my heart, and yours ever,
F. Liszt
Rome October 12th, 1874 (Vicolo de Greci, 43.)
The Princess is living at Via Babuino 59.
Your letter was only returned to me from Tivoli yesterday evening.
I shall remain here, or at the Villa d’Este, till the end of January.–
157. To Breitkopf and Hartel
Very dear Sirs,
The kind reception you gave the last sending of my somewhat cumbersome manuscripts and revisions pleased me greatly. I will always gladly do what I can to not increase the publishers’ worries, and henceforth print only what has been carefully worked out and will prove tolerably acceptable.
With regard to the form in which the Songs and Wagner- transcriptions are to be published, you may act altogether as you think best. I did certainly think that the convenient and neat edition in small octavo would be preferable (like the last edition of Chopin and my “Etudes transcendantes”): hence in from 5 to 6 little volumes:–
1. Beethoven (The “Adelaide” and other Songs); 2. Mendelssohn (6 Songs);
3. Robert and Clara Schumann;
4. Robert Franz;
5 to 6 (?). Wagner-transcriptions.
This would in no way prevent the songs and pieces of several pages (such as the “Adelaide,” Mendelssohn’s Songs, the “Tannhauser-March,” the “Rienzi-Fantasia,” etc.’ being sold singly–in the same small 8vo form which, candidly speaking, I always like best. As long ago as the year ’39 I induced Haslinger to publish Schubert’s songs in an edition of this kind–and at that time it seemed rather a doubtful innovation. Also about placing the words below the music. I wish this, for the sake of the poetical delivery in all of the songs, except the “Adelaide,” because the poem roams about rather too freely in rococo style. Let us leave “the flow’ret at the grave” to bloom on quietly without retouching it again.
I must unfortunately again trouble you to send me all the proofs. It is a matter of great moment to me to have the things arranged as accurately and as appropriately for the piano as possible. And for this I require the last proofs, in order finally to revise them in reading and playing them over. (For the printer’s consolation be it remarked that no new alterations shall now crop up again; my zeal in correcting shall be confined to making some pedal marks and fingerings.) First of all I should like to try over Sgambati’s duet arrangement of the “Ideale” with him; and you will doubtless do me the favor of sending me the proof sheets stitched together before I leave here (at the end of January).–
I leave the matter concerning the small honorarium confidently to your well-known kindly disposition, and remain, very dear Sirs,
Yours respectfully and most obediently,
F. Liszt
Villa d’Este, November 24th, 1874
158. To Count Albert Apponyi in Budapest
[From an undated rough draft of a letter in the possession of Herr O. A. Schulz, bookseller in Leipzig. (The date has been ascertained from a letter to Mihalovich.)–The addressee was the well-known Hungarian statesman.]
[Villa d’Este, December 6th, 1874]
Dear and Very Honored Friend,
Your excellent letter of the 27th November reached me here yesterday evening. I hasten to give you my very sincere thanks, and to add a frank reply on the question of the Academy of Music.
First of all I think the “moyen violent” [violent means] of Huszar, which will deliver us from barren tittle-tattle, is right; let us throw the Seeschlange [sea serpent] into the Danube, and if he wants an epitaph here is one: “It is better to do nothing than to do stupidities.”
Now, are we the stupid ones?–The Government is much interested in this affair; the Sovereign’s decision has been obtained; I know not what official publication has followed. You yourself, dear Count, have brilliantly persuaded the Chamber of Deputies that the said Academy would be of use in raising Art in Hungary; my necessary humble reserve has been taken by the public as consent.–Is it possible now to take no account of such precedents, and to draw back when it is a question of advancing? I do not think so, and I am quite of your opinion, as wise as it is opportune.
In spite of the difficulties of a position embroiled with divers worries, and in spite of the scantiness of the financial means, we ought to stick to our affirmative position and not in the least to give way.
As to my “personal convenience,” which you are good enough to take into such kind consideration, permit me to assure you anew that I aspire to one only blessing–quiet time for work in my own room. Orare et laborare. The point of honor, which no one understands better than yourself, attaches me to Hungary, our country. May I fulfil there all my duty of gratitude!–
I shall be back at Pest (Fischplatz) on the 10th February, and shall rejoice to hear the Ballade of our valiant friend Mihalovich, to whom I shall write tomorrow.
