vitality and superior characteristics in the interpretation.
An extraordinary thing! the most difficult Quartet of Beethoven, one which on account of its complications never figures on any programme, the grand fugue, Op. 133, is played by the Meiningen orchestra with a perfect ensemble. On a previous occasion I also heard at Meiningen Bach’s celebrated Chaconne played in unison with a real virtuosity by some ten violins.
F. Liszt
335. To Felix Mottl, Hofcapellmeister at Carlsruhe
[The addressee, born in 1856, has been since 1880 at Carlsruhe, where he was recently appointed to the post of Court opera conductor, and since 1886 one of the conductors of the Bayreuth Festivals. He is one of the most important conductors of the present day, and has also come forward as a composer.]
My Very Dear Friend,
You have done a noble artistic deed in reinstating Cornelius’s charming Opera “The Barber of Bagdad.” I hardly know of any other comic opera of so much refined humor and spirit. This champagne has the real sparkle and great worth.
The one-act arrangement seems to me the most propitious. As in Carlsruhe so elsewhere it will make its way. Write about this to Hans Richter. “The Barber of Bagdad” might perhaps, in one act, become a stock-opera in Vienna, and then return once more to Weimar, where, at the first performance long ago, they behaved so ill about it.
Friendly thanks, and yours ever,
F. Liszt
Budapest, February 8th, 1884
336. To Frau Hofrathin Henriette von Liszt
My Very Dear Cousin,
This time I was not able to have a thorough rest in Vienna. Such an extra [luxury] is hardly my lot anywhere. My life is one continued fatigue. Some one once asked the celebrated Catholic champion Arnauld (the Jansenist) why he did not allow himself some rest. “We have eternity for that,” answered he.
I hear for the first time through you of a cousin or niece, Mary Liszt, a concert giver. Concert givers have frequently misused our name by playing under it in provincial towns. A pianist in Constantinople, Herr Listmann, apologised to me for having knocked off the second syllable of his name. On this account he received a valuable present from the then Sultan Abdul Medgid. .- -.
Farewell till our next meeting in Easter week, dear cousin, from yours ever affectionately,
F. Liszt
Budapest, February 8th, 1884
One, and even two, letters from the Princess in the month of January have been lost.
337. To Camille Saint-Saens.
Very Dear and Most Excellent Friend,
Before I received your kind letter I had intimated to Baron Podmaniczki, the Intendant of the theater of Budapest, that he ought to esteem it an honor to give your Henry VIII.–a frightful personage in history, but brilliantly illustrated by your beautiful music [an Opera by Saint-Satins]. The inauguration of the new theater will take place at the end of September with the St. Etienne, a new Opera by Erkel, the popular dramatic composer par excellence in Hungary. His Huvtyadi Laszlo was performed 250 times, and his “Bankban” more than 100, without ever over- reaching the mark. Two other works are promised after the St. Etienne, so that your Henry VIII. cannot appear till ’85, for it still has to be translated into Hungarian.
I spoke about it in Vienna to his Excellency Baron Hoffmann, the Intendant of the Imperial Theaters. He told me that your work is going to be given shortly at Prague, and that he will send his own conductor, M. Jahn, there, in order that it may be better looked after. I beg that you will send the piano score of Henry VIII. at once to M. le directeur Jahn (very influential), with a few polite lines; also to do the same to M. Erkel Sandor (son of the composer), conductor of the National Opera of Budapest. Address to him “Theater National,” Budapest.
Very much vexed to be unable to make a place for one of your grand works–such as your superb Mass or some Poeme symphonique– in the programme of our next Tonkunstler-Versammlung at Weimar from the 23rd to the 28th May. Sauret is going to play your third Concerto, and I will send you this overloaded programme. If you came to hear it, it would be a very great pleasure to
Your admiringly and cordially attached
F. Liszt
Weimar, April 29th, 1884
338. To Otto Lessmann
[Weimar,] May 7th, 1884
Dear Friend,
The motto of my Oratorio “Stanislaus” is “Religion and Fatherland.” In the fragment (Orchestral Interlude) which will be given here at the next Tonkunstler-Versammlung the whole meaning of the work is made plain. [This remained unfinished, as is well known.]
Farewell till our speedy meeting.
Ever faithfully yours,
F. Liszt
339. To Camille Saint-Saens
Very dear Friend and Confrere,
I refused to suspect that there could be any ill-will against you at Budapest. Nevertheless I think it is strange and most unjust that your dramatic and symphonic works have not yet taken the place which is due to them in Hungary. I have explained myself clearly about them several times, but the theater menage, and even that of the Philharmonic Concerts, is formed outside of my influence. They are quite ready to accord me a general consideration, with the exception of arranging particular cases otherwise than I wished. For many people doubtful profits and manoeuvres contrary to their dignity exercise an irresistible attraction. The idea of honor seems to them too troublesome.
I shall not desist in the least from my conscientious propaganda of your ‘Henry VIII’ and other of your works. The new theater at Budapest will open (at the end of September) with the ‘Roi St. Etienne’, [King Stephen] a grand Hungarian Opera by Erkel (senior). After that Baron Podmaniczky, the Intendant, has promised to give a new Opera by Goldmark, also Hungarian in subject, and another by Delibes. The “Henry VIII.” should appear somewhere between these three. Its performance at Prague will determine that at Vienna, which will be soon, I hope. His Excellency Baron Hoffmann, the Intendant of the Imperial Theaters in Vienna, told me that he would send his artistic and musical conductor (at the Opera), M. Jahn, to Prague. It depends on the opinion of this person whether “Henry VIII.” is given at Vienna.
When you come again to Weimar you are sure to be received there with sympathy, gratitude and sincere admiration by your old attached friend,
F. Liszt
Weimar, May 18th, 1884
Thanks for the photograph. You will find it well placed here near a charming bust. The Court and town of Weimar keep their affectionate and kind sentiments towards you.
340. To Walter Bache
Dear honored Friend,
I am very gladly in accord with all your doings, and only protest against the sacrifice you have in the noblest manner made for my severely criticised works.
The English edition of the “Elizabeth Legend” with your sister’s translation delights me.
Tell Mr. Alfred Littleton he can send me the proof-sheets (bound) of the piano edition, and the score, to Weimar. Along with this the 4 four-hand pieces (published by Kahnt) might also be published. Would it be well perhaps to begin with these? Arrange about this as you like with Mr. Littleton. I have only to correct the proofs, which will quickly follow.
If you think it would do, I shall also add to the English edition a little Preface, in the form of a letter–addressed to Walter Bache.
By the same post today I send you the complete enormous programme of the Tonkunstler-Versammlung (going through 25 years). This evening they begin with the acting performance of the “Elizabeth Legend.”
Auf Wiedersehen! [To our next meeting!]
I shall stay at Bayreuth from July 5th till the middle of August, and then come back to Weimar.
Faithfully and gratefully,
F. Liszt
Weimar, May 23rd, 1884
I have told Kahnt all that concerns himself in your letter.
341. To the Composer Carl Navratil in Prague
Dear Herr Navtatil,
I write in haste to tell you that Smetana’s [Bohemian composer and pianist (1824-84).] death has moved me deeply. He was a genius. More in my next. In haste.
F. Liszt
Weimar, May 30th, 1884
342. To Baron Friedrich Podmaniczky, Intendant of the Hungarian Opera in Budapest
[From a rough copy in Liszt’s own handwriting in the possession of Abranyi]
[1884]
Monsieur le Baron,
I have begged my friend M. de Mihalovich to lay before you a proposition, the fate of which depends on the committee that directs the orders for the sculptures of the new National Hungarian Theater.
In my humble opinion it would be unjust, and even ungrateful, to exclude from them the likenesses of two composers of high distinction, the late Mosonyi and Franz Doppler.
