to ask you to reduce your recital to the average proportion. An hour and a half of pianoforte music of mine, however admirably played, is more than sufficient.
M. Becquet, President of the Brussels Musical Society, writes to me concerning the performance of my Elizabeth, and M. Radoux, Director of the Liege Conservatoire, likewise. I fear the translation of the libretto and its proper adaptation to the work will be impediments. Nevertheless, if your friend Franz Servais were good enough to undertake the work of revision and of intelligent adaptation to the vocal parts, I should be more easy in my mind, and should only wish to look through the whole before the publisher, Kahnt, prints the French version under the German original. I am now writing this to M. Becquet. Pray give my cordial regards to Franz Servais and my grateful remembrances to Maitre Gevaert.
Enclosed are the photographs with signature for MM. Dumon and Dufour; to which I add a third (recently taken in Rome) for yourself.
I am honored, flattered, and also…overwhelmed by numbers of letters. I have received more than a hundred during the last six weeks; I should have to give ten hours a day to letter-writing if I were to attempt to pay my debts of correspondence: this I cannot do. Even the state of my health, which is not bad but forbids any continuous occupation, is opposed to it. Besides, when my old mania for writing music lays hold of me–as is the case just now–I feel quite unable to use my pen in any other way. I therefore beg you to convey my apologies and very affectionate thanks to M. and Mme. Tardieu for the kindness they show me.
I hope to repeat all this to them personally, for it is not said that I shall not return to Brussels, although travelling is becoming arduous for me. M. Tardieu’s present of spirituous liquid has restored me several evenings during my work,…which may be superfluous, but completes what has gone before.
Your very devoted friend,
F. Liszt
Rome, December 4th, 1881
I remain here till the first week in January at Via and Hotel Alibert.
285. To Camille Saint-Saens
Much-Esteemed Dear Friend,
You are not one of those who are easily forgotten, and you have won your fame valiantly. My feelings of sincere admiration and gratitude have followed you for many years; they are confirmed and increased by the proofs you give of constant and active sympathy.
I wrote to you last summer from Magdeburg on the occasion of the festival. Your remarkable work “La Lyre et la Harpe” figured on the programme; a delay in the translation and in the study of the choruses obliged me, to my great regret, to defer the performance of it till next summer, when the Tonkunstler-Versammlung, which is honored by your active membership and has just named me its Honorary President, will again meet.
Before Christmas Furstner, the publisher, will send you, from me, three copies (score and arrangements for pianoforte solo and duet) of my second Mephistopheles Waltz, dedicated to Camille Saint-Saens. I thank you cordially for giving it so hearty a welcome. No one more than myself feels the disproportion in my compositions between the good-will and the effective result. Yet I go on writing–not without fatigue–from inner necessity and old habit. We are not forbidden to aspire towards higher things: it is the attainment of our end which remains the note of interrogation, being in this something like the end to the Mephistopheles Waltz on b, f–
[Here, Liszt illustrates with a musical score excerpt]
intervals which are indicated in the first bars of the piece.
You intimate the friendly desire that I should revisit Paris. Travelling at my age becomes burdensome, and I greatly fear that I should be found out of place in capitals like Paris or London, where no immediate obligation calls me. This fear does not make me less grateful towards the public, and especially towards my Parisian friends, to whom I acknowledge myself to be so greatly indebted. Besides, I should not like completely to give up the thought of ever seeing them again, although the deplorable performance of the Gran Mass in 1866 left a painful impression upon me.
This is easily explained on both sides. Nevertheless, it would be too much for me in future to expose myself to such misapprehensions. Without false modesty or foolish vanity I cannot allow myself to be classed among the celebrated pianists who have gone astray in composing failures.
By the way, allow me to ask a question. If I were to return to Paris, would you feel disposed, dear friend, to repeat your former offence by conducting any of my works in I know not what orchestral concert? I dare not ask you to do it, but, supposing that a favorable opportunity should occur, I should be very proud to be present. Meanwhile be so good as to remember me very kindly to Viscount Delaborde, and to thank your colleague of the Institute, Massenet, sincerely for his telegram. He will excuse me for not answering him at once. To fulfil the duties of a correspondent is an insoluble problem for your very grateful and devoted friend,
F. Liszt
Rome, December 8th, 1887.
256. To Ludwig Bosendorfer
Very Dear Friend,
I was raised to a very exhilarated state of mind by the many tokens of sympathy and friendship on the 22nd October. [Liszt’s 70th birthday.] To give it expression, I wrote several pages of music, but no letters at all. Antipathy to letter-writing is becoming a malady with me…Have the kindness to beg my friends in Vienna to excuse this. Perhaps I may yet live long epough to prove my affection to them in a better way than by words. My health does not preoccupy me at all; it is fairly good and only requires care, a thing which is at times irksome to me.
As usual for the last 10 years, I shall return to Budapest in the middle of January ’82.
My best regards to your wife.
Yours faithfully and gratefully,
F. Liszt
Rome, December 8th, 1881
I repeat especially my hearty thanks to Zellner.
287. To Pauline Viardot-Garcia
[The great singer, who still teaches in Paris, was Liszt’s pupil for piano.]
Most Illustrious and Gracious Friend,
A woman distinguished by her shrewdness and talents, the authoress of several volumes which have had the good fortune to pass through several editions, has asked me for a line of introduction to you. I have told her what she and all the world besides already knows: that Pauline Viardot is the most exquisite dramatic singer of our time, and besides this a consummate musician and a composer of the most delicate and lively intelligence. To which opinion, as merited as it is universal, Madame X. is prepared to give ample and elegant expression in a notice she meditates publishing upon you.
Pray give a kind reception to your new correspondent, and keep a friendly remembrance of your old and most devoted admirer,
F. Liszt
Rome, December 12th, 1881
288. To Madame Malwine Tardieu in Brussels
[The wife of the chief editor of the Independance Belge]
How good of you, Madame, to make such ready allowance for my delays and shortcomings in correspondence. It is a disagreeable infirmity of mine not to be able to write longer and better letters. Your last kind lines delighted me, and I thank you for them most affectionately. The brilliant success of Massenet’s Herodiade [The first performance of the Opera took place at the Theater de la Monnaie in Brussels, 19th December, 1881.] gives me sincere pleasure; all Paris, after having applauded the work on its first appearance at Brussels, will be all the more ready to applaud it again in Paris itself. For my own part let me confess to you quite in a whisper that I am inclined rather to hold back with respect to certain love-scenes, which, it seems, are necessary on the stage, when introduced into biblical subjects. They jar on my feelings–excepting in our admirable and valiant friend St. Saens’ Dalila, where he has made a glorious love duet which is quite in place; for Dalila and Samson are bound to give themselves to the devil for love’s sake, whilst in Massenet’s Magdalen and Herodfade the whole thing is merely conventional…theatrical.
Pray forgive me, Madame, for this opinion, which is slightly pedantic, but without any pretension. When you see Madame Viardot again, tell her that I still cherish an enthusiastic recollection of her–a typical Orpheus, Fides and Rosina,–and, besides, an enchanting composer and a pianist full of ingenious dexterity. Have you heard anything of her daughter, Madame Heritte? Do you know her remarkable setting of Victor Hugo’s “Feu du Ciel”? Monsieur Becquet [President of the Brussels Musical Society (since dissolved).] has sent me an excellent French translation of my Elizabeth, [By Gustave Lagye.] quite adapted to the sense and rhythm of the music. When this Legend of St. Elizabeth was first performed at Budapest (end of August 1865) the Independance Belge published a most flattering article on the work. .–.
Pray remember most kindly to M. Tardieu your affectionate and devoted servant,
F. Liszt
Rome, January 20th, 1882.
Zarembski has received my orchestration of his charming “Danses Polonaises.” [“Danses Galiciennes.”]
289. To Colonel Alexander Wereschagin
[The brother of the celebrated painter; formerly adjutant to the Russian General Skobeleff, also an author.]
Dear M. de Wereschagin,
I am very grateful to you for sending me the photograph of one of your brother’s admirable pictures. His “Forgotten” is a dismal, ghastly symphony of crows and vultures; I understand it, and deeply enter into his marvellous inspiration.