Yours from my heart,
F. Liszt
159. To Edmund von Mihalovich
Dear Excellent Friend,
I wrote the day before yesterday to Do, and was about to continue with a letter to you when a telegram called me subitissimo back to Rome. The thread of my ideas has not been broken on the journey, and I resume our conversation, a trois, on the long gestation–omen of abortion–of the Hungarian Academy of Music.
I trust that my very dear and honored friends will be convinced of my perfect disinterestedness in the question; the idea of an Academy is in no way mine if I become sponsor to it, it will be in self-defence and without any connivance at paternity whatever; I even refuse to help in the procreation of the marmot [brat]; and, far from making myself, before my time, in any way its champion or propagandist, I hesitate over the difficulties which are opposed to its birth. I have explained these many a time to my Budapest friends, and the difficulties have increased rather than diminished during these last three years…
1stly. The financial situation of the country appears to be such that one must scruple to burden the budget with an expenditure beyond urgent needs. My patriotism is sufficiently sincere and lively to counsel me to abstention, including every renunciation that is compatible with my strict duty.
2ndly. It would be a poor luxury to add a third music school to the two schools already existing (meagrely) at Pest. If one cannot emulate with honor the similar establishments of Vienna, Leipzig, etc.–what is the good of troubling any further about it? Now, to give a vigorous impulse to Art among us, we must first unite and fuse into one spirit a set of professors of well- known capability,–a very arduous and ungrateful task, the accomplishment of which demands much intelligence, and a sufficient amount of cleverness and of money.
Other minor, local considerations complicate the matter stilt further; I pass them over in silence today, and will not repeat myself any more except on one point,–my religious devotion to our country and our art. To serve them somewhat, according to the moderate degree of my talent, whether it be in working by myself at my manuscripts (which is what I much prefer), or in cooperating with my friends in public things, this is my simple and exclusive desire, totally removed from the personal pretensions or anxieties of vanity which are wrongly imputed to me.
“Tiszta lelek, tiszta szandek, akar siker, akar nem.” [“Pure soul, pure intention, whether the results be favorable or not.”– Maxim of Stephan Szechenyi.]
My friends are those who haunt the Ideal; there, dear friend, we “recognise” each other, and shall always do so,–but not “in the mud,” illustrated by a fascinating poet, too much celebrated and tainted by the triviality of vulgar applause–Heine. Amongst other things he had predicted that the Cathedral of Cologne would never be finished. “In vain will Franz Liszt give his concerts,” etc.–
You know that Wagner is coming to Pest in Lent. It is only right that several of your compositions–especially the last, “Sello”– should be performed in public at that time. Talk the matter over with Richter. I on my side will ring the “Bells.” Please beg Abranyi to hurry with the Hungarian translation of Longfellow’s poem (the Prologue to the “Golden Legend”), and to follow, not the German translation of the “Pianoforte score,” which I have sent to Engesser, but the original English text. [Liszt had set to music the Prologue to the “Golden Legend,” under the title “Die Glocken des Strassburger Munsters”–“The Bells of Strassburg Cathedral.”]
Yours in cordial friendship,
F. Liszt
Villa d’Este, December 8th, 1874
I will write tomorrow to the very gracious chatelaine of Horpacs.
160. To Carl Hoffbauer in Munich
[From a copy belonging to Dir. Aug. Gollerich.–Hoffbauer, born in 1850, became in 1872 Director of the Gesang-Verein in Munich, went to Frankfort in 1880, and put an end to his own life. He composed, among other things, the Operas “Cotzzata” and “Demetrius.”]
[End of 1874.]
My hearty thanks for the kindly zeal with which you have taken up the “Christus Oratorio.” But a performance of it in Munich appears to me so doubtful, and connected with so much trouble, expense, and difficulty, that I must for the present dissuade you from the undertaking. Besides, it would not be possible for me to accept your invitation for the end of February, as several engagements will keep me in Pest till Easter. And, if ever you give a performance of the Christus in Munich, I should much like to be present. As yet the whole work has been only twice heard, in Weimar and Pest (in May and last November, ’73).
In reply to your inquiry, I must mention Herr and Frau von Milde and Frau Dr. Merian as specially well acquainted with and capable of taking the solo parts.
Accept the assurance of my utmost gratitude for your eagerness to give a performance of the Christus in Munich.