A charming Opera of Mosonyi’s of elevated taste, “Szep Ilonka” [“The fair Helen”: its subject, like that of his other Opera “Almos,” was taken from Hungarian history], has been performed here some dozen times with success, and was then consigned to oblivion in the oubliettes of the administration. Another greater dramatic work by Mosonyi, “Almos,” has remained in manuscript, although Baron Orczy, your predecessor as Intendant, had some idea of producing it.
The whole of the brave musical activity of Mosonyi at Budapest is most honorable and meritorious, as much by his teaching as by his numerous compositions of Church music, orchestral music, and piano music. Many of his Hungarian pieces remain classical, as opposed to the current wares, supposed to be of this same kind, more frequently heard (at the present time in Vienna).
Franz Doppler has left the best possible remembrance of his rare talents and qualities at Budapest, where during many years he fulfilled the duties of conductor to the theater, and shone by his virtuosity (very celebrated in Europe) as a flute player–an instrument which Frederick the Great condescended to use. Doppler’s Operas “Beniowszky” and “Ilka” were favorably received; and up to the present time “Ilka” is the only Hungarian opera admitted to the repertoire of several theaters in Germany. Besides this Doppler has also written two acts of the “Elizabeth” [The opera “Elizabeth,” composed by Franz Erkel and Doppler, was performed at the National Theater in 1857], by which Her Majesty the Queen of Hungary was entertained at the theater of Budapest.
I venture then, Monsieur le Baron, to recommend you to see about the desirability of placing two fine reliefs of Mosonyi and Doppler [The reliefs adorn the vestibule of the opera house.] in a suitable position in the new theater in the Radialstrasse, and beg you to accept the expression of my high esteem and sincere devotion.
F. Liszt
343. To Freiherr Hans von Wolzogen
Dear Freiherr,
My admiration remains unlimited for the sublime genius of Wagner.
What blissful creative power and influence has he not, ever active from “Tannhauser” to the “Ring des Nibelungen” and the marvellous “Parsifal.”–
The Art of our century finds its foundation and glory therein.
The little that I have written in letters about Wagner is at the service of the public.
With highest esteem yours most truly,
F. Liszt
Weimar, June 18th, 1884
To our friendly meeting in Bayreuth in the middle of July.
344. To the Concert-Singer Auguste Gotze
[Daughter of Professor Franz Gotze, and–as one of the first singing mistresses of the present day–the inheritor of his school; she is also a talented singer, reciter, and dramatic poetess. She lives at Leipzig.]
Dear Friend,
In honor of you I will willingly endeavor to add the melodramatic accompaniment to Felix Dahn’s poem. [“Die Mette von Marienburg” [The Matins of Marienburg] Liszt’s intention remained, alas, unfulfilled.] This short work will only require a few hours but I can seldom get any free hours for working…All sorts of interruptions keep me from writing.
Hearty greetings to your charming colleague, Fraulein von Kotzebue.
High esteem from your friendly
F. Liszt
Weimar, June 22nd, 1884.
345 To Kornel von Abranyi
Dear, excellent Friend,
The best person to make a suitable instrumentation of the “Rheinweinliedes” [Rhine-wine-song] for the Miskolcz Musical Festival will be our friend C. Huber. [Carl Huber, conductor of the Hungarian Provincial Singers’ Union, died 1885.] This chorus for men’s voices was written in Berlin in the year ’42, and performed there several times, and afterwards in Leipzig also, about which a “querelle d’Allermand” [groundless quarrel] soon reached me in Paris.–
To bear and forbear is ever our life’s task.
As I have marked on the accompanying copy, on pages 3, 5, 7, instead of D-flat, G-flat in the 2nd tenor, the C, F
[Here, Liszt illustrates with a musical score excerpt showing a cadence in B-flat]
is to remain.
The Gazette de Hongrie [Gazette of Hungary], and still more the Budapester Tageblatt [Budapest daily paper], in which your son Kornel is a collaborator, gave me the tidings of the election doings in the cara patria.
Without in the least taking part in politics, yet I take that interest in them which it behoves every not uneducated man to do; and I rejoice that Kornel Abranyi, junior, is taking his seat in Parliament.
Heartily, faithfully yours,
F. Liszt
Weimar, July 1st, 1884
From the 12th July till the middle of August I shall be at Bayreuth.
Tell Huber to do the instrumentation of the “Rheinweinlied” quite freely, according to his own will and what he thinks best, without a too careful attention to the printed piano accompaniment.
345A. To Madame Malwine Tardieu
[Autograph in possession of Constance Bache]
Dear kind Friend,
I have spoken to you several times of my excellent friend–of more than 20 years–Walter Bache. He maintains himself worthily in London as an artist of worth, intelligence, and noble character. His sister has made a remarkable translation of the “Elizabeth” into English.
Receive the Baches (who pass a day in Brussels) in a friendly manner.
Cordial devotion,
F. Liszt
Bayreuth, August 9th, 1884
Tomorrow evening I shall be back at Weimar, and shall probably go to Munich for the second series of the “Nibelungen” performances (28th August).
Please give my cordial regards to Tardieu.
346. To the Music Publisher Rahter in Hamburg
Dear Herr Rahter,
Best thanks for kindly sending me the Russian “Fantasie” by Naprawnik–a brilliantly successful concert-piece–and the Slumber Songs by Rimsky-Korsakoff, which I prize extremely; his works are among the rare, the uncommon, the exquisite.–The piano edition of his Opera “Die Mainacht” [The May Night] has either not reached me or else has got lost.–Send it me to Weimar together with a second copy of Naprawnik’s Russian “Fantasie,” which is necessary for performance.
Many of my young pianists will be glad to make this “Fantasie” known in drawing-rooms and concerts.–
With friendly thanks,
F. Liszt
Munich, August 28th, 1884
347. To Richard Pohl
[Printed in the Allgemeine Deutsche Musikzeitung of 24th October,1884.]
My very dear Friend,
I have long wanted to repeat my hearty thanks to you for the faithful, noble devotion which you have always bravely and decidedly shown to the Weimar Period of Progression in the years 1849-58. The third volume of your collected writings “Hector Berlioz” affords another proof of this devotion, which is highly to be valued in contrast with the far too general wishy-washy absence of opinion.
After the unheard-of success of more than 20 performances of “The Damnation of Faust” by the concert societies of Lamoureux, Pasdeloup, Colonne, in the same season in Paris–not counting the theater, for which this work is not suitable, the French Berlioz literature is increasing. You know Hippeau’s octavo book “Berlioz Intime,” which is shortly to be followed by a second, “Berlioz Artiste.” I wish this to profit by your work.
In reading the first volume I was painfully affected by several passages out of Berlioz’s letters, in which the discord and broken-heartedness of his early years are only too apparent. He could not grasp the just idea that a genius cannot hope to exist with impunity, and that a new thing cannot at once expect to please the ancient order of things.
For the rest, there lies in his complaints against the Parisian “gredins et cretins” [fools and scoundrels], whom he might also find in other places, a large share of injustice. In spite of his exaggerated leniency in favor of a foreign country, the fact remains that up to the present time no European composer has received such distinctions from his own country as Berlioz did from France. Compare the position of Beethoven, Weber, Schubert, Schumann, with that of Berlioz. In the case of Beethoven the Archduke Rudolf alone bespoke the “Missa solemnis.” The profit from his rarely given concerts was small, and at the last he turned to the London Philharmonic Society for support.
Weber acted as Court conductor in Dresden, and wrote his Oberon at the invitation of London.
Schubert’s marvellous productiveness was badly paid by the publishers; other favorable conditions had he none.