Be so good as to tell your brother how great is my admiration for his genius, and accept, dear Sir, the expression of my best and most devoted regards.
F. Liszt
Budapest, February 5th, 1882.
290. To the Kammervirtuosin Martha Remmert
Dear Martha,
Enclosed are the various readings [Varianten] to my “Todtentanz.” [Dance of Death.] I noted them down after hearing the piece last May for the first time with Orchestra at the Antwerp Musical Festival (played by Zarembski in a masterly way). The brief alterations are easy to insert into the instrumental parts, for they only apply to the Horns, and consist in the addition of 7 bars; the rest are pauses in the orchestra while the pianoforte solo continues.
All is accurately indicated in the enclosed copy, so that, should the publisher Siegel (Leipzig) feel disposed to add a complementary sheet to the score, it might be easily printed from this copy. I should not like to trouble Siegel about this; but I authorise you, dear Martha, to communicate the complementary pages A, B, C, to Siegel. [The alterations alluded to did not appear in print.]
I wish you all the success you deserve in your concert productions, and remain always, Yours sincerely,
F. Liszt
Budapest, February 20th, 1882.
291. To Madame Malwine Tardieu
Dear Madame,
You were beforehand with me in knowing that the performance of my St. Elizabeth is to take place, for the first time in French, at Brussels on Sunday, 30th April. If the date is not changed, I shall arrive on the 27th for the last rehearsals.
I hardly venture to accept the hospitality you are so good as to offer me, from delicacy; if, however, you help me ever so little to overcome my scruples, they will vanish. A thousand thanks for the good news you give me of the success of “Samson” and of other works by St. Saens in Germany. He has possessed my admiring friendship for many years.
My very affectionate and grateful regards.
F. Liszt
Budapest, April 11th, 1882
I shall return to Weimar in about ten days, where I shall expect to receive the printed programme from M. Becquet, which is to fix my arrival in Brussels.
Pray thank M. Tardieu for his obliging intention of reproducing the article of the Independance upon the first performance of the St. Elizabeth at Budapest in August 1865. I will tell you by word of mouth who penned those lines. [This article, which was signed Remenyi, was written by Frau Cosima Wagner, Liszt’s daughter, and (according to Madame Tardieu’s opinion) had “a high interest on account of its poetical and brilliant conception.”]
292. To Franz Servais
Very Dear Friend,
It is a grief to me that you will be conspicuous by your absence on the approaching occasion of my return to Brussels. The Liszt- Concert set afloat and directed by you last spring remains one of my pleasantest recollections during my too long artistic career. Even at that time you suggested a performance of my “Elizabeth,” and I did not think that it would take place during your absence. My approaching second visit to Brussels is entirely one of gratitude for the sympathetic reception granted to me there at the concert which you directed–an excellent performance of some works of mine. Perhaps the “Elizabeth” may likewise be favored by good luck…M. Lagye has made an excellent French translation of it.
The one thing important for you, my dear Franz, is to complete your Ion [The original tile of the Opera now called “L’Apollonide”, which Servais still keeps in his portfolio, though it is finished.]. This will be your advent as composer, for a complete and resounding success in which you have the best wishes of
Yours ever devotedly,
F. Liszt
Weimar, April 22nd, 1882.
Write to me at Brussels, where I shall be from May 1st to 4th, and address your letter to Zarembski.
293. To Madame Malwine Tardieu
Unless I receive a countermand from you, I shall be in Brussels on Sunday evening. [The first performance of “St. Elizabeth in French took place on the 3rd of May. Saint-Saens, Massenet, Francis Plante, and others besides were present.] I shall take the liberty of sending you a telegram on the road to give you the hour of my arrival. It will interest me greatly to hear the “Herodiade”. [Liszt heard Massenet’s opea on 2nd of May.] Bulow’s exceedingly witty article on Saint-Saens’ “Samson”, which Bulow declares to be the best and most successful of all the Operas that have been performed for the last fifteen years (excepting Wagner’s),–this article, which creates a sensation and makes a noise at “Landerneau,” will reach you at the same time as these lines from your affectionate servant,
F. Liszt
Weimar, April 23rd, 1882
294. To Otto Lessmann
I owe you so many thanks, dear, esteemed friend, that I could never get to the end of them. If the canon form were less unfamiliar to me, I would dedicate a symphonic Canone perpetuo of thanksgiving to you.
Our friend Adelheid von Schorn tells me that you are likely to spend your holidays at Weimar. A hearty welcome to you.
This year the Tonkunstler-Versammlung, at which I am accustomed to appear as a superfluous necessity (“le superflu, chose si necessaire,” according to Voltaire), ever since the foundation of these gatherings twenty years ago with Brendel–takes place at Zurich from the 9th to the 12th July.
Let us go there together, dear friend, from Weimar. I read by preference your excellent newspaper, and am making a lively propaganda for it.
Yours gratefully and cordially,
F. Liszt
Weimar, April 23rd, 1882
295. To Frau Charlotte Blume-Arends
Weimar, April 23rd, 1882.
Dear Madame,
Poetry is your domain. As a pretty French verse has it, “Meme quand l’oiseau marche, on sent qu’il a des ailes” [Even when it walks, we feel that a bird has wings].–My most cordial thanks therefore for the gift which you call prosaic, and my best regards to your husband. It would be charming if you came to Weimar again. From the middle of June to the 12th of July remains here uninterruptedly
Yours very truly,
F. Liszt
296. To Freiherr Hans Von Wolzogen
Much-esteemed Freiherr,
Your “Leitfaden” are a salutary enrichment to musical literature. They essentially promote the spiritual comprehension of the great, sublime, unique works of Wagner. The “Leitfaden” are already considered classical, and rightly so, because, as a masterly piece of work, they establish a school.
Pray accept my very best thanks for the numerous proofs of kindness you have given me, to correspond in some degree to which is the wish of
Yours sincerely,
F. Liszt
Weimar, April 25th, 1882
A cordial and friendly meeting at Parsifal!
297. To Frau Heriette Von Liszt in Vienna
Weimar, May 11th, 1882.
My Dear Cousin,
Our dear Hedwig [The daughter of E. von Liszt, who studied a whole summer under Liszt in Weimar.] has not been forgotten. Immediately on arriving here I ordered Overbeck’s edifying drawings for her, “The Seven Sacraments,” a serious study of which, as well as of the commentary, is to be highly recommended. The work is published at Ratisbon; my bookseller here is wont to do business in Tempo moderato molto commodo. He kept me waiting, and I had to go to Belgium (on the 30th of April). I only received the above-mentioned work here yesterday, and send it you today together with the “Ave Maria” for Harmonium and Meyer’s excellent “Manual of Universal Knowledge.” Eduard and Hedwig may extend their knowledge by means of it.
My Belgian week–from May 1st to 8th, Brussels and Antwerp–was of the pleasantest. Enclosed are the moderate articles (on the performance of “St. Elizabeth”) by the Brussels Schelle and Hanslick [In the “Independance Belge”]–Eduard Fetis, the son of the renowned and meritorious author of the many-volumed “Biographic universelle des Musiciens” and of the “Universal History of Music.” Thirty years ago I said to that same Fetis somewhat arrogantly, nay almost insolently: “My aspirations are directed not merely towards obtaining articles, but rather towards acquiring a durable position in the History of Art.”
Till the beginning of July will remain in Weimar
Yours most cordially,
F. Liszt
P.S.–The arrival of the “Kaiser Virginia” has just been announced to me. Please send me the little bill.
298. To Camille Saint-Saens
Very Dear Friend,
I am still quite struck with wonder at your “Predication aux oiseaux de St. Francois.” [“St. Francis preaching to the birds.” Composed by Liszt for pianoforte alone. (Roszavolgyi.)] You use your organ as an orchestra in an incredible way, as only a great composer and a great performer, like yourself, could do. The most proficient organists in all countries have only to take off their hats to you.
I am sending you by this post a parcel of things of mine for organ. If you should find an opportunity at Brussels of producing the Introduction to St. Elizabeth, it would, under your fingers, have the effect I intended.
Cordial thanks for your visit to Brussels, and ever yours in admiration and friendship.
F. Liszt
Weimar, May 14th, 1882
299. To Madame Malwine Tardieu
Dear Kind Friend, [“Chere bienveillante”]
The telegram Tardieu-Lynen-Lessmann sent from Aix-la-Chapelle has given me extreme pleasure. [The Tardieus, the Lynens (Antwerp friends of Liszt), and Otto Lessmann were present at the Musical Festival at Aix-la-Chapelle.]
My padrone di casa (Lessmann is this through his paper) are always most excellent.
Daniela de Bulow, my darling granddaughter, writes how kind you are, and will come with us shortly to Villa “Fantaisie” (Bayreuth). [She had accompanied her father, Dr. Hans V. Bulow, who played (under Wullner’s conductorship) Brahms’ first Pianforte Concerto, and Beethoven’s 15 Variations (on a theme out of Eroica).]
At “Parsifal” we shall be 30,000; that will be the best chance of seeing one another again.
The Opera of Hamlet, by Stadtfeld, [The first performance of the Opera. The composer, a Wiesbaden man (born 1826), had studied at the Brussels Conservatoire, and died there in 1853.] written in transition years (50), and twice given here, not without success, is one of the best that I know of the Meyerbeer-Donizetti genre. The Wagner invasion is strangely modifying theatrical requirements at the present time. It is no longer possible to write a “Hamlet” according to the style of a Duprez, some absolute tenor with the famous “ut de boitrine,” nor to make the ghost of Hamlet’s father benevolently intervene in order to effect a Trio or Quartet, even of a pretty musical manufacture. The distinguished work of Stadtfeld belongs, then, to the theatrical Past, so rich in oblivion…
As you are so kind as to undertake my books, I will ask you to send me soon the following works:–
1st, Gevaert–History of Music in ancient times 2 volumes. (Publisher, Annoot Braekmann, at Ghent.)
2nd, Charles Clement–Michael Angelo, Leonardo da Vinci, Raphael,–a magnificent volume illustrated by 167 drawings. Price, bound, 15 francs. (Publisher, Hetzel, Paris.)
3rd, J. D. Lewis–“Bons Mots of the Greeks and Romans”: 1 volume in 16–Charavay library. A thousand pardons for thus using and abusing your amiable kindness.
I have read with pleasure the article in the “Guide Musical” on the Festival at Aix-la-Chapelle, and beg you to repeat to the author [Presumably Monsieur Tarideu.] my sincere friendship.
Till our happy meeting at Bayreuth, at the end of July, farewell.
In affectionate gratitude,
F. Liszt
I add the article from the official paper of Weimar on Stadtfeld’s “Hamlet.”
Weimar, June 10th, 1882.
300. To the Honorable Committee of the Allgemeine Deutsche Musikverein
[Printed in Neue Zeitschrift fur Musik, 1882, No. 23.]
Dear Sirs,
The Allgemeine Deutsche Musikverein confers a high distinction on me by electing me as its Honorary President.
Since the starting of this Verein, 20 years ago, I have the honor of feeling that I have been of service to it. Its aim is a worthy one,–the advancement of music and musicians in an unprejudiced manner, and in accordance with the spirit of the time. Its ways have always been known as pure and worthy of recognition, regardless of opposition and silence.
Let us therefore go boldly forwards on our noble road!
Accept, dear Sirs, my heartiest thanks, together with the assurance that, ever conscious of my task, I remain, with high esteem,
Yours most faithfully,
F. Liszt
Rome, [June, 1882]
301. To the Commendatore F.von Jagemann at Freiburg in Breisgau
[From a copy of Liszt’s in the possession of Otto Lessmann at Chalottenburg.]
Dear Sir and Commendatore
You ask me if L. Ramann’s biography is “classical”? To belong to the classical means, first of all, to be dead, then to be to the world immortal. Neither of these is claimed at present by yours,
F. Liszt
Freiburg, July 6th, 1882
302. To Nicolaus Oesterlein in Vienna
[The Addressee was the able founder and possessor of the Richard Wagner Museum in Vienna, a unique collection, in its way, of musical and historical importance. The bibliography mentioned in the letter came out I (at Breitkopf and Hartel’s) shortly before the first performance of “Parsifal.”]
My Dear Sir,
I have already heard the praise of your “Catalogue of a Richard Wagner Library.” It will be a pleasure to me to make its acquaintance, and while awaiting your kind sending of the work accept thanks for your accompanying lines,
From yours very truly,
F. Liszt
Bayreuth, July 16th, 1882
303. To Kornel von Abranyi
Bayreuth, July 23rd, 1882
Dear honored Friend,
By the same post you will receive the instrumentation of the “A magyarok istene” for the Musical Festival at Debreczin..–. I beg the directors carefully to try over the small instrumentation before the full rehearsal, with the instruments (plus the brilliant cymbals), without the vocal parts.
The solo trumpeter must perform his part, as a Hungarian Magnate, in a noble manner, and not blow the trumpet as though it were a trade.
I also beg that the directors will be so good as to correct any chance mistakes there may be in my hastily written and unrevised manuscript score. Though I trouble myself but little about the spread of my compositions, yet I do not wish them to be offered to the public in a mutilated form. As I flatter myself that I possess a sufficient portion of self-criticism, other criticism remains only valuable and instructive to me.
Your son Kornel is heartily welcome to me at Bayreuth.
I will discuss here with Vegh [Formerly Vice-president of the Hungarian Academy of Music.] the ministerial affairs of your “academic, historical manual.” The matter will assuredly be settled to your satisfaction.
Yours most faithfully,
F. Liszt
Wagner’s “Parsifal” far surpasses the master-works which the theater boasts up to the present time. May the public be educated up to it.
304. To Freiherr Hans von Wolzogen
My dear Freiherr,
Both at and after yesterday’s performance of Wagner’s “Parsifal” it was the universal feeling that about this wonder-work it is impossible to speak.
It has indeed struck dumb those who were so deeply impressed by it; its sacred pendulum swings from the sublime to the sublimest.
Yours ever,
F. Liszt
Bayreuth, July 27th, 1882
305. To Madame Malwine Tardieu
Weimar, September 12th, 1882
Dear Madame and Friend,
How I reproach myself for the delay in my written thanks! Those preceding my letter have not been wanting, and your friendly kindness touches me deeply. Lassen assures me of your indulgence. He has lately heard at Brussels “l’hymne a la beaute,” [By Benoit. Performed at the Brussels Musical Festival in August 1882] and (between ourselves) did not think it particularly beautiful. In this kind of music even the greatest masters have seldom succeeded in freeing themselves from lukewarm conventionality. This [conventionality] affords matter for academical prizes such as have been carried off several times by Madame Louise Collet of inglorious memory.
Our friend Benoit shall follow his vocation of musical “Rubens”. And Gounod’s “Redemption”! Ought one to speak of success or non- success in a work of that kind? Gounod has always kept the Catholic religious incentive with a turn towards the sublime. His “Polyeucte” is a witness for him.
May that abominable quibbler and bloodthirsty “doctrinaire,” Henry VIII., be the means of a brilliant and lasting success to St. Saens, who richly deserves it; but in the matter of serious opera the public has reached that blase point which is explained in the words of Ronge, a naive German reformer:–
“What we have we don’t want any more; and what we would have we don’t quite know.” Wagner has known how to want and to act– gloriously, although and because. [Wagner a su vouloir et perpetrer–glorieusement, quoique et parce que.] His work is already becoming immortal.
Let us speak of some modest things, concerning your humble servant. The three Psalms have been admirably translated into French by Mr. Lagye; I will write my thanks to him fully, as soon as I have entirely finished the work of adapting the text to the music. For this it is necessary to modify and rewrite about fifteen pages, a dozen of which are ready. I shall send the whole to Kahnt, the publisher, on Sunday next, and shall inform Lagye, in whose debt I am, of the remainder of the arrangements.
His translations appear to me really excellent, very carefully made, and prosodically well suited to the music. I only regret to have to give him so much trouble, but I hope that in the end he will be satisfied with me. He shall have the second copy of my “Lieder;” if he succeeds as well in putting them into French as he has done with the three Psalms, they may with advantage make their way in Belgium and still farther.
All my articles of musical criticism, lately published by L. Ramann under the title of “Essays” (Breitkopf and Hartel, Leipzig), were written in French. Three or four appeared long ago in the Debats and the Constitutionnel. The most extensive of these, on Berlioz’s “Harold Symphony,” was to have been put into a celebrated review in Paris, but in the fifties it was considered too eulogistic, and I refused any curtailments for Berlioz…Consequently this article has only appeared in a German translation (Neue Zeitschrift fur Musik, Leipzig). What has become of the original French manuscripts of my complete articles I don’t in the least know. The introduction to Hartel’s for which Mr. Kufferath [Moritz Kufferath, a writer on music, reviewer of the “Guide musical” (Schott), and translator of many of Wagner’s writings, wanted to translate Liszt’s Essays into French.] asks will not serve his end at all. The only person who could give him some particulars would be Mademoiselle L. Ramann, my biographer, who has been for many years past on the look-out for everything relative to my prose and music. She is the directress of a Pianoforte School in the Durerplatz at Nuremberg (Bavaria).
Please thank Kufferath for his kind interest, and assure him that, if I abstain from writing to the firm of Hartel, it is from no want of willingness on my part. A thousand friendly regards to your husband, and ever cordial and devoted expressions to yourself.
F. Liszt
I stay here till the beginning of October.
306. To Otto Lessmann
My Very Dear Friend,
It is only through your kindness that I learn of Hellmesberger’s intention to perform shortly in Vienna a new Mass of my composition. Hellmesberger has indeed always been very well disposed towards me, and has frequently conducted the Hungarian Coronation-Mass in the Hofkapelle, and several of my longer works at concerts; but it would be rather difficult for him to conduct a new Mass, because I have not composed one. I should think it must be the “Missa choralis” (with Organ accompaniment only)…
Here is the list of my Masses, and the order in which they were composed:–
1. For men’s voices (with Organ), Anno 48–Editio nova at Hartel’s.
2. The Gran Mass.
3. Missa choralis (with Organ) at Kahnt’s.
4. Hungarian Coronation-Mass (performed at the coronation in Buda).
5. Requiem for men’s voices (with Organ). Rome, latter half of the sixties. Published by Kahnt.
Perhaps I shall yet write a Requiem at special command. [A requiem, composed on the death of the Emperor Maximilian of Mexico, still exists in manuscript.] I beg you to give my thanks to the friendly publisher of the Symphonic Poem “From the cradle to the grave,” for sending me the pianoforte version of this composition. Before the end of October I will send Bock the completed score.
A short piece from Parsifal, “Solemn March to the Holy Grail,” will reach Schott today at Mainz.
Three weeks longer remains here Yours ever faithfully,
F. Liszt
Weimar, September 16th, 1882,
Ever heartily welcome in Weimar; that is to say, if the visit suits you as Allegro commodo. It would be dreadful to me to incommode my friends.
307. To Otto Lessmann
Dear Friend,
If one wants to be just, he must see that he speaks only with high respect of Hans von Bulow. His knowledge, ability, experience are astounding, and border on the fabulous. Especially has he, by long years of study, so thoroughly steeped himself in the understanding of Beethoven, that it seems scarcely possible for any one else to approach near him in that respect. One must read his commentary on the pianoforte works of Beethoven (Cotta’s edition), and hear his interpretations of them–(what other virtuoso could have ventured to play the 5 last Sonatas of Beethoven before the public in one evening?), and follow Bulow’s conducting in the orchestral works of Beethoven. To set one’s back up against such remarkable deeds as these, I call feeble or malicious nonsense.
Yours ever in friendship,
F. Liszt
Weimar, September 20th, 1882.
308. To Frau Charlotte Blume-Arends
Weimar, September 27th, 1882.
My dear friend,
I thank you again for a beautiful, kind gift–“The Oberammergau Passion Play,” described by Franz Schoberl, a clergyman in Laibstadt. The little book has been composed with reverence, and gives an exact description of the Oberammergau production, which seems to me especially deserving of notice on account of the agreement between the Old Testament representations–beginning from Adam and Eve to the Brazen Serpent and further–and their fulfilment in the facts of the gospel. This agreement is no simple peasant’s invention, but indeed a significant, most touching parallel, thought out by cultured priests, familiar with the Christian tradition. The grouping, and the mute performance of the life-like Old Testament representations and of the Crucifixion of Christ in Oberammergau, deserve full praise, in contrast to the music, which is beneath criticism, and very much spoiled the whole performance for me. And even such esteemed and highly honored Catholic musicians and divines as F. Witt, Haberl, etc., protest against such inane musical stuff and rubbish.
Thank you once more, and with heartfelt greetings to you and yours,
Yours most truly,
F. Liszt
309. To Otto Lessmann
Dear Friend,
At the Musical Festival which I had the honor of conducting some twenty-five years ago at Aix-la-Chapelle, Hiller, the friend of my young days in Paris, took up quite a critical attitude against the conductor and his compositions.
I took no particular notice of his behavior, but I heard that it displeased many people, who made no secret of it to him. I was also told that at one of the rehearsals Hiller did not exactly leave of his own accord. As I was engaged at the conductor’s desk I did not observe the occasion of his leaving, and contented myself with reading, some days later, his witty report of the Aix-la-Chapelle Musical Festival in the Cologne paper. My excellent friend, Freiherr Hans von Bronsart, replied to Hiller’s article with no less wit and with a different opinion. Unhappily the musical chronicle is overflowing with unresolved discords.
To you, dear friend, I am ever harmoniously,
F. Liszt
Weimar, October 14th, 1882
310. To Otto Lessmann
[Weimar,] November 4th, 1882
Dear Friend,
I shall be delighted if the Tannhauser-Songs [Composed by Lessmann, transcribed by Liszt for piano, and published by Barth, Berlin (now Junne, Leipzig)] give you satisfaction. Find a pianist of the fair sex, or the other sex, in Berlin, who will set about his task well of playing these songs in public. As far as I can tell I should think they would bring the player applause.
I will answer your two questions at once.
Of my “continuously written autobiography” I have as yet heard nothing. Publishers have frequently asked me to write memoirs, but I put it off with the excuse that it was more than enough for me to live through my life, without transcribing it to paper. If I were married I could certainly dictate somewhat of it to my wife now and then. But I am glad to keep out of the bothers of penmanship, which I dislike.
The dramatic performance of the Elizabeth in Cologne is to take place after my return from Budapest, next April or May. (I have promised to be present at it.) Yesterday evening I wrote a couple of lines of thanks and commendation to Herr Duysen, for Fraulein Spiring, whom you met here [Lives now in Jena]. She is a pianist and teacher deserving of recommendation, and is trying to establish herself in Berlin, and I commend her to your good graces.
With thanks, yours ever,
F. Liszt
Rubinstein is coming to see me next Tuesday after the Leipzig performance of the “Maccabees.”
311. To Madame Malwine Tardieu
Weimar, November 6th, 1882
Dear Friendly One [Chere bienveillante],
I am still detained here, partly on account of a stupid indisposition,–nothing serious, but disagreeably prolonged. I make a rule of never bothering my head about my health, and I beg my friends never to trouble about it.
Thank you for sending the 3rd volume of the correspondence of George Sand. The long letter of 20 pages to Mazzini, dated the 23rd May, ’52, appears to me to be a chef d’oeuvre of judgment and foresight. In 1852 few political men were placed in a sufficiently elevated position to rule the fluctuations of socialism and to understand its necessary value. Mazzini himself was mistaken in this, as well as in regard to the importance of the acquisition of universal suffrage. Forgive me for wandering off thus into political matters, of which I don’t understand anything, and of which it does not concern me to talk. But I will just quote to you a mot which in 1842 was rather widely spread on the sly in Petersburg. A fair lady of my acquaintance told me that the Emperor Nicholas had said to her of me, “As to his hair and his political opinions, they displease me.” I begged the same lady to transmit my reply, which was as follows: His Majesty has every right in the world to judge me as seemeth well to him, nevertheless I venture to beg him not to think that I am an idiot. Now it would be idiocy on my part to proclaim political opinions. The Emperor shall know them when he deigns to put 300,000 soldiers at my disposal.–
To return to the letters of George Sand. Those addressed in ’52 to Prince Jerome Bonaparte and to Louis Napoleon about the pardoning of several democrats are in exquisite taste; the genius of a great heart appears in them. Allow me to beg for the little account of the books that you have been so kind as to send me, dear Madame Tardieu, and please add to it the price of the subscription to the Bien public. I suppose you only took it for one quarter, and I will not go on with it, not having time to read half the papers which my profession and my tastes would lead me to peruse. Besides this my eyes, without having exactly anything the matter with them, do not any longer adapt themselves either to reading or writing without reprieve; and by evening I often feel extremely tired…
Has the Independance Belge spoken of a most interesting and superb volume,
“The Correspondence and Musical Works of Constantin Huygens” (17th century), published by Jonckbloet and Land, professors at the University of Leyden, magnificently edited by Brill at Leyden?
The work is worthy of notice.
To the kind remarks which the Indpendance has inserted on the concert of the 23rd October with the Liszt programme, [A Liszt- concert in the Weimar theater in celebration of his birthday.] I add the observation that the real title of my “Transcription” of the “Rakoczy March” should be–“Paraphrase symphonique.” It has more than double the number of pages of Berlioz’s well-known one, and was written before his. From delicacy of feeling for my illustrious friend I delayed the publication of it until after his death; for he had dedicated to me his orchestral version of the Rakoczy, for which, however, one of my previous transcriptions served him, chiefly for the harmonisation, which differs, as is well known, from the rudimentary chords usually employed in the performances of the Tsiganes and other little orchestras on the same lines. Without any vanity I simply intimate the fact, which any musician can verify for himself.
At last I have just written to my most honored and more than obliging collaborator, Mr. Lagye. His excellent French translation of my four Psalms is being engraved. As soon as it is out you shall have it.
In about ten days I shall join the Wagners, and shall spend more than a month with them at the Palazzo Vendramin, Venice.
Cordial regards to your husband, from your
Very grateful and affectionate
F. Liszt
The director of the subscription concerts at Weimar is going to give Benoit’s “La Guerre,” and at the next Musical Festival Benoit’s “Sanctus” and “Benedictus” will be heard. [Both these intentions of Liszt came to nothing, owing to external causes.]
312. To the Editor of the “Allgemeine Musikzeitung,” Otto Lessmann, at Charlottenburg
Dear Mr. Editor,
As I am very much hindered in my work by overmuch sending of scores, other compositions, and suchlike writings, I beg you to make it known that I wish in future not to have my attention claimed in this manner. I have modestly refrained for many years past from contributing to collections of autographs.
Yours truly,
F. Liszt
Weimar, November, 1882
313. To Adelheid Von Schorn
Monday, November 20th, 1882
Venezia la bella: Palazzo Vendramin.
Dear Friend,
I don’t intend you to hear first through others of my safe arrival here. Thank Heaven! the Wagners and all the family are in perfect health.
Your brother will write you word from Nuremberg that the method of whist, so to say invented and certainly perfected by you, is being spread on to the Durerplatz also under your name at L. Ramann’s. To get rid of all the aces first of all is really glorious.
With the exception of one incident, which stricter people than myself would call a regular fleecing on the part of the Custom House at Milan, whereby I parted with about 70 francs as a fine for having brought 50 cigars (!), all my journey passed off very well. At Zurich I met with the same kind reception on the part of several members of the Committee–with the President of the town, Mr. Roemer, at their head–as at the Musical Festival last July. The proprietor of the Bellevue Hotel, Mr. Pohl (no relation to his namesake at Baden), insisted on my accepting gratis a charming room, with dinners, suppers and excellent wines. Such munificence would have given a fit of fever to the late Hemleb of the Erbprinz, and his associates will scarcely imitate Mr. Pohl’s amiable proceeding. So I will beg you to recommend the very comfortable Hotel Bellevue, in the front ranks, to any of your friends and acquaintances who may pass through Zurich. Without promising that they will be received gratis, I can assure them that they will find the beautiful view on to the lake, good rooms, an excellent cuisine, and attentive service. The Duke of Altenburg and other princes have stayed in it, and inscribed their names in the hotel album.
Your friend Ada Pinelli is still here with the Princess Hatzfeld, at Palazzo Malipieri. I shall go and see her tomorrow. I shall, however, practise great sobriety in the matter of visits. Wagner does not pay any, and I shall imitate him on this point to the best of my ability. My illustrious friend has lodged me splendidly in a spacious apartment of the Palazzo Vendramin, which formerly belonged to Madame la Duchesse de Berry. Her son, the Duke della Grazia, is at present the owner of it, and Wagner is the tenant for one year. The beautiful furniture still bears the impress of the old princely regime, and is perfectly preserved. The main inhabited part of the Palazzo Vendramin is in the best possible condition, so that Wagner did not have to go to any special expense, not even for stoves and other requisites, which are often neglected.
Ever since my first stay in 1837 I have been enamoured of Venice: this feeling will not grow less this time, but quite the contrary.
Cordial and very devoted friendship.
F. Liszt
Try to learn something about Bulow, and send me word. It was heart-breaking to me not to see him again at Meiningen.
314. To Freiherr Hans Von Wolzogen
My Dear Freiherr,
.–. Wagner is perfectly within the truth when he says that without the extraordinary munificence of H.M. the King of Bavaria the performances of “Parsifal” at Bayreuth would have been endangered, and only the sympathy of the public, outside the Wagner Societies, made the continuance of them possible. But does it follow from this that the Wagner Societies are useless, and that this is the opportunity for disbanding them? To my thinking, No, for they keep up a wholesome agitation, and support the “Bayreuther Blatter,” which essentially promote the good cause. There does not seem to me to be any advantage in changing the name Society [Verein] into Fellowship [Genossenschaft]. Wagner’s great name and most important personality are what are most needed here. Moreover the parliamentariness of the Societies will not be averse to the absolute authority of the creator of so many immortal works. In merely minor matters variety of opinions may be made apparent; in all essentials we are really and truly one. On this account I desire the continuance, consistency, and increasing welfare of the Societies.–
It goes without saying that Wagner must reign and govern as legitimate monarch, until the complete outward realization of his Bayreuth conception–namely, the model performance of his entire works, under his own aegis and directions at Bayreuth. It behoves all who sympathise in the historico-civilised culture of Art in the coming years of the closing 19th century to endeavor to promote this aim.
When we have attained the end in question let us sing with Schiller and Beethoven,
“Freude, schoner Gotterfunken!” [“Joy, thou spark from heaven descending!”]
Accept, dear Freiherr, the assurance of my true and high esteem.
F. Liszt
Venezia, November 24th, 1882
Pray remember me most kindly to your family.
3l5. To Franz Servais
Dear Franz,
Your welcome lines reached me at Weimar and I thank you cordially for them…
I tell you again, dear Franz, that you were “born with a silver spoon in your mouth;” after the hearing of your Opera with the piano the success of a performance will follow.–Don’t get impatient at a little delay; the most illustrious composers, including Meyerbeer, could not say, like Louis XIV., “J’ai failli attendre.” [“I nearly had to wait.”]…But I hope that the saying “Tout vient a point, a qui sait attendre” [“All comes to him who can wait.”] will be realised in your case without much delay. Good courage then and Mistress Patience.
Will you remember me very affectionately to Godebski; his graceful bust, so perfect in its likeness to the never-to-be- forgotten Madame Moukhanoff, is ever the precious ornament of my little salon at the “Hofgartnerei” in Weimar.
The large bust of Rossini which Godebski presented to the Grand Duke ornaments the lobby of the theater, where it blooms like a god from Olympus. Tell me what works Godebski has been doing lately.
When next you see Madame Judith Gautier, please express to her anew the admiring homage of your very faithful
F. Liszt
Venezia, November 26th, 1882
P.S.–Our friends * * * might, I think, do you good service with M. Vaucorbeil, and could tell him also, as a “by the way,” that I take a lively interest in your work. Would you perhaps think it advisable to let some fragment of it be given at a public concert? I am remaining here till New Year’s Day with the Wagners, at the superb Palazzo Vendramin; then I shall return direct to Budapest.
316. To Adelheid von Schorn
Venezia, December 8th, 1882
Dear Friend,
Your sad news about Bulow’s bad state of health are much the same as his wife gave to Daniela. Let us hope for more reassuring news!
Here, in Palazzo Vendramin, a peaceful and most united family life goes on without monotony. But I cannot speak of the things which touch me most, except clumsily. So it is better to keep from doing so. The Princess writes to me from Rome that she shall be delighted to obtain possession of the two water-colors of Gleichen for the splendid portfolios of drawings belonging to her daughter, of which the mother, since the years at Weimar, has regally provided the greater part. These portfolios are among the finest collections in Europe.
Joukowski [Widely known by his “Parsafal” sketches and the portraits of Liszt and of Wagner’s family], who has been delayed by a funeral and by the floods, will arrive here today. Neither funerals nor floods have been able to prevent Lassen from scoring our Symphonic Intermezzo “Uber allen Zauber Liebe” [“Above all magic Love”]. I hope Lassen will conduct it at the Court concert on New Year’s Day, and I beg you to go and hear it and let me know about it. .–.
I beg Gille to send me the volume “Die deutsche Buhne von einem Weimaraner” [“The German stage, by a Weimarer”]. Do you know who it is? According to the index he seems to ignore the doings of the Weimar theater during the last thirty years, which is not very honorable to a Weimarer, and looks very like a cowardly action of a low standard.
Your cordially devoted
F. Liszt
Saturday Morning, December 9th
Joukowski arrived last night, and we began at once to sound your praises.
Daniela has written to you. I will send you the programme of the performance of Goethe’s “Geschwister” [“Brothers and Sisters”], which will take place tomorrow at Princess Hatzfeld’s. Those old books of operas, such as “Les Indes galantes” [“The gallant Indies”], and other antiquities, re-edited in Paris, may peaceably repose at the “Hofgartnerei;” unless you prefer to lend them to some one who likes works of that kind, which are sought by some.
317. To Professor Carl Riedel
Dear Friend,
Draseke’s “Requiem” is such a first-rate work, and is so likely to obtain a good reception from the public, that I again recommend the performance of it at the next Tonkunstler- Versammlung. Draseke will presumably also agree to it in the end.
Gustav Weber’s Trio, Op. 5, published by Siegel, and dedicated to me, I consider an eminent work, worthy of recommendation and performance. I am sure you think the same.
I should like to add to the vocal programme of the Tonkunstler- Versammlung two songs by your name-sake Riedel, now Hofkapellmeister in Brunswick. [Hermann Riedel, born 1847, made a special success with songs from Scheffel’s “Trompeter von Sakkingen.”] If they should be ascribed to you they will please you all the better for that. And a propos, why do you let your valuable, excellent works be so seldom heard in public? I shall reproach you further with this injustice to yourself when we come to talk over the programme, and I hope that you won’t continue to overdo your reserve as a composer. Without pushing one’s-self forward one must still maintain one’s position, to which you, dear friend, are fully entitled. Will you be so kind as to tell Hartel to send me here quickly 25 sheets of to line, and 25 sheets of 12 line music paper (oblong shape, not square) for cash, together with a few of the small books of samples, containing all kinds of music paper, which I have recommended several musical friends of mine here and elsewhere to buy. One can rub out easily on this paper, which is one of the most important things–that is to say, unless one tears up the whole manuscript, which would often be advisable.
A happy Christmas, and a brave New Year ’83.
Ever your faithfully attached
F. Liszt
Venezia, Palazzo Vendramin, December 9th, 1882
318. To Arthur Meyer in Paris, Presidet of the “Presse Parisienne”
[Copied in the Gazette de Hongrie at Budapest, February 1st, 1883]
Monsieur le Directeur,
My telegram of this morning expressed to you my excuses and deep regret at being unable to be of use in the programme of your Festival. [Liszt had been asked to take part in a Festival which was given at the Grand Opera for the benefit of the sufferers from the inundations in Alsace-Lorraine. “The Dame of Liszt in France,” they wrote, “is synonymous with triumph, and we know that it is also synonymous with kindness.”]
It would certainly be an honor to me to take part in it, and I am by no means oblivious of the gratitude I owe to Paris, where my youthful years were passed. Moreover it would be, it seems to me, a becoming thing that, after the generous and striking sympathy shown by Paris–also by a festival at the Grand Opera–to my compatriots on the occasion of the inundation of Szeged, an artist from Hungary, who has been favored by so much French kindness, should make his public acknowledgments at your approaching grand performance.
Unfortunately my age of 72 years invalidates me as a pianist. I could no longer risk in public my ten fingers–which have been out of practice for years–without incurring just censure. There is no doubt on this point; and I am perfectly resolved to abstain from any exhibition of my old age at the piano in any country.
Please accept, Monsieur le Directeur, my thanks and best compliments.
F. Liszt
Budapest, January 28th, 1883
319. To the Composer Albert Fuchs
Your “Hungarian Suite” [For Orchestra, dedicated to Liszt] is an excellent and effective work. While springing from the musical ground of Hungary, it nevertheless remains your own property, as there are no imitations or used-up ornamentations in it, but rather much new employment of harmonies, and always a national coloring. For the dedication you are heartily thanked by
F. Liszt
Budapest, February 4th, 1883
320. To Saissy, Editor of the “Gazette de Hongrie in Budapest
[From a rough copy in the possession of Herr O. A. Schulz, bookseller in Leipzig.]
I come to ask your advice, dear Monsieur Saissy; please give it me quite frankly, without any reserve, and tell me whether you think it is an opportune moment for my letter (which I enclose), relative to my pretended animadversion against the Israelites, to be published or not. If you think it is, I beg you to insert it in the next number of the Gazette de Hongrie; otherwise it shall remain unprinted, as I shall not send it to any other paper.
As the proverb says, “Silence is gold”; but perhaps, under the given circumstances, in view of the serious question of the Israelites in Hungary, it would be better to speak in the current silver money in the papers.
Let us rectify errors, and remain modest but not timid. In faithful devotion,
F. Liszt
Budapest, February 6th, 1883
321. To The Editor of the “Gazette de Hongrie”
[Published in the Gazette de Hongrie of February 8th, 1883, Budapest. A translation of it also appeared in German papers; amongst others, in Lessmann’s Allgemeine Musikzeituug, at the wish of the Master, who was annoyed with the aspersion against himself of having promoted the Antisemitic movement.]
Mr. Editor,
It is not without regret that I address these lines to you; but, as there has been some report spread here about my pretended hostility to the Israelites, I ought to rectify the mistake of this false report.
As is well known in the musical world, many illustrious Israelites, Meyerbeer first and foremost, have given me their esteem and friendship, and the same in the literary world with Heine and others.
It seems to me that it would be superfluous to enumerate the many proofs I have given, during fifty years, of my active loyalty towards Israelites of talent and capacity, and I abstain in like manner from speaking of my voluntary contributions to the charitable institutions of Judaism in various countries.
The motto of my patron saint, St. Francois de Paule, is “Caritas!” I will remain faithful to this throughout my life!
If, by some mutilated quotations from my book on the Gipsies in Hungary, it has been sought to pick a quarrel with me, and to make what is called in French une querelle d’Allemand, I can in all good conscience affirm that I feel myself to be guiltless of any other misdeed than that of having feebly reproduced the argument of the kingdom of Jerusalem, set forth by Disraeli (Lord Beaconsfield), George Eliot (Mrs. Lewes), and Cremieux, three Israelites of high degree.
Accept, Sir, etc.,
F. Liszt
February 6th, 1883
322. To Rich and Mason in Toronto
[From a rough copy in the possession of Herr O. A. Schulz, bookseller in Leipzig]
[1883]
Dear Sirs,
The Rich and Mason Grand Piano which you have so kindly sent me here is a pattern one. And as such will artists, judges, and the public recognise it.
Together with my hearty thanks I wanted at the same time to send you the Liszt portrait for which you wished. It was painted by Baron Joukowski, son of the highly honored tutor and friend of Alexander II., a man who will also be ever famous in Russian literature. Now, however, this Liszt portrait has been such a success that they wanted to have a second one like it for the Joukowski Museum. The painter kindly consented to the request, which has necessitated a delay of 2 to 3 months in my sending off the first portrait to Toronto.
Joukowski had also prepared the sketches for the “Parsifal” scenery in Bayreuth, which were followed by a successful performance.
Excuse, dear Sirs, the delay in my acknowledgments, and accept the assurance of my high esteem.
F. Liszt
323. To Madame Marie Jaell in Vienna
[Autograph in possession of Herr Commerzienrath Bosendorfer in Vienna.–The addressee was the widow of Alfred Jaell, and was a pianiste and composer in Paris.]
Chere Admirable [Dear Admirable One],
I give you at once a most cordial welcome to Budapest. Have you already made your arrangements for concerts here? Can my very excellent friend Bosendorfer be of use to you as an agent? To my regret I am not in a position to help you in that, on account of my being so very decidedly out of touch with the principal concert arrangers of the neighborhood, who impertinently make a pitiable trade for the benefit of Art…the art of their own pocket and predominance.
To our right speedy meeting! Will you let me make acquaintance with your new compositions, and accept the homage of my admiring sympathy and affection?
F. Liszt
Budapest, February 12th, 1883
Have you had anything to do with a serious and really distinguished composer,–Rendano? He is giving his concert in Vienna one of these next days.
324. To Adelheid Von Schorn
If you were here, dear friend, you would perhaps find means to put into some sort of order the hundreds of letters that rain upon me from everywhere. These bothers and burdens of the amiability with which I am credited are becoming insupportable, and I really long, some fine day, to cry from the housetops that I beg the public to consider me as one of the most disagreeable, whimsical and disobliging of men.
To our cordial meeting at Weimar in the early days of April.
Ever your very affectionate and grateful
F. Liszt
Budapest, February 14th, 1883
325. To Otto Lessmann
Your sad news [After Wagner’s death on the 13th February] pierces my heart. Worthily have you said of the great, undying hero of Art, “May the memory of him lead us on the right road to truth!”
I abstained from going at once to Venice and Bayreuth, but no sensible man will on that account doubt my feelings. Until Passion Week I remain here; then according to what my daughter arranges I shall either go to Bayreuth or elsewhere, wherever my dearly beloved daughter may be.
Hearty thanks, dear friend, for your satisfactory, truthful adjustment of my position, which is neither a doubtful nor a cowardly one, in the Jewish question.
The watchword and solution of that question is a matter for the perseverance of the Israelites and for the all-ruling Divine Providence.
Yours faithfully and gratefully,
F. Liszt
Budapest, February 18th, 1883
I shall send that number of your weekly paper (16th February) to Cardinal Haynald, my gracious patron of many years’ standing–who was also the President of the Liszt-Jubilee Festival in Budapest.
326. To Lina Ramann
My very dear Friend,
Ever since the days of my youth I have considered dying much simpler than living. Even if often there is fearful and protracted suffering before death, yet is death nonetheless the deliverance from our involuntary yoke of existence.
Religion assuages this yoke, yet our heart bleeds under it continually!–
“Sursum corda!”
In my “Requiem” (for men’s voices) I endeavored to give expression to the mild, redeeming character of death. It is shown in the “Dies irae,” in which the domination of fear could not be avoided; in the three-part strophe
“Qui Mariam absolvisti,
Et latronem exaudisti,
Mihi autem spem dedisti”
lies the fervent, tender accent, which is not easily attained by ordinary singers…The execution is also made more difficult by the 2 semitones, ascending in the 1st Tenor, and descending in the 2nd Tenor and 1st Bass. Progressions of this kind are indeed not new, but singers so seldom possess the requisite crystal- clear intonation without which the unhappy composer comes to grief.
Our 3rd Elegie, “The funeral gondola” (“la gondola funebre”), written unawares last December in Venice, is to be brought out this summer by Kahnt, who has already published my 2 earlier Elegies.
Heartfelt greetings to your respected collaborators, and ever yours gratefully,
F. Liszt
Budapest, February 22nd, 1883
327. To Madame Malwine Tardieu
Dear Benevolent One,
To great grief silence is best suited. I will be silent on Wagner, the prototype of an initiatory genius.
Thank you cordially for your telegram of yesterday. [On the success of Saint-Saens’ Opera “Henry VIII.” at the opera in Paris] No one rejoices more than I in the success of Saint-Saens. There is no doubt that he deserves it; but fortune, grand sovereign of doubtful manners, is often in no hurry to array herself on the side of merit.
One has to keep on tenaciously pulling her by the ear (as Saint- Saens has done) to make her listen to reason.
Be so good as to send me the number of the Independance with the article on “Henry VIII.” I will ask M. Saissy, the director of the Gazette (French) de Hongrie, professor of French literature at the University of Budapest, to reproduce this article in his Gazette. Saissy is one of my friends; consequently he will publish what is favorable to “Henry VIII.”
Saint-Saens has sent me the score of his beautiful work “La Lyre et la Harpe.” Alas! everything that is not of the theater and does not belong to the repertoire of the old classical masters Handel, Bach, Palestrina, etc., does not yet gain any attentive and paying consideration–the decisive criterion–of the public. Berlioz, during his lifetime, furnished the proof of this.
Please give my love to your husband, and accept my devoted and grateful affection.
F. Liszt
Budapest, March 6th, 1883
With regard to Lagye, I am contrite. Various things which I had to send off with care have prevented me from going on with the revision of the French edition of my Lieder. It shall be done next month.
328. To Ferdinand Taborszky, Music Publisher in Budapest
Dear Taborszky,
As it is uncertain whether I shall still be alive next year, I have just written an Hungarian “Konigslied” [Royal Song] according to an old mode, for the opening of the New Hungarian Theater in Radialstrasse.
Herewith is the manuscript for pianoforte, two hands, and the score with text by Kornel Abranyi [German translation by Ladislaus Neugebauer] will follow in Easter week.
The publishing of my “Konigslied” ought not to take place till the first performance in the new theater in ’84,
Until then we will keep quiet about it.–
Yours in all friendship,
F. Liszt
Budapest, March 11th, 1883
329. To Baroness M. E. Schwartz
[Autograph in the Liszt Museum at Weimar]
Budapest, March 22nd, 1883
Dear and most excellent One,
[Chere excellentissime]
It is really extraordinary that after so many years of constant practice in works of mercy you are not ruined. Your life seems to me one vast symphony of generosity, munificence, charities, gifts and attentions as delicate as they are costly. To begin with, there are Garibaldi and his people, and to continue indefinitely there are those poor German fellows, ill at Rome, and buried there at your expense; and then the fighting Cretans, the infirm people in your hospital at Jena, the societies for the protection of animals, etc., etc.
I admire you and bow before your perpetual kindnesses and goodness,–all the more because you exercise them unobtrusively, as it were in the shade, without any flourish of trumpets and drums.
Do not scold me for having divided the gift you confided to me for the sufferers from the inundations at Raab. 300 florins were amply sufficient for them, and the other 300 florins of your 50 pounds sterling were well employed for the children’s gardens (an admirable institution of Frobel’s), of which Madame Tisza, the wife of the President of Council of the Ministers of Hungary, is the president in this country.
I send you herewith Madame Tisza’s thanks (in Hungarian, with a German translation), and the receipt of Count Thun,–supreme Count (an ancient title still preserved,–“Obergespan” in German) of the Committee of Raab.
I preferred to send your gift in the name of Madame E. de Schwartz, and not to mix up your nom de plume of Elpis Melena with it. Pardon me this innocent bit of arbitrariness.
Shall I see you again, my very dear friend, this summer at Weimar? I hope so, and I remain sempper ubique
Your grateful and attached
F. Liszt
From the middle of April until August I shall stay at Weimar, with the exception of some excursions of a few days’ duration. Please let me know a couple of weeks beforehand when your friendly visit will take place.
330. To Baroness Wrangel in St. Petersburg
[This lady had begged Liszt for a contribution to an album which it was intended to present to Henselt on the occasion of a festival in honor of his having been 25 years General Music Inspector of the Imperial Schools in St. Petersburg, Moscow, etc. This is Liszt’s answer.]
Madame la Baronne,
For thirty years past I have entirely abstained from adding to collections of autographs and of writing my name in any albums whatever. Nevertheless I willingly make an exception today, while thanking you for your kind words, and begging you to transmit to my honored friend A. Henselt the short copy enclosed herewith.
A renowned diplomatist once said to me, “To princes one should offer only flowers gathered from their own gardens.”
Henselt belongs to the princes, and will accept the souvenir of one of the most beautiful flowers of his own noble gardening.
Very humble respects.
F. Liszt
Weimar, May 20th, 1883
[Liszt adds a postscript to this letter where he writes a musical score excerpt of the Larghetto form Henselt’s Concerto:]
“Albumblatt” for Henselt.
Motive of the wonderful Larghetto in A. Henselt’s Concerto. Larghetto.
[Here, Liszt illustrates with a musical score excerpt of the main theme of the Larghetto.]
For 40 years the composer’s admiring and truly attached
Weimar, May, 1883
F. Liszt
331. To Mason and Hamlin in Boston
[Printed in Gottschalg’s “Urania”]
My dear Sirs,
For what a magnificent Organ I have to thank your kindness! It is worthy of all praise and admiration! Even average players could attain much success on it.–I should gladly have kept this splendid instrument in my own house, but, alas! there is not sufficient room for it. It is now looking grand in the large room of the Orchestral School here, an institution of importance, the excellent director of which is Herr Professor and Hofcapellmeister K. Mueller-Hartung–he has published some beautiful Organ Sonatas and plays them no less beautifully.–On the evening of its opening two renowned organists played upon it, the Court organist A. W. Gottschalg (the publisher of the considerable Organ repertoire, etc., etc.), and the town organist B. Sulze, who has attained a great name through many valuable compositions and transcriptions.–I shall probably have a visit this summer from Prof. Dr. Naumann from Jena, Walter Bache from London, and Saint-Saens from Paris, who, according to my opinion, continues to be the most eminent and extraordinary king of organists. I shall not fail to beg the three above-mentioned virtuosi to make a closer acquaintance with your organ. For the rest it shall not be misused and shall remain closed to ordinary players.
Accept, etc.,
F. Liszt
Weimar, June 12th, 1883
332. To Madame Malwine Tardieu
Chere Bienveillante,
Thank you for the very agreeable news of the resumption and continuation of the performances of “Henry VIII.” No one wishes Saint-Saens, more than I do, all the success that he grandly deserves, both in the theater and in concerts.
In the matter of concerts, those of the Meiningen orchestra, under Bulow’s conductorship, are astonishing, and very instructive for the due comprehension of the works and the rendering of them. I send you a copy of some lines written to a friend; these will give you my impression,–one which you would share if you heard these concerts of the highest artistic lineage.–The parallel between the “Sigurd” of Reyer [Performed for the first time on 7th January, 1884, at the Theater de la Monnaie, Brussels.] and the “Siegfried” of Wagner is ingeniously traced by your husband, and renders good preparatory service to the success of the performances of “Sigurd.” As to the “Nibelungen” tetralogy of Wagner–it shines with an immortal glory. In the course of the winter season the Weimar theater will give Gevaert’s “Quentin Durward.” Lassen will take the utmost pains in directing the study and performance of it. To my regret I shall not be able to be present at the premiere here, as I am obliged to be at Budapest before the middle of January.
Please give Tardieu the cordial love of
Your much attached
F. Liszt
Weimar, December 14th, 1883
Yet another young pianist, but one of the best kind,–M. Siloti, a Russian by birth, and of good education. He was said to be the best pupil of Nicholas Rubinstein before he came to work with me. He obtained a marked success at Leipzig lately, which he will continue next week at Antwerp. In spite of my aversion to letters of introduction, I am giving him a couple of words for the Lynens, and I recommend him to your kind attention.
333. To Casar Cui
Very Honored Friend,
It is well known in various countries in what high esteem I hold your works. As I am convinced that the “Suite” of which you speak will prove itself worthy of your preceding compositions, I feel that I am honored by the dedication, and thank you for it with gratitude. Your musical style is raised far above ordinary phraseology; you do not cultivate the convenient and barren field of the commonplace…Doubtless form in Art is necessary to the expression of ideas and sentiments; it must be adequate, supple, free, now energetic, now graceful, delicate; sometimes even subtle and complex, but always to the exclusion of the ancient remains of decrepit formalism.
At Meiningen, where Bulow’s admirable conducting is working wonders of rhythm and nuances with the orchestra, I lately had the honor of a conversation with the Grand Duke Constantine Constantinowitch, on the actual development of music in Russia and of the well-known capacity of its courageous promoters. His Imperial Highness justly appreciates their serious worth, their noble character and intense originality; consequently, dear Monsieur Cui, the Grand Duke accords full praise to your talents and deserts. I take pleasure in repeating this to you, at the same time renewing to you the assurance of my very sincere regard.
F. Liszt
Weimar, December 30th, 1883
A young Russian pianist, M. Siloti, who has been brought to a high state of virtuosity by the lessons and example of Nicholas Rubinstein, is now gaining a real success in Germany. When he comes to Petersburg I recommend him to your kindness.
334. To Otto Lessmann
Weimar, January l0th, 1884
Dear Friend,
The remarkable concerts of the Meiningen Court orchestra led me to the attempt to write a “Bulow March.” I send you herewith a Preface to this, and also an article (in French), in the form of a letter, on my impressions in Meiningen. Will you insert both these in your paper? Also kindly translate the French letter.
[It follows here after the Preface in the original. A German translation of it appeared in Lessmann’s Allgemeine Musikzeitung on the 18th January, 1884, under the title of “Letter to a friend.”]
Faithfully yours,
F. Liszt
I shall stay ten days to a fortnight longer in Weimar on account of the severe illness of Achilles [Liszt’s servant].
Preface to the Bulow March:
For thirty years Hans von Bulow has been expressing and actively furthering everything that is noble, right, high-minded and free- minded in the regions of creative Art. As virtuoso, teacher, conductor, commentator, propagandist–indeed even sometimes as a humorous journalist–Bulow remains the Chief of musical progress, with the initiative born in and belonging to him by the grace of God, with an impassioned perseverance, incessantly striving heroically after the Ideal, and attaining the utmost possible.
His conducting of the Meiningen Court orchestra is a fresh proof of this. To that same orchestra this “Bulow March” is dedicated in high esteem for their model symphonic performances, by
F. Liszt
Weimar, January, 1884
Meiningen, December, 1883
At seven o’clock people were at the rehearsal of the Beethoven concert. Under Bulow’s conducting the Meiningen orchestra accomplishes wonders. Nowhere is there to be found such intelligence in different works; precision in the performance with the most correct and subtle rhythmic and dynamic nuances. The fact of the opera having been abolished at Meiningen by the Duke some twenty years ago is most favorable to the concerts. In this way the orchestra has time to have a fair number of partial and full rehearsals without too much fatigue, as the opera work has been done away with. Bulow is almost as lavish of rehearsals as Berlioz would have been if he had had the means to be…The result is admirable and in certain respects matchless, not excepting the Paris Conservatoire and other celebrated concert- institutions. The little Meiningen phalanx, thanks to its present General, is in advance of the largest battalions. It is said that Rubinstein and some others have expressed themselves disapprovingly about some of the unusual tempi and nuances of Bulow, but to my thinking their criticism is devoid of foundation…
Besides the programme of the Beethoven concert, in the morning there was an extra seance of the orchestra for the performance of the Overtures to “King Lear” (Berlioz) and to the “Meistersinger,” my march “Vom Fels zum Meer,” the “Ideales,” and Brahms’ Variations on a theme of Haydn. Always the same and complete understanding in the ensemble and the details of the scores,–the same vigor, energy, refinement, accuracy, relief,