Most respectfully and sincerely yours,
F. Liszt
101. To Edmund Von Mihalovich
Very Dear Friend,
In spite of the legion of Dessoff, calm plains or storms, go on roaring bravely in the waters of the “Phantom Ship.” Even should we not succeed in arriving safely in port, and should we meet no other Senta than Her Highness Madam Criticism, it matters not; those who follow us in the same waters of the Ideal will be more fortunate…
“Et quasi cursores vitai lampada tradunt!”–
We will talk about all this fully in February, in the Fischplatz.
Will you be so kind as to send the enclosed letter to my gracious and admired translator of the “Chopin”–Mme. la Comtesse Ottilia Wast? [A translation into Hungarian from the old edition of the book.]
Further, I beg that you will recommend Taborszky to publish before Easter my St. Francois de Paule, which our very dear friend Albert Apponyi has been good enough to adorn with his poetry,–and also “L’hymne de l’enfant a son reveil,” which Taborszky must have received in November (with the German words by Cornelius and the addition of a harp part).
Schuberth has been seriously ill. I shall be after him to bring out your Geisterschiff [Phantom Ship] without any more delay.
A revoir in six weeks, and always
Very cordially yours,
F. Liszt
Villa d’Este, December 29th, 1874
On the occasion of the Wagner concert in Pest I should like my “Bells” to ring, and beg Abranyi to attune the Hungarian Klingklang [ding-dong] of them speedily and beautifully.
[Liszt’s “Glockengelaute” (Bell-ringing) consisted in this–that he played the Beethoven E Concerto at the Wagner concert in Pest. He allowed himself to be persuaded to do this, as people were afraid that, on account of the high prices, the concert would not be full.–The “Bells of Strassburg Cathedral” were not performed.]
162. To Carl Hoffbauer in Munich.
[From the copy of a draft of a letter by Dr. Minis.]
[Probably Pest, at the beginning of 1875.]
Very Dear Sir,
Your last letter exhibits so convincing a character of truth and noble-mindedness that I sincerely rejoice at the prospect of becoming personally and in spirit better acquainted with you. And first of all be assured of my special interest in your Opera “Comata.” Whatever I may be able to do as regards a representation of it in a theater I shall not fail to do. In Munich we will read the score over together, and discuss further details.
Of your persistence in wishing to have the “Christus” performed I wrote to Schuberth yesterday, and shall in full confidence leave the whole matter to your considerate zeal. You will best know whether and how a successful performance can be made possible, and please therefore arrange matters altogether according as you think fit. I beg you merely to let me know the day you fix upon some 10 or 12 days previously, and address me to Pest (at Easter), if earlier to Weimar, and I will then come for the full rehearsal.
[The performance took place on the 12th April, 1875. As a result of this King Ludwig II ordered a separate performance in the Court theater, and this again was followed by a public one.]
Respectful greetings to the poetess of the “Comata,” and believe me, with marked esteem, yours gratefully and sincerely,
F. Liszt
163. To Professor Julius Stern in Berlin
Dear Friend,
For years past and again lately I have been very much indebted to you. Our eminently learned and dear friend Weitzmann [Theorist and contrapuntist in Berlin (1808-1880)] told me of the careful rehearsals, and of the admirable manner in which you conducted the Faust Symphony. Owing to critical circumstances and negativings I have, as a rule, to dissuade people everywhere from giving performances of my scores. All the more pleasantly am I affected by the goodwill of the few friends who carefully and courageously march on in front.
Therefore, while offering you my sincerest thanks, I beg you to excuse my not being just now able to accept the tempting invitation to Berlin.
Yours most respectfully and sincerely,
F. Liszt
Rome, February 4th, 1875
(Next week I return to Pest, and at the beginning of April go to Weimar, where I should be delighted to welcome you again.)
164. To Count Albert Apponyi
[From a rough copy of a letter in the possession of Herr O. A. Schulz, bookseller in Leipzig.]
February 18th, [1875?]
This morning the Politische Volksblatt [The Political People’s- Paper] brings me your portrait, my honored and dear friend. The notice accompanying it pleases me only in so far as it predicts a great future for you, based on your very evident merits and great talents. People are agreed upon your great height (“Haupteslange”)–all the better, for it corresponds to the height of your character, and I bet a hundred to one that you will never combat “the spirit of the times” (“Herr von Zeitgeist und Frau von offentliche Meinung,” [Mr. Spirit of the Times and Mrs. Public Opinion.] as the honorable Count Gozzi ceremoniously said), except when you meet with stupidities and adventures on which this spirit of the times is astride.