Schumann’s biography testifies no patriotic enthusiasm for his works during his lifetime. His position as musical conductor at Dusseldorf was by no means a brilliant one…
It was otherwise with Mendelssohn, who had private means, and who, by his delicate and just eclecticism, clinging to Bach, Handel, and even Beethoven, obtained continual success in England and Germany. King William IV. called him to Berlin at the same time with Cornelius, [This means the painter Cornelius.–Trans.] Kaulbach, Schelling, and Meyerbeer, which he did not enjoy any better than Leipzig.
I make no further mention of Meyerbeer here, because he owes his universal success chiefly to Paris. It was there that all his Operas, from “Robert” and “The Huguenots” to his posthumous “L’Africaine,” were first performed–with the exception of “Das Feldlager in Schlesien” [The Camp in Silesia], which also sparkled later in Paris as “L’etoile du Nord.”
Now let us see how things went with Berlioz in his native land.
Like Victor Hugo, he was, after three times becoming a candidate, elected a member of the “Institute of France,”–similarly (without any candidature) to be librarian of the Conservatoire; he was also a collaborator of the highly esteemed “Journal des Debats” and officer of the Legion of Honor.
Where do we find in Germany similar proofs of distinction? Why, therefore, the bitter insults of Berlioz against the Paris “gredins” and “cretins”? Unfortunately it certainly never brought Berlioz an out-and-out theatrical success, although his nature leaned that way.
I send you herewith Reyer’s feuilleton (Journal des Debats, 14th September) regarding the latest brochure by Ernst “upon Berlioz.”
With hearty thanks, yours most truly,
F. Liszt
Weimar, September 12th, 1884
348. To Sophie Menter
My dear Friend,
My few days’ stay at your fairy-like castle Itter [In Tyrol.] will remain a magic memory.
When you have signed the Petersburg Conservatorium contract let me know. You know, indeed, that I very much approve of this turn and fixing of your brilliant artistic career. It requires no excessive obligations, and will be an advantage to you.
Friendly greetings to the New School from your faithful admirer and friend,
F. Liszt
Weimar, September 13th, 1884
I am here till the end of October. Later on I shall visit my friends Geza Zichy and Sandor Teleky in Hungary.
349. To Baron Friedrich Podmaniczky, Intendant of the Royal Hungarian Opera in Budapest
[Printed in the Pester Lloyd (evening paper of 27th September, 1884).–Liszt having sent Podmaniczky a Royal Hymn for the opening of the New Hungarian Opera House instead of a Festal Prelude, which the latter had requested, Podmaniczky wrote to the Master on the 17th September, 1884, that the motive of the hymn having been borrowed from a revolutionary song would prove an “unsurmountable obstacle” to its performance. The letter was also signed by Alexander Erkel as conductor. Whereupon Liszt wrote the above reply.]
Dear, Hochgeborener [Many of these titles have been left in their original language, being unused in England, and having no equivalent with us.–Trans.] Herr Baron,
To your letter dated the 17th of this month I have the honor of replying as follows: that the song “Hahj, Rakoczy, Bercsenyi” was not unknown to me is shown by the piano edition of my “Hungarian royal hymn” published by Taborsky and Parsch, on the title-page of which stand the words “After an old Hungarian air.” I learned to know this song from Stefan Bartolus’s Anthology, and it took hold of me with its decided, and expressive and artless character; I at once provided it with a finale of victory, and without troubling my head further about its former revolutionary words I begged Kornel Abranyi, jun., for a new, loyal text with the refrain “Eljen a kiraly,” so that my “Royal hymn” might attain its due expression both in words and music.
Transformations are nothing rare in Art any more than in life. From countless heathen temples Catholic churches were formed. In the classic epoch of Church music–in the 16th century–many secular melodies were accepted amongst devotional songs, and in later times the Catholic antiphones were heard as Protestant Chorales. And this went yet further, not excepting Opera, in which Meyerbeer utilised the Chorale “Eine feste Burg” for a stage effect, and in “L’Etoile du Nord” consecrated the “Dessauer Marsch” into the Russian National hymn. A revolutionary tendency is commonly ascribed to the universally known and favorite “Rakoczy March,” and its performance has been more than once forbidden.
Music remains ever music, without superfluous and injurious significations. For the rest, God forbid that I should anywhere push forward either myself or my humble compositions. I leave it entirely to your judgment, hochgeborener Herr Baron, to decide whether my “Royal hymn” shall be performed in the new Hungarian Opera House or not. The score, as also the many orchestral and vocal parts, are to be had at the publishers, Taborsky and Parsch.
I beg you, Sir, to accept the expression of my high esteem.
F. Liszt
Weimar, September 21st, 1884
[To this Alex. Erkel made the proposal that Liszt’s “Konigslied” (“Royal Song”), instead of being performed at the opening of the new theater on the 27th September, should be given at an “Extra Opera performance.” The Master consented, but did not appear at this first performance of his work, which took place on the 25th March, 1885, and met with tremendous applause.]
350. To Walter Bache
[This letter is published, as a Preface, in the English edition of Liszt’s “St. Elizabeth.”]
Very honored Friend,
For some twenty years past you have been employing your beautiful talent as a pianist, your care as a professor and as a conductor to make my works known and to spread them in England. The task seemed an ungrateful one, and its want of success menacing, but you are doing it nobly, with the most honorable and firm conviction of an artist. I renew my grateful thanks to you on the occasion of the present edition of the “Legend of St. Elizabeth,” published by the well-accredited house of Novello. [The translator of the English edition (Constance Bache) has also translated many of Liszt’s songs into English.]
This work, which was performed for the first time in 1865 at Budapest, has been reproduced successively in several countries and languages. Let us hope that it will also meet with some sympathy in England.
Your much attached
F. Liszt
Weimar, October 18th, 1884
351. To the Composer Mili Balakireff, Conductor of the Imperial Court Choir in St. Petersburg
Very honored, dear Confrere,
My admiring sympathy for your works is well known. When my young disciples want to please me they play me your compositions and those of your valiant friends. In this intrepid Russian musical phalanx I welcome from my heart masters endowed with a rare vital energy; they suffer in no wise from poverty of ideas–a malady which is widespread in many countries. More and more will their merits be recognised, and their names renowned. I accept with gratitude the honor of the dedication [to me] of your Symphonic Poem “Thamar,” which I hope to hear next summer with a large orchestra. When the 4-hand edition comes out you will greatly oblige me by sending me a copy. From the middle of January until Easter I shall be at Budapest.
Please accept, dear confrere, the expression of my high esteem and cordial attachment.
F. Liszt
Weimar, October 2lst, 1884
352. To Countess Louise de Mercy-Argenteau
[Known through her zealous propaganda, in Belgium and France, of the music of the New Russian School. After the death of her husband (1888), Chamberlain of Napoleon III., she left her native land of Belgium and removed to St. Petersburg, where she died in November 1890.]
October 24th, 1884
Certainly, my very dear and kind friend, you have a hundredfold right to appreciate and to relish the present musical Russia. Rimski-Korsakoff, Cui, Borodine, Balakireff, are masters of striking originality and worth. Their works make up to me for the ennui caused to me by other works more widely spread and more talked about, works of which I should have some difficulty in saying what Leonard once wrote to you from Amsterdam after a song of Schumann’s: “What soul, and also what success!” Rarely is success in a hurry to accompany soul. In Russia the new composers, in spite of their remarkable talent and knowledge, have had as yet but a limited success.–The high people of the Court wait for them to succeed elsewhere before they applaud them at Petersburg. A propos of this, I recollect a striking remark which the late Grand Duke Michael made to me in ’43: “When I have to put my officers under arrest, I send them to the performances of Glinka’s operas.” Manners are softening, and Messrs. Rimski, Cui, Borodine, have themselves attained to the grade of colonel.
At the annual concerts of the German and Universal Musical Association (Allgemeiner Deutscher Musik-Verein) they have, for many years past, always given some work of a Russian composer, at my suggestion. Little by little a public will be formed. Next year our Festival will take place in June at Carlsruhe. St. Saens is coming; why not you, too, dear friend? You would also hear something Russian there.
When you write to St. Saens, please tell him of my admiring and very constant friendship. By the work of translation which you have bravely undertaken, I think that you are doing wisely and skilfully in freeing yourself from the bondage of rhyme, and in keeping to rhythmic prose. The important point is to maintain the lyric or dramatic accent, and to avoid the “desastreuses salades de syllabes longues et breves, des temps forts et faibles” [disastrous mess of long and short syllables, and of the strong and weak time]. The point is to make good prose without any other scruples whatever. It is said that M. Lamoureux is admitting the “Steppes” by Borodine into one of his programmes. We shall see what sort of a reception it will have. For the rest, I doubt Lamoureux’s venturing so soon on the Russian propaganda. He has too much to do with Berlioz and Wagner.
Do not let yourself be disconcerted either by the “ineffable” carelessness, or by the square battalions of objections such as these: “It is confusion worse confounded; it is Abracadabra” [Senseless jabber.]–etc.
Without politeness or ceremony I tell you in perfect sincerity that your instinct did not lead you astray the day when this music so forcibly charmed you. Continue, then, your work with the firm conviction of being in the right path.
Above all I beg that you will not falsely imagine that I am taking hold of the thing wrong end foremost. When you knock I shall not merely say, Enter, but I myself will go before you. To return to Paris and show myself off there as a young composer or to continue the business of an old pianist in the salons does not attract me in the least. I have other things to do elsewhere.
Faithful homage.
F. Liszt
P.S.–I do not know what date to put to these lines. I wrote the first page on the receipt of your bewitching letter. I meant to reply to it in full, but all sorts of pressing obligations and botherations intervened…I have also been to the inauguration of the statue of Bach at Eisenach, illustrated by three concerts, composed exclusively of numerous works of Bach’s (the Mass in B minor first and foremost); then I was present at a more curious concert at Leipzig: on my return I had a severe attack of illness, which prevented me for several days from writing. In short, this letter ought to have reached you three weeks ago. Tomorrow, 25th October, I leave Weimar, and shall not return here till after Easter. If you condescend to continue writing to me, please address to Budapest (Hungary) till the end of November. A prompt answer shall follow.
F. Liszt
353. To Madame Malwine Tardieu
Budapest, December 7th, 1884
Dear Kind Friend,
Really and truly when it sometimes happens that I obtain success I rejoice less over that than over the success of my friends. Thank you for the pleasant tidings of the brilliant success of Ossiana [Madame Marie Jaell, the well-known artiste, a friend of Liszt’s.] at Godard’s concert. .–.
You do not tell me where the little notice appeared (with my name at the heading) which you were so good as to send me. [In the Gaulois, from the pen of Fourcaud, and, later, in the Album of the Gaulois, to which the most celebrated tone-poets had contributed a piece of music as yet unpublished.] One of my works is mentioned in it with the greatest eulogy–the Gran Mass–which was so unhappily performed at Paris in ’66, and more unhappily criticised then…The mistake I made was not to have forbidden a performance given under such deplorable conditions. A philanthropic reason, which is valueless in matters of Art, kept me from doing so. I did not wish to deprive the fund for the poor of the assured receipts of more than 40,000 francs. Pardon me for recalling this vexatious affair, which makes me all the more sensible of the flattering attention which the same work is receiving.
To my great regret the performances of Henry VIII. by our very valiant friend St. Saens, which were to have taken place at Weimar and Budapest, are put off. Mediocrity, as Balzac said, governs even theaters. Anyhow its power must sometimes be intermittent. Please say many cordial things to your husband from your much attached
F. Liszt
On Wednesday I shall be in Rome, and back here towards the middle of January.
354. To Freiherr Hans Von Wolzogen
Dear Freiherr,
Hearty thanks for your kind letter. To include me in your noble, zealous, high-minded efforts in matters for the glorification of Wagner and according to the wishes of his widow, is to me ever a duty and an honor.
Faithfully yours,
F. Liszt
Rome, December 18th, 1884
355. To Camille Saint-Saens
[End of 1884 or beginning of 1885.]
Very Dear Friend and Companion in Arms,
Your sympathy for the “Salve, Polonia” [Orchestral Interlude from the unfinished Oratorio Stanislaus. It was given at the Tonkunstler-Versammlung in Weimar in 1884, at which Saint-Saens was present.] makes me quite happy. Still writing music, as I am, I sometimes ask myself at such and such a passage, “Would that please St. Saens?” The affirmative encourages me to go on, in spite of the fatigue of age and other wearinesses.
If you do me the honor of playing one of my compositions at the Carlsruhe Festival please choose which it shall be: perhaps the Danse macabre [Dance of Death] with orchestra; or–which I think would be better, for the public would rather hear you alone–the Predication aux oiseaux [St. Francis preaching to the birds, followed by Scherzo and March. [Saint-Saens did not go to Carlsruhe.]
Cordial wishes for the year ’85, and ever your admiringly attached
F. Liszt
Give my best remembrances from Budapest to Delibes.
356. To Countess Mercy-Argenteau
What wonders you have just accomplished with your Russian concert at Liege, dear admirable one! From the material point of view the Deaf and Dumb and Blind Institutions have benefited by it; artistically, other deaf and dumb have heard and spoken; the blind have seen, and, on beholding you, were enraptured.
I shall assuredly not cease from my propaganda of the remarkable compositions of the New Russian School, which I esteem and appreciate with lively sympathy. For 6 or 7 years past, at the Grand Annual Concerts of the Musical Association (“Allgemeiner Deutscher Musik-Verein”), over which I have the honor of presiding, the orchestral works of Rimsky-Korsakoff and Borodine have figured on the programmes. Their success is making a crescendo, in spite of the sort of contumacy that is established against Russian music. It is not in the least any desire of being peculiar that leads me to spread it, but a simple feeling of justice, based on my conviction of the real worth of these works of high lineage. I do not know which ones Hans von Bulow, the Achilles of propagandists, chose for the Russian concert he gave lately with the Meiningen orchestra, of an unheard-of discipline and perfection.
I hope Bulow will continue concerts of the same quality in various towns of Germany.
The best among my disciples, brilliant virtuosi, play the most difficult piano compositions of Balakireff, etc., superbly. I shall recommend to them Cui’s Suite (piano and violoncello).
Considering the rarity of singers gifted at once with voice, intelligence and good taste for things not hackneyed,–there is some delay in regard to the vocal compositions of Cui, Borodine, etc. Nevertheless the right time for their production will come, and for making them succeed and be appreciated. In France your translation of the words will be a great help, and in Germany we must be provided with a suitable translation.
A portion of the articles which you kindly sent me upon your concert at Liege shallbe inserted in the Neue Zeitschrift fur Musik. I shall endeavor to find another paper also, although my relations with the Press are by no means intimate.
Rahter, the musical editor at Hamburg, and representative of Jurgenson in Moscow, will offer you in homage three of my Russian transcriptions,–Tschaikowsky’s “Polonaise”; Dargomijsky’s “Tarentelle” with the continuous pedal bass of A, A; and a “Romance” of Count Michel Wielhorsky. Let us add to these the “Marche tscherkesse” of Glinka, and, above all, the prodigious kaleidoscope of variations and paraphrases on the fixed theme
[Here, Liszt illustrates with a musical score excerpt]
It is the most seriously entertaining thing I know; it gives us a practical manual, par excellence, of all musical knowledge; treatises on harmony and composition are summed up and blended in it in some thirty pages, which teach the subject very fully– above and beyond the usual instruction.
My very amiable hosts at Antwerp, the Lynens, have invited me to return there this summer at the time of the Exhibition, of which M. Lynen is the president. I am tempted to do so after the Carlsruhe Festival, as I keep a charming remembrance of the kindness that was shown to me in Brussels and Antwerp.
In about ten days I return to Budapest, whence you shall receive a photograph of the old, sorry face of your constant admirer and devoted servant,
F. Liszt
Rome, January 20th, 1885
A pertinacious editor keeps asking me for my transcription of Gounod’s “Ste. Cecile.” If amongst your old papers you should find the manuscript of it, will you lend it me for a fortnight, so that it may be copied, printed, and then restored to its very gracious owner?
February and March my address–Budapest, Hungary.
357. To Camille Saint-Saens.
Very honored, dear Friend,
In order not to become too monotonous I won’t thank you any more. Nevertheless your transcription of my Orpheus for Piano, Violin and Violoncello charms me, and I beg that you will send it either to Hartel direct, so that he may publish it at once, or else to yours very gratefully, so that I may remit it to him, after having had the pleasure of reading and hearing it at Budapest, whither, by next Thursday, will have returned
Your much-attached fellow-disciple,
F. Liszt.
Florence, Tuesday, January 27th, 1885.
Goodbye till we meet in May at Carlsruhe.
358. To Madame Malwine Tardieu.
I am writing to the director of our “Musik-Verein” to write to you, dear friend. You will tell Mademoiselle Kufferath, better than any one else can, how agreeable it will be to everybody, and to myself in particular, if she takes part in the concerts at Carlsruhe–in the last days of May. [This did not come to anything. Saint-Saens’ “Deluge,” in which she was to have sung, was not performed at Carlsruhe, and meanwhile Fraulein Kufferath married and gave up her artistic career.]
Our “Musak-Verein” has not the advantage of material wealth; nevertheless we have existed bravely for 25 years without getting into debt, and faithfully put in practice our principal rule, which is to perform every year in different towns the valid works of contemporary composers of any country whatsoever (exclusive of works for the theater, with the exception of occasional vocal numbers). This rule, which is difficult to maintain, considering the expenses and the difficult preparations, distinguishes us from other musical societies and gives us the character of pioneers of progress. We have not been behindhand with the group of composers of young Musical Russia, Rimsky-Korsakoff, Borodine, Cui, etc., for we have been giving their works for four years past.
The very gracious Countess of Mercy-Argenteau has been making them known lately at Liege, with a brilliant success, quite justified by the qualities of the works and the charm of the patroness.
Will you, dear friend, be so kind as to express my acknowledgments to Mr. de Fourcaud, [Musical and Art Correspondent of the Paris Gaulois, with outspoken Wagner tendencies and opinions.] and accept the expression of my cordial affection?
F. Liszt.
Budapest, April 6th, 1885.
In a few days I shall be back at Weimar.
359. To Lina Ramann.
[Weimar] April 27th, 1885.
I am sending you at once, my very dear friend, the volumes of scores which I have by me in Weimar. [Works of Palestrina’s.] The celebrated Missa Papoe Marcelli is not amongst them, but can easily be found; the last edition of it by Amelli, Milan, the editor-in-chief of the Church-Music paper there. I got him to add a few indications of expression because, according to my opinion, without such indications any further editions of Palestrina and Lassus–the two great Cardinals of old Catholic Church-music– would serve only for reading, and not for actual performances. Of course no one can fix with absolute certainty the figures to the basses of Palestrina and Lassus; yet there are determining points from which one can steer.
The best model of all is and will continue to be–Wagner’s arrangement of Palestrina’s “Stabat Mater”–with marks of expression and plan of the division of the voices into semi- chorus, solos, and complete chorus.
Wagner made this model arrangement at the time when he was conductor in Dresden. It appeared 15 years later, published by Kahnt. It is to be hoped that people will gradually regulate themselves by this with judgment–and time.
Faithfully yours,
F. Liszt
360. To Camille Saint-Saens
Thank you cordially, my very dear friend, for the concession you are willing to make to me.
The Society of Musicians, in which I have taken part for 25 years, holds to the principle of producing the works of living Symphonic composers of all countries. I claim then your superior and continued share in it, and remain your admiring and attached friend,
F. Liszt
Weimar, May 8th, 1885
361. To Alexander Siloti
[Well known as one of the most gifted pupils of Liszt, and one of the first pianists of the present day. Born 1863, and lives now in Paris]
In Weimar it is wisest to keep oneself negative and passive. Therefore, dear Siloti, attempt no “Liszt-Verein.”
[In consequence of the above letter the Liszt-Verein (Liszt Society) was not founded in Weimar, as Siloti intended, but in Leipzig in 1885, where it has flourished brilliantly under the direction of Professor Martin Krause.]
With thanks, yours truly,
F. Liszt
May, 1885
362. To the Composer J.P. von Kiraly in Eisenstadt
[From a copy by Director Aug. Gollerich in Nuremberg.]
Dear Friend,
Ninety years ago my father was preparing for his duties as book- keeper to Prince Nikolaus Esterhazy in Eisenstadt. At that time he often took part, as an amateur, among the violoncellos in the Prince’s frequent Court concerts, under the conductorship of the happy great master Josef Haydn. My father often told me about his intercourse with Haydn, and the daily parties he made up with him. In 1848 I visited the dear, affectionate Father Albach at the Franciscan monastery of Eisenstadt, and dedicated to him my Mass for men’s voices, which will be brilliantly performed here very shortly. May the simple, artless genius of Haydn ever rule over the Eisenstadt Kindergarten conducted by your daughter.
“Joke and earnest!” Bravo, friend! The work honors the master who knows so well the Muses. In Oedenburg and Eisenstadt surely every one will subscribe. At the beginning of July I shall send you a small contribution for the Kindergarten. Perhaps later on I shall be able to do more; unfortunately I am anything but well off, and must content myself with a small amount.
F. Liszt
Antwerp, June 5th, 1885
363. To Ferdinand Taborszky, Music Publisher in Budapest
Antwerp, June 8th, 1885
Very dear Friend,
From Weimar, where I shall once more be in ten days’ time, you will receive at the beginning of July some short Hungarian pianoforte pieces, which I shall orchestrate later on, entitled:
To the memory of
Stephan | Szechenyi
Franz | Deak
Josef | Eotvos
———————–
Ladislas | Telek
Michael | Vorosmarti
Alexander | Petofi
The last piece has already been published by Taborszky, but must have a few more concluding bars in the new edition.
“Mosonyi’s Trauerklange” (Mosonyi’s funeral music), which you have already had by you for fifteen years, shall make No. 7. Our friend Mosonyi, so excellent and full of character, and so pre- eminent a musician, must also not be forgotten.
The seven numbers make altogether sixty pages of print. All the new pieces are perfectly ready, written out in manuscript, only requiring a copyist, whom I cannot find while I am on my journey. [Liszt’s intention to orchestrate the pieces remained unfulfilled.]
When I send you the manuscripts I will write all further particulars with regard to the publishing of them.
First of all, dear friend, will you be so kind as to go to my house with Frau von Fabry? I stupidly forgot there–in the bedroom, not in the salon–the beautiful and revised copy of a composition for piano and violin or violoncello, together with the transcription of the same for pianoforte alone. The title is “La lugubre Gondola” (the funeral gondola). As though it were a presentiment, I wrote this elegie in Venice six weeks before Wagner’s death.
Now I should like it to be brought out by Fritzsch (Leipzig), Wagner’s publisher, as soon as I receive it from you in Weimar. [Published by Frizsch] Hearty greetings to your family.
Ever faithfully yours,
F. Liszt
364. To Alfred Reisenauer
Dear Friend and Art-Comrade,
I beg you to send me here, in manuscript, your capital orchestration of the 3rd Mephisto-waltz. Don’t take the trouble to alter anything in this manuscript or to write anything new; send it me just as I have seen it. When it has been copied the printed edition will follow, with the name of Reisenauer attached to it.
In all friendship,
F. Liszt
Weimar, September 1st, 1885
365. To the Editor of the “Allgemeine Musikzeitung,” Otto Lessmann, in Charlottenburg
[Was published in the Allgemeine Musikzeitung of September 1885]
Dear Mr. Editor,
With regret, and a firm conviction, I repeat to you in writing that Theodor Kullak’s forgetfulness ought to be made good by his heirs. Otherwise it would be severely denounced as unfaithfulness to his position as an artist. A fortune of several millions gained by music-teaching ought not to remain buried without any regard to music students. Unless the heirs prefer to found a Kullak-Scholarship, I consider that they are in duty bound to endow the four existing musical scholarships–those in the names of Mozart, Mendelssohn, Meyerbeer, Beethoven–with 30,000 marks each: total 120,000 marks.
With well-known opinions, mindful of the artist’s standing, I am yours truly,
F. Liszt
Weimar, September 5th, 1885
366. To Casar Cui
Very honored Friend,
The very gracious propagandist, the Countess of Mercy-Argenteau, has already received a transcription of your brilliant “Tarentelle.” I will send a second copy of it to Bessel (Petersburg), and shall ask him to give it to you, trusting that you will not disapprove of the few liberties and amplifications that I have ventured to make in order to adapt this piece to the programmes of virtuosi pianists.
Sincere feelings of esteem and attachment.
F. Liszt
Munich, October 18th, 1885
367. To Countess Mercy-Argenteau
Dear admirable Propagandist,
It is your habit to write the most charming letters in the world. Before receiving your last I had sent you from Weimar my transcription of Cui’s “Tarentelle.” If you will condescend to illustrate it with your fingers it will receive its full meed of light.
I am sure you will be so kind as to send my note to Cui, who, I hope, will not be vexed with the varying readings and amplifications I have ventured to make, with a view of bringing the pianist still more forward. In this kind of transcription some sort of distinction is wanted.
Tomorrow evening I shall be in Rome,–Hotel Alibert. Please send me word there of your safe receipt of the manuscript.
Constant homage, admiring and sincere.
F. Liszt
Innsbruck, October 24th, 1885
368. To Eduard Reuss in Carlsruhe [Pianist, pupil of Liszt’s.]
My dear Friend,
Thanks and praise for your capital orchestral arrangement of the “Concerto pathetique.” It appears to me effective, well- proportioned, and done with a refined and due understanding of it. I had but little to alter in it; but some additions to the original are desirable, in order to allow full scope to the piano virtuoso. [“This ‘Concerto Pathetique’ seems to me a murderous piece, with which first-rate virtuosi can make an effect,” writes Liszt, on the 10th November, to Reuss.] Hence, in different places, there are altogether somewhere about fifty to sixty bars which I add to your manuscript. The beginning is also to be ten bars sooner, and the ending to conclude with twenty-two bars more.
I hear an orchestration of the same “Concerto pathetique” spoken of, as having been produced in Moscow. I do not know it myself, and after yours there is no use in it. I received in Weimar, almost simultaneously with yours, a letter from Joseffy in New York, begging me to instrumentate the piece. I shall answer him very soon that your score is already completed, and that he is to apply to my friend Eduard Reuss if he is disposed to perform the “Concerto” with orchestra in America. [Joseffy played the “Concerto Pathetique” in this form from a copy, in the spring of 1886, in New York.]
Enclosed is my recommendation to Hartel with regard to the publishing. Send it together with your manuscript, of which it is not necessary to make a copy–only my scribbling of the additions must be copied out clean and clearly on an extra sheet.–
Probably Hartels will not show themselves disobliging. If they undertake the publication I should still like to read through the last proof-sheets.
The most charming recollection remains to me of Carlsruhe. [Namely, of the “Tonkunstler-Versammlung” of the “Allgemeine Deutsche Musikverein,” from the 27th May to the 1st June, 1885.] The Grand Duke was so gracious and truly kind!–
Assure your wife of my sincere attachment.
Faithfully yours,
F. Liszt
Hotel Alibert, Rome, November 4th, 1885
369. To Breitkopf and Hartel
[This is Liszt’s last autograph letter to the Firm; a later one on the same subject (on the 16th June, 1886) is only signed by him]
My dear Sirs,
Although your shop is already saddled with two editions of my “Concerto pathetique,” I recommend you most particularly the excellent orchestral arrangement of the same piece, [By Eduard Reuss. It was published by Breitkopf and Hartel.] to which I have added some bars for more completion, which should also be included in the possible (?) later piano editions.
The poet and the writer often make alterations. With the engraving of music this is more difficult, though not entirely to be put aside.
With esteem,
F. Liszt
Rome, November, 1885
370. To Walter Bache
My very dear Friend,
Certainly your invitation takes precedence of all others. So choose the day that suits yourself and I will appear. Without Walter Bache and his long years of self-sacrificing efforts in the propaganda of my works my visit to London were indeed not to be thought of.
Do you know your namesake (without the final E), Herr Emil Bach, Prussian Court-pianist? I enclose herewith a second letter, which I have answered, as I did the first, that I must not be the occasion of expense and inconvenience to any one. Orchestral concerts are expensive everywhere, especially in London. Consequently I cannot encourage Emil Bach’s project, and can only dissuade him from putting it into execution. Send me word about this.
Gratefully and faithfully yours,
F. Liszt
Rome, Hotel Alibert, November 17th, 1885
Mr. Stavenhagen, [Now one of the most celebrated pianists] a pianist and musician of real talent, wants to come out in London, and is writing to you on this subject.
370a. To Walter Bache
My very dear Friend,
It is fixed then: Thursday, 8th April, Ricevimento [Reception] at Walter Bache’s house. Enclosed is the letter of the Philharmonic Society, together with the rough copy of my reply which I send off today. Please observe the postscript:
“If, in the concert at which one of my Symphonic Poems will be performed, Mr. Walter Bache would play some Pianoforte composition of mine, that would give me great pleasure. I permit myself to give this simple hint without the slightest desire of influencing your programme, which it is for you to fix.”–
I am quite of your opinion, dear friend. The accented poaht of my coming to London is to be present at the “Elizabeth” performance. It was this that decided my coming, and it is to be hoped it will be a success. [It was given on the 6th April, 1886, under the conductorship of Mackenzie. Bache had already given it in London in 1876.]
I have answered Emil Bach’s first and second letters to the effect that I should not wish to involve any one in expense, and that consequently I must dissuade him from giving an orchestral Liszt concert. Beg Littleton personally to make my wish quite clear to Herr Emil Bach, that his proposed concert should not be given. .–.
Faithfully yours,
F. Liszt
November 26th, 1885
I have just received a second letter from the “Philharmonic Society.”–To my answer to the first (sent yesterday) I have nothing to add.
370b. To the Philharmonic Society
Very honored Directors,
Much flattered with your kind intention to admit one of my “Poemes Symphoniques” on to the programme of the Philharmonic Society, during my stay in London, I beg you to accept my sincere thanks.
Will you please choose, according to your own pleasure, the work which suits you best, and also ask your “conductor,” Sir Arthur Sullivan, from me, to direct it?
For twenty years past I have been quite outside of any work as orchestral conductor and pianist.
Distinguished consideration and loyal devotion.
F. Liszt
Rome, November 26th, 1885
P.S.–If, in the concert at which one of my Symphonic Poems will be performed, Mr. Walter Bache would [etc., see quotation in previous letter].
371. To Countess Mercy-Argenteau
Dear admirable Propagandist,
Herewith is a different rendering of the shake, with an indication to the left hand of the motive which is then taken up again in full. This new shake is a little awkward to do, but not too troublesome. Will you be so kind as to send it to Cui, and beg him to be my emissary to the editor of the original of Cui’s brilliant “Tarantelle,” for the publication of the transcription? To my regret the smallness of my income obliges me to leave no stone unturned to make money out of my transcriptions, [La modicite de man revenu m’oblige a faire fleche, non pas de tout bois, mais de fagots de mes transcriptions. The literal translation is, “Obliges me to utilise, not the wood, but the faggots of my transcriptions,” the point of the sentence turning upon the French idiom “faire fleche de tout bois,” which in English is rendered by a totally different idiom.–Trans.] for which I am now paid in Germany, Russia, France, at the rate of from twelve to 1500 marks apiece, for the copyright in all countries.
Observe that I choose works to be transcribed, and refuse myself to any other demands. This year, for instance, I have confined myself to the volume that you condescend to accept–and that you will, I hope, bring to the light by the diamonds and pearls of your fingers.
Mr. Bessel therefore only has either to send me 1200 marks in payment, or else to return me the manuscript without being ashamed.
Most humble and constant homage.
F. Liszt
Rome, November 21st, 1885
When you have sent me word of the result of the negotiation with Bessel, I will write my thanks and acknowledgments to Cui.
N.B.–The new shape should be printed as an Ossia, above the old one.
372. To Camille Saint-Saens
Very honored Confrere and very dear Friend,
I shall certainly be in London the first week in April. With regard to my visit to Paris I am still very undecided, as I do not wish to expose myself to discomfiture like that which I had to go through in ’66. [Liszt’s scruples were removed; as is well known, he went to Paris, and found himself indescribably feted there. The triumphs of his youth were repeated once more in the evening of his life.]
Everywhere and always I shall be happy and proud of your collaboration, and remain your sincere admirer and devoted friend,
F. Liszt
Rome (Hotel Alibert), November 28th, 1885
I shall remain here till the middle of January. This summer Mme. Montigny [Mme. Montigny-Remaury, an excellent pianist; retired into private life on her second marriage in Vienna] spoke to me of her marriage, which has now taken place. M. de Serres gave me the impression of an honest man who adores his wife. I have no news of the newly married couple.
There is nothing more witty than your remark on the perpetual youth of composers in Paris. In your company, dear friend, I would gladly be of the party, in spite of my seventy-four years.
373. To Eugen d’Albert
[The most important and many-sided of the younger pupils of Liszt]
Admired, Dear “Albertus Magnus,”
Thank you for the dedication of your worthy, noble, effective Concerto, which I have again read through with special pleasure, and heard played by Stavenhagen.
Is no edition of it for two pianofortes come out? I think such editions are desirable–almost indispensable. They are also much used now.
Congratulating you on your happiness in becoming a father, with best regards to your wife,
Yours most truly,
F. Liszt
Rome, December 26th, 1885
370. To Sophie Menter
Kind Diplomatist and Very Dear Friend,
I am writing my most humble thanks to the Grand Duke Constantine for his gracious invitation, together with the very kindly intentioned consideration of my age and failing eyesight–and especially my unfitness for pianoforte playing and orchestral conducting. This deters me from making any pretensions to a fee; but you know, dear friend, that my small income would not be sufficient to pay for lodging and a carriage in Petersburg. From the 1st to the 12th April I am detained in London. If it is not too late then, to Petersburg comes
Yours ever most faithfully,
F. Liszt
Rome, December 30th, 1885
In the middle of January I return to Budapest. Friendly greetings to the New School, whom I will beg to assist me as a veritable privy council in Petersburg. From the next letter of the Grand Duke Constantine I await the decision whether my journey to Petersburg in the middle of April is accepted or not.
375. To Eduard Reuss
My Dear Friend,
Still some slight alterations and amplifications in the “Concerto pathetique.”
The drum rhythm
[Here, Liszt illustrates with a 2-bar musical score excerpt]
appears to me too risky; if the drummer comes down plump on it he will spoil the whole piece. Let’s therefore put
[Here, Liszt illustrates with 3-bar musical score excerpt]
This rhythm will serve us twice as a transition,–and at the end.
Before the end of this month I shall be in Budapest, and at the beginning of April in London, for the “Elizabeth” performance (St. James’s Hall) under Mackenzie’s conducting.
Faithfully yours,
F. Liszt
Rome, January 10th, 1886
376. To Walter Bache
My Very Dear Friend,
They seem determined in London to push me to the Piano.
I cannot consent to this in public, as my seventy-five-year-old fingers are no longer suited to it, and Bulow, Saint-Satins, Rubinstein, and you, dear Bache, play my compositions much better than what is left of my humble self.
Perhaps it would be opportune if friend Hueffer would have the kindness to let the public know, by a short announcement, that Liszt only ventures to appear as a grateful visitor, and neither in London nor anywhere else as a man with an interest in his fingers.
In all friendship yours,
F. Liszt
Budapest, February 11th, 1886
77. To the Countess Mercy-Argeneau
Very Admirable and Admired One [Tres admirable et admiree],
Your most amiable letter did not reach me without some delay, for I took about ten days to make the journey from Rome to Budapest.
Madame Falk writes to me also of the concert at Liege, but I fear I shall only have excuses to offer. On the 20th March I shall be in Paris, where the “Gran Mass,” too much criticised, and even hissed by some low fellows (at the Pasdeloup concert in ’66), is to make its reappearance at St. Eustache on the 25th March. This time M. Colonne will conduct it, and I am assured that it will be better understood now…
Invariable homage,
F. Liszt
Budapest, February 17th, 1886
Very affectionate thanks for the invitation of Argenteau. Whether I can avail myself of it must remain in abeyance for your very humble servant, old and enfeebled.
378. To Sophie Menter
Dear and Respected Diplomatist,
Eight days before the 19th April (Russian style) I will be in Petersburg. I entreat you to make as little ceremony as possible for my humble self. The two programmes appear to me all right; I will tell you when I get to Petersburg what my small part in them will be. On the 19th April, then, “Elizabeth;” on the 23rd a concert.–Tell the Committee to address their invitation to me, for the two performances, to “Novello and Co., Music Publishers, 1, Berners Street, London.” From the 1st to the 12th April I am Novello’s guest. How does it stand with regard to my lodging in Petersburg, for which my inadequate means will not suffice?–From you, dear friend, I shall expect to hear something definite in London.–However honorable for me were the invitation to Warsaw I could not comply with it now. My return to Weimar is requisite before the end of May, on account of the Tonkunstler-Versammlung at Sondershausen.
Heartily and truly yours,
F. Liszt
Argenteau [Liege], March 18th, 1886
Enclosed are some lines and the photographs that friend Zet wished for.–To write anything further under the photographs for the use of the newspaper I consider quite superfluous. Excess does not suit me at all.–
379. To the Countess Mercy-Argenteau
Westwood House, Syndenham (Near London, Where Everything is Distant).
Wednesday, April 14th, 1886
Very Dear President and Brave Russophile Propagandist,
The second performance of the “Elizabeth,” which is fixed for next Saturday, at the Crystal Palace, detains me here some days longer than I had anticipated.
From Tuesday next till Easter Tuesday I have asked for the kind hospitality of the Lynens (at Antwerp).
There is still some talk of the “Elizabeth” at the Trocadero on the 30th April. If you were not to be there it would be an affront to your very humble and admiring old servant,
F. Liszt
This time I shall stay at the Munkacsys’ (Avenue Villiers, 53).
(In great haste.)
359. To Alexander Ritter in Meiningen
Antwerp, April 20th, 1886
My Very Dear Friend,
Heartfelt thanks for the dedication. Your “fauler Hans” [Ritter’s Opera, “Der faule Hans”–“Lazy Hans”] has nothing lazy in it. With its graceful, refined wit it is excellent company for our dear “Barber of Bagdad,” which I shall shortly recommend Baron Loen (Weimar) to take up again in conjunction with the “fauler Hans.”
Faithfully,
F. Liszt
In the middle of May I shall be back in Weimar. Give my respectful greetings to your wife.
381. To Frau Amalie von Fabry
My Dear Friend,
I wish my rooms in Budapest to remain closed during my absence. [Many inquisitive people were fond of going and having a look round, so that Liszt was obliged to prohibit it.] For the rest, His Excellency Minister Trefort must give his own commands. There is no risk of his meeting with any opposition from my humble self. I shall not pass this summer much quieter than the winter and the spring. Next week I shall be at the Musical Festival at Sondershausen; then here again until the 30th June.
My granddaughter, Daniela von Bulow, is to be married on the 3rd July, at Bayreuth, to the highly esteemed Art-historian Thode. After that, I shall stay from the 5th to the 18th July with my dear, excellent friends the Munkacsys, at their castle of Colpach (Luxemburg). I shall be present at the entire cycle of the Parsifal and Tristan performances at Bayreuth, from the 20th July till the 23rd August.
I am already more than half blind; perhaps I shall not have to wait long for the rest…
Ever faithfully yours,
F. Liszt
Weimar, May 27th, 1886
382. To Madame Malwine Tardieu
Weimar, May 29th, 1886
My sight is going, dear friend, and I can no longer write without difficulty.
Cordial thanks for your letter, and farewell till we meet at Bayreuth, at the performances of Parsifal and Tristan.
Your very affectionate
F. Liszt
I shall be at Bayreuth on the 3rd July–the wedding day of my granddaughter Daniela.
From the 4th to the 18th July my excellent friends the Munkacsys will be my hosts at their castle of Colpach (Luxemburg), whence I shall return to Bayreuth, to stay there till the last performance on the 23rd August.
Would you send me Victor Hugo’s “Le theater en liberte”? We will settle our accounts at Bayreuth.
383. To Eduard Reuss
My Dear Friend,
The weakness in my eyes is increasing, and on that account I cannot write to you “mano propria.” I wish to bring good luck to Wilhelm Franz. Meanwhile I thank you heartily for making me godfather.
In sincere friendship yours most truly,
F. Liszt
Sondershausen, June 5th, 1886
384. To Frau Reuss-Belce, Opera-Singer to the Court of Baden
My Dear Lady,
The thanks which I have just expressed to your husband I double to you, as you have played the principal part in the family-drama of Wilhelm Franz.
With the most heartful wishes for the continued prosperity of parents and child I remain
Yours most truly,
F. Liszt
Sondershausen, June 5th, 1886
385. To Eduard Reuss
Very Dear Friend,
I have just received the enclosed reply from Hartel. Send him, therefore, the score with the Piano part, and recommend him to print this complete score–not the orchestral score alone–if possible by next October, that is to say, end of September. Then, for the present, two copies of the complete score will be wanted for performance–one for the conductor and one for the soloist who has so long had to play the Piano part out of the score, until you, perhaps with little delay, arrange the orchestral part for a second Piano, and the Concerto comes out in an edition like the E-flat Concerto.
Yours in all friendship,
F. Liszt
Weimar, June 22nd, 1886
N.B.–On the 1st July I am leaving here for a couple of months.
386. To Sophie Menter
Bayreuth, July 3rd, 1886
My very dear Friend,
Tomorrow, after the religious marriage of my granddaughter Daniela von Bulow to Professor Henry Thode (Art-historian), I betake myself to my excellent friends the Munkacsys, Chateau Colpach, Grand Duchy of Luxemburg.
On the 20th July I shall be back here again for the first 7-8 performances of the Festspiel [Festival Play]: then, alas! I must put myself under the, to me, very disagreeable cure at Kissingen, and in September an operation to the eyes is impending for me with Grafe at Halle.
For a month past I have been quite unable to read and almost unable to write, with much labor, a couple of lines. Two secretaries kindly help me by reading to me and writing letters at my dictation.
How delightful it would be to me, dear friend, to visit you at your fairy castle of Itter! But I do not see any opportunity of doing so at present. Perhaps you will come to Bayreuth, where, from the 20th July to the 7th August, will be staying
Your heartily sincere
F. Liszt
[This was the very last letter written by the Master’s hand. He returned in bad health from Colpach to Bayreuth. Yet once again he heard “Parsifal” and “Tristan” then he lay down upon his death-bed, and at 11 o’clock on the night of the 31st July his great soul had passed away into everlasting peace.]
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Supplement of Some Letters Received During The Printing:
387 To Hofmarschall Freiherr Von Spiegel In Weimar
[Autograph in the Liszt-Museum at Weimar.]
Monsieur Le Grand Marechal,
I am very happy to learn through you that Her Imperial Highness the Grand Duchess has deigned to accept with kindness my translation of the beautiful work of Beethoven which I have permitted myself humbly to offer to her. For musicians, the original of this work marks the summit of perfection of the classical style (an extremely arbitrary designation, in my opinion) among non-symphonic instrumental compositions. Beethoven–as well as many great geniuses in the history of Art– is like the ancient Janus; one of his two faces is turned towards the past, the other towards the future. The Septet to a certain extent marks the point of intersection, and is thus unreservedly admired both by the devotees of the past and the believers in the future.
On this account I thought there was a suitability in paying my respectful homage to Her Imperial Highness by means of it, until such time as I should be allowed to place a longer work at her feet, and one which will more particularly express my personal gratitude.
It is only yesterday that the very flattering lines of Your Excellency have reached me. It is therefore not my fault that I have not sooner replied to the gracious request which you are pleased to make me with reference to my journey to Weimar.
Without any doubt I eagerly accept Your Excellency’s invitation for the month of October. Allow me only to beg you to be so good as to let me know whether you consider it will be best for me to arrive at the beginning or end of the month. Not being entirely master of my time, I should be particularly glad to know from you the most favorable week.
I have the honor, Monsieur le Grand Marechal, to be, with respect, Your Excellency’s very humble and obedient servant,
F. Liszt
Paris, September 30th, 1841
19, Rue Pigalle (Permanent Address).
388. To Eugenio Gomez, Organist of the Cathedral at Seville
[Autograph, without address, in the Liszt-Museum in Weimar. The addressee (born 1802) was both pianist and composer.]
You have been pleased, my dear Monsieur Gomez, to ask my perfectly frank opinion of your “Melodies harmonisees,” and-quite frankly [Liszt uses the same expression–tout franc–in each case.]–I am much embarrassed by it, for it is in vain I turn them over and over again; on every side I find only compliments to make you about them. It is true that you could not doubt their sincerity any more than you could the real merit of your work. It is needless to speak of the modesty of true talent; this modesty cannot go to the extent of foolishness, and the Artist and supreme Architect of the spheres gives us Himself the example of this legitimate satisfaction which the consciousness of having done well brings us, by rejoicing over His work each day of the Creation.
One defect, nevertheless, and a very grave defect, which I have discovered in your “Harmonies” by dint of searching, is, that there are only 12 instead of 24 or 48–as all true lovers will wish. Make haste, my dear Monsieur Gomez, set yourself to work, and repair as quickly as possible this unpardonable defect in your labor; and, while extending it to the utmost, think sometimes of your most affectionate and devoted servant,
F. Liszt
389. To Madame(?).
[Autograph, without address, date, and conclusion, in the Liszt- Museum at Weimar.]