A friendly invitation for tomorrow evening at the house of
Your very devoted and grateful
F. Liszt
165. To Johann Von Herbeck
Very Dear Friend,
My sincere thanks for your letter; gladly would I follow your very kind and “unselfish” request. To say “nay” to my friends always comes hard to me. But how can I act otherwise in face of the negativings of critics? And why should I not prefer abiding my time in peace alone?
Now-a-days an artist is reckoning without his host if he places honest faith in the public. For people now-a-days hear and judge only by reading the newspapers.
I mean to take advantage of this in so far that the leading and favorite papers of Vienna, Pest, Leipzig, Berlin, Paris, London, etc.–which abhor my humble compositions and have declared them worthless and objectionable–shall be relieved of all further outward trouble concerning them. What is the good of performances to people who only care to read newspapers?
Hence, dear good friend, let the “Gran Mass” [Herbeck, however, did have them performed.] and the “Glocken” [“Die Glocken des Strassburger Munsters”–“The Bells of Strassburg Cathedral”] remain unperformed in Vienna, where (in Easter week) you shall receive a visit from yours most warmly and gratefully,
F. Liszt
Budapest, March 3rd, 1875
166. To Eduard Von Liszt
Dearest Eduard,
Give Lenbach my kindest thanks, and at the same time ask him to send his extremely poetical portrait of Frau von Moukhanoff here soon in honor of the noble lady and of the musical Commemoration Festival which we have announced for the middle of May. [Liszt dedicated an Elegie to the memory of this gifted lady.]
Tomorrow morning early I go to Hanover; my address there till May 29th [This must mean the 29th April.] will be: “at Freiherr von Bronsart’s, Intendant of the Hoftheater.” On Saturday is the performance of the “Elizabeth,” and on the 29th the concert for the benefit of the Bach monument.
My gracious Grand Duke is very urgent about my speedy return; I shall, therefore, probably spend only 8 or 10 days at Schloss Loo (from the 2nd to the 12th May), and then return here forthwith.
The Tonkunstler-Versammlung is to be held in Dresden at the end of June. I long for some rest and quiet work.
Thine with all my heart,
F. Liszt
Weimar, April 22nd, 1875
167. To Adelheid Von Schorn in Rome
Dear Excellent One,
I come to keep you company a little in your convalescence,–far advanced, I hope, so as to be something like a complete cure. For a tisane [A soothing drink] I offer you some news of your cara patria. There are few variations at Weimar: the Grand Duke and Grand Duchess remain there till the end of June; the Emperor of Russia is announced for the 25th June; the Hereditary Highnesses are going to the waters (Marienbad and Pyrmont) in a few days, and will return before the Grand Duke’s fete (24th June); Gutschen Watzdorf is going on his own account independently to Carlsbad, Mme. de Loen to Reme (in Westphalia).
At the theater a tempered, but lively activity; during these latter weeks a new Drama by Otto Roquette has been given–Der Feind im Hause. [The enemy in the house.] The subject is taken from the quarrel of the Colonna in Rome; the success of the piece will not occasion any fresh quarrels; nor will that of two new Operas that I have seen–Der Widerspanstigen Bezahmung [The subduing of the refractory ones.] by Gotz and Golo of Scholz, which have come inopportunely into competition with Schumann’s Genoveva–a work which has been taken up again with marked success this year (after it had been prudently ignored for twenty years–except at Leipzig and Weimar) at Leipzig and Wiesbaden. Other theaters will mix themselves up with it, in spite of the non-success of Genoveva at Vienna, where it was put on the stage in the winter of ’74 with a most praiseworthy luxury of decoration and costumes.
At the time of the performance which I conducted, and that is some twenty years ago, I said: Genoveva is musically the sister of Fidelio; only Leonora’s pistol is wanting.
Tristan and Isolde, announced here for the 15th and 19th May,…have remained at Munich with M. and Mme. Vogel, who have lost a child. Loen [The Weimar Intendant] and all the public are very much put out at this untimely mourning; possibly the Vogels will be able to come towards the end of June; I don’t reckon on it much, but have written to them on the subject at Loen’s request. If they accept, the Commemoration Matinee of Mme. Moukhanoff will take place between the two performances of Tristan, and the “Tempelherrenhaus” in our park has been chosen by us as the spot for this musical commemoration. I will send you the programme.
Meanwhile here is that of Saturday last at the “Orchestral School”–a very useful establishment, well adapted to our modestly proud situation of Weimar, and which Muller-Hartung conducts according to my wishes. [The concert “in honor of Liszt’s first visit to the School” consisted entirely of works by him.] Bruch’s Odysseus–a musical illustration of Preller’s admirable pictures in the Weimar museum–was performed last Thursday, conducted also by Muller-Hartung.
Lassen is in the middle of composing some fine choruses for the two “Fausts,” which Devrient is intending to get up here in two evenings, in conformity with his new scenic arrangement.
Very cordially yours,
F. Liszt
Weimar, May 17th, 1875
168. To Eduard von Liszt
Dearest Eduard,
.–. The day after tomorrow I join the Duke of Weimar’s party at Schloss Wilhelmsthal, and shall remain there several days. After that I should have liked to wait upon Cardinal Hohenlohe in Schillingsfurst; but His Eminence is at present at Bad Ragaz (Switzerland) undergoing some after-cure for a foot-trouble, the result of some accident he met with last winter. When I receive his answer I shall so arrange things that my visit to Schillingsfurst is paid as is agreeable in tempore opportuno.
From the 3rd to the 15th August I shall be in Bayreuth; after that I shall this year end with Weimar (without playing “Tannhauser” there, as a guest!) at the Carl-August Festival on September 3rd, for which I have written a short and simple chorus in popular style, the text of which is furnished by King David: “The Lord preserveth the souls of His saints, and light is sown for the righteous.”
In contemplating this light in all humility,
I am, in true affection,
Thine,
F. Liszt
Weimar, July 17th, 1875
Enclosed are a few words for our Marie. If I had to choose a cousin I should choose her. Hence I confess my innermost elective-affinity with papa and daughter.
Lenbach’s wondrously inspired portrait of Madame Moukhanoff will tomorrow be sent back to Vienna to the Countess Coudenhoven.
169. To Louis Kohler
Very Dear Friend,
Merit and success, in your case, would seem always to stand in perfectly delightful harmony. Best thanks for your kindly letter and for sending your Opus 147: “Technische Kunstler-Studien” [“Technical Artist-Studies”]. And although I am more disposed to turn away from than towards Methods and Pedagogics, still I have read this work of yours with interest. The entrance of the pedal after the striking of the chords as indicated by you at the beginning of page 3, and as consistently carried through by you almost to the utmost extreme, seems to me an ingenious idea, the application of which is greatly to be recommended to pianoforte players, teachers and composers–especially in slow tempi.
I regret that we are geographically so far apart; but sympathetically I remain in sincere esteem and in all friendliness yours,
F. Liszt
Schloss Wilhelmsthal, July 27th, 1875
My friendly greetings to your very talented pupil Alfred Reisenauer. Perhaps you may be coming to Weimar again shortly; I should be pleased to hear this.
One line in your friendly letter I answer herewith: proud of my Konigsberg title of doctor, and anxious to do it credit, I willingly refrain from giving performances of my humble compositions anywhere.
170. To Carl Hillebrand in Florence
[The celebrated author of “Zeiten, Volker und Menschen” [“Times, People and Mankind”] and other works; born 1820; lived, from 1870 until his death, in Florence, where a memorial tablet, in gratitude to his memory, was erected over his house in the Lung’ Arno.]
Dear and Very Honored Friend,
Your friendly letter leaves me a good hope…for next year. I have just transmitted your thanks and the data relative to our concerted idea to the Grand Duke, who arrived at Ostend on Thursday last, with his daughters, his son and his daughter-in- law. Their Royal Highnesses return to Weimar the 1st September for the fete of Carl August, which the Emperor and Empress of Germany will solemnise with their presence. Monseigneur tells me to invite you to it. I observe to him that you will probably be detained elsewhere; nevertheless, if you should come to Germany at that moment, be assured that you will be warmly welcomed and received at the Court of Weimar.
The monument of Carl August will be inaugurated on the 3rd September. The ceremony of the “Toison d’Or” [“Golden Fleece”], at which the Emperor will be the sponsor of his brother-in-law, our Grand Duke, will take place on the 4th. Then T.R.H. will leave Weimar, and my poor self return to the Villa d’Este (towards the middle of September) for as long a time as my very dear compatriots will allow of it. They press me strongly to return to Pest on the 1st November; before obeying them I shall come and see you at Florence.
Please count always on the feelings of sincere and high esteem of your very cordially devoted
F. Liszt
Bayreuth, August 2nd, 1875
The papers keep you au courant of the marvels of Wagner’s theater here. The performances (announced for the month of August ’76) of the Tetralogy, “Der Ring des Nabelungen,” will be the chief event of dramatic Art, thus royally made manifest for the first time in this century in its ensemble and unification of Poetry, Music, Acting, and their decorations of Painting and mise-en-scene.
There is not merely the chance, but the guarantee of a grand and striking success, in view of the sublimity of the work itself, and also of the enthusiasm which it already excites amongst the numerous staff of artists chosen to interpret it. In spite of the difficulties of this new transcendental style of Wagner, the preparatory study and rehearsals are an enchantment for the singers and the musicians of the orchestra.
By the 18th August I shall be back at Weimar, and shall stay there till the 6th September.
To Madame Laussot my tender and grateful regards.
171. To Adelheid von Schorn
Dear Excellent One,
It is not without regret that I have given up the very sincere pleasure of meeting you now at Nuremberg. If you remained there till towards the middle of September I should come and ask you what commissions you have for Rome, where I expect to arrive before the 20th September.
Here we are sailing in the full tide of the marvels of art. Every day, morning and evening, one act of the “Ring des Nibelungen” is rehearsed in Wagner’s new theater. The enthusiasm of the whole staff of singers and orchestral players, to the number of about 150, is as sincere as it is abundant, and everything augurs for next year some prodigious performances of the immense and sublime work which royally dominates all contemporary Art, including the former works of Wagner.
Cosima sends you a thousand affectionate messages, and is expecting to see you at the time of the definite succession of the Nibelung-Ring in the month of August 1876. You were present at the laying of the first stone of the monument, and must not be absent at the crowning moment. .–.
Mme. de Schleinitz is staying here a fortnight longer, and is living at the castle. She keeps herself continually at the highest diapason of grace and charm, without ever missing the opportunity of effectually obliging her friends.
A revoir soon, dear and very excellent one; and ever from my heart your devoted
F. Liszt
Bayreuth, August 7th, 1875
I shall be back at Weimar by the 18th August.
172. To Dr. Franz Witt
[Probably August or September, 1875]
Much-esteemed Friend,
While greatly regretting to hear of your indisposition and thanking you sincerely for your last letter, I now ask you: How are you going to answer the ministerial communication of Trefort?–Are you willing to render important help as regards Church music in Hungary? Superfluous words are unbecoming to me; let us onward and act; and may your noble and stimulating influence be granted to Hungary. Assuredly you will find there admiration, affection, and the necessary assistance in the great services you will render.
In a word: Come to us, and let us work together in Budapest!
173. To Lina Ramann
[Authoress of “F. Liszt als Kunstler und Mensch” (“F. Liszt as Artist and Man”), 2 vols. (Leipzig, Breitkopf and Hartel, 1880 and 1887)]
Dear Friend,
Thanks to your care I had excellent and very inspired company during my two days’ journey from Nuremberg to Rome. Your parallel “Bach and Handel” delighted me more than the famous landscapes of the Brenner. Allow me specially to praise your fine insight into and correct interpretation of the various musical forms of culture from the Motet to the Mass and the Oratorio.
Some portions also of the “Allgemeine musikalische Erzieh-und Unterrichtslehre” [Universal Musical Instruction] pleased me–(in spite of my inaptitude in things pedagogical), especially the main idea of the work:–that musical instruction should not be separated from, but form a part in, the course of education; a relevant thought, the practical application of which will essentially benefit, and prove useful to, art as well as education.
Again my cordial thanks for the hours at Nuremberg, and best greetings to the amiable comrades in art Fraulein Ida and Auguste.
Yours respectfully and sincerely,
F. Liszt
Rome, September 28th, 1875
174. To Eduard von Liszt
Rome, September 29th, 1875
Dearest Eduard,
Wherever we may be we ever remain one in heart. Probably I shall be in Budapest as early as the middle of November, on account of the Musik-Akademie, which it is my duty to shape in accordance with the standard of somewhat difficult local circumstances. Appointments have already been made by the Minister Trefort: