I close by sending you my heartfelt greetings, and begging you once more to pardon the shameful silence I have kept towards you: be assured that it has given me as much pain as yourself!
Your very affectionate and grateful pupil,
F. Liszt
December 23rd, 1828
P.S.—Please answer me as soon as possible, for I am longing for a letter from you; and please embrace your excellent parents from me. I add my address (Rue Montholon, No. 7bis).
2. To De Mancy in Paris
[Autograph in the possession of M. Etienne Charavay in Paris.]
December 23rd, 1829
My Dear M. de Mancy,
I am so full of lessons that each day, from half-past eight in the morning till 10 at night, I have scarcely breathing time. Please excuse me therefore for not coming, as I should have liked to do, to lunch with Madame de Mancy, but it is quite impossible. The only thing I could do would be to come about 10 o'clock, if that would not be too late for a wedding day, and in that case I will beg M. Ebner [Carl Ebner, a Hungarian, a talented violinist (1812-1836)] to come with me. I don't write you a longer letter, for there is a pupil who has been waiting for me for an hour. Besides, we are not standing on ceremony. Ever yours,
F. Liszt
3. To Carl Czerny
[Autograph in the Musical Society's Archives in Vienna. Printed in a German translation: "La Mara, Letters of Musicians extending over Five Centuries." II. Leipzig, B. and H. 1887.]
My dear and beloved Master,
It would be impossible to explain to you the why and wherefore of my leaving you so long without news of me. Moreover, I have now only five minutes in which to write to you, for Mr. Luden, a pianist from Copenhagen, is starting shortly, and for fear of delaying his journey I must be brief; but what is postponed is not lost, so cheer up, for very soon you will get a great thick letter from me, which I will take care to prepay, as I should not like to ruin you.
Among all the circles of artists where I go in this country I plead your cause tremendously: we all want you to come and stay some time in Paris; it would certainly do you a great deal of good, and you are so widely esteemed that you will doubtless be well satisfied with the reception you will meet with here. If you ever entertain this idea, write to me, I entreat you, for I will do for you what I would do for my father. I have been making a special study of your admirable sonata (Op. 7), and have since played it at several reunions of connoisseurs (or would-be connoisseurs): you cannot imagine what an effect it made; I was quite overcome by it. It was in a burst of enthusiasm caused by the Prestissimo, that Mr. Luden begged for a few words of introduction to you; I know your kindness, indeed I could never forget it. I therefore commend him in all confidence of your goodness, until the time when I am so happy as to embrace you myself and to show you (however feebly) all the gratitude and admiration which fill me.
F. Liszt
Paris, August 26th, 1830
4. To Alphonse Brot in Paris
[Autograph in the possession of M. Etienne Charavay in Paris.]
(Paris, Beginning of the 30th year.)
It would give us great pleasure, my dear M. Brot, if you would come and dine with us without ceremony tomorrow, Monday, about 6 o'clock; I do not promise you a good dinner,—that is not the business of us poor artists; but the good company you will meet will, I trust, make up for that. Monsieur Hugo [the poet] and Edgard Quinet [French writer and philosopher] have promised to come. So do try not to disappoint us, for we should miss you much. My good mother told me to press you to come, for she is very fond of you. Till tomorrow then! Kind regards and thanks.
F. Liszt
I have been at least six times to you without having the pleasure of seeing you.
61, Rue de Provence.
5. Monsieur Pierre Wolff (Junior), Rue de la Tertasse, Geneva, Switzerland
[Autograph in the possession of M. Gaston Calmann-Levy in Paris.]
Nous disons: "Il est temps. Executons, c'est l'heure." Alors nous retournons les yeux—La Mort est la! Ainsi de mes projets.—Quand vous verrai-je, Espagne, Et Venise et son golfe, et Rome et sa campagne,
Toi, Sicile, que ronge un volcan souterrain, Grece qu'on connait trop, Sardaigne qu'on ignore, Cites de l'Aquilon, du Couchant, de l'Aurore, Pyramides du Nil, Cathedrales du Rhin! Qui sait?— jamais peut-etre!
[We say: "Now it is time. Let's act, for 'tis the hour." Then turn we but our eyes—lo! death is there! Thus with my plans. When shall I see thee, Espagna, And Venice with her gulf, and Rome with her Campagna; Thou, Sicily, whom volcanoes undermine; Greece, whom we know too well, Sardinia, unknown one, Lands of the north, the west, the rising sun, Pyramids of the Nile, Cathedrals of the Rhine! Who knows? Never perchance!]
Earthly life is but a malady of the soul, an excitement which is kept up by the passions. The natural state of the soul is rest!
Paris, May 2nd [1832]
Here is a whole fortnight that my mind and fingers have been working like two lost spirits, Homer, the Bible, Plato, Locke, Byron, Hugo, Lamartine, Chateaubriand, Beethoven, Bach, Hummel, Mozart, Weber, are all around me. I study them, meditate on them, devour them with fury; besides this I practice four to five hours of exercises (3rds, 6ths, 8ths, tremolos, repetition of notes, cadences, etc., etc.). Ah! provided I don't go mad, you will find an artist in me! Yes, an artist such as you desire, such as is required nowadays!
"And I too am a painter!" cried Michael Angelo the first time he beheld a chef d'oeuvre…Though insignificant and poor, your friend cannot leave off repeating those words of the great man ever since Paganini's last performance. Rene, what a man, what a violin, what an artist! Heavens! what sufferings, what misery, what tortures in those four strings!
Here are a few of his characteristics:—
[Figure: Liszt here writes down several tiny excerpts from musical scores of Paganini's violin music, such as his famous "Caprices">[
As to his expression, his manner of phrasing, his very soul in fact!——
May 8th [1832]
My good friend, it was in a paroxysm of madness that I wrote you the above lines; a strain of work, wakefulness, and those violent desires (for which you know me) had set my poor head aflame; I went from right to left, then from left to right (like a sentinel in the winter, freezing), singing, declaiming, gesticulating, crying out; in a word, I was delirious. Today the spiritual and the animal (to use the witty language of M. de Maistre) are a little more evenly balanced; for the volcano of the heart is not extinguished, but is working silently.—Until when?—
Address your letters to Monsieur Reidet, the receiver-general at the port of Rouen.
A thousand kind messages to the ladies Boissier. I will tell you some day the reasons which prevented me from starting for Geneva. On this subject I shall call you in evidence.
Bertini is in London; Madame Malibran is making her round of Germany; Messemaecker (how is he getting on?) is resting on his laurels at Brussels; Aguado has the illustrious maestro Rossini in tow.—Ah—Hi—Oh—Hu!!!
6. To Ferdinand Hiller
[This letter, published by F. Niecks ("F. Chopin, Man and Musician," Vol. 1. German by Langhans. Leipzig, Leuckart, 1890), was written by Liszt and Chopin jointly, and was also signed by Chopin's friend Franchomme, the violoncellist. The part written by Chopin is indicated here by parentheses ().—Addressed to the well-known composer and author, afterwards Director of the Conservatorium and Concert Society at Cologne (1811-1885).]
This is the twentieth time, at least, that we have tried to meet, first at my house, then here, with the intention of writing to you, and always some visit, or some other unforeseen hindrance, has occurred. I don't know whether Chopin will be strong enough to make excuses to you; for my part, it seems to me that we have been so unmannerly and impertinent that no excuses are now permissible or possible.
We sympathized most deeply in your bereavement, and more deeply did we wish that we could be with you in order to soften, as far as possible, the grief of your heart. [Hiller had lost his father.]
(He has said it all so well that I have nothing to add to excuse me specially for my negligence or idleness, or whim or distraction, or—or—or—You know that I can explain myself better in person, and, this autumn, when I take you home late by the boulevards to your mother, I shall try to obtain your pardon. I am writing to you without knowing what my pen is scribbling, as Liszt is at this moment playing my Studies, and transporting me away from all suitable ideas. I wish I could steal his manner of rendering my own works. With regard to your friends who are staying in Paris, I have often seen, during this winter and spring, the Leo family [August Leo, banker in Paris], and all that follows. There have been evenings at certain ambassadresses' houses, and there was not a single one at which somebody living at Frankfort was not mentioned. Madame Eichthal sends you many kind messages—Plater [Count Plater, Chopin's countryman, and a friend also of Liszt], the whole family were very sorry for your departure, and begged me to give you their condolences.) Madame d'Apponyi [Apponyi, the Austrian ambassador in Paris] was very much vexed with me for not having taken you there before your departure; she hopes that when you come back you will be sure to remember the promise you made me. I will say as much of a certain lady who is not an ambassadress.
Do you know Chopin's wonderful Studies?—(They are admirable! and moreover they will last only until yours appear) = an author's little piece of modesty!!! (A little piece of rudeness on the part of the regent, for—to explain the matter fully—he is correcting my spelling) according to the method of Monsieur Marlet.
You will come back in the month of (September, isn't it? tr)y [Tach]ez] to let us know the day; we have determined to give you a serenade or charivari [mock serenade]. The company of the most distinguished artists of the capital = M. Franchomme (present), Madame Petzold, and the Abbe Bardin [passionate lover of music, who had a great many artists to see him], the leaders of the Rue d'Amboise (and my neighbors), Maurice Schlesinger [music publisher], uncles, aunts, nephews, nieces, brothers-in-law, sisters-in-law, and—and ("en plan du troisienae," etc.). ["in the third row—i.e. less important people]. The responsible editors,
F. Liszt
(F. Chopin) (Aug. Franchomme.)
(By-the-bye, I met Heine yesterday, who begged me to grussen you herzlich and herzlich.) [to send you his warmest and most heartfelt greetings]
(By-the-bye, also, please excuse all the "you's" [Instead of the more familiar "thee" and "thou.">[—I do beg you to excuse them. If you have a moment to spare, give us news of yourself, which would be most welcome. Paris, Rue de la Chaussee d'Antin, No. 5. At present I am occupying Franck's lodging [Dr. Hermann Franck, author, friend of Chopin and of many other celebrities; editor also for a short time, in the forties, of Brockhaus's "Deutsche Allgemeine Zeitung">[—he is gone to London and Berlin. I am most happy in the rooms which were so often our meeting-place. Berlioz sends greetings.
As to pere Baillot, he is in Switzerland, at Geneva. So now you can guess that I can't send you the Bach concerto.
June 20th, 1833)
7. To Abbe F. de Lamennais
[Autograph in the possession of M. Alfred Bovet at Valentigney.— Addressed to the celebrated French author (1782-1854), who followed his brilliant apology of Catholicism, "Essai sur l'Indifference en Matiere de Religion" (Essay on Indifference in Matters of Religion, 1817-1823), by the "Paroles d'un Croyant" (Words of a Believer, 1834), a veritable "Ode to revolution in the sublimest biblical style," and sought to bring religious and political liberty into accord with true religiousness. The latter work made an unheard-of sensation, but brought upon him the anathema of the Church. He obtained a great influence over Liszt, who was on intimate terms with him.]
Four months have actually passed, dear Father, since we parted, and I feel very sad at not getting a word from you!—at the same time I do not wish to complain, for it seems to me that you can never doubt my deep and filial affection…Much more, I even know that you have been willing to accept it, and, however humble it may be, to count it for something…What more then can I desire?…
Eugene, whose brotherly friendship becomes dearer to me day by day, has often given me good tidings of you. The last time I saw him he told me confidentially that you were working at a sort of Introduction, or developed Preface to your works.—Although I know perfectly well that my interest counts for nothing in this matter, I may be permitted nevertheless to tell you how glad I am to know that you are occupied with this work. To yourself, first of all, I think you owe it—your name and glory will shine out all the more powerfully for it. And, secondly, for the public it will be a work of art the more (and this commodity becomes rather rare as time goes on), and which will besides have the double advantage of aiding and fixing them in the understanding of your past works, whilst at the same time preparing them for, and initiating them into, your future thoughts.
And, lastly, for us who love you, and who would glory and be proud to be one day called your disciples, we rejoice in it because the world will learn to know you better by this means, and because it will probably be another opportunity for us to show our sympathetic admiration as well as our unalterable devotion for you.
Unless something very unforeseen occurs, I shall come again and beg you to receive me for a few days towards the middle of July; I trust sufficiently to your sincerity to tell me that you would rather not have me if my individuality would trouble or bother you too much.—Before that, I shall have the honor of sending you a little work, to which I have had the audacity to tack a great name—yours.—It is an instrumental De profundis. The plain-song that you like so much is preserved in it with the Faburden. Perhaps this may give you a little pleasure, at any rate, I have done it in remembrance of some hours passed (I should say "lived") at La Chenaie.
Farewell, dear Father. I don't give you any news of Paris,—you know all that. You know that Ballanche wants to be an Academician, and accepts Salvandy and Dupaty as competitors,—you know the little check of January,—the miserable petty intrigues of court and newspaper and vestry;—in a word, you know how men are wanting in noble and generous sentiments, and how they make the most of their own ignoble ends and interests, to which their words and actions yet give the lie.
Farewell once more, dear Father. Think as often as possible of all the good you have done, and of that which men have a right to expect of you. Think sometimes also of the help and the wealth of affection that you have showered on me in particular, and may the remembrance of this be sweet to you!…
Yours ever, for life—from heart and soul,
F. Liszt
January 14th, 1835
Tomorrow morning I have to leave for two months. If you should be so good as to write to me before my return, please address always, 61, Rue de Provence. My mother will take care that I have your kind letter.
8. To his Mother
[From a copy, by Mr. Vladimir Stassoff of St. Petersburg, the original of which is in Russia. The letter in itself is unimportant, but it is the only one to Liszt's mother which the editor could get, and gives a fresh proof of the devotion of the artist to his mother.]
Dear Mother,
Please send me at once, without any delay, the Pianist's
Glossary, which you will get at Lemonier's, Rue de l'Echelle.
Simply put it in a cover, and put it in the post (General
Office), and I shall get it, at latest, by Monday or Tuesday.—
Address to Mr. Hermann Cohen, Grande Rue, No. 8.
[Cohen was a frequently mentioned pupil and favorite of Liszt's who was born at Hamburg in 1820, much thought of as a pianist in Paris, and immortalised as "Puzzi" by George Sand ("Lettres d'un Voyageur"); he followed Liszt to Geneva, and gave lessons there. In 1850 he entered the order of Carmelites, and, under the name of Pater Augustin, died in Berlin in January 1871, whither he had gone with French prisoners.]
I have an immense deal to do this morning, so that I have barely time to tell you that I love you with all my heart, and that I rejoice above everything at the prospect of seeing you again soon—that is to say, in six or eight months.
F. Liszt
You will hear of me from Mr. Pinondel, who passed a day with us.
9. To the Abbe F. de Lamennais, La Chenaie
[Autograph in the possession of Mr. Marshall in London.]
[Paris, May 28th, 1836—according to the stamp of the post office]
Dear and venerable Father,
I shall expect you. Whatever sorrow there is in the depth of my soul, it will be sweet and consoling to me to see you again.
You are so wonderfully good to me! and I should suffer so much by being so long away from you!—
Au revoir then, once more—in eight days at latest it will be, will it not? I do nothing else than keep expecting you.
Yours, with the deepest respect and most sincere devotion,
F. Liszt
10. To Mademoiselle Lydie Pavy, of La Glaciere, Lyons
[Autograph in the possession of M. Etienne Charavay in Paris.]
St. Gervais, August 22nd [1836].
Your postscript deserves a punishment, and here it comes dated from St. Gervais. I do not know whether your charming sister-in- law, Madame Pavy, will consider this stamp of St. Gervais worthy to appear in her collection; be that as it may, it gives me no less a pleasure to converse a little with you who are always so charming, so versatile, so excellent, and, permit me to say, so kind to me.
Mademoiselle Merienne, whom I saw only quite lately (for you must know that during the whole month of July, of glorious memory, I have barely condescended to go down once or twice to Geneva; I was living in a little bit of a house on the mountain, whence, let me say parenthetically, it would have been quite easy for me to hurl sermons and letters at you); Mademoiselle Merienne (what shall I say to you after such an enormous parenthesis?), somewhat like (by way of a new parenthesis) those declaimed discourses of Plantade or Lhuillier, which put a stop to music whilst nevertheless admitting that there is such a thing, whether at the beginning or at the end—Mademoiselle Merienne—au diable Mademoiselle Merienne! You guess by this time that she gave me tidings of you, that she is a delightful and enchanting person, that she makes admirable portraits, and that mine, amongst others, has been a wonderful success. Etc., etc., and always etc…
And yet I do wish to talk to you about this good Mademoiselle Merienne, for she said a heap of charming things to me for your sake, which will certainly not astonish you. But how to set about it after all this preamble of parentheses? Ah, I have it!—In three or four weeks I shall come and knock at your door.—And then? Well, then we will chatter away at our ease. So much the worse for you if you are not satisfied with my cunning stratagem. Now let us talk business; yes, seriously, let us talk business!
Has your brother returned from his journey? And is he well? And has no accident happened to him on the way? You are surprised, perhaps, at my anxiety; but by-and-bye you will understand it without difficulty, when I have explained to you how terribly interested I am in the fact of his journey being safely accomplished.
Just imagine that at this moment I have only 200 fr. in my purse (a ridiculously small sum for a traveler), and that it is M. Pavy who is to be my financial Providence, considering that it is to him that my mother has confided my little quarterly income of a thousand francs. Now at this point I must entrust you with a little secret, which at present is only known to two individuals, Messrs. Paccard and Roger (charming names for confidants, are not they?), and which I beg you to make known as quickly as possible to your brother. It concerns a little scrap of paper (which these rogues of bankers call a draft, I believe), for a thousand francs, by which Messrs. Paccard and Roger are authorized by my signature, which is at the bottom, to demand the above sum of a thousand francs (which my mother entrusted to M. Pavy in Paris) from M. Pavy, junior, living at La Glaciere at Lyons, after the 22nd of August, 1836.
A thousand pardons for troubling you with these details, but I should never have had the courage to write direct to your brother, on account of my profound ignorance in money matters.
You tell me that you passed part of the fine season in the country—why did not you arrange so as to tour for a little among the mountains of Switzerland? I should have had such pleasure in doing the honors, and Mademoiselle Merienne also…but don't let us speak any more of Mademoiselle Merienne (who, be it observed in parenthesis, must have already appeared a dozen times in this letter), for fear of again falling into inextricable parentheses.
Au revoir then; in five weeks at latest I shall come and warm myself at your "glacier."
F. Liszt
11. To Abbe de Lamennais
[Autograph in the possession of M. Alfred Bovet at Valentigney.]
My friend Louis de Ronchaud writes me word that he has had the honor of seeing you, dear Father, and that you were kind enough to give him a message of affectionate remembrance for me. I am very happy to know that you continue to keep this precious and friendly feeling for me, of which you have already given me so many proofs, and which I shall endeavour always to deserve as far as is in my power.
I am still not very far advanced in my Italian journey. The beauty of these parts, the necessity of writing with some little continuance, and also, if all be said, some altogether unexpected successes, have kept me in Milan and the neighborhood (Como and the delicious shores of the lake) much longer than I had foreseen. As regards musical matters, the presence of Rossini, whom I frequently see, gives a certain impetus to this country. I have been singularly well received here, so I shall probably pass the greater part of the winter here, and shall not start for Venice till towards the beginning of March. Thence I shall go to Florence and Rome, where I expect I shall stay a good long time.
D. has no doubt talked to you of our stay at Nohant last summer. I think that he got rid there of a good many old prejudices about me. It was a sweet satisfaction to me to learn through him how good and indulgent you have been towards me on several occasions, even so far as to contradict and defend me warmly against him and against others who knew me still less. I had charged our secret friend to defend me in his turn from a slight wrong which I had, only apparently, committed, but even "apparently" is too much, and I think I have entirely justified myself with regard to it. I don't know whether in his noble carelessness he will have thought of it. However that may be, I shall always count on your paternal affection more than all the rest.
What can I say to you of Italy that you do not know, and that you have not said in such manner as to cause despair for ever to the makers of observations!—It is always the same status quo, the excellent and perfectly happy government that you know.—I am hoping and longing ardently for your next book [probably "Le Livre du Peuple": Paris, 1837], which I shall read with my whole heart and soul, as I have read all that you have written for four years. I shall owe you just so many more good and noble emotions. Will they remain for ever sterile? Will my life be for ever tainted with this idle uselessness which weighs upon me? Will the hour of devotion and of manly action never come? Am I condemned without respite to this trade of a Merry Andrew and to amuse in drawing-rooms?
Whatever may be my poor and humble destiny, do not ever doubt my heart. Do not ever doubt the deep respect and unalterable devotion with which you have inspired me.
Yours for ever,
F. Liszt
Como, December 18th, 1837
12. To Breitkopf and Hartel in Leipzig
[Autograph in the possession of Herr Hermann Scholtz,
Kammervirtuoso in Dresden.]
I thank you much, gentlemen, for the obliging letter that you have written me. Up to the present time I have had none but the most pleasant business relations with Mr. Hofmeister, who has the kindness to publish the greater part of my works in Germany. As I do not know very much of the laws which regulate literary and musical proprietorship in Saxony, I had spoken to him about the Beethoven Symphonies, of which I have undertaken the arrangement, or, more correctly speaking, the pianoforte score. To tell the truth, this work has, nevertheless, cost me some trouble; whether I am right or wrong, I think it sufficiently different from, not to say superior to, those of the same kind which have hitherto appeared. The recent publication of the same Symphonies, arranged by Mr. Kalkbrenner, makes me anxious that mine should not remain any longer in a portfolio. I intend also to finger them carefully, which, in addition to the indication of the different instruments (which is important in this kind of work), will most certainly make this edition much more complete. If, then, as I imagine, it is impossible for Mr. Hofmeister to publish them, I shall be very grateful if you will undertake it. The reputation of your house is European, and I perfectly remember having had the pleasure of seeing Mr. Raymond Hartel in Paris. It will be a pleasure to me to conclude this little business with you, at the rate of eight francs a page. Up to the present time I have only finished three Symphonies (that in A major), but I could promise to let you have the others successively, according as you might wish, or I could limit my work to the four most important Symphonies (if I may express my opinion), namely, the Pastoral, C minor, A major, and the Eroica. I think those are the ones which are most effective on the piano.
I start tomorrow for Vienna, where I expect to remain till the end of April. Please address to me to the care of Mr. Tobias Haslinger till the 25th of April, and after that to Mr. Ricordi, Milan, who has undertaken to forward me all my letters while I am in Italy. My compliments and affectionate thanks.
F. Liszt
13. To Robert Schumann
[Addressed to the celebrated German Tone-poet (1810-1856). Liszt had spoken of Schumann's Op. 5, 11, and 14 in the Gazette Musicale, 1837, with equal enthusiasm and understanding, which soon brought the two together.]
[Without a date; received by R. S. May 5th, 1838.]
My dear Monsieur Schumann,
I shall not attempt to tell you how grateful and touched I am by your friendly letter. Mademoiselle Wieck, whom I have been so happy as to meet here, will express to you, better than I can, all the sympathy, all the admiring affection I have for you. I have been such a nomad latterly that the pieces you were kind enough to address to me at Milan only reached me on the eve of my departure from Venice about a fortnight ago; and since then we have been talking so much of you, day and night, that it hardly occurred to me to write to you. Today, however, to my great astonishment, I get a fresh token of your friendly remembrance, and I certainly will not delay thanking you many times for it, so I have just left a charming party of very pretty women in order to write these few lines to you. But the truth is you need hardly thank me for this little sacrifice, for it is a great pleasure to me to be able to have a little chat with you.
The "Carneval" and the "Fantasiestucke" have interested me excessively. I play them really with delight, and God knows that I can't say as much of many things. To speak frankly and freely, it is absolutely only Chopin's compositions and yours that have a powerful interest for me.
The rest do not deserve the honor of being mentioned…at least, with a few exceptions,—to be conciliatory, like Eusebius.
In six weeks to two months I shall send you my twelve Studies and a half-dozen of "Fantasiestucke" ("Impressions et Poemes")—I consider them less bad than others of my making. I shall be happy to think that they do not displease you.
May I confess to you that I was not very much struck with Henselt's Studies, and that I found them not up to their reputation? I don't know whether you share my opinion, but they appear to me, on the whole, very careless. They are pretty to listen to, they are very pretty to look at, the effect is excellent, the edition (thanks to our friend Hofmeister) is most carefully done; but, all counted, I question whether H. is anything but a distinguished mediocrity. [How highly Liszt thought, later on, of Henselt's Concerto and other of his compositions is well known, and is spoken of in a subsequent letter to Baroness Wrangel, in May, 1883.] For the rest, he is very young, and will doubtless develop. Let us, at least, hope so.
I am extremely sorry that I cannot come and pay you a little visit at Leipzig at present. It is one of my keenest desires to make your personal acquaintance and to pass some days with you. But as that is not possible now, let us, at least, try not to be entirely separated, and let us combat, as far as we can, the laziness about writing, which is, I think, equally in us both.
In a fortnight I am returning to Venice. I shall be back in Milan at the time of the coronation (towards the end of August). Next winter I expect to pass in Rome, if the cholera or some other plague does not stop it. I will not induce you to come to Italy. Your sympathies would be too deeply wounded there. If they have even heard that Beethoven and Weber ever existed, it is as much as they have done.
Will you not have what you have sent me printed? Haslinger would have it gladly, I think, and it would be a great pleasure to me to see my name associated with yours.
If I might make a request, I would ask you to write some trios, or a quintet or septet. It seems to me that you would do that admirably, and for a long time nothing remarkable in that line has been published. If ever you determine to do so, let me know at once, as I should be anxious to have the honor of making them known to the public. Adieu, my dear Monsieur Schumann; keep me always in affectionate remembrance, and accept once more my warm sympathy and devotion.
F. Liszt
14. To the "Gesellschaft der Musikfreunde" in Vienna
[Society of Musical Dilettanti, or Amateur Musical Society.
Autograph in the Archives of the Society in Vienna]
Gentlemen,
I am extremely grateful for the honor you have done me in admitting me among you as a member of the Vienna Musik-Verein [Musical Union]. I cannot, unfortunately, flatter myself that I have as yet deserved this distinction, but allow me to say that it will not be my fault if I do not become worthy of it.
If ever the occasion should offer in which I can be agreeable or useful to the Society of the Musik-Verein, be assured that I shall gladly avail myself of it, and that you will henceforth have a claim on my gratitude and devotion.
I have the honor to be, gentlemen,
Yours faithfully,
F. Liszt
Venice, June 1st, 1838
15. To Simon Lowy in Vienna
[Autograph in the possession of Herr O. A. Schulz, bookseller in
Leipzig.—Addressed to a Vienna banker, an intimate friend of
Liszt The "Soirees de Vienne," composed on Schubert Valses, are
dedicated to him.]
I am very sensible, my dear sir, of your friendly remembrance. Your kind letter found me in the midst of the official hurly- burly of the coronation fetes. What business on earth had I to do with such an affair? I have not the least idea. Thank Heaven we are now at the end of it all, safe and sound, rejoicing, and sated with amusement!
I found at Milan a certain number of my Vienna connections. One or two of the persons whom you will not mention to me (and whose anonymity I respect) were also there. I know that a great many of the people who approach me with a smile on their lips, and protestations of friendship on their tongues, have nothing better to do than to pull me to pieces as best they can as soon as they are outside my door. It is, moreover, the fate of all the world. I resign myself to it willingly, as I do to all the absurd and odious necessities of this lower world. There is, besides, just this much good in these sad experiences of various relations with men—which is, that one learns to relish and appreciate better the devotion of the few friends whom chance has thrown in your path.
In a few days from now I shall start for Bologna, Florence, and Rome. In spite of all my desire to return to Vienna, where people have been so kind and indulgent to me, I do not yet see when I shall be able to get there. However this journey may be put off, I hope, nevertheless, my dear sir, that you will continue till then the affectionate feelings you so kindly entertain towards me. Receive in return my assurances of consideration and affectionate devotion.
F. Liszt
Milan, September 22nd, 1838
Will you be so good as to give the enclosed note to the charming woman who is good enough to remember me so kindly?
16. To M. Pacini, Music Publisher in Paris
[Autograph in the possession of M. Alfred Bovet at Valentigney.]
My Dear Monsieur Pacini,
In two or three days at latest from now you will receive the manuscript for which you asked me for the book of the Hundred and One. [A collective work with contributions by celebrities of the day.] Mr. Hugot has kindly undertaken to bring it to you.
As the title implies, it is an Etude (di Bravura) after Paganini. [Bravura Studies on Paganini's Capricci, arranged for the pianoforte, brought out by Haslinger, Vienna, in 1839. A second, newly arranged edition, dedicated to Clara Schumann, "Grandes Etudes de Paganini," was brought out by Breitkopf and Hartel in 1851.] You will oblige me by recommending the engraver to engrave it very spaciously. In addition, you had better, I think, reprint directly afterwards this Etude facilitee, which I have also sent you. This second arrangement is by M. Schumann, a young composer of very great merit. It is more within the reach of the general public, and also more exact than my paraphrase.
Many apologies for having kept you waiting so long for such a small thing, and kind remembrances to Emilien.
Yours affectionately,
F. Liszt
Please send the corrected proofs of this study to Haslinger, musical editor to the Court, at Graben, Vienna.
I must have at least two corrected proofs. Prego! Prego!! [I beg!] leave only such mistakes as are absolutely necessary in order that an edition may be supposed to be correct.
Padua, September 30th, 1838
17. To Breitkopf and Hartel.
[This is the first of the Liszt letters extant in the archives of the firm.]
I am really grieved, gentlemen, at the trouble you have been good enough to take about these unlucky Symphonies, and I hardly know how to express my acknowledgments. As I have already had the honor of telling you, Mr. Mori had been previously engaged to publish these Symphonies, and, as the steps you have taken have not been crowned with success, I will keep to this first publisher, with whom I have every reason to be satisfied up to now.
You can then publish this work in two or three months from now. [Pianoforte scores of the C minor and Pastoral Symphonies of Beethoven.] Only it is essential that I should correct the last proof, so that the edition may be absolutely correct. I also wish to add the fingering to several passages, to make them easier for amateurs. Be so good, therefore, as to send me, through the Embassy (or by any other opportunity which is not too expensive), two proofs to Rome, where I shall be in about twelve days, and where I expect to remain till the middle of March.
I hope, gentlemen, that you will not have cause to regret the obliging advances that you have made to me in this matter, and for which I am sincerely grateful to you. If you will be so good as to add to the proofs of the Beethoven Symphonies such of the songs of Beethoven (or Weber) as you would like me to transcribe for piano solo, I will then give you a positive answer as to that little work, which I shall be delighted to do for you, but to which I cannot assent beforehand, not knowing of which songs you are the proprietors. If "Leyer und Schwert" was published by you, I will do that with pleasure. I think that these songs, or at any rate four or five of them, would be rather satisfactory for the piano.
Accept, gentlemen, the expression of my high esteem.
F. Liszt
Florence, January 3rd, 1839
18. To Princess Christine Belgiojoso in Paris
[Autograph in the possession of M. Alfred Bovet at Valentigney.— Addressed to the celebrated writer and patriot. In 1837 a charity concert took place in her salons, at which Liszt and Thalberg both played.]
It would be self-conceit in me, Princess, to complain of your silence. Your letters have always been for me a favor, a charm. I am not meaning to say that I have the slightest right to them. Nevertheless, as you do not reply to me any more, I hope you will at least permit me to tell you how very much I feel the very slightest marks of your kindness, and what a price I set upon your remembrance.
Some numbers of the Gazette or Revue Musicale, which have accidentally fallen into my hands at the house of one of my Russian friends (for in this happy country of the Arts, and of music in particular, you can well imagine that no one is foolish enough to spend a thirty francs' subscription on the Revue Musicale), have informed me that you had decidedly raised altar for altar, and made your charming salon echo with magnificent harmonies. I confess that this is perhaps the one regret of my winter. I should so immensely have liked to be there to admire you, to applaud you. Several people who had the honor of being present at these choice evenings have spoken to me about them with enthusiasm.
What a contrast to the tiresome musical soliloquies (I do not know what other name to give to this invention of mine) with which I contrived to gratify the Romans, and which I am quite capable of importing to Paris, so unbounded does my impudence become! Imagine that, wearied with warfare, not being able to compose a programme which would have common sense, I have ventured to give a series of concerts all by myself, affecting the Louis XIV. style, and saying cavalierly to the public, "The concert is—myself." For the curiosity of the thing I copy one of the programmes of the soliloquies for you:—
1. Overture to William Tell, performed by M. L.
2. Reminiscences of the Puritani. Fantaisie composed and performed by the above-mentioned!
3. Etudes and fragments by the same to the same!
4. Improvisation on themes given—still by the same. And that was all; neither more nor less, except lively conversation during the intervals, and enthusiasm if there was room for it.
A propos of enthusiasm, I ought at least to talk to you of St. Peter's. That is the proper thing to do when one writes from Rome. But, in the first place, I am writing to you from Albano, whence I can only discern the dome, and, secondly, this poor St. Peter's has been so disguised, so embellished by papier-mache wreaths, horrid curtains at alcoves, etc., etc., all in honor of the five or six last saints whom His Holiness has canonised, that I try to put away the recollection of it. Happily there have not been any workers of miracles to glorify at the Coliseum and the Campo Vaccino, otherwise it would have been impossible to live in Rome.
If nothing occurs to prevent it, I expect to pass the end of next winter (March and April) in Paris. Will you permit me then to fill up all the gaps in my correspondence from the Rue d'Anjou? [Here the Princess lived.] I count always upon your friendly and indulgent kindness. But shall you extend this so far as to give me a sign of life before the close of my stay in Italy? I do not know. In any case, letters addressed poste restante, Florence, will reach me till the 1st of next September.
I beg you, Madame la Princesse, to accept the expression of my profound and most devoted respect.
F. Liszt
Albano, June 4th, 1839
Will you be good enough to remember me affectionately to (Madame) your sister and to Mr. d'Aragon?
19. To Robert Schumann
[From a copy from the Royal Library in Berlin.]
Albano, June 5th, 1839
My dear Monsieur Schumann,
At the risk of appearing very monotonous, I must again tell you that the last pieces you were so kind as to send me to Rome appear to me admirable both in inspiration and composition. The "Fantaisie" dedicated to me is a work of the highest kind—and I am really proud of the honor you have done me in dedicating to me so grand a composition.
Op. 17, C dur. With the motto:—
"Durch alle Tone tonet
Im bunten Erdentraum
Ein leiser Ton gezogen
Fur den, der heimlich lauschet."
("Through all the sounds of nature,
In earth's fair dream of joy,
An under-current soundeth
For him whose ears can hear.">[
I mean, therefore, to work at it and penetrate it through and through, so as to make the utmost possible effect with it.
As to the "Kinderscenen," I owe to them one of the greatest pleasures of my life. You know, or you don't know, that I have a little girl of three years old, whom everybody agrees in considering angelic (did you ever hear such a commonplace?). Her name is Blandine-Rachel, and her surname Moucheron. [Pet name; literally, "little fly.">[ It goes without saying that she has a complexion of roses and milk, and that her fair golden hair reaches to her feet just like a savage. She is, however, the most silent child, the most sweetly grave, the most philosophically gay in the world. I have every reason to hope also that she will not be a musician, from which may Heaven preserve her!
Well, my dear Monsieur Schumann, two or three times a week (on fine and good days!) I play your "Kinderscenen" to her in the evening; this enchants her, and me still more, as you may imagine, so that often I go over the first repeat twenty times without going any further. Really I think you would be satisfied with this success if you could be a witness of it!
I think I have already expressed to you, in one of my former letters, the desire I felt to see you write some ensemble pieces, Trios, Quintets, or Septets. Will you pardon me for pressing this point again? It seems to me that you would be more capable of doing it than any one else nowadays. And I am convinced that success, even commercial success, would not be wanting.
If between now and next winter you could complete some ensemble work, it would be a real pleasure to me to make it known in Paris, where that sort of composition, when well played, has more chance of success than you perhaps think. I would even gladly undertake to find a publisher for it, if you liked, which would moreover in no wise prevent you from disposing of it for Germany.
In the interim I mean to play in public your "Carnaval," and some of the "Davidsbundlertanze" and of the "Kinderscenen." The "Kreisleriana," and the "Fantaisie" which is dedicated to me, are more difficult of digestion for the public. I shall reserve them till later.
Up to the present time I only know the following works of yours:—
Impromptus on a theme by Clara Wieck.
Pianoforte Sonata, dedicated to Clara.
Concerto without orchestra.
"Etudes Symphoniques"
"Davidsbundlertanze"
"Kreisleriana."
"Carnaval."
"Kinderscenen" and my "Fantaisie."
If you would have the kindness to complete your works to me it would be a great pleasure to me; I should like to have them bound all together in three or four volumes. Haslinger, on his side, will send you my Etudes and my other publications as they come out.
What you tell me of your private life has interested and touched me deeply. If I could, I know not how, be in the least pleasant or useful to you in these circumstances, dispose of me as you will. Whatever happens, count on my absolute discretion and sincere devotion. If I am not asking too much, tell me if it is Clara of whom you speak. But if this question should seem to you misplaced, do not answer it.
Have you met at Leipzig Mr. Frank, [Dr. Hermann Frank edited Brockhaus' Allgemeine Zeitung for a year.] at the present moment editor of the Leipzig Allgemeine Zeitung? From the little I know of him (for he has been much more intimate with Chopin and Hiller than with me) I think he is capable of understanding you. He has left a charming impression behind him in Rome. If you see him, give him my affectionate regards.
My plans remain the same. I still intend to be in Vienna at the beginning of December, and in Paris at the end of February. I shall be capable of coming to look you up in Leipzig if you will let me make the journey from Paris with you. Try! Adieu, my dear Monsieur Schumann; write soon (address care of Ricordi, Florence: I shall be in the neighborhood of Lucca till the middle of September), and depend always on my sincere esteem and lively affection.
Yours in all friendship,
F. Liszt
20. To Breitkopf and Hartel
[Milan, June, 1839]
Gentleman,
About three weeks ago I gave to Mr. Ricordi (who was on his way to Rome) the proofs of the two Symphonies you addressed to me. I hope they have reached you by now. Forgive me for having kept them so long, and also for having corrected them with so much care. But, firstly, they did not reach me till about the 20th of February, and then I did not know how to send them to you direct, for the diligences in this happy country are so insecure. I am therefore of necessity (though very unwillingly) behindhand.
Allow me to ask you for a second proof (for it is of great consequence to me that the edition should be as correct as possible), and this time I will beg you to send me three proofs of each Symphony, so that I may forward one to Paris and the other to London. Probably there will not be any more corrections to make in this second proof, and in that case I will let you know in two words (without returning your proof), telling you at the same time the date of publication.
My intention being to visit Vienna, Munich, and perhaps Leipzig at the beginning of next year (before going to England in the month of April), I shall take advantage of this opportunity to let the Symphonies be heard at my concerts, so as to give them a certain publicity.
I have looked through the Lieder you have been good enough to send me. I shall certainly do the "Adelaide," however difficult it may seem to me to transcribe simply and elegantly. As regards the others, I am afraid I cannot find the necessary time. Moreover, that good Haslinger overwhelms me with Schubert. I have just sent him twenty-four more new songs ("Schwanengesang" and "Winterreise"), and for the moment I am rather tired with this work.
Would you be so kind as to send me, at the same time with the proofs of the Beethoven Symphonies, Mr. Mendelssohn's "Preludes and Fugues"? It is an extremely remarkable work, and it has been impossible to get it in Italy. I shall be greatly obliged if you will send it me.
When you see Mr. Schumann please remember me very kindly to him. I have received the "Fantaisie" which he has done me the honor to dedicate to me, and the "Kinderscenen." Don't you think you ought to publish a book of Studies by him? I should be extremely curious to make acquaintance with them. All his works interest me in a high degree. It would be difficult for me to say as much of many of the compositions of my respected colleagues, with some exceptions.
I beg to remain, Gentlemen,
Yours most sincerely,
F. Liszt
Address the Symphonies to Mr. Ricordi, Florence. From the 15th of
June till the 1st of September I shall be in the neighborhood of
Lucca. Ricordi's address is the safest.
21. To the Beethoven Committee at Bonn
[Printed in L. Ramann's Biography of Liszt, vol. 1]
Gentlemen,
As the subscription for Beethoven's monument is only getting on slowly, and as the carrying out of this undertaking seems to be rather far distant, I venture to make a proposal to you, the acceptance of which would make me very happy. [In Bonn, Beethoven's birthplace, a committee had been formed to erect a Beethoven monument. Yet, in spite of the assent which met the proposal, the contributions flowed in so meagrely—Paris, for example, contributed only 424 francs 90 centimes—that Liszt, on reading this in a paper, immediately formed the noble resolution mentioned in the above letter. "Such a niggardly almsgiving, got together with such trouble and sending round the hat, must not be allowed to help towards building our Beethoven's monument!" he wrote to Berlioz. Thus the German nation has in great measure to thank Franz Liszt for the monument erected to its greatest composer at Bonn.]
I offer myself to make up, from my own means, the sum still wanting for the erection of the monument, and ask no other privilege than that of naming the artist who shall execute the work. That artist is Bartolini of Florence, who is universally considered the first sculptor in Italy.
I have spoken to him about the matter provisionally, and he assures me that a monument in marble (which would cost about fifty to sixty thousand francs) could be finished in two years, and he is ready to begin the work at once. I have the honor to be, etc.,
Franz Liszt
Pisa, October 3rd, 1839
22. To Count Leo Festetics in Pest
[Printed in F. von Schober's "Letters about Liszt's Sojourn in
Hungary.">[
Dear Count,
Shall you like to have me again at Pest this year? I know not. In any case you are threatened with my presence from the 18th to the 22nd of next December. I shall come to you a little older, a little more matured, and, permit me to say, more finished an artist, than I was when you saw me last year, for since that time I have worked enormously in Italy. I hope you have kept me in remembrance, and that I may always count on your friendship, which is dear to me.
What joy, what an immense happiness it will be to be once more in my own country, to feel myself surrounded by such noble and vigorous sympathies, which, thank God, I have done nothing to forfeit in my distant and wandering life. What feelings, what emotions will then fill my breast! All this, dear Count, I will not attempt to express to you, for in truth I should not know how. Let it suffice you to know that the love of my country, of my chivalrous and grand country, has ever lived most deeply in my heart; and that, if unhappily it does not seem likely that I can ever show to my country what a love and devotion I feel for it, the sentiments will remain none the less unchanged in my heart.
But I will not tire you any longer with myself and my sentiments.
I forgot to tell you that for nearly a week I have been confined to my bed with a very severe fever, which might easily have become more serious still. My second concert was obliged to be put off on account of it. Today my doctor has given me permission to play on Wednesday. I don't really know whether I shall be able to do it, for my hand trembles fearfully. Excuse this horrible writing, but I did want to send you a few words. It is a sort of anticipation of Pest, which is sweet to me.
A revoir then very soon, dear Count; meanwhile believe me, as ever, yours most sincerely,
F. Liszt
November 24th, 1839, in bed
23. To Clara Wieck
[The great pianist, afterwards Schumann's wife.]
Pest, December 25th, 1839
How grateful I am, Mademoiselle, for the kind remembrance you keep of me! And how much I am already rejoicing at the thought of seeing you and hearing you again soon in Leipzig! I was so vexed not to be in Paris last winter when I knew you were going to spend some time there. Perhaps I should have been able to be of some little use to you there. You know that, at all times and in every country, I shall always be at your service. I should become too lengthy if I allowed myself to reply in detail to your kind questions about my new compositions. I worked immensely hard in Italy. Without exaggeration I think I have written four to five hundred pages of pianoforte music. If you have patience to hear half a quarter of them I shall be delighted to play them to you, so so.
The "Studies after Paganini," which are dedicated to you, will only appear in two months' time; but I will bring you the proofs, which have long been corrected, to Leipzig.
Once more many thanks, and many tender and respectful wishes for everything that can contribute to your happiness. And above all a bientot.
Yours in admiration and sympathy,
F. Liszt
24. To Robert Schumann in Leipzig
[Autograph in the Royal Library in Berlin.]
Dresden, March 27th, 1840
My dear Schumann,
It is all splendid. Only I should prefer to play the "Hexameron" last, so as to finish with orchestra. Please, therefore, have the "Etudes" and the "Carnaval" put after the Mendelssohn Concerto! [Refers to Liszt's third concert in Leipzig, on March 30th, 1840, for the benefit of the Orchestral Pension Fund.]
Best remembrances to Mendelssohn and Hiller; and believe me yours ever,
F. Liszt
I shall certainly return Monday morning, for on Sunday I am giving a concert for the poor here. But if it should de possible for me to come on Sunday…but I doubt it. [Together with this letter a friend, Carl K[ragen?], writes to Schumann: "He [Liszt] has played me the glorious Mendelssohn Concerto. It was divine! Tomorrow Tieck is to read Faust for Liszt at my mother's house, and Liszt is to play at our house with Lipinski!, Do come for it! Ah, if you could only induce Mendelssohn and his wife to come too!">[
25. To Franz von Schober in Vienna
[The autographs of all the letters in this collection to Schober are in the possession of Fran Babette Wolf at Dresden.-Addressed to the poet and writer, an intimate and worthy friend of Franz Schubert. He became Councillor of Legation to Weimar, and died at Dresden in 1882.]
Metz, April 3rd, 1840
I did not get any news from you at Leipzig, dear Schober, as I expected. I am afraid I was very indiscreet in asking you to be so good as to undertake this work, which I should have valued so much, coming from you. [In answer to the distorted reports in various newspapers of Liszt's visit to Hungary (January, 1840), Schober, who had been an eyewitness, thought it right to clear up the misrepresentations, which he did in the form of "Letters about Liszt's Sojourn in Hungary"; these he published, but much later (Berlin, Schlesinger, 1843)] But I will not speak of it any more. If by any chance you have already done it I should be grateful to you to send it me—otherwise we will not speak of it any more.
Do you know that I have been pursued by one constant regret during my journey, the regret not to have induced you to accompany me? Your society has always been beneficial and strengthening to me: I do not know why, but I imagine that we should live smoothly together. Your qualities, your faults (if you have any), your character and temper, all please me and attach me to you. You know that I flatter myself I can understand and appreciate you…Should you see any great difficulty in joining me somewhere next autumn-at Venice, for example—and in making a European tour with me? Answer me frankly on this matter. And once more, the question of money need not be considered. As long as we are together (and I should like you to have at least three free years before you) my purse will be yours, on the sole condition that you consent to undertake the management of our expenses,—and that you are thoroughly convinced beforehand of the gratitude I shall feel towards you.
Excuse me, my dear good friend, for entering so plainly into matters, but we have talked together too openly, it seems to me, for it to be possible that your delicate feeling on certain points should be wounded by this.
I have sent back Kiss, of Dresden. He is a good fellow, but a little awkward, and wanting in a certain point of honor, without which a man is not a man as I understand the word. So I am alone now, and am not going to have any one tacked on to me. A former pupil of mine, Monsieur Hermann, has undertaken to arrange my concerts, which is a great relief to me. A propos of concerts, I gave six (in nine days!) at Prague, three at Dresden, and the same number at Leipzig (in twelve days)—so I am perfectly tired out, and feel great need of rest. That was good, wasn't it? Adieu, my dear good friend-let me hear from you soon (address 19, Rue Pigalle, Paris), and depend entirely upon me—nunc et semper.
Yours ever sincerely,
F. Liszt
Will you be so good as to go to Diabelli's [Music publisher in Vienna] when you pass by, and advise him again not to publish the third part of the Hungarian Melodies (which I sent him by Hartel) without first sending me a proof to Paris to correct. Adieu.
Best remembrances to Kriehuber [A well-known Vienna painter and lithographer, from whom a number of Liszt portraits have come.] and Lowy. Why does not the latter write to me?
26. To Maurice Schlesinger, Editor of the Gazette Musicale in Paris
[Given by L. Ramann, "Franz Liszt," vol. ii., i.]
Sir,
Allow me to protest against an inexact assertion in your last number but one:—
"Messieurs Liszt and Cramer have asked for the Legion of Honor," etc.
I do not know if M. Cramer (who has just been nominated) has obtained the cross.
In any case I think that you, like every one else, will approve of a nomination so perfectly legitimate.
As to myself, if it be true that my name has figured in the list of candidates, this can only have occurred entirely without my knowledge. It has always seemed to me that distinctions of this sort could only be accepted, but never "asked for."
I am, sir, etc.,
F. Liszt
London, May 14th, 1840
27. To Franz von Schober
[London, May or June, 1840]
My worthy friend,
A fortnight ago my mother wrote me word that she had given several letters, which had come for me from Germany, to a gentleman who was to bring them to me to London. I suppose there was one from you among the number, but up to now I have not received anything.
Allow me to repeat once more the request, which I have already made to you, to come for some time with me (a year or two, and more if you can); for I feel deeply that, the more we are separated by time and space, the more my thoughts and my heart go out to you. I have rarely felt this so strongly, and my wish to feel you settled with me grows daily stronger.
Moreover the persuasion that I feel that we should pass a happy and serious life together, makes me again press you further.
Try then to be at liberty as soon as possible, and once for all make a frank and friendly resolve. I assure you that it will not be difficult to ameliorate, by each other, our two lives, which in their different ways are sad and bad thus separated.
Let me have two words in reply on this point—which, to tell the truth, is the only important one for us both at this moment. Speak quite freely to me, and depend on me thoroughly.
Yours ever,
F. Liszt
Address care of Erard, 18, Great Marlborough Street.
Need I again assure you that any question will not be a question between us?
28. To Franz von Schober
Stonehenge, Salisbury, August 29th, 1840
It is with an unspeakable feeling of sadness and vexation that I write to you today, my dear good friend! Your letter had done me so much good; I was so happy at the thought of our meeting at the end of the autumn at latest; I wanted so to feel that I could rest on your arm, and that your heart, so full of kindness and brotherly help, was near me,—and, lo and behold! I am obliged to give it up, or at least to put it off…
An unfortunate engagement which I have just renewed, and which will keep me in England till the end of January, makes it impossible for me to say to you the one word which I wish to say, "Come!"—
England is not like any other country; the expenses are enormous. I really dare not ask you to travel with me here, for it would almost ruin us. Moreover we should hardly be able to be together, for I have three or four compulsory companions, from whom it is impossible for me to separate. I hoped to have done with all that by the beginning of October, but now I have to begin again in the middle of November. If I have time to make my journey to Russia this year it will be the utmost I can do, but it is a journey that I am in a way obliged to make after the gracious invitation of Her Majesty the Empress at Ems. On the 15th of next May I return again to London, probably by the steamer coming direct from St. Petersburg.
Where shall I find you in a year—fifteen months? It is very possible that I shall come and look for you in Vienna, but then I shall assuredly not leave without taking you with me.
I have some thoughts of spending the following winter at Constantinople. I am tired of the West; I want to breathe perfumes, to bask in the sun, to exchange the smoke of coal for the sweet smoke of the narghileh [Turkish pipe]. In short, I am pining for the East! O my morning land! O my Aborniko!—
My uncle writes that you have been very good and obliging to him. I thank you warmly.—Do you meet Castelli from time to time? When you see him beg him from me to translate the article I published in the Paris "Revue Musicale" (of August 23rd) on Paganini, and to get it put into the "Theater-Zeitung". I should be very glad also if it could be translated into Hungarian, for the Hirnok (excuse me if I make a mess of the word!), but I do not know who could do it.
A propos of Hungarian! I shall always value highly the work on my sojourn in Pest. Send it me as soon as you possibly can, and address it to Madame la Comtesse d'Agoult, 10, Rue Neuve des Mathurins, Paris. Most affectionate remembrances to Kriehuber. His two portraits of me have been copied in London. They are without doubt the best.
Adieu, my dear excellent Schober. In my next letter I shall ask you about a matter of some consequence. It is about a Cantata for Beethoven, which I should like to set to music and to have it given at the great Festival which we expect to organize in 1842 for the inauguration of the Statue at Bonn.
Yours ever most affectionately,
F. Liszt
29. To Buloz
[Published in Ramann's "Franz Liszt," vol. ii., I.]
Editor of the Revue des Deux Mondes.
Sir,
In your Revue Musicale for October last my name was mixed up with the outrageous pretensions and exaggerated success of some executant artists; I take the liberty to address a few remarks to you on this subject. [The enthusiastic demonstrations which had been made to him in Hungary, his native land, had been put into a category with the homage paid to singers and dancers, and the bestowal of the sabre had been turned into special ridicule. Liszt repelled this with justifiable pride.]
The wreaths thrown at the feet of Mesdemoiselles Elssler and Pixis by the amateurs of New York and Palermo are striking manifestations of the enthusiasm of a public; the sabre which was given to me at Pest is a reward given by a NATION in an entirely national form. In Hungary, sir, in that country of antique and chivalrous manners, the sabre has a patriotic signification. It is the special token of manhood; it is the weapon of every man who has a right to carry a weapon. When six of the chief men of note in my country presented me with it among the general acclamations of my compatriots, whilst at the same moment the towns of Pest and Oedenburg conferred upon me the freedom of the city, and the civic authorities of Pest asked His Majesty for letters of nobility for me, it was an act to acknowledge me afresh as a Hungarian, after an absence of fifteen years; it was a reward of some slight services rendered to Art in my country; it was especially, and so I felt it, to unite me gloriously to her by imposing on me serious duties, and obligations for life as man and as artist.
I agree with you, sir, that it was, without doubt, going far beyond my deserts up to the present time. Therefore I saw in that solemnity the expression of a hope far more than of a satisfaction. Hungary hailed in me the man from whom she expects artistic illustriousness, after all the illustrious soldiers and politicians she has so plentifully produced. As a child I received from my country precious tokens of interest, and the means of going abroad to develop my artistic vocation. When grown up, and after long years, the young man returns to bring her the fruits of his work and the future of his will, the enthusiasm of the hearts which open to receive him and the expression of a national joy must not be confounded with the frantic demonstrations of an audience of amateurs.
In placing these two things side by side it seems tome there is something which must wound a just national pride and sympathies by which I am honored.
Be so kind as to insert these few lines in your next issue, and believe me, sir,
Yours obediently,
Franz Liszt
Hamburg, October 26th, 1840
30. To Franz von Schober
I will write German to you, dear Schober, in order to tell you all the quicker how much your letter pleased me. I have to thank it for a really happy hour; and that comes so rarely in my intolerable, monotonous life! For a fortnight past I have again put my neck into the English yoke. Every day which God gives—a concert, with a journey, previously, of thirty to fifty miles. And so it must continue at least till the end of January. What do you say to that?—
If I am not more than half-dead, I must still go at the end of February to Berlin and Petersburg,—and come back to London by the first steamer at the beginning of May. Then I think I shall take a rest. Where and how I do not yet know, and it depends entirely upon the Pecuniary results of my journeys. I should like to go to Switzerland, and thence to Venice, but I can't yet say anything definite.
.—. I have today written a long letter to Leo Festetics. I am hungering and thirsting to go back to Hungary. Every recollection of it has taken deep root in my soul…And yet I cannot go back!
I am grieved that you can tell me nothing better of Lannoy. I cannot understand how that is possible. The news of the Queen has given me great pleasure—if you hear anything more about her let me know. I have a kind of weakness for her.
About the Cantata I will write to you fully later.
Farewell, and be happy if possible, dear Schober; write again soon, and remain ever my friend.
F. L.
Excuse the spelling and writing of these lines! You know that I never write German; Tobias [Tobias Haslinger, the Vienna music publisher.] is, I think, the only one who gets German letters from me.
Manchester, December 5th, 1840
31. To Breitkopf and Hartel
London, May 7th, 1841
Schlesinger has just told me that Mendelssohn's Melodies which I sent you from London have come out. I can't tell you, my dear Mr. Hartel, how much I am put out by this precipitate publication. Independently of the material wrong it does me (for before sending them to you these Melodies were sold in London and Paris), I am thus unable to keep my word to Beale and Richault, who expected to publish them simultaneously with you.
The evil being irremediable I have only thought how to get a prompt vengeance out of it. You will tell me later on if you think it was really a Christian vengeance.
The matter is this: I have just added a tremendous cadenza, three pages long, in small notes, and anentire Coda, almost as long, to Beethoven's "Adelaide". I played it all without being hissed at the concert given at the Paris Conservatoire for the Beethoven Monument, and I intend to play it in London, and in Germany and Russia. Schlesinger has printed all this medley, such as it is. Will you do the same? In that case, as I care chiefly for your edition, I will beg you to have the last Coda printed in small notes as an Ossia, without taking away anything from the present edition, so that the purists can play the integral text only, if the commentary is displeasing to them.
It was certainly a very delicate matter to touch "Adelaide", and yet it seemed to me necessary to venture. Have I done it with propriety and taste? Competent judges will decide.
In any case I beg you not to let any one but Mr. Schumann look over your edition.
In conclusion allow me to remind you that I was rather badly paid for "Adelaide" formerly, and if you should think proper to send me a draft on a London bank, fair towards you and myself, I shall always receive it with a "new pleasure"—to quote the favorite words of His Majesty the King of the French.
With kind regards, believe me, my dear sir, yours most sincerely,
F. Liszt
Be so kind as to remember me very affectionately to Mendelssohn.
As for Schumann, I shall write to him direct very shortly.
32. To Simon Lowy In Vienna
[Autograph in the possession of Madame Emilie Dore in Vienna.]
London, May 20th, 1841
I am still writing to you from England, my dear friend. Since my last letter (end of December, I think) I have completed my tour of the three kingdoms (by which I lose, by the way, 1000 pounds sterling net, on 1500 pounds which my engagement brought me!), have ploughed my way through Belgium, with which I have every reason to be satisfied, and have sauntered about in Paris for six weeks. This latter, I don't hide it from you, has been a real satisfaction to my self-love. On arriving there I compared myself (pretty reasonably, it seems to me) to a man playing ecarte for the fifth point. Well, I have had king and vole,—seven points rather than five! [The "fifth" is the highest in this game, so Liszt means that he won.]
My two concerts alone, and especially the third, at the Conservatoire, for the Beethoven Monument, are concerts out of the ordinary run, such as I only can give in Europe at the present moment.
The accounts in the papers can only have given you a very incomplete idea. Without self-conceit or any illusion, I think I may say that never has so striking an effect, so complete and so irresistible, been produced by an instrumentalist in Paris.
A propos of newspapers, I am sending you, following this, the article which Fetis (formerly my most redoubtable antagonist) has just published in the "Gazette Musicale". It is written very cleverly, and summarises the question well. If Fischhof [A musician, a Professor at the Vienna Conservatorium.] translated it for Bauerle [Editor of the Theater-Zeitung (Theatrical Times).] it would make a good effect, I fancy. However, do what you like with it.
I shall certainly be on the Rhine towards the end of July, and shall remain in that neighborhood till September. If Fischhof came there I should be delighted to see him and have a talk with him. Till then give him my most affectionate compliments, and tell him to write me a few lines before he starts.
In November I shall start for Berlin, and shall pass the whole of next winter in Russia.
Haslinger's behaviour to me is more than inexcusable. The dear man is doing a stupidity of which he will repent soon. Never mind; I will not forget how devoted he was to me during my first stay in Vienna.
Would you believe that he has not sent me a word in reply to four consecutive letters I have written to him? If you pass by Graben will you be so kind as to tell him that I shall not write to him any more, but that I expect from him, as an honest man of business, if not as a friend, a line to tell me the fate of two manuscripts ("Hongroises," and "Canzone Veneziane") which I sent him.
I have just discovered a new mine of "Fantaisies"—and I am working it hard. "Norma," "Don Juan," "Sonnambula," "Maometto," and "Moise" heaped one on the top of the other, and "Freischutz" and "Robert le Diable" are pieces of 96, and even of 200, like the old canons of the Republic of Geneva, I think. When I have positively finished my European tour I shall come and play them to you in Vienna, and however tired they may be there of having applauded me so much, I still feel the power to move this public, so intelligent and so thoroughly appreciative,—a public which I have always considered as the born judge of a pianist.
Adieu, my dear Lowy—write soon, and address, till June 15th, at 18, Great Marlborough Street, and after that Paris.
Yours most sincerely,
F. Liszt
Is the Ungher [Caroline Ungher, afterwards Ungher-Sabatier, a celebrated singer.] at Vienna? Will you kindly give or send to her the letter which follows?
Have you, yes or no, sent off the two amber pieces which I gave you at the time of my departure? I have been to fetch them from the Embassy, but they were not there. Let me have two words in reply about this.
33. To Franz von Schober
Truly, dear friend, I should like pages, days, years, to answer your dear letter. Seldom has anything touched me so deeply. Take heart for heart, and soul for soul,—and let us be for ever friends.
You know how I am daily getting more concise; therefore nothing further about myself, nothing further about Berlin. Tomorrow, Thursday, at 2 o'clock, I start for Petersburg.
I have spoken to A. It is impossible on both sides. When we meet and you are perfectly calm, we will go into details. I still hope to meet you next autumn, either in Florence or on the Rhine.
Leo [Count Festetics] has written to me again. Write to me at once to Konigsberg, to tell me where to address my next letter to you. But write directly-simply your address.
I have sent all the proofs of your pamphlet to Brockhaus. Be so good as to give him direct your final orders in regard to this publication. I shall be so pleased to have some copies of it while I am in Petersburg. The subject is very congenial to me; I thank you once more most warmly for it.
One more shake of the hand in Germany, dearest friend, and in heartfelt love yours ever,
F. Liszt
Remember me kindly to Sabatier, [The husband of Caroline Ungher, the celebrated singer previously mentioned.] and don't quarrel with him about me. To Caroline always the same friendship and devotion.
Berlin, March 3rd, 1842.
34. To the faculty of philosophy at the university of Konigsberg.
[Printed in L. Ramann's "Franz Liszt," vol. ii., I.]
Much Esteemed and Learned Gentlemen,
It is in vain for me to attempt to express to you the deep and heartfelt emotion you have aroused in me by your rare mark of honor. The dignity of Doctor, granted by a Faculty in which, as in yours, men of European celebrity assemble, makes me happy, and would make me proud, were I not also convinced of the sense in which it is granted to me.
I repeat that, with the honorable name of Teacher of Music (and I refer to music in its grand, complete, and ancient signification), by which you, esteemed gentlemen, dignify me, I am well aware that I have undertaken the duty of unceasing learning and untiring labour.
In the constant fulfillment of this duty-to maintain the dignity of Doctor in a right and worthy manner, by propagating in word and deed the little portion of knowledge and technical skill which I can call my own, as a form of, and a means to, the True ["The beautiful is the glory of the true, Art is the radiancy of thought." (Author's note.)] and the Divine—
In the constant fulfillment of this duty, and in any results which are granted to me, the remembrance of your good wishes, and of the touching manner in which a distinguished member of your Faculty [Professors Rosenkranz and Jacobi invested Liszt with the Doctor's Diploma.] has informed me of them, will be a living support to me.
Accept, gentlemen, the expression of my highest esteem and respect.
F. Liszt
Mittau, March 18th, 1842
35. To Court-Marshal Freiherr von Spiegel at Weimar
[Given by L. Ramann, "Franz Liszt," vol. ii., 1.]
Monsieur le Baron,
It is very difficult to reply to so gracefully flattering a letter as your Excellency has been good enough to write to me.
I must nevertheless say that I wish with all my heart and in all ways that I could answer it. I shall reach Weimar, bag and baggage, towards the middle of October, and if I succeed in communicating to others a little of the satisfaction I cannot fail to find there, thanks to the gracious kindness of their Highnesses and the friendly readiness of your Excellency, I shall be only too glad.
Meanwhile I beg to remain, Monsieur le Baron, with respectful compliments,
Yours obediently,
Cologne; September 12th, 1862. F. Liszt
36. To Carl Filitsch.
[Autograph in the possession of Count Albert Amadei in Vienna.— Addressed to the talented young pianist, born at Hermannstadt in the Siebenburgen in 1830, died at Venice 1845, studied with Chopin and Liszt in Paris in 1842-43, and created a sensation with his concerts both there and in London, Vienna, and Italy. According to Lenz, Liszt said of him, "When the youngster goes travelling I shall shut up shop!">[
Compiegne, Wednesday Morning [1842 or 1843].
Dearly beloved conjurer,
How sorry I am to disappoint [Literally. "to make a false skip," a play-of-words with the next sentence.] you of our usual lesson tomorrow! Your "false skips" would be a great deal pleasanter to me! but, unless we could manage to put you where we could hear you from the towers of Notre Dame to the Cathedral of Cologne, there is a material impossibility in continuing our sort of lessons, considering that by tomorrow evening I shall already be at Cologne.
If I return, or when I return—I really don't know. Whatever happens, keep a little corner of remembrance of me, and believe me ever yours affectionately,
F. Liszt
Affectionate remembrances to your brother Joseph. Farewell again.
I embrace you affectionately.
37. To Franz von Schober in Paris
Berlin, March 4th, 1844
You are a dear, faithful friend, and I thank you with all my heart for your kind letter. God reward you for your love to such a jaded, worn-out creature as I am! I can only assure you that I feel it deeply and gratefully, and that your words soothe many spasmodic annoyances.
At the end of this month we shall certainly see each other in Paris. Villers [Alexander von Villers, a friend of Liszt's, attache of the Saxon Embassy in Vienna.] is coming also. In case Seydlitz is still there make my excuses to him, and tell him that, owing to my delay at Dresden, I only got his letter yesterday. I will answer him immediately, and will address to Lefebre, as he tells me to do. I have had several conferences with the H[ereditary] G[rand] D[uke] and Eckermann. [The editor of Goethe's "Gesprachen">[ Our business seems to me to stand on a firm footing. Next autumn the knots will be ready to tie. [Refers probably to Schober's subsequent appointment at Weimar.]
My room is too full. I have got a tremendous fit of Byron on. Be indulgent and kind as ever!
Remember me to the Sabatiers, and stick to me! Yours most affectionately,
F. Liszt
38. To Franz Kroll
[Pupil and friend of Liszt's (1820-1877); since 1849 settled in Berlin as a pianoforte teacher; rendered great service by his edition of Bach's "Das wohltemperirte Clavier.">[
My dear good Kroll,
What a first-rate man you are to me, and what pleasure your letter has given me! Probably you already know that I also have been figuring as an invalid these last five weeks.—God be thanked and praised that I am already pretty fairly on my legs again, without rheumatism in the joints or gout! In a few days I shall begin my provincial tour (Lyons, Marseilles, Toulouse, Bordeaux), and then towards the end of August by steamer to Stockholm and Copenhagen. Weymar, our good, dear Weymar, will again be our Christmas Day! Oh what beautiful apples and trifles we will hang on our Christmas tree! and what talks and compositions, and projects and plans! Only don't you disappoint me, and mind you come fresh and well. Leave the bad looks to me, and see that you fill out your cheeks properly. This winter we must be industrious, and struggle through much work.
Your Mazurkas are most excellent and talented. You have put a great deal into them—and, if you will allow me to speak quite freely—perhaps too much into them, for much of it halts. Although the dedication to me is both pleasing and gratifying, I cannot help thinking that it would be to your interest not to publish anything before next spring. Take advantage of being as yet unknown, and give to the public from the beginning a proper opinion of your talent by a collective publication. Write a couple of pleasing, brilliant Studies—perhaps also a Notturno (or something of that sort), and an effective Fantasia on some conspicuous theme. Then let Schlesinger, Hartel, or Mechetti (to whom I will most gladly speak about your works beforehand) publish the six pieces—your Concerto and the C major Study, together with the later pieces—all together, so that publisher, critic, artist, and public all have to do with them at the same time. Instead of dishing up one little sweetmeat for the people, give them a proper dinner. I am very sorry I did not follow this plan myself; for, after much experience, I consider it far the best, especially for pianoforte works. In Weymar we will talk more fully and definitely about this. Conradi [Musician and friend in Berlin] is also to come. I don't require the Huguenot Fantasia at present. He will have time enough for it in Weymar. En attendant, [A German letter, so Liszt's own French expression is kept] Schlesinger will give him a modest payment for the work he has begun. Please kindly see about the enclosed letters for Freund as soon as possible.
With all good wishes, I am, dear Kroll,
Yours most sincerely,
F. Liszt
Port Marly, June 11th, 1844
39. To Freund
[Autograph in the possession of Professor Hermann Scholtz in
Dresden.]
I am shockingly behindhand with you, my dear Freund, but I won't make any excuses, although an illness of more than a month comes rather a propos to justify me fully and even more.
Herewith letters and cards for Baron Lannoy (Haslinger will give you the address), for Prince Fritz Schwarzenberg, and for Doctor Uwe, Kriehuber, and Simon Lowy, who will soon be back in Vienna. I shall be glad if you will give them in any case, whether now or later. If you want to give me a pleasure you will go and see my uncle Eduard Liszt, and try to distract him a little.
I detest repeating myself in letters so much that I can't write over again to you my plans of travel up to the beginning of winter; these I have just told Kroll in full, and you already know them from Hanover.
Teleky, Bethlen (Friends of Liszt's), and Corracioni are here, and form a kind of colony which I call the Tribe of the Huns!
Probably Teleky will come and pick me up at Weymar towards the middle of February, and we shall go together to Vienna and Pest— not forgetting Temesvar, Debreczin, and Klausenburg!
I hope then to find you in Vienna, and shall perhaps be able to give you a good lift.
Meanwhile acknowledge the receipt of these lines: enjoy yourself, and remain to me always friend Freund. [A play on his name Freund, which means friend.]
Yours most sincerely and affectionately,
F. Liszt
Port Marly, June 11th, 1844.
40. To Franz Von Schober.
Gibraltar, March 3rd, 1845.
Your letter pleases me like a child, my dear good Schober! Everything comes to him who can wait. But I scarcely can wait to congratulate you and to see you again in Weymar [as Councillor of Legation there]. Unhappily it is not probable that I can get there before the end of next autumn. Keep me in your good books, therefore, until then, and accept my best thanks in advance for all you will have done for me and fought for me till then, both in Weymar and in Hungary!
With regard to Vienna, Lowy writes me almost exactly the same as you. To tell the truth I am extremely thankful to the Vienna public, for it was they who, in a critically apathetic moment, roused and raised me [When he came from Venice to Vienna in the spring of 1838, to give a concert for the benefit of his Hungarian compatriots after the inundations, on which occasion, although Thalberg, Clara Wieck, and Henselt had been there before him, he aroused the utmost enthusiasm.]; but still I don't feel the slightest obligation to return there a year sooner or later. My Vienna journey will pretty much mark the end of my virtuoso career. I hope to go thence (in the month of August, 1846) to Constantinople, and on my return to Italy to pass my dramatic Rubicon or Fiasco.
So much for my settled plans.
What precisely is going to become of me this coming spring and summer I do not exactly know. In any case to Paris I will not go. You know why. My incredibly wretched connection with _____ has perhaps indirectly contributed more than anything to my Spanish- Portuguese tour. I have no reason to regret having come, although my best friends tried to dissuade me from it. Sometimes it seems to me that my thoughts ripen and that my troubles grow prematurely old under the bright and penetrating sun of Spain…
Many kind messages to Eckermann and Wolff. [Professor Wolff, editor of "Der poetische Hausschatz.">[ I will write to the latter from the Rhine, where I shall at any rate spend a month this summer (perhaps with my mother and Cosima). If he is still inclined to return to his and your countries (Denmark and Sweden), we can make a nice little trip there as a holiday treat.
Good-bye, my dear excellent friend. Allow me to give you as true a love as I feel is a necessity of my heart! Ever yours,
F. Liszt
What is Villers doing? If you see him tell him to write me a line to Marseilles, care of M. Boisselot, Pianoforte Maker.
41. To Franz Kroll at Glogau
Weymar, March 26th, 1845
My very dear Kroll,
The arrival of your letter and the packet which accompanied it decided a matter of warm contest between our friend Lupus [Presumably Liszt's friend, Professor Wolff (1791-1851).] and Farfa-Magne-quint-quatorze! [For whom this name was intended is not clear.] It consisted in making the latter see the difference between the two German verbs "verwundern" (to amaze) and "bewundern" (to admire), and to translate clearly, according to her wits, which are sometimes so ingeniously refractory, what progress there is from Verwundern (amazement) to Erstaunen (astonishment). Imagine, now, with what a wonderful solution of the difficulty your packet and letter furnished us, and how pleased I was at the following demonstration:—
"We must admire (bewundern) Kroll's fine feeling of friendship; we may be amazed (verwundern) at the proof he has given of his industry in copying out the Mass; should this industry continue we shall first of all be astonished (erstaunen), and by degrees, through the results he will bring about, we again attain to admiration (Bewunderung)."
I don't know how you will judge, critically, of this example, but what is certain is that it appeared to be quite conclusive to our auditory.
Ernst [The celebrated violinist (1814-65)] has just been spending a week here, during which he has played some hundred rubbers of whist at the "Erbprinz." His is a noble, sweet, and delicate nature, and more than once during his stay I have caught myself regretting you for him, and regretting him for you. Last Monday he was good enough to play, in his usual and admirable manner, at the concert for the Orchestral Pension Fund. The pieces he had selected were his new "Concerto pathetique" (in F~ minor) and an extremely piquant and brilliant "Caprice on Hungarian Melodies." (This latter piece is dedicated to me.) The public was in a good humor, even really warm, which is usually one of its least faults.
Milde, who is, as you know, not much of a talker, has nevertheless the tact to say the right thing sometimes. Thus, when we went to see Ernst off at the railway, he expressed the feeling of us all—"What a pity that Kroll is not here!"
For the most part you have left here the impression which you will leave in every country—that of a man of heart, talent, tact, and intellect. One of these qualities alone is enough to distinguish a man from the vulgar herd; but when one is so well born as to possess a quartet of them it is absolutely necessary that the will, and an active will, should be added to them in order to make them bring out their best fruits,—and this I am sure you will not be slow to do.
Your brother came through here the day before yesterday, thinking he should still find you here. I have given him your address, and told him to inquire about you at Schlesinger's in Berlin, where he expects to be on the 8th of April; so do not fail to let Schlesinger know, in one way or another, when you get to Berlin. As M. de Zigesar [The Intendant at Weimar.] I was obliged to start in a great hurry for The Hague, in the suite of the Hereditary Grand Duchess, I will wait till his return to send you the letters for Mr. de Witzleben. I will address them to Schlesinger early in April.
We are studying hard at the Duke of Coburg's opera "Toni, oder die Vergellung," ["Toni, or the Requital">[ which we shall give next Saturday. The score really contains some pretty things and which make a pleasing effect; unluckily I cannot say as much for the libretto.
Your castle in the air for May we will build up on a solid basis in Weymar; for I am quite calculating on seeing you then, together with our charming, good, worthy friend Conradi. Will you please, dear Kroll, tell Mr. Germershausen and his family how gratified I am with their kind remembrance? When I go to Sagan I shall certainly give myself the pleasure of calling on him.
Believe me ever your very sincere and affectionate friend,
F. Liszt
42. To Abbe de Lamennais
[Autograph in the possession of M. Alfred Bovet at Valentigney.]
Permit me, illustrious and venerable friend, to recall myself to your remembrance through M. Ciabatta, who has already had the honor of being introduced to you last year at my house. He has just been making a tour in Spain and Portugal with me, and can give you all particulars about it. I should have been glad also to get him to take back to you the score, now completed, of the chorus which you were so good as to entrust to me ("The iron is hard, let us strike!"), but unfortunately it is not with music as with painting and poetry: body and soul alone are not enough to make it comprehensible; it has to be performed, and very well performed too, to be understood and felt. Now the performance of a chorus of the size of that is not an easy matter in Paris, and I would not even risk it without myself conducting the preliminary rehearsals. While waiting till a favorable opportunity offers, allow me to tell you that I have been happy to do this work, and that I trust I have not altogether failed in it. Were it not for the fear of appearing to you very indiscreet, I should perhaps venture to trespass on your kindness for the complete series of these simple, and at the same time sublime, compositions, of which you alone know the secret. Three other choruses of the same kind as that of the Blacksmiths, which should sum up the most poetical methods of human activity, and which should be called (unless you advise otherwise) Labourers, Sailors, and Soldiers, would form a lyric epic of which the genius of Rossini or Meyerbeer would be proud. I know I have no right to make any such claim, but your kindness to me has always been so great that I have a faint hope of obtaining this new and glorious favor. If, however, this work would give you even an hour's trouble, please consider my request as not having been made, and pardon me for the regret which I shall feel at this beautiful idea being unrealized.
As business matters do not necessarily call me to Paris, I prefer not to return there just now. I expect to go to Bonn in the month of July, for the inauguration of the Beethoven Monument, and to have a Cantata performed there which I have written for this occasion. The text, at any rate, is tolerably new; it is a sort of Magnificat of human Genius conquered by God in the eternal revelation through time and space,—a text which might apply equally well to Goethe or Raphael or Columbus, as to Beethoven. At the beginning of winter I shall resume my duties at the Court of Weymar, to which I attach more and more a serious importance.
If you were to be so very good as to write me a few lines, I should be most happy and grateful. If you would send them either to my mother's address, Rue Louis le Grand, 20; or to that of my secretary, Mr. Belloni, Rue Neuve St. George, No. 5, I should always get them in a very short time.
I have the honor to be, sir, yours very gratefully,
F. Liszt
Marseilles, April 28th, 1845
43. To Frederic Chopin
[Autograph in the possession of M. Alfred Bovet at Valentigney.— The great Polish tone-poet (1809-49) was most intimate with Liszt in Paris. The latter, in his work "F. Chopin" 1851, second edition 1879, Breitkopf and Hartel; German translation by La Mara, 1880), raised an imperishable monument to him.]
Dear Chopin,
M. Benacci, a member of the Maison Troupenas, and in my opinion the most intelligent editor, and the most liberal in business matters, in France, asks me for a letter of introduction to you. I give it all the more willingly, as I am convinced that under all circumstances you will have every reason to be satisfied with his activity and with whatever he does. Mendelssohn, whom he met in Switzerland two years ago, has made him his exclusive editor for France, and I, for my part, am just going to do the same. It would be a real satisfaction to me if you would entrust some of your manuscripts to him, and if these lines should help in making you do so I know he will be grateful to me.
Yours ever, in true and lively friendship,
F. Liszt
Lyons, May 21st, 1845
44. To George Sand.
[Autograph in the possession of M. Alfred Bovet at Valentigney.— A friendship of long years subsisted between Liszt and France's greatest female writer, George Sand. At her home of Nohant he was a frequent guest, together with the Comtesse d'Agoult. Three letters which he wrote (in 1835 and 1837) for the Gazette Musicale—clever talks about Art, Nature, Religion, Freedom, etc.—bear George Sand's address.]
Without wishing to add to your other inevitable troubles that of a correspondence for which you care little, allow me, dear George, to claim for myself your old indulgence for people who write to you without requiring an answer, and let me recall myself to you by these few lines through M. Benacci. Their ostensible object is to recommend the above-mentioned Benacci, so that you, in your turn, may recommend him more particularly to Chopin (and I may add in parenthesis that I should abstain from this negotiation were I not firmly persuaded that Chopin will never regret entering into business relations with Benacci, who, in his capacity of member of the firm of Troupenas, is one of the most important and most intelligent men of his kind); but the real fact of the matter is that I am writing to you above all— and why should I not confess it openly?—for the pleasure of conversing with you for a few moments. Therefore don't expect anything interesting from me, and if my handwriting bothers you, throw my letter into the fire without going any further.
Do you know with whom I have just had endless conversations about you, in sight of Lisbon and Gibraltar? With that kind, excellent, and original Blavoyer, the Ahasuerus of commerce, whom I had already met several times without recognising him, until at last I remembered our dinners at the "Ecu" (Crown) at Geneva, and the famous Pipe!
During the month's voyage from Lisbon to Barcelona we emptied I cannot tell you how many bottles of sherry in your honor and glory; and one fine evening he confided to me in so simple and charming a manner his vexation at being unable to find several letters that you had written to him in Russia, I think, and which have been stolen from him, that I took a liking to him, and he did the same to me. The fact is that there could not possibly be two Blavoyers under the sun, and his own person is the only pattern of which he cannot furnish goods wholesale, for there is no sort of thing that he does not supply to all parts of the globe.
A propos of Lisbon and supplies, have you a taste for camellias? It would be a great pleasure to me to send you a small cargo of them from Oporto, but I did not venture to do it without knowing, in case you might perhaps have a decided antipathy to them.
In spite of the disinterestedness with which I began this letter, I come round, almost without knowing how, to beg you to write to me. Don't do more than you like; but in any case forgive me for growing old and arriving at the point when noble recollections grow in proportion as the narrowing meannesses of daily life find their true level. Yes, even if you thought me more of a fool than formerly, it would be impossible for me to hold your friendship cheap, or not to prize highly the fact that, somehow or other, it has not come to be at variance nor entirely at an end.
As the exigencies of my profession will not allow me leisure to return so soon to Paris, I shall probably not have the opportunity of seeing you for two years. Towards the middle of July I go to Bonn for the inauguration of the Beethoven Monument. Were it not that a journey to the Rhine is so commonplace, I should beg you to let me do the honors of the left and of the right bank to you, as well as to Chopin (a little less badly than I was able to do the honors of Geneva!). My mother and my children are to join me at Cologne in five or six weeks, but I cannot hope for such good luck as that we might meet in those parts, although after your winters of work and fatigue a journey of this kind would be a refreshing distraction for you both.
At the close of the autumn I shall resume my duties at Weymar; later on I shall go to Vienna and Hungary, and proceed thence to Italy by way of Constantinople, Athens, and Malta.
If, therefore, one of these fine days you should happen to be in the humor, send me a word in reply about the camellias; if you will send your letter to my mother (20, Rue Louis le Grand) I shall get it immediately. In every way, count upon my profound friendship and most respectful devotion always and everywhere.
Lyons, May 21st, 1845
F. Liszt
45. T Abbe De Lamennais
[Autograph in the possession of M. Alfred Bovet at Valentigney.]
Oh no, there is not, and there never could be, any indiscretion from you towards me. Believe me that I do not deceive myself as to the motive which determined you to write to me with such great kindness, and if it happened that I replied too sanguinely and at too great length I beg you to excuse me. Above all do not punish me by withdrawing from me the smallest particle of your sacred friendship.
M. de Lamartine, with whom I have been spending two or three days at Montceau, told me that you had read to him "Les Forgerons," so I played him the music. Permit me still to hope that some day you may be willing to complete the series, and that I, on my side, may not be unworthy of this task.
Yours most heartily,
Dijon, June 1st, 1845
F. Liszt
46. To Gaetano Belloni in Paris
[Autograph in the possession of M. Etienne Charavay in Paris.—
Addressed to Liszt's valued secretary during his concert tours in
Europe from 1841-1847.]
Dear and Most Excellent Belloni,
Everything is moving on, and shall not stop either. Bonn is in a flutter since I arrived and I shall easily put an end to the paltry, under-hand opposition which had been formed against me. By the time you arrive I shall have well and duly conquered my true position.
[This refers to the Festival in Bonn, of several days' duration, for the unveiling of the Beethoven Monument (by Hahnel), in which Liszt, the generous joint-founder of the monument, took part as pianist, composer, and conductor.]
Will you please add to the list of your commissions:
The cross of Charles III.
and the cross of Christ of Portugal, large size? You know it is worn on the neck.
Don't lose time and don't be too long in coming.
Yours ever,
F. Liszt
July 23rd, 1845.
Kindest regards to Madame Belloni.—I enclose a few lines for
Benacci, which you will kindly give him.
47. To Madame Rondonneau at Sedan
[Autograph in the possession of M. Etienne Charavay in Paris.]
In spite of rain, snow, hail, and frost, here I am at last, having reached the hotel of the Roman Emperor at Frankfort after forty-eight hours' travelling, and I take the first opportunity of telling you anew, though not for the last time, how much I feel the charming and affectionate reception which you have given me during my too short, and, unhappily for me, too unfortunate stay at Sedan. Will you, dear Madame, be so kind as to be my mouthpiece and special pleader to Madame Dumaitre, who has been so uncommonly kind and cordial to me? Assuredly I could not confide my cause (bad as it may be) to more delicate hands and to a more persuasive eloquence, if eloquence only consists in reality of "the art of saying the right thing, the whole of the right thing, and nothing but the right thing," as La Rochefoucauld defined it; a definition from which General Foy drew a grand burst of eloquence—"The Charter, the whole Charter (excepting, however, Article 14 and other peccadilloes!), and nothing but the Charter."
"But don't let us talk politics any longer," as Lablache so happily remarked to Giulia Grisi, who took it into her head one fine day to criticize Don Juan!
Let us talk once more of Sedan, and let me again say to you how happy I should be to be able one day to show those whose acquaintance I have made through you in what grateful remembrance I keep it.
Will you, Madame, give my best and most affectionate thanks to M.
Rondonneau, and accept my very respectful and devoted homage?
F. Liszt
Frankfurt, February 11th, 1846
P.S.—Being pressed for time, and owing, perhaps, to a stupid feeling of delicacy, I came away without paying my doctor.
If you think well, would you be so kind as to credit me with a napoleon and give it him from me: Madame Kreutzer will be my banker in Paris. Adieu till we meet again.
48. To Monsieur Grillparzer
[Original, without date, in the possession of the Baroness Mayrhofer-Grunbuhel at Klagenfurt. It might belong to the year 1846, during which Liszt arranged ten concerts in Vienna, from March 1st to May 17th, and lived there during a great part of the summer. From the same year dates a poem of homage to the incomparable magician of the piano from the great poet. This slight and unimportant letter is the only one of Liszt's found among Grillparzer's effects.]
Will you do me the favor, my dear sir, to come and dine, without ceremony, with several of your friends and admirers on Friday next at 3 o'clock (at the "Stadt Frankfurt")? I should be very much gratified at this kindness on your part. M. Bauernfeld leads me to hope that you will not refuse me. Permit me to think that he is not mistaken, and allow me to express once more my high esteem and admiration.
F. Liszt
Tuesday Morning. [1846?]
49. To Franz von Schober, Coucillor of Legation in Weimar
Prague, April 11th, 1846. [According to the postal stamp.]
Dear Friend,
Your commissions have been attended to. The Wartburg has been sent through Bauernfeld to the Allgemeine, and will, I trust, not have to warten [Wait; a play on the words Wartburg and warten. A treatise on the proposed completion of the Wartburg.] too long. I have sent a second copy of this article to Paris, where it is to appear in French garb. The report figures already in the Vienna Theater-Zeitung, a paper with a wide circulation (and none the better on that account!), where it makes quite a good appearance.
You would get the best connection with Frankfort through O. L. B.
Wolff (and through his medium, which is at any rate an honest and
proper one, with the German Frankfurtes Journal, or the
Oberpostamts-Zeitung, and even with the Didaskalia).
Talk this over with Wolff!
The same with the "illustrated" Leipzig Journal, in which the article on the Wartburg should appear as soon as possible with an illustration. Wolff can also arrange that, and in case it were necessary, why, in Heaven's name, the sketch can be paid for. The State of Weimar will not be ruined by it. Pereat Philistia and its powerless foolery!!!
You have only to write a line to Brockhaus, and the columns of the Deutsche Allgemeine stand open to you. Your personal and official position in Weimar entitle you to this. Later on, in passing through Leipzig, you can very easily consolidate this connection. My stay in Hungary (Pest) will probably be limited to the first half of May. I shall in any case see Schwab. "Sardanapalus" [An opera planned by Liszt] (Italian) will most probably be produced next season (May) in Vienna.
My stay in Weimar this summer…?? [The continuation of the letter is missing.]
50. To Franz von Schober, Councillor of Legation in Weimar
Castle Gratz (at Prince Lichnowsky's)
May 28th, 1846
You are curious people at Weimar. You stride on towards a possibility, and as soon as the thing is well in train you take fright at it! However that may be, here are the instructions I have received from Paris, and if you still wish an article on the Wartburg to appear in a French paper you must conform to them, and therefore send to my mother's address (20, Rue Louis le Grand) the indispensable little notice.
The note from my Paris correspondent is as follows:—
"The article in its present form would not be suitable for publication in any French paper; it will be necessary to write another, explaining in a few words in what and how the Wartburg is historically interesting to Europe, and why Europe ought to interest herself in its restoration; then make a short architectural description of the castle; but above all do not forget that the article is to be read by Frenchmen, careless of what is happening in Germany, and utterly ignorant of German history and legend."
I continue:—
1st.—A short account, historical and legendary, of the Wartburg.
2nd.—How it has been allowed to fall into ruins.
3rd.—How it is to be restored.
Finally, plenty of facts and proper names, as M. de Talleyrand so well said. Agreed then! As soon as you have got this sketched out on the lines above mentioned (it will serve also for the illustrated), send it to my mother by Weyland. My mother will already know through me to whom she has to give it.
There is nothing to be done with Schwab. His "Delirium" (as I call it) [It was a "Tellurium">[ stood in my room for a week, and we stood there not knowing what to make of it. But never and no how could we bring that good Schwab to try to make us see any basis or proof of his calculation. My opinion is that, in order to take away the incognito from his discovery, he ought to send a sample to the Vienna Academy, and two others to the Berlin and Paris Academies, for trial and discussion. If I can help him in this matter with letters to Humboldt and Arago I will do it right gladly; but it is as plain as day that incompetent private sympathies are of no import in such a sensitive discovery, and therefore can do nothing. Meanwhile they have made a subscription of eight hundred guldens in money, and have bought the machine for the Pest Museum.
The relic with authentic verification is in the locked-up box at Wolff's. Beg the Herr Librarian (it would really make me ill if he is not appointed) to be so good as to find this relic—he will have no difficulty in recognising it—and to send it me to Haslinger's address, Graben, Vienna.
About my law-suit more anon in Weimar. Meanwhile thank my excellent advocate (does he take snuff?) warmly, and beg him to continue to keep me in his good graces.
If I know that it will be agreeable to his Grace [The former Hereditary Grand Duke and present Grand Duke of Saxony.] to see me in Weimar this summer, I shall come, in spite of the upset which this journey will occasion to me. You know how I am, heartily and personally, in his favor without any interest. I should like also to tell him many things, and for this a stay there in the summer with walks (which as a rule I can't abide, as you know) would be pleasanter and more convenient.
My stay in Pest might bear serious fruit, were it not that the Byronic element, which you combat in me, becomes ever more and more predominant.
Farewell and work hard! I cannot arrange any meeting with you. I
am not my own master. In August I mean to make a peregrination to
Oedenburg, and thence to Leo and Augusz (the latter in Szegzard).
If I come to Weimar it will be in July.
Address always to Haslinger's.
Adieu, my dear excellent Schober. Remain as good to me as you are dear!
Yours ever affectionately,
F. Liszt
Remember me most kindly to Ziegesar and Wolff.
51. To Alexander Seroff
[Russian musical critic and composer (1820-71)]
I am most grateful, my dear sir, for the kind remembrance you keep of me since Petersburg, [Seroff was at that time in the Crimea.] and I beg you to excuse me a thousand times for not having replied sooner to your most charming and interesting letter. As the musical opinions on which you are kind enough to enlarge have for long years past been completely my own, it is needless for me to discuss them today with you. There could, at most, be only one point in which we must differ perceptibly, but as that one point is my own simple individuality you will quite understand that I feel much embarrassed with my subject, and that I get out of it in the most ordinary manner, by thanking you very sincerely for the too flattering opinion that you have formed about me.
The Overture to "Coriolanus" is one of those masterpieces sui generis, on a solid foundation, without antecedent or sequel in analogous works. Does it remind you of Shakespeare's exposition of the tragedy of the same name (Act i., Scene I)? It is the only pendant to it that I know in the productions of human genius. Read it again, and compare it as you are thinking of it. You are worthy of those noble emotions of Art, by the fervent zeal with which you worship its creed. Your piano score of the Overture to Coriolanus does all honor to your artist conscience, and shows a rare and patient intelligence which is indispensable to bringing this task to a satisfactory end. If I should publish my version of the same Overture (it must be among my papers in Germany) I shall beg your permission to send you, through Prince Dolgorouki [Prince Argontinski-Dolgorouki, a devoted lover of music. A friend of Liszt's: had rich property in the Crimea.] (I can't tell you half the good I think of him), an annotated copy, which I will beg you to add to the insignificant autograph which you really estimate too highly in attaching so affectionate a price to it! Accept once more, my dear sir, my most affectionate regards.
F. Liszt
Elisabethgrad, September 14th. 1847
52. To Carl Haslinger in Vienna
[The original (without address) in the possession of M. Alfred Bovet at Valentigney.—There is no doubt that it was written to the above music publisher (son of the well-known Tobias H.), who was a pupil of Czerny, and at the same time a pianist and composer (1816-68), and friend of Liszt]
Woronino, December 19th, 1847
My dear Karolus,
I am delighted to hear from you of the arrival of my box from Galatz. Will you be so good as to send it off speedily and safely to Weymar, so that I may find it when I arrive there (at the end of this month)? and, as I am away, address it to M. le Baron de Ziegesar, Chamberlain to H.R.H. the Hereditary Grand Duchess. Beg Lowy to take the same opportunity of sending me the other boxes belonging to me, which remained behind, whether with him or elsewhere, to my Weymar address, unless he prefers to bring them with him when he comes to see me.
In my last letter to my uncle I gave him a commission for you— namely, to beg you to send me the Melodies and Rhapsodies Hongroises complete; also the Schwanengesang and the Winterreise (transcriptions), large size edition, made into a book. As you have had some proofs made of my new Rhapsodies, make up a parcel of it all, which will be an agreeable surprise to me on my arrival.
I have worked pretty well these last two months, between two cigars in the morning, at several things which do not displease me; but I want to go back to Germany for some weeks in order to put myself in tune with the general tone, and to recreate myself by the sight and hearing of the wonderful things produced there by…Upon my word I don't know by whom in particular, if not the whole world in general.
If you want me to…[editor's note: impossible to decipher this word in Liszt's original letter] anything for you, tell me, and give me your ideas as to cut and taste.
Send me also the Schumann Opus (Kreisleriana, etc.) published by yourself and Mechetti, together with Bach's six Pedal Fugues, in which I wish to steep myself more fully. If the three Sonnets (both voice and pianoforte editions) are already re-corrected, kindly send me also an author's copy.
Adieu, dear Karolus. I commend my box to you, and commend myself to you also
As your sincere friend,
F. Liszt
I need not say that of course you shall be repaid immediately for sending the box—only hurry on the sending.
Best regards to your wife.
Lowy will tell you what I wish in regard to the credit for my uncle Eduard.
53. To The Hochwohlgeboren Herr Baron von Dornis, Jena.
[Autograph in the possession of Herr C. Geibel, bookseller in
Leipzig.—The addressee was a sculptor.]
The confidence which you place in me, most esteemed Herr Baron, is naturally very flattering; but in order to meet it according to your wishes, I ought to have quite other means at my disposal than those I have.
It would of course be very gratifying to me to possess one of your valued works; yet I cannot help taking this opportunity of remarking that, in view of the far too many busts, medallions, statuettes, caricatures, medals, and portraits of all kinds existing of my humble self, I long ago resolved not to give occasion to any further multiplication of them.
Accept, esteemed Herr Baron, my expressions of great regret that I cannot meet your kind proposal as you wish, and with the assurance of my highest esteem,
Believe me yours very truly,
F. Liszt
Weymar, March 6th, 1848
54. To Franz von Schober, Councillor of Legation at Weimar.
Castle Gratz, April 22nd, 1848.
My Dear and Honored Friend,
Your dear letter has brought me still nearer to you in the crisis of the estro poetico, which the "Hungaria" [One of Liszt's symphonic poems.] brought forth in me; and, thanks to this good influence, I hope you will not be dissatisfied with the composition.
Since my Beethoven Cantata I have written nothing so striking and so spontaneous. One of these next days the instrumentation will be completed, and when we have an opportunity we can have it performed in Weimar in your honor and that of "Weimar's dead." [Refers to a poem entitled "Weimar's Todten.">[
Regardless of the blocking of the Russian frontier the Princess Wittgenstein has safely passed through Radziwillow and Brody with a special official outrider, and established herself at Castle Gratz four days ago with her very charming and interesting daughter. As it is still somewhat early for the German bath season, I should like to persuade her to spend a couple of weeks in Weimar before her Carlsbad "cure" (which, alas! is very necessary for her). If my wishes should be successful I shall arrive at Weimar between the 10th and 15th of May, in order to prepare a suitable house or suite of apartments for the Princess.
I should be so pleased if you had an opportunity of getting to know the P. W. She is without doubt an uncommonly and thoroughly brilliant example of soul and mind and understanding (with immense esprit as well).
It won't take you long to understand that henceforth I can dream of very little personal ambition and future wrapped up in myself. In political relations serfdom may have an end, but the dominion of one soul over another in the region of spirit, is not that indestructible?…You, my dear, honored friend, will assuredly not answer this question with a negative.
In three weeks I hope we shall see each other again. Be so good as to present my respects to our young Duke. What you tell me of him pleases me. As soon as possible you shall hear more, and more fully, from me, but do not write to me till then, as my address meanwhile will be very uncertain. But continue to love me, as I love and honor you.
F. Liszt
55. To Bernhard Cossmann in Baden-Baden
[The addressee became in 1850 solo-violoncellist and chamber virtuoso in Weimar, and, later, in Moscow, and has been, since 1878, a Professor at the Hoch Conservatorium at Frankfort-on- Maine.]
Circumstances! Conditions! My dear sir, these are now the very ceremonious expressions and excuses of theatrical and directorial beings. Unfortunately that is the case here too, although our dear Weymar continuing free, not only from the real cholera, but also from the slighter, but somewhat disagreeable, periodical political cholerina, may peacefully dream by its elm, yet…yet…I am sorry to say I am obliged not to answer your kind letter affirmatively. Should circumstances and conditions, however, turn out as I wish, then the Weymar band would consider it an honor and a pleasure to possess you, my dear sir, as soon as possible as one of its members.
Meanwhile accept the assurance of high regard of yours very sincerely,
F. Liszt
Weymar, September 18th, 1848
56. To Carl Reinecke
[The present conductor of the Gewandhaus Concerts in Leipzig (born 1824), and celebrated composer, pianist, and conductor]
Dear Sir,
Your kind letter has given me much pleasure, and the prospect which you hold out to me, of seeing you soon again at Weymar, is very agreeable to me. But come soon, and if possible for a few days; I on my side shall certainly do all I can to prolong your stay here and make it seem short to you. The promised Concerto interests me keenly; it will be sure to give us ample material for musical talks, and perhaps after many a talk we shall set to work again and both write a new Concerto.
Would not the best results of criticism altogether be to incite to new creation?
However that may be, do not put off too long taking up your quarters at the Erbprinz, and rest assured that your visit is much desired by me.
Yours very sincerely,
F. Liszt
Weymar, March 25th, 1849
My very best thanks for the splendid stuff for the coat, which will give me quite an important, well-to-do, stately appearance!
57. To Count Sandor Teleky(?)
[The original (without address) in the possession of Count Albert Amadei in Vienna.—The recipient of this letter was presumably Count Teleky, a friend of Liszt's, who often accompanied the latter on his triumphal European journeys, and who was himself an active musician and literary man. He died in June, 1892.]
I have to give you threefold thanks, dear Count, and I feel that I can undisguisedly do so! Your verses, in addition to your prose and music, are three times welcome to me at Weymar, and the Fantaisie dedicated to the royal hours of leisure of H.R.H. has also charmed my leisure hours, as rare as they are modest.
If it would not be a trouble to you to come to Weymar, it would be most kind of you to give us the pleasure of your company for a day or two during our theatrical season, which concludes on the 15th of June. We could then chat and make music at our ease (with or without damages, ad libitum), and if the fantasy took us, why should we not go to some new Fantasie of leisure on the "Traum- lied (dream song) of Tony, [No doubt meaning Baron Augusz, Liszt's intimate friend at Szegzard, who died in 1878.] for instance, at the hour when our peaceable inhabitants are sleeping, dreaming, or thinking of nothing? We two should at least want to make a pair.
May I beg you, dear Count, to recall me most humbly to the indulgent remembrance of your charming and witty neighbor [Nachbarin, feminine.] of the Erbprinz, and accept once more my most cordial expressions for yourself?
F. Liszt
Weymar, May 5th, 1849
58. To Belloni(?)
[The letter written apparently to Belloni (who has already been mentioned) was, like the present one, published by Wilhelm Tappert, in a German translation and in an incomplete form, in the Neue Musik-Zeitung (Cologne, Tonger) of October 1st, 1881. The editor unfortunately could not obtain possession of it complete and in the original. According to Tappert, a Belgian musical paper pronounced it spurious, for reasons unknown to the former.]
Weimar, May 14th, 1849
Dear B.,
Richard Wagner, a Dresden conductor, has been here since yesterday. That is a man of wonderful genius, such a brain- splitting genius indeed as beseems this country,—a new and brilliant appearance in Art. Late events in Dresden have forced him to a decision in the carrying out of which I am firmly resolved to help him with all my might. When I have had a long talk with him, you shall hear what we have devised and what must also be thoroughly realized. In the first place we want to create a success for a grand, heroic, enchanting musical work, the score of which was completed a year ago. [Lohengrin.] Perhaps this could be done in London? Chorley, [Chorley (1808-72) had considerable influence in London as author, critic, and writer in the Athenoeum.] for instance, might be very helpful to him in this undertaking. If Wagner next winter could go to Paris backed up by this success, the doors of the Opera would stand open to him, no matter with what he might knock. It is happily not necessary for me to go into long further discussions with you; you understand, and must learn whether there is at this moment in London an English theater (for the Italian Opera would not help our friend!), and whether there is any prospect that a grand and beautiful work from a master hand could have any success there.
[It was not in London, but in Weimar, as is well known, that the first performance of "Lohengrin" took place (on August 28th, 1850). It was not until twenty-five years later that London made acquaintance with Wagner's work on the stage, in the Italian Opera and with Nicolini in the title-role; and the composer himself heard it for the first time in Vienna on May 15th, 1861.]
Let me have an answer to this as quickly as possible. Later on— that is, about the end of the month—Wagner will pass through Paris. You will see him, and he will talk with you direct about the tendency and expansion of the whole plan, and will be heartily grateful for every kindness. Write soon and help me as ever. It is a question of a noble end, toward the fulfillment of which everything must tend.
59. To Carl Reinecke
Weymar, May 30th, 1849
Thank you much, dear M. Reinecke, for your welcome lines, and I am glad to hope that you are happily arrived at Bremen, which ought to be proud to possess you. The musical taste of that town has always been held up to me, and I feel assured that the inhabitants will have the good taste to appreciate you at your full value, and that you will create a good and fine position for yourself there without many obstacles.
Wagner, who will probably be obliged to lose his post at Dresden in consequence of recent events, has been spending some days with me here. Unluckily the news of the warrant against him arrived the day of the performance of "Tannhauser", which prevented him from being present. By this time he must have arrived in Paris, where he will assuredly find a more favorable field for his dramatic genius. With the aid of success he will end, as I have often said, by being acknowledged as a great German composer in Germany, on condition that his works are first heard in Paris or London, following the example of Meyerbeer, to say nothing of Gluck, Weber, and Handel!
Wagner expressed his regret to me that he had not been able to send a better reply to the few lines of introduction which I had given you for him. If ever you should be in the same place with him do not fail to go and see him for me, and you may be sure of being well received.
I am very much obliged to you for having spoken of me to Schumann in such a manner as he at least ought to think of me. It interested me much to make acquaintance with his composition of the epilogue to "Faust". If he publishes it I shall try to have it performed here, either at the Court or at the theater. In passing lately through Frankfort I had a glance at the score of "Genoveva", a performance of which had been announced to me at Leipzig for the middle of May at latest. I am very much afraid that Schumann will have a struggle with the difficulties and delays which usually occur in trying to get any lofty work performed. One would say that a bad fairy, in order sometimes to counterbalance the works of genius, gives a magic success to the most vulgar works and presides over the propagation of them, favoring those whom inspiration has disdained, in order to push its elect into the shade. That is no reason for discouragement, for what matters the sooner or the later?
A thousand thanks for your exact and obliging packet of cigars. If you should have the opportunity of sending me some samples of a kind neither too thin nor too light, at about twenty to twenty- five thalers the thousand, I shall willingly give an order for some, which might be followed by a larger order.
Schuberth of Hamburg has just sent me your transcriptions of the Schumann songs, which have given me real pleasure. If you publish other things kindly let me know, for you know the sincere interest I feel both in yourself and in your works,—an interest I hope to have the opportunity of showing you more and more.
Meanwhile believe me yours affectionately,
F. Liszt
P.S.—I have not forgotten the little commission you gave me relative to the "Fantasie-Stucke," and in a few weeks I will let you have a copy of the new edition.
60. To Robert Schumann
[original in the Royal Library in Berlin]
Dear, esteemed Friend,
Before everything allow me to repeat to you what, next after myself, you ought properly to have known best a long time ago— namely, that no one honors and admires you more truly than my humble self.
When opportunity occurs we can certainly have a friendly discussion on the importance of a work, a man, even a town indeed. For the present I am specially rejoicing in the prospect of an early performance of your opera, and beg you most urgently to let me know about it a few days beforehand, as I shall most certainly come to Leipzig on that occasion, and then we can also arrange for it to be studied in Weymar as soon as possible afterwards. Perhaps you will also find time there to make me acquainted with your "Faust." For this composition I am anxiously waiting, and your resolution to give this work a greater length and breadth appears to me most judicious. A great subject demands generally a grand treatment. Although the Vision of Ezekiel attains in its small dimensions the culminating point of Raphael's greatness, yet he painted the School of Athens and the entire frescoes in the Vatican.
"Manfred" is glorious, passionately attractive! Don't let yourself be stopped in it; it will refresh you for your "Faust"— and German art will point with pride to these twin productions.
Schuberth has sent me your "Album fur die Jugend" [Album for the Young], which, to say the least, pleases me much. We have played your splendid trio here several times, and in a pretty satisfactory manner.
Wagner stayed some days here and at Eisenach. I am expecting tidings from him daily from Paris, where he will assuredly enlarge his reputation and career in a brilliant manner.
Would not your dear wife (to whom I beg to be kindly remembered) like for once to make a romantic country excursion into the Thuringer Wald [the Thuringian Forest]? The neighborhood is charming, and it would give me great pleasure to see her again at Weymar. A very good grand piano, and two or three intelligent people who cling to you with true sympathy and esteem, await you here.
But in any case there will appear in Leipzig as a claqueur [clapper (to applaud)]
Your unalterably faithful friend,
F. Liszt Weymar, June 5th, 1849
61. To Robert Schumann
[original in the Royal Library in Berlin]
Best thanks, dear friend, for your kind information about the performance of your "Faust" on the 28th of August.
To draw "das Ewig-Weibliche" rightly upwards ["Das Ewig-Weibliche zicht uns hinan" ("The Eternal-Womanly draws us upwards").— Goethe's "Faust">[ by rehearsing the chorus and orchestra would have afforded me great pleasure—and would probably have succeeded. ["Gelangen" and "gelingen"—untranslatable little pun.] But unfortunately obstacles which cannot be put aside have intervened, and it will be utterly impossible for me to be present at the Goethe Festival, as I have to betake myself in a few days' time to an almost unknown but very efficacious bath resort, and my doctor's orders are most strict that I must not make any break in my "cure" during six weeks.
Notwithstanding this very deplorable contretemps for me, I immediately informed Herr Councillor A. Scholl, as head of the Goethe Committee, of your friendly proposal. Herewith his answer.
Allow me meanwhile to refresh your memory with an old French proverb, "Ce qui est differe n'est pas perdu" [What is put off is not given up], and give me the hope that soon after my return to Weymar we may occupy ourselves seriously with the performance of your "Faust."…
Hearty greetings to your dear wife, and believe me yours ever most sincerely,
F. Liszt Weymar July 27th, 1849
62. To Robert Schumann
[autograph in the Royal Library in Berlin]
Dear Friend,
A summons which cannot be put off obliges me to be present at the Goethe Festival here on the 28th of August, and to undertake the direction of the musical part.
My first step is naturally to beg you to be so good as to send us soon the score of your "Faust." If you should be able to spare any of the voice or orchestral parts it would be a saving of time to us; but if not we shall willingly submit to getting the parts copied out as quickly as possible.
Kindly excuse me, dear friend, for the manner in which this letter contradicts my last. I am very seldom guilty in such a way, but in this case it does not lie in me, but in the particulars of the matter itself.
For the rest I can assure you that your "Faust" shall be studied with the utmost sympathy and accuracy by the orchestra and chorus.—Herr Montag, the conductor of the Musik-Verein [Musical Union], is taking up the chorus rehearsals with the greatest readiness, and the rest will be my affair!—Only, dear friend, don't delay sending the score and, if possible, the parts.
Sincerely yours,
F. Liszt
Weymar, August 1st, 1849
If your opera is given not later than the 1st of September I shall certainly come to Leipzig.
63. To Carl Reinecke
Heligoland, September 7th, 1849
I am very sorry, my dear M. Reinecke, not to have met you at Hamburg. It would have been such a real pleasure to me to make acquaintance again with your Nonet, and it seems to me, judging from its antecedents in the form of a Concerto, that by this decisive transformation it ought to be a most honorably successful work.
The "Myrthen Lieder" have never been sent to me. If you happen to have a copy I should be very much obliged if you would send it me to Schuberth's address.
With regard to the article which has appeared in "La Musique" I have all sorts of excuses to make to you. The editors of the paper thought fit, I do not know why, to give it a title which I completely disavow, and which would certainly have never entered into my mind. Moreover the printer has not been sparing of changing several words and omitting others. Such are the inevitable disadvantages of articles sent by post, and of which the proof correctors cannot read the writing.
Anyhow, such as it is, I am glad to think that it cannot have done you any harm in the mind of the French public, which has customs and requirements that one must know well when one wishes above all things to serve one's friends by being just to them.
Two numbers of your "Kleine Fantasie-Stucke" have been distributed, up to about a thousand copies, with the paper "La Musique," under the title of "Bluettes,"—a rather ill-chosen title to my idea,—but, notwithstanding this title and the words "adopted by F. Liszt," which the editors have further taken the responsibility of putting, I am persuaded that this publication is a good opening (in material) into the musical world of France, and, looking at this result only, I am charmed to have been able to contribute to it.
I shall return to Hamburg by the last boat from Heligoland on the 27th of September, in order to go to the baths of Eilsen, where I expect to spend all the month of October. In November I shall be back in Weymar for the rest of the winter.
If you would have the kindness to send to Schuberth's address a case of 250 cigars of a pretty good size from the Bremen Manufactory, I should be very much obliged to you, and would take care to let you have the money (which in any case will not be a very great sum) through Schuberth. The samples you sent me to Weymar did reach me, but at a moment when I was extremely occupied, so that I forgot them. Pray let me hear from you from time to time, my dear M. Reinecke, and regard me as a friend who is sincerely attached to you.
F. Liszt
64. To Breitkopf and Hartel
My dear Sir,
The arrival of your piano is one of the most pleasant events in my peacefully studious life at Weymar, and I hasten to send you my best thanks. Although, to tell the truth, I don't intend to do much finger-work in the course of this year, yet it is no less indispensable for me to have from time to time a perfect instrument to play on. It is an old custom that I should regret to change; and, as you kindly inquire after the ulterior destination of this piano, allow me to tell you quite frankly that I should like to keep it as long as you will leave it me for my private, personal, and exclusive use at Weymar. In being guilty of the so-called indiscretion I committed in claiming of your courtesy the continued loan of one of your instruments I thought that, under the friendly and neighborly relations which are established between us (for a long time to come, I hope), it would not be unwelcome to your house that one of its productions should play the hospitable to me, whilst receiving my hospitality at the same time. However retired and sheltered I live from stir and movement at Weymar, yet from time to time it does happen that I receive illustrious visitors, or curious and idle ones who come and trouble one for this or that; henceforth I shall be delighted to be able to do the honors of your piano both to the one and to the other, and that will be, besides, the best proof of the strength of the recommendation that I have had the pleasure of making, for a long time past, of your manufactory. If however, contrary to expectation, it should happen that you were in pressing need of an instrument, very little played upon, the one at Weymar would be at your disposal at any moment.
With regard to the Beethoven Lieder-Cyclus I have just received a letter from Mr. Haslinger which I do not communicate in full because of the personal details it contains, but this is the passage, as laconic as it is satisfactory, with regard to this publication:—
"I give you with pleasure my fullest consent to the edition of the Beethoven Liederkreis by Breitkopf and Hartel."
So by tomorrow's post I shall have the honor of returning you the proofs of the Lieder-Cyclus, which forms a continuation to the Beethoven Lieder which you have already edited, and which you will publish when you think well. .—.
With the proofs of my third piece on the "Prophete" I will also send you all the pieces on it (piano and voice) which you have been so good as to lend me, as well as the piano score, which I don't require any more; for, unless I should have a success which I dare not hope for (for these three pieces), and an express order from you for another series of three pieces, which I could easily extract from that vast score, I shall make this the end of my work on the "Prophete." I come at last to a question, not at all serious, but somewhat embarrassing for me,—that of fixing the price of the manuscripts that you are so good as to print. I confess that this is my "quart d'heure de Rabelais!" [The "quart d'heure de Rabelais" refers to an incident in his life, and means, in round terms, the moment of paying—i.e., any disagreeable moment.] In order not to prolong it for you, allow me to tell you without further ceremony that the whole of the six works together, which are as follows:—
Lieder of Beethoven, Lieder-Cyclus of Beethoven, Consolations (six numbers), Illustrations of the "Prophete" (three numbers), published by your house, are worth, according to my estimation, 80-100 louis d'or.
If this price does not seem disproportionate to you, as I am pleased to think it will not, and if it suits you to publish other pieces of my composition, I shall have the pleasure of sending you in the course of the year:—
1. A "Morceau de Concert"(for piano without orchestra), composed for the competition of the Paris Conservatoire, 1850.
2. The complete series of the Beethoven Symphonies, of which you have as yet only published the "Pastorale" and the "C minor." (In the supposition that this publication will suit your house, I will beg you to make the necessary arrangements from now onwards with Mr. Haslinger; perhaps it will even be expedient that the Symphony in A (7th), which Haslinger published several years ago from the arrangement that I had made, should reappear in its proper place in the complete series of the symphonies.)
3. Bach's six fugues (for organ with pedals), arranged for piano alone.
In the middle of February I shall send you the complete manuscript of my little volume on Chopin, and a little later in the same month we shall set ourselves to work here on the study of Schubert's opera, the performance of which will take place in the first days of April. If, as I do not doubt, the performance of the "Prophete" draws you to Dresden, I shall certainly have the pleasure of seeing you there, for I have just begged Mr. de Luttichau to be so good as to reserve me a place for that evening, and I shall not fail to be there. Meanwhile, my dear M. Hartel, believe me,
Yours sincerely and affectionately,
F. Liszt Weymar, January 14th, 1850
On the occasion of Schubert's opera I shall probably set to work on the arrangement of the symphony, of which, meanwhile, I hold the score.—Compliments and best regards to Madame Hartel, which I know you will be kind enough to convey to her.
65. To Breitkopf and Hartel
February 24th, 1850
My dear Sir,
.—. With regard to Schubert's opera ["Alfonso and Estrella." It was given for the first time on June 24th, 1854, the birthday of the Grand Duke (but not without some necessary cuts)], a recent experience has entirely confirmed me in the opinion I had already formed at the time of the first rehearsals with piano which we had last spring—namely, that Schubert's delicate and interesting score is, as it were, crushed by the heaviness of the libretto! Nevertheless, I do not despair of giving this work with success; but this success appears possible only on one condition—namely, to adapt another libretto to Schubert's music. And since, by a special fate, of which I have no reason to complain, a part of Schubert's heritage has become my domain, I shall willingly busy myself, as time and place offer, with the preparatory work and the mise-en-scene of this opera, for which it would be advantageous, in my opinion, if it could be first produced in Paris. Belloni informs me that it will be pretty easy for you to ensure me the entire rights of this work for France. If such be the case I would take suitable measures for the success of this work, on occasion of which I should naturally have to make a considerable outlay of time and money, so that I should not be disposed to run any risk without the guarantee of proportionate receipts from the sale of the work in France, and author's rights which I shall have to give up to the new poet.
This matter, however, is not at all pressing, for I shall only be able to set to work in the matter in the course of next year (1851); but I shall be very much obliged to you not to lose sight of it, and to put me in possession, when you are able, of the cession of the French and English rights, in consideration of which I will set to work and try to get the best possible chances of success.
Many thanks to you for so kindly sending the score of Schubert's Symphony. That of the "Prophete" not being wanted by me any longer, I enclose it in the parcel of proofs and manuscripts which I beg you to undertake to send off to Mr. Belloni's address in Paris.
On Easter Monday we shall give the first performance of "Comte Ory." [By Rossini] Would you not feel tempted to come and hear it? It is a charming work, brimming over and sparkling with melody like champagne, so that at the last rehearsal I christened it the "Champagner-Oper" ["Champagne Opera.">[ and in order to justify this title our amiable Intendant proposes to regale the whole theater with a few dozens of champagne in the second act, in order to spirit up the chorus.
"Qu'il avait de bon vin le Seigneur chatelain!"
Cordial remembrances from yours affectionately,
F. Liszt
I should be glad for the publication of No. 3 of the pieces on the "Prophete," and the "Consolations," not to be put off long.
66. To Professor J. C. Lobe in Leipzig
[Autograph in the possession of M. Alfred Bovet at Valentigney.—
The addressee (1797-1881), a writer on music (formerly Court
Musician at Weimar), lived from 1846 in Leipzig.]
My esteemed Friend,
It is with much pleasure I send you the good news that H.R.H. the Grand Duchess has graciously accepted the dedication of your "System of Composition." [Published in 1850.] Our gracious protector [feminine] started yesterday for The Hague, and will not be back till towards the middle of August.
I hope you will be sure not to fail us at the Herder Festival in Weymar (August 25th), as well as at the "Lohengrin" evening (28th); we have been already waiting for you so long!
Between the performances of the "Messiah" and "Lohengrin" (to say nothing of my "Prometheus" choruses) will also be the best opportunity for you to present your work in person to the Grand Duchess.
Remember me kindly to your dear family, and remain my friend as I am yours
Most truly,
F. Liszt Weymar, July 10th, 1850
67. To Friedrich Wieck in Dresden
[published in the "Neue Musik-Zeitung" in 1888.—The addressee was the well-known pianoforte master, the father of Clara Schumann (1785-1873).]
Esteemed Sir,
It will be a real pleasure to me to welcome you here, and your daughter [Marie Wieck, Hohenzollern Court Pianist in Dresden], whom I have already heard so highly commended. Weymar, as you know it of old, offers no brilliant resources for concerts; but you may rest assured beforehand that I, on my side, shall do everything that is possible in this connection to make things easy for you. To me it seems especially desirable that you should wait until the return of H.R.H. the Grand Duchess, which will be within a fortnight; should you, however, be tied by time and come here before that date, I bid you heartily welcome, dear sir, and place myself at your disposal.
Yours truly,
F. Liszt
Weymar, August 4th, 1850
68. To Simon Lowy in Vienna.
[Autograph in the Royal Library in Vienna. Printed in a German translation, La Mara, "Letters of Musicians during Five Centuries," vol. ii.]
Weymar, August 5th, 1850
Dear Friend,
My cousin Edward writes me word that you are a little piqued at my long silence,—and I, shall I tell you frankly? am a little piqued that you have not yet thought of coming to see me, and of transferring your bath season to some place in the neighborhood of Weymar. Will you make peace with me?—
Accept as a friend the invitation I give you in all friendship. Arrive at Weymar the 23rd of August, and stay till the 30th at least. You will find several of your friends here,—Dingelstedt, Jules Janin, Meyerbeer (?), etc.,—and you will hear, firstly, on the evening of the 24th, a good hour and a half of music that I have just composed (Overture and Choruses) for the "Prometheus" of Herder, which will be given as a Festal Introduction to the inauguration of his statue in bronze by Schaller of Munich, which is fixed for the 25th; secondly, on the evening of the 25th, Handel's "Messiah"; thirdly, on the 28th, the anniversary of Goethe's birth, a remarkably successful Prologue made, ad hoc, for that day by Dingelstedt, followed by the first performance of Wagner's "Lohengrin." This work, which you certainly will not have the opportunity of hearing so soon anywhere else, on account of the special position of the composer, and the many difficulties in its performance, is to my idea a chef-d'oeuvre of the highest and most ideal kind! Not one of the operas which has entertained the theaters for the past twenty years can give any approximate idea of it.
So don't be piqued any longer, or rather, dear friend, be piqued with curiosity to be one of the first to hear such a beautiful thing. Sulk with Vienna, for a few weeks at least, instead of sulking with me, which is all nonsense, and believe me always and ever your most sincerely attached, but very much occupied, very much pre-occupied, and oftentimes very absorbed friend,
F. Liszt
69. To Mathilde Graumann
[Given by the addressee, subsequently celebrated as Mathilde
Marchesi, teacher of singing, in "Aus meinem Leben" (Bagel,
Dusseldorf)]
Mademoiselle,
Here is the letter for the Grand Master de Luttichau, which M. de Ziegesar has just written in your honor and glory, with all the good grace and obligingness which he keeps for you.
As regards introductions to Berlin there is a provoking contretemps for you. H.R.H. the Princess of Prussia will pass the winter at Coblentz.
Meyerbeer, to whom I beg you to remember me respectfully, will certainly be your best patron with the Court, and I have no doubt that he will receive you with sympathy and interest.
I will also send you, in the course of the week, a letter for the Chamberlain of H.R.H. Princess Charles of Prussia, which Ziegesar has promised me.
As to our concert, fixed for the 19th (Saturday next), I assure you frankly that I should not have ventured to speak to you of it, and that I hardly venture now.
The receipts are to be devoted to some pension fund, always so low in funds in our countries; consequently I am not in a position to propose any suitable terms. Now as, on the occasion of the performance of the "Messiah," you have already been only too kind to us, it really would not do for me to return to the charge, unless you were to authorize me to do so quite directly and positively, by writing me an epistolary masterpiece somewhat as follows:—
"I will sing in a perfunctory manner, but with the best intentions and the best will in the world, the air from…(here follows the name of the piece), and the duet from "Semairamide" with Milde or Mademoiselle Aghte, next Saturday; and in order not to put anybody out, I will arrive at the exact time of the rehearsal, on Friday at four o'clock."
If any such idea as this should come into your head please let me know (by telegram if need be), so that by Monday night, or, at latest, Tuesday midday, I may be able to make the programme, which must appear by Wednesday morning at latest.
With homage and friendship,
F. Liszt
Friday, October 11th, 1850 Be so kind as to give a friendly shake of the hand from me to Joachim; recommend him not to be too late in arriving at Weimar, where we expect him for the evening of the 14th.
P.S.—At the moment when I was going to send my letter to the post the following lines reached me. I send them to you intact, and you will see by them that you could not have friends better disposed towards you than those of Weimar.
Please do not fail to write direct to Ziegesar to thank him for his kindness, of which you have been sensibly informed by me (without alluding to his letter, which you will return to me), and at the same time say exactly which week you will arrive in Berlin; unless, however, you prefer to come and tell him this verbally on Friday or Saturday evening at the Altenburg, after you have again chanted to us and enchanted us. [Literal translation, on account of play on words.]
70. To Carl Reinecke
Dear Reinecke,
Here are the letters for Berlioz and Erard that I offered you. I add a few lines for the young Prince Eugene Wittgenstein, with whom you will easily have pleasant relations; he is an impassioned musician, and is remarkably gifted with artistic qualities. In addition, I have had a long talk about your stay in Paris, and the success which you ought to obtain, with Belloni, who came to me for a few days. You will find him thoroughly well disposed to help you by all the means in his power, and I would persuade you to have complete confidence in him. Go and look for him as soon as ever you arrive, and ask him for all the practical information you require. Make your visit to Messrs. Escudier with him. (N.B.—He will explain why I have not given you a letter for Brandus.)
The greater number of your pieces have hitherto been printed exclusively by Escudier, and in my opinion you would do well to keep well with them in consequence. In your position it is not at all necessary to make advances to everybody—and, moreover, it is the very way to have no one for yourself. Look, observe, and keep an intelligent reserve, and don't cast yourself, German-wise, precipitately into politeness and inopportune modesty.
In one of your leisure hours Belloni will take you to Madame Patersi, who is entrusted with the education of my two daughters, for whom I beg a corner of your kind attention. Play them your Polonaise and Ballade, and let me hear, later on, how their very small knowledge of music is going on. Madame Patersi, as I told you, will have much pleasure in introducing you to her former pupil, Madame de Foudras, whose salon enjoys an excellent reputation.
Need I renew to you here the request of my four cardinal points?- -No, I am sure I need not!—Accept then, dear Reinecke, all my heartiest wishes for this new year, as well as for your journey to Paris. Let me hear of you through Belloni, if you have not time to write to me yourself, and depend in all circumstances on the very cordial attachment of
Yours sincerely and affectionately,
F. Liszt January 1st, 1851 My return to Weymar is unfortunately
again postponed for twenty days, by the doctor's orders, to which
I submit, although not personal to myself. [They referred to
Princess Wittgenstein, who was ill.]
71. To Leon Escudier, Music Publisher in Paris
[autograph in the possession of M. Arthur Pougin in Paris.—The addressee was at that time the manager of the periodical "La France Musicale," in which Liszt's Memoir of Chopin first appeared in detached numbers (beginning from February 9th, 1851).]
Weymar, February 4th, 1851
My dear Sir,
The proofs of the two first articles of my biographical study of Chopin ought to have reached you some days ago, for I corrected and forwarded them immediately on my return to Weymar. You will also find an indication of how I want them divided, which I shall be obliged if you will follow. Both on account of the reverence of my friendship for Chopin, and my desire to devote the utmost care to my present and subsequent publications, it is important to me that this work should make its appearance as free from defects as possible, and I earnestly request you to give most conscientious attention to the revision of the last proofs. Any alterations, corrections, and additions must be made entirely in accordance with my directions, so that the definitive publication, which it would be opportune to begin at once in your paper, may satisfy us and rightly fulfill the aim we have in view. If therefore your time is too fully occupied to give you the leisure to undertake these corrections, will you be so good as to beg M. Chavee [an eminent Belgian linguist, at that time a collaborator on the "France Musicale">[ (as you propose) to do me this service with the scrupulous exactitude which is requisite, for which I shall take the opportunity of expressing to him personally my sincere thanks?
In the matter of exactitude you would have some right to reproach me (I take it kindly of you to have passed it over in silence, but I have nevertheless deserved your reproaches, apparently at least) with regard to Schubert's opera ["Alfonso and Estrella," which Liszt produced at Weimar in 1854]. I hope Belloni has explained to you that the only person whom I can employ to make a clear copy of this long work has been overwhelmed, up to now, with pressing work. It will therefore be about three months before I can send you the three acts, the fate of which I leave in your hands, and for which, by the aid of an interesting libretto, we may predict good luck at the Opera Comique. I will return to this matter more in detail when I am in the position to send you the piano score (with voice), to which, as yet, I have only been able to give some too rare leisure hours, but which I promise you I will not put off to the Greek Calends!
As far as regards my opera, allow me to thank you for the interest you are ready to take in it. For my own part I have made up my mind to work actively at the score. I expect to have a copy of it ready by the end of next autumn. We will then see what can be done with it, and talk it over.
Meanwhile accept, my dear sir, my best thanks and compliments.
F. Liszt
The proofs of the third and fourth articles on Chopin will be posted to you tomorrow.
Has Belloni spoken to you about F. David's "Salon Musical" (twenty-four pieces of two pages each, very elegantly written and easy to play)?—I can warmly recommend this work to you, both from the point of view of art, and of a profitable, and perhaps even popular, success. [Presumably Ferdinand David's "Bunte Reihe," Op. 30, which Liszt transcribed for piano alone.]
72. To Carl Reinecke
My dear Mr. Reinecke,
I am still writing to you from Eilsen; your two kind and charming letters found me here and have given me a very real pleasure. You may rest quite assured during your life of the sincere and affectionate interest I feel for you, an interest of which I shall always be happy to give you the best proofs as far as it depends on me.
Madame Patersi is loud in her praises both of your talent and of yourself,—and I thank you sincerely for having so well fulfilled my wishes with regard to the lessons you have been so kind as to give to Blandine and Cosima. [Liszt's daughters. Blandine (died 1872) became afterwards the wife of Emile Ollivier; Cosima is the widow of Wagner.] Who knows? Perhaps later on these girls will do you honor in a small way by coming out advantageously with some new composition by their master Reinecke, to the great applause of Papa!
Hiller shows tact and taste in making sure of you as a coadjutor at the Rhenish Conservatorium, which seems to be taking a turn not to be leaky everywhere. Cologne has much good, notwithstanding its objectionable nooks. Until now the musical ground there has been choked up rather than truly cultivated! People are somewhat coarse and stupidly vain there; I know not what stir of bales, current calculations, and cargoes incessantly comes across the things of Art. It would be unjust, however, not to recognize. the vital energy, the wealth of vigor, the praiseworthy activity of this country, in which a group of intelligent men, nobly devoted to their task, may bring about fine results, more easily than elsewhere.
At any rate I approve of what you have done, and compliment you on having accepted Hiller's offer, [Namely, a position as Professor at the Conservatorium of Cologne, which Reinecke occupied from 1851 to 1854.] and shall have pleasure in sending to your new address some of my latest publications, which will appear towards the end of May (amongst others a new edition, completely altered and well corrected, I hope, of my twelve great Etudes, the Concerto without orchestra dedicated to Henselt, and the six "Harmonies Poetiques et Religieuses"). I have also written a very melancholy Polonaise, and some other trifles which you will perhaps like to look over.
Let me hear from you soon, my dear Mr. Reinecke, and depend, under all circumstances, on the faithful attachment of
Yours affectionately and sincerely,
F. Liszt
Eilsen, March 19th, 1851
73. To Dr. Eduard Liszt in Vienna
[An uncle of Liszt's (that is, the younger half-brother of his father), although Liszt was accustomed to call him his cousin: a noble and very important man, who became Solicitor-General in Vienna, where he died February 8th, 1879. Franz Liszt clung to him with ardor, as his dearest relation and friend, and in March, 1867, made over to him the hereditary knighthood.]
[Weimar, 1851]
Dear, excellent Eduard ,
It will be a real joy to me to take part in your joy, and I thank you very cordially for having thought first of me as godfather to your child. I accept that office very willingly, and make sincere wishes that this son may be worthy of his father, and may help to increase the honor of our name. Alas! it has been only too much neglected and even compromised by the bulk of our relations, who have been wanting either in noble sentiments, or in intelligence and talent—some even in education and the first necessary elements—to give a superior impulse to their career and to deserve serious consideration and esteem. Thank God it is otherwise with you, and I cannot tell you what a sweet and noble satisfaction I derive from this. The intelligent constancy which you have used to conquer the numerous difficulties which impeded your way; the solid instruction you have acquired; the distinguished talents you have developed; the healthy and wise morality that you have ever kept in your actions and speech; your sincere filial piety towards your mother; your attachment, resulting from reflection and conviction, to the precepts of the Catholic religion; these twenty years, in fine, that you have passed and employed so honorably,—all this is worthy of the truest praises, and gives you the fullest right to the regard and esteem of honest and sensible people. So I am pleased to see that you are beginning to reap the fruits of your care, and the distinguished post to which you have just been appointed [He had been made Assistant Public Prosecutor in 1850.] seems to justify the hopes that you confided to me formerly, and which I treated, probably wrongly, as so much naive ambition. At the point at which you have arrived it would be entirely out of place for me to poke advice and counsel out of season at you. Permit me, for the sake of the lively friendship I bear you, and the ties of relationship which bind us together, to make this one and only recommendation, "Remain true to yourself!" Remain true to all you feel to be highest, noblest, most right and most pure in your heart! Don't ever try to be or to become something (unless there were opportune and immediate occasion for it), but work diligently and with perseverance to be and to become more and more some one.—Since the difficult and formidable duty has fallen upon you of judging men, and of pronouncing on their innocence or guilt, prove well your heart and soul, that you may not be found guilty yourself at the tribunal of the Supreme Judge,—and under grave and decisive circumstances learn not to give ear to any one but your conscience and your God!—
Austria has shown lately a remarkable activity, and a military and diplomatic energy the service of which we cannot deny for the re-establishment of her credit and political position. Certainly by the prevision of a great number of exclusive Austrians—a prevision which, moreover, I have never shared—it is probable that the Russian alliance will have been a stroke of diplomatic genius very favorable to the Vienna Cabinet, and that, in consequence of this close alliance, the monarchical status quo will be consolidated in Europe, notwithstanding all the democratic ferments and dissolving elements which are evidently, whatever people may say, at their period of ebb. I do not precisely believe in a state of tranquility and indefinite peace, but simply in a certain amount of order in the midst of disorder for a round dozen of years, the main spring of this order being naturally at Petersburg. From the day in which a Russian battalion had crossed the Austrian frontier my opinion was fixed, and when my friend Mr. de Ziegesar came and told me the news I immediately said to him, "Germany will become Russian, and for the great majority of Germans there is no sort of hesitation as to the only side it remains to them to take."
The Princess having very obligingly taken the trouble to tell you my wishes with regard to my money matters, I need not trouble you further with them, and confine myself to thanking you very sincerely for your exactness, and for the discerning integrity with which you watch over the sums confided to your care. May events grant that they may prosper, and that they may not become indispensable to us very soon.—
Before the end of the winter I will send you a parcel of music (of my publications), which will be a distraction for your leisure hours. I endeavour to work the utmost and the best that I can, though sometimes a sort of despairing fear comes over me at the thought of the task I should like to fulfill, for which at least ten years more of perfect health of body and mind will be necessary to me.
Give my tender respects to Madame Liszt; you two form henceforth my father's entire family; and believe in the lively and unalterable friendship of
Your truly devoted,
F. Liszt
74. To Count Casimir Esterhazy
[Autograph (without address) in the possession of Herr Albert
Cohn, bookseller in Berlin.—The addressee was presumably Count
Esterhazy, whose guest Liszt was in Presburg in 1840.]
Let me thank you very sincerely for your kind remembrance, dear friend, and let me also tell you how much I regret that my journey to Hohlstein cannot come to pass during your short stay there. But as by chance you already find yourself in Germany, will you not push on some fine day as far as Weymar?—I should have very great pleasure in seeing you there and in receiving you—not in the manorial manner in which you received me at Presburg, but very cordially and modestly as a conductor, kept by I know not what strange chance of fate at a respectful distance from storms and shipwrecks!—
For three weeks past a very sad circumstance has obliged me to keep at Eilsen, where I had already passed some months of last winter. The reigning Prince is, as you have perhaps forgotten, the present proprietor of one of your estates,—the Prince of Schaumburg-Lippe. If by chance you are owing him a debt of politeness, the opportunity of putting yourself straight would be capital for me. Nevertheless I dare not count too much on the attractions of the grandeur and charms of Buckeburg! and I must doubtless resign myself to saying a longer farewell to you.
Let me know by Lowy of Vienna where I shall address to you some pieces in print which you can look over at any leisure hour, and which I shall be delighted to offer you. I will add to them later the complete collection of my "Hungarian Rhapsodies," which will now form a volume of nearly two hundred pages, of which I shall prepare a second edition next winter. Hearty and affectionate remembrances from
Yours ever,
F. Liszt
Eilsen, June 6th, 1851
75. To Theodor Uhlig, Chamber Musician in Dresden
[Autograph in the possession of Herr Hermann Scholtz, Chamber virtuoso in Dresden.—The addressee, who was an intimate friend of Wagner's (see "Wagner's Letters to Uhlig, Fischer, Heine"— London: H. Grevel & Co., 1890), gained for himself a lasting name by his pianoforte score of Lohengrin. He died January, 1853.]
The perusal of your most kind and judicious article in Brendel's Musical Gazette on the "Goethe Foundation" [By Liszt, 1850. See "Gesammelte Schriften," vol. v.] confirms me in the belief that I could not fail to be understood by you in full intelligence of the cause. Allow me then, my dear Mr. Uhlig, to thank you very cordially for this new proof of your obligingness and of your sympathy—in French, as this language becomes more and more familiar and easy to me, whereas I am obliged to make an effort to patch up more or less unskillfully my very halting German syntax.
The very lucid explanation that you have made of my pamphlet, as well as the lines with which you have prefaced and followed it, have given me a real satisfaction, and one which I did not expect to receive through that paper, which, if I am not mistaken, had hitherto shown itself somewhat hostile to me personally, and to the ideas which they do me the small honor to imagine I possess. This impression has been still further increased in me by reading Mr. Brendel's following article on R. Wagner, which seems to me a rather arranged transition between the former point of view of the Leipzig school or pupils and the real point of view of things. The quotation Brendel makes of Stahr's article on the fifth performance of "Lohengrin" at Weymar, evidently indicates a conversion more thought than expressed on the part of the former, and at the performance of "Siegfried" I am persuaded that Leipzig will not be at all behindhand, as at "Lohengrin."
I do not know whether Mr. Wolf (the designer) has had the pleasure of meeting you yet at Dresden; I had commissioned him to make my excuses to you for the delay in sending the manuscript of Wiland. Unfortunately it is impossible for me to think of returning to Weymar before the end of July, and the manuscript is locked up among other papers which I could not put into strange hands. Believe me that I am really vexed at these delays, the cause of which is so sad for me.
If by chance you should repass by Cologne and Minden, it would be very nice if you could stay a day at Buckeburg (Eilsen), where I am obliged to stay till the 15th of July. I have not much pleasure to offer you, but in return we can talk there at our ease of the St. Graal…
My pamphlet "Lohengrin and Tannhauser" will appear in French at Brockhaus' towards the end of July. It will have at least the same circulation as the "Goethe Foundation," and I will send you by right one of the first copies.
Kind regards to Wagner, about whom I have written a great deal lately without writing to him; and believe me yours very sincerely,
F. Liszt
Eilsen (Buckeburg), June 25th, 1851.
76. To Rosalie Spohr in Brunswick
[niece of Louis Spohr, and an incomparable harpist,—"The most ideal representative of her beautiful instrument," according to Bulow; after her marriage with Count Sauerma she retired from public life and now lives in Berlin.]
After your amiable authorization to do so, Mademoiselle, I have had your concert announced at Eilsen for Tuesday next, July 8th, and you may rest assured that the best society of Buckeburg and of the Badegaste [visitors who go for the baths] will be present.
The price of the tickets has been fixed for 1 florin, which is the maximum customary in this country. With regard to the programme, I await your reply, in which I shall be glad if you will tell me the four or five pieces you will choose, amongst which will be, I hope, Parish Alvars' Fantaisie on motives from "Oberon" and the "Danse des Fees."
A distinguished amateur, Monsieur Lindemann of Hanover, has promised me to play one or two violoncello solos, and the rest of the programme will be easily made.
As to your route, you had better take the Schnellzug [express] next Monday, which starts about 11 in the morning from Brunswick, and brings you to Buckeburg in less than three hours. From here it will only take you thirty-five minutes to get to Eilsen. The most simple plan for you would be not to write to me beforehand even, but to improvise your programme according to your fancy here. Only let me beg you not to arrive later than Monday evening, so that the public may be free from anxiety, and to set my responsibility perfectly at rest in a corner of your harp- case.
May I beg you, Mademoiselle, to remember me affectionately to your father? and be assured of the pleasure it will be to see you, hear you, and admire you anew, to your sincere and devoted servant,
F. Liszt
Eilsen, July 3rd, 1851
I beg you once more not to be later than next Monday, July 7th, in coming to Eilsen.
77. To Rosalie Spohr
I am deeply sensible of your charming lines, Mademoiselle, the impression of which is the completion for me of the harmonious vibrations of your beautiful talent,—vibrations which are still resounding in the woods and in your auditors at Eilsen. While expressing to you my sincere thanks I should reproach myself were I to forget the piquant and substantial present that your father has sent me, and I beg you to tell him that we have done all honor to the savory product of Brunswick industry. The Buckeburg industry having a certain reputation in petto in the matter of chocolate, the Princess, who sends her best regards to you and your family, wishes me to send you a sample, which you will receive by tomorrow's post. The chocolate, in its quality of a sedative tonic, will, moreover, not come amiss in the intervals of your study.
May I beg you, Mademoiselle, to give my affectionate compliments to your parents as well as to the clever drawing-historiographer [The younger sister of the addressee, Ida Spohr, at that time sixteen years old, who was a most gifted creature, both in poetry, painting, and music. She died young, at the age of twenty-four] whom you know? and receive once more the best wishes of yours most truly,
F. Liszt
Eilsen, July 22nd, 1851
78. To Breitkopf and Hartel
Allow me, my dear Mr. Hartel, to make known to you, as a kind of curiosity, a very long piece I composed last winter on the chorale "Ad Nos" from the "Prophete." If by chance you should think well to publish this long Prelude, followed by an equally long Fugue, I could not be otherwise than much obliged to you; and I shall take advantage of the circumstance to acquit myself, in all reverence and friendship, of a dedication to Meyerbeer, which it has long been my intention to do; and it was only for want of finding among my works something which would suit him in some respect, that I have been obliged to defer it till now. I should be delighted therefore if you would help me to fill up this gap in the recognition I owe to Meyerbeer; but I dare not press you too much for fear you may think that my Fugue has more advantage in remaining unknown to the public in so far that it is in manuscript, than if it had to submit to the same fate after having been published by your care.
In accordance with your obliging promise, I waited from week to week for the preface that Mr. Wagner has added to his three opera poems. I should be glad to know how soon you expect to bring them out, and beg you to be so good as to send me immediately three copies.
Believe me, my dear Mr. Hartel,
Yours affectionately and most truly,
F. Liszt
Weymar, December 1st, 1851
P.S.—Would it perhaps do to bring out my Fugue on the "Prophete" as No. 4 of my "Illustrations du Prophete"? That was at least my first intention. [It was published in that form by Breitkopf and Hartel.] In the same parcel you will find the piano score of the "Prophete," which I am very much obliged to you for having lent me.
79. To Louis Kohler in Konigsberg
[An important piano teacher and writer on music, and composer of valuable instructive works (1820-86).]
Dear Sir,
The friendly kindness with which you have spoken of a couple of my latest compositions lays me under an obligation of warm thanks, which I must no longer delay having the pleasure of expressing to you. I should be very glad if you find anything that suits you in my next impending piano publication (the new, entirely revised edition of my Studies, the "Harmonies Poetiques et Religieuses," and the two years of "Annees de Pelerinage, Suite de Compositions," etc.). In any case I shall venture to send this work, with the request that you will accept it as a token of my gratitude for the favorable opinion which you entertain of my artistic efforts.
At this moment I have to compliment you also very much on your arrangement of the Hungarian "Volkslieder" [Folk Songs]. For several years past I have been occupied with a similar work, and next winter I think of publishing the result of my national studies in a pretty big volume of "Hungarian Rhapsodies." Your transcriptions have interested me much through the correct perception of the melodies, and their elegant though simple style.
Senff [The well-known Leipzig music publisher.] showed me also in manuscript a book of Russian melodies, that seemed to me most successful. When will it come out?
If by any chance you have a spare copy of your new work, the exact title of which I do not remember, but it is somewhat as follows, "Opern am Clavier" [Operas at the Piano] or "Opern fur Clavierspieler" [Operas for Pianoforte Players] (or, in French, "Repertoire d'Opera pour les Pianistes"), I should be much obliged if you would let me have one.
Accept, dear sir, my best respects, and believe me
Yours truly,
F. Liszt
Weymar, April 16th, 1852
80. To Carl Reinecke
My dear Mr. Reinecke,
A very good friend of mine, Professor Weyden of Cologne, who has just been spending a few days with me here, kindly promises to give you these few lines and to tell you what pleasure your present of the "Variations on a Theme of Bach" has given me. It is a very eminent work, and perfectly successful in its actual form. While complimenting you sincerely upon it, I must also add my thanks that you have joined my name to it.
I should have liked to be able to send you some of my new works for piano, of which I spoke to you before; but, as I have been altering them and touching them up, the publication of them has been delayed; nevertheless, I expect that in the course of this summer the twelve "Grandes Etudes" (definitive edition) and the "Harmonies Poetiques et Religieuses" will successively appear, and in December or January next the "Annees de Pelerinage, Suite de Compositions pour le Piano," and the complete collection of my "Hungarian Rhapsodies." Meanwhile, let me offer you the "Concert Solo" and the two Polonaises which were written at Eilsen shortly after your visit to me there.
Joachim starts tomorrow for London, and I have commissioned him to persuade you to come and see me at Weymar on his return. I have been much attached to him this winter, and I hold his talent as well as himself in high esteem and true sympathy.—
Try not to delay too long the pleasure I should have in hearing your trio; I shall be delighted to make the acquaintance of Madame Reinecke, and would not wish to be among the last to congratulate you on your happiness.
In cordial friendship, yours ever,
F. Liszt
Weymar, April 16th, 1852
81. To Carl Czerny
[Autograph in the archives of the Musik-Verein in Vienna.]
My dearest and most honored Master and Friend,
A melancholy event which has thrown our Court into deep mourning- -the sudden death of the Duchess Bernard of Saxe-Weimar—has not allowed of my presenting your letter to Her Imperial Highness the Grand Duchess until a day or two ago. She has been pleased to receive your letter and your intentions with marked kindness, the expression of which you will find in the accompanying letter which she charged Baron de Vitzthum to write you in her name.
May I beg you then to advise Mr. Schott to send me immediately on the publication of your "Gradus ad Parnassum" a dedication copy, which I will get suitably bound in velvet here, and which I will immediately remit to H.I.H.—As regards the form of dedication, I advise you to choose the most simple:—
Gradus ad Parnassum, etc.,
Compose et tres respectueusement dedie a Son Altesse Imperiale et
Royale Madame la Grande Duchesse de Saxe-Weimar-Eisenach Marie
Paulowna, par Ch. Czerny.
[Composed and most respectfully dedicated to Her Royal and
Imperial Highness Marie Paulowna, Grand Duchess of Saxe-Weimar-
Eisenach by Ch. Czerny.]
Or if the title be in German:—
Componirt und I. kais. kon. Hoheit der Frau Grossherzogin zu Sachsen-Weimar-Eisenach Marie Paulowna, in tiefster Ehrfurcht gewidmet, von C. Cz.
What you tell me of the prodigious activity of your Muse obliges me to make a somewhat shameful acknowledgment of my relative slowness and idleness. The pupil is far from the master in this as in other points. Nevertheless I think I have made a better use of the last three years than of the preceding ones; for one thing I have gone through a rather severe work of revision, and have remodeled entirely several of my old works (amongst others the Studies which are dedicated to you, and of which I will send you a copy of the definitive edition in a few weeks, and the "Album d'un Voyageur," which will reappear very considerably corrected, increased, and transformed under the title of "Annees de Pelerinage, Suite de Compositions pour le Piano-Suisse et Italie"): for another thing I have been continuing writing in proportion as ideas came to me, and I fancy I have arrived at last at that point where the style is adequate to the thought. Unfortunately my outside occupations absorb much of my time. The orchestra and opera of Weymar were greatly in need of reform and of stirring up. The remarkable and extraordinary works to which our theater owes its new renown—"Tannhauser," "Lohengrin," "Benvenuto Cellini"—required numerous rehearsals, which I could not give into the hands of anybody else. The day before yesterday a very pretty work, in an elegant and simple melodic style, was given for the first time—"Der lustige Rath," [The Merry Councillor (or counsel)] by Mr. de Vesque, which met with complete success. Carl Haslinger, who had arrived for the first performance of "Cellini," was also present at this, and can tell you about it. In the interval between these two works, on Sunday last, he had his Cantata-Symphony "Napoleon" performed, and conducted it himself (as a rather severe indisposition has obliged me to keep my room for several days).
In the course of the month of June my mother, who proposes to pay a visit to her sister at Gratz, will have the privilege of going to see you, dear master, and of renewing to you, in my name and her own, our expressions of sincere gratitude to you for the numerous kindnesses you have shown me. Believe me that the remembrance of them is as lively as it is constant in my heart.
I owe you still further thanks for the trouble you have taken to make Mr. de Hardegg study Schubert's Fantasia, scored by me, and I beg you to give him my best compliments. It is perhaps to be regretted that this work, which contains many fine details, should have been played for the first time in the Salle de Redoute, so "redoutable" and ungrateful a room for the piano in general; in a less vast space, such as the salle of the Musik- Verein, the virtuoso and the work would assuredly have been heard more to advantage, and if I did not fear to appear indiscreet I should ask Mr. de Hardegg to play it a second time, in a concert room of moderate size.
I have inquired several times as to the talent and the career of Mr. de Hardegg, in whom I naturally feel an interest from the fact of the interest you take in him. If by chance he should be thinking of making a journey to this part of Germany, beg him from me not to forget me at Weymar. I shall be delighted to make his acquaintance, and he may be assured of a very affectionate reception from me.
Accept, my dear and honored friend, every assurance of my high esteem, and believe that I shall ever remain
Your very faithful and grateful
F. Liszt
Weymar, April 19th, 1852
82. To Gustav Schmidt, Capellmeister at Frankfort-on-the-Maine
[Autograph (without address) in the possession of M. Alfred Bovet at Valentigney.—The addressee was, in any case, the above- mentioned (1816-82), finally Court-Capellmeister (conductor) at Darmstadt, the composer of the operas "Prinz Eugen," "Die Weiber von Weinsberg," and others.]
Dear Friend,
.—. The idea of a Congress of Capellmeisters is indeed a very judicious one, and from a satisfactory realization of it only good and better things could result for the present divided state of music. There is no question that in the insulation and paralyzing of those who are authorities in Art lies a very powerful hindrance, which, if it continues, must essentially injure and endanger Art. Upon certain principles an union is necessary, so that the results of it may be actively applied, and it especially behooves Capellmeisters worthily to maintain the interests of music and musicians. A meeting such as you propose would be a timely one; only you will approve of my reasons when I renounce the honor of proposing this meeting for Weimar, and indicate Spohr to you as the proper head. The master Spohr is our senior; he has always furthered the cause of music as far as circumstances at Cassel permitted—the "Fliegender Hollander" was given at Cassel under his direction earlier than "Tannhauser" was given at Weymar. Talk it over with him, which from the near vicinity of Frankfort you can easily do, and if, as I do not doubt, he enters into your project, fix the date and let me know. I shall gladly take part in the matter, and will make it my business to do my share towards bringing about the desired results.
"Tannhauser" is announced for the 31st of this month (on occasion of the presence of Her Majesty the Empress of Russia). Beck takes the title-role at this performance. We shall give Schumann's "Manfred" a few days later. For next season the "Fliegender Hollander" and Spohr's "Faust," with the new Recitatives which he wrote for London, are fixed.
Farewell, and happiness attend you, dear friend; remember me kindly to your wife, and believe me ever
Yours most sincerely, F. Liszt
Weymar, May 18th, 1852.
83. To Robert Schumann
[Autograph in the Royal Library in Berlin.]
My very dear Friend,
It is with great pleasure that I am able to announce to you the first performance of "Manfred" for next Sunday, June 13th, and to invite you to come to it. ["Manfred" was put on the stage for the first time by Liszt] I hope that, at this time of year, your Dusseldorf duties will allow of your coming here for a couple of days, and that probably you will bring Clara with you, to whom please remember me very kindly. Should you, however, come alone, I beg that you will stay with me at the Altenburg, where you can make yourself perfectly at home. The last rehearsal is fixed for Friday afternoon; perhaps it would be possible for you to be present at it, which of course would be very agreeable to me. Your Leipzig friends will see the announcement of this performance in the papers, and I think you will consider it your bounden duty not to be absent from us at this performance.
Wishing you always from my heart the best spirits for your work, good health, and "every other good that appertains thereto," I remain unalterably
Yours most sincerely, F. Liszt
Weymar, June 8th, 1852.
84. To Robert Schumann
[Autograph in the Royal Library in Berlin.]
My very dear Friend,
I regret extremely that you could not come to the second performance [This might perhaps also be read "first performance.">[ of your "Manfred," and I believe that you would not have been dissatisfied with the musical preparation and performance of that work (which I count among your greatest successes). The whole impression was a thoroughly noble, deep, and elevating one, in accordance with my expectations. The part of Manfred was taken by Herr Potsch, who rendered it in a manly and intelligent manner. With regard to the mise-en-scene something might be said; yet it would be unfair not to speak in praise of the merits of the manager, Herr Genast. It seems to me therefore that it would be nice of you to write a friendly line of thanks to Herr Genast, and commission him to compliment Herr Potsch (Manfred) and the rest of the actors from you.
One only remark I will permit myself: the introduction music to the Ahriman chorus (D minor) is too short. Some sixty to a hundred bars of symphony, such as you understand how to write, would have a decidedly good effect there. Think the matter over, and then go fresh to your desk. Ahriman can stand some polyphonic phrases, and this is an occasion where one may rant and rage away quite comfortably.
Shall I send you your manuscript score back, or will you make me a lovely present of it? I am by no means an autograph-collector, but the score, if you don't require it any longer, would give me pleasure.
A thousand friendly greetings to Clara, and beg your wife to let me soon hear something of you.
In truest esteem and friendship,
Yours ever,
F. Liszt
Weymar, June 26th, 1852
85. To Peter Cornelius
[The exquisite poet-composer of the operas "The Barber of Baghdad," "The Cid," and "Gunlod," which have at last attained due recognition (1824-74).]
Weymar, September 4th, 1852
It has been a great pleasure to me, my dear Mr. Cornelius, to make the acquaintance of your brother, and I only regret that he passed several days here without letting me know of his stay. Your letter, which reached me through him, has given me a real pleasure, for which I thank you very affectionately. Short though our acquaintance has been, I am pleased to think that it has been long enough to establish between us a tie which years will strengthen without changing the natural and reciprocal charm. I congratulate you very sincerely in having put the fine season to so good a use by finishing the church compositions you had planned. That is an admirable field for you, and I strongly advise you not to give in till you have explored it with love and valor for several years. I think that, both by the elevation and the depth of your ideas, the tenderness of your feelings, and your deep studies, you are eminently fitted to excel in the religious style, and to accomplish its transformation so far as is nowadays required by our intelligence being more awake and our hearts more astir than at former periods. You have only to assimilate Palestrina and Bach—then let your heart speak, and you will be able to say with the prophet, "I speak, for I believe; and I know that our God liveth eternally."
We spoke with your brother about your vocation for composing religious—Catholic music. He enters thoroughly into this idea, and will give you help to realize it under outer conditions favorable to you. Munster, Cologne, and Breslau appeared to us to be the three places for the present where you would find the least obstacles in the way of establishing your reputation and making a position. But before you go to the Rhine I hope you will do me the pleasure of coming to see me here. The room adjoining that which Mr. de Bulow occupies is entirely at your service, and it will be a pleasure to me if you will settle yourself there without any ceremony, and will come and dine regularly with us like an inhabitant of the Altenburg. The theatrical season recommences on Sunday next, September 12th, with Verdi's "Ernani." In the early days of October (at the latest) "Lohengrin" will be given again; and on the 12th of November I expect a visit from Berlioz, who will spend a week at Weymar. Then we shall have "Cellini," the Symphony of Romeo and Juliet, and some pieces from the Faust Symphony.
Kindest regards from yours ever,
F. Liszt
86. To Clara Schumann
Weymar, September 11th, 1852.
It is not without regret that I obey your wish, Madame, in returning to you the autograph score of "Manfred," for I confess that I had flattered myself a little in petto that Robert would leave it with me in virtue of possession in a friendly manner. Our theater possesses an exact copy, which will serve us for subsequent performances of "Manfred;" I was tempted to send you this copy, which, for revision of proofs, would be sufficient, but I know not what scruple of honor kept me from doing so. Perhaps you will find that it is possible generously to encourage my slightly wavering virtue, and in that case you will have no trouble in guessing what would be to me a precious reward…
How is Robert's health? Have the sea baths done him good? I hope he will soon be restored all right to his home circle—and to his composing desk.—
It would have been very pleasant to me to renew our visit of last year to you at Dusseldorf, and I was indeed touched by the gracious remembrance of it which your letter gives me; but, alas! an unfortunate accident which has happened to my mother, by which she nearly broke her leg in coming downstairs, has obliged her to keep her bed for more than nine weeks, and even now she can only walk with the help of crutches, and it will be some months before she is all right again.
Forced as she was to remain at Weymar, I have not liked to leave her all this summer, and had to give up the pleasure of a holiday excursion.—The Princess Wittgenstein, and her daughter (who has become a tall and charming young girl), desire me to give their very affectionate remembrances to you and Robert, to which 1 add my most sincere wishes for the speedy restoration of our friend, and cordial assurances of my constant friendship.
F. Liszt
87. To Carl Czerny
[Autograph in the archives of the Musik-Verein in Vienna. The date is wanting; it may be placed, judging from Liszt's letter of October 30th, 1852, at the above-mentioned date.]
[September or October, 1852]
My Dear, Honored Master And Friend,
Permit me to recommend particularly to you Professor Jahn [The afterwards celebrated biographer of Mozart], with whose many interesting works of criticism and musical literature you are doubtless familiar (among others his Introduction to the original score of Beethoven's "Leonora," published by Hartel in Leipzig).
Mr. Jahn's object in going to Vienna is to collect documents for a biography of Beethoven, which will, I am persuaded, supply a want so much felt hitherto by the public and by artists. May I beg you—in honor of the great man whom you have had the merit of comprehending and admiring, long before the common herd joined in chorus around his name—to open the treasures of your reminiscences and knowledge to Mr. Jahn, and accept beforehand my sincere thanks for the good service you will render to Art in this matter?
It is with unchangeable attachment that I remain, dear master, your very grateful and devoted
F. Liszt
P.S.—When will the "Gradus ad Parnassum" come out?—You will receive the copy of my Studies, which are dedicated to you, through Mr. Lowy in a few days.
88. To Breitkopf and Hartel
[Autograph in the possession of M. Alfred Bovet at Valentigney]
Weymar, October 30th, 1852
My Dear Mr. Hartel,
I have given up to a friend the piano which you have been so good as to lend me for some years, and he (as I have already informed you verbally) asks me to let him defer the payment of it till the end of this month. I therefore take this opportunity of proposing to you either to let you immediately have the sum fixed upon for the piano (400 thalers), or else to make a settlement of reciprocal terms up to now, by which we shall be quits towards each other. The pleasure and advantage which I find in my relations with your house are too valuable to me for me not to do all in my power properly to maintain them, by conforming to your wishes and intentions. Of my works published by your house there are, if I mistake not, five—
12 Etudes d'execution transcendante (2 books), 6 Etudes d'apres Paganini (2 books), Grand Concerto Solo, Fantaisie and Fugue on the Chorale from the Prophete (No. 4 of the "Illustrations du Prophete"), Mass (with Pater Noster and Ave Maria) for four male voices with organ accompaniment
—upon which we have deferred putting a price until now. Without trying to deceive myself as to the moderate returns which these (as it happens, rather voluminous) works may bring to your house, I should venture however to flatter myself that they have not been an expense to you, and that they are even works not unsuited to your catalogue. However things may be, I beg you to be so good as to use towards me the same sincerity that I employ towards you, persuaded as I am that sincerity is the only basis of any lasting connection, especially when one has to do with things which divers circumstances may render more delicate and complicated. Allow me then at last, my dear Mr. Hartel, to propose to you to square our accounts by my keeping your piano in exchange for the above-mentioned five manuscripts, which should also acquit me for the works of Marx and Kiesewetter that you have sent me, so that, if my proposition suits you, we should be entirely quits.
I was glad to hear that Mr. Jahn had had occasion to be satisfied with his journey to Vienna, and I beg you to assure him that I am entirely at his disposal with regard to any steps to be taken to help on his work on Beethoven, for which I am delighted to be of any service to him.
In a fortnight's time I am expecting Mr. Berlioz here. The performances of "Benvenuto Cellini" will take place on the 18th and 20th November, and on the 21st the Symphonies of "Romeo and Juliet" and "Faust" will be performed, which I proposed to you to publish. If your numerous occupations would allow of your coming here for the 20th and 21st I am certain that it would be a great interest to you to hear these exceptional works, of which it is a duty and an honor to me not to let Weymar be in ignorance.
Will you, my dear Mr. Hartel, accept this information as an invitation, and also tell your brother, Mr. Raymond, what pleasure a visit from him would give me during the Berlioz week? We shall, moreover, be at that time in good and romantic company of artists and critics from all points, meeting at Weymar.
I will send you shortly my Catalogue, which you will greatly oblige me by bringing out without very much delay. The dispersion and confusion through which my works have had to make their way hitherto have done them harm, over and above any wrong that they already had by themselves; it is therefore of some importance to classify them, and to present to the public a categorical insight into what little I am worth. As I have promised to send this catalogue to many people living in all sorts of countries, I beg that you will put to my account, not gratis, some sixty copies, which I fear will not be enough for me, but which will at least serve to lessen the cost of printing.
In this connection allow me to recur to a plan of which I have already spoken to you—the publication in German of my book on Chopin. Has Mr. Weyden of Cologne written to you, and have you come to terms with him on this subject? The last time he wrote to me he told me that he had not yet had an answer from you. As he is equally master of French and German, and as he thoroughly succeeded in his translation of my pamphlet on "Tannhauser and Lohengrin," I should be glad for the translation of Chopin to be done by him; and in case you decide to publish his work please put me down for fifty copies.
Pray excuse this long letter, my dear Mr. Hartel, and believe me very sincerely,
Yours affectionately and devotedly,
F. Liszt
89. To Breitkopf and Hartel
[Autograph in the possession of M. J. Crepieux-Jamin at Rouen.]
My dear Mr. Hartel,
I thank you very heartily for the fresh proof of your kind intentions towards me which your last letter gives me, and I hasten to return to you herewith the two papers with my signature by which our little accounts are thus settled. With regard to the extra account of about eighty crowns, which I thank you for having sent me by the same opportunity, I will not delay the paying of it either. Only, as it contains several things which have been got by the theater management (such as "Athalie," the piano scores of "Lohengrin," Schubert's Symphony, etc.), you will allow me to leave it a few days longer, so that I may get back the sum which is due to me,—and which, till the present time, I was not aware of having been placed to my account, thinking indeed that these various works for which I had written for the use of the theater had long ago been paid for by the management.—
I beg that you will kindly excuse this confusion, of which I am only guilty quite unawares.
With regard to the publication of the "Pater Noster" and of the "Ave Maria," please do it entirely to your own mind, and I have no other wish in the matter but that the "Pater" should not be separated from the "Ave," on account of the former being so small a work; but whether you publish these two pieces with the Mass, or whether they appear separately (the two being in any case kept together), either of these arrangements will suit me equally well. For more convenience I have had them bound in one, as having been written at the same time and as belonging to the same style.—Berlioz has just written me word that he will probably arrive here two or three days sooner—and the proprietors of our repertoire have fixed the 17th November (instead of the 18th) for the first performance of the revival of "Cellini." Immediately after he is gone I will put in order the Catalogue that you are kindly bringing out, and which I should be glad to be able to distribute about before the end of the winter. You shall have the manuscript before Christmas.—
As Mr. Weyden has been a friend of mine for several years I may be permitted to recommend him to you, and have pleasure in hoping that your relations with him, on occasion of the translation of the Chopin volume, will be of an easy and agreeable nature. [The German translation of the work was not done until it appeared, by La Mara, in 1880, after the publication of a second edition.]
Pray accept once more, my dear Mr. Hartel, my best thanks, together with every assurance of the sincere affection of
Yours most truly,
F. Liszt
November l0th, 1852
90. To Professor Julius Stern in Berlin
[1820-83; founder of the Stern Vocal Union (which he conducted from 1847-74), and of the Stern Conservatorium (1850), which he directed, firstly with Marx and Kullak, and since 1857 alone.]
November 24th, 1852.
My dear Mr. Stern,
I hope you will excuse my delay in replying to your friendly lines, for which I thank you very affectionately. Mr. Joachim was absent when they reached me, and all this last week has been extremely filled up for Weymar (and for me in particular) by the rehearsals and performance of Berlioz's works. Happily our efforts have been rewarded by a success most unanimous and of the best kind. Berlioz was very well satisfied with his stay at Weymar, and I, for my part, felt a real pleasure in being associated with that which he experienced in the reception accorded to him by the Court, our artists, and the public. As this week has, according to my idea, a real importance as regards Art, allow me, my dear Mr. Stern, to send you, contrary to my usual custom, the little resume that the Weymar Gazette has made of the affair, which will put you very exactly au courant of what took place. You will oblige me by letting Schlesinger see it also, and he will perhaps do me the pleasure of letting the Berlin public have it through his paper (The Echo).
I did not fail to conform to the wish expressed in your last letter, immediately that Joachim returned to Weymar, and I urged him much to accept the proposition you have made him to take part in the concert of the 13th of December. You know what high esteem I profess for Joachim's talent, and when you have heard him I am certain you will find that my praises of him latterly are by no means exaggerated. He is an artist out of the common, and one who may legitimately aspire to a glorious reputation.
Moreover he has a thoroughly loyal nature, a distinguished mind, and a character endowed with a singular charm in its rectitude and earnestness.
The question of fee being somewhat embarrassing for him to enter into with you, I have taken upon myself to speak to you about it without any long comment, and to mention to you the sum of twenty to twenty-five louis d'or as what seems to me fair. If Joachim had already been in Berlin, or if his stay there could take place at the same time with some other pecuniary advantage, I feel sure that he would take a pleasure in offering you his co-operation for nothing; but in the position he is in now, not intending at present to give concerts in Berlin, and not having as yet any direct relations with you, I think you will appreciate the motives which lead me to fix this sum with you…
If, as I hope, you do not consider it out of proportion, please simply to be so good as to write a few lines to Joachim direct, to tell him what day he ought to be in Berlin for the rehearsal of your concert, so that he may ask a little beforehand for his holiday from here.
Will you also please give my best regards to Th. Kullak? I have had the opportunity of talking rather fully about him these last days with two of his pupils, Princesses Anne and Louise (of Prussia), and also with their mother, Princess Charles. Mr. Marx (to whom I beg you to remember me kindly, until I write more fully to him about the performance of his "Moses") will shortly receive a letter from Mr. Montag, whom I have begged to bring with him the arrangements relating to the song parts, which Mr. Marx will be so kind as to lend us. Probably this oratorio can be given here towards the end of next January or the middle of next February, and as soon as the rehearsals are sufficiently advanced I shall write to Marx to give him positive tidings and to invite him to pay us a short visit at Weymar.
A thousand frank and cordial regards from
Yours ever,
F. Liszt
You probably already know that Joachim is leaving Weymar to settle in Hanover at the beginning of next year.
91. To Wilhelm von Lenz in St. Petersburg
[A well-known writer on music and especially on Beethoven;
Imperial Russian Councillor of State (1809-83).]
I am doubly in your debt, my dear Lenz (you will allow me, will you not, to follow your example by dropping the Mr.?), firstly for your book, ["Beethoven and his Three Styles" (St. Petersburg, 1852).] so thoroughly imbued with that sincere and earnest passion for the Beautiful without which one can never penetrate to the heart of works of genius; and, secondly, for your friendly letter, which reached me shortly after I had got your book, the notice of which had very much excited my curiosity. That I have put off replying to you till now is not merely on account of my numerous occupations, which usually preclude my having the pleasure of correspondence, but chiefly on account of you and your remarkable work, which I wanted to read at leisure, in order to get from it the whole substance of its contents. You cannot find it amiss that it has given me much to reflect upon, and you will easily understand that I shall have much to say to you on this subject—so much that, to explain all my thoughts, I should have to make another book to match yours—or, better still, resume our lessons of twenty years ago, when the master learned so much from the pupil,—discuss pieces in hand, the meaning, value, import, of a large number of ideas, phrases, episodes, rhythms, harmonic progressions, developments, artifices;—I should have to have a good long talk with you, in fact, about minims and crotchets, quavers and semi-quavers,—not forgetting the rests which, if you please, are by no means a trifling chapter when one professes to go in seriously for music, and for Beethoven in particular.
The friendly remembrance that you have kept of our talks, under the name of lessons, of the Rue Montholon, is very dear to me, and the flattering testimony your book gives to those past hours encourages me to invite you to continue them at Weymar, where it would be at once so pleasant and so interesting to see you for some weeks or months, ad libitum, so that we might mutually edify ourselves with Beethoven. Just as we did twenty years ago, we shall agree all at once, I am certain, in the generality of cases; and, more than we were then, shall we each of us be in a position to make further steps forward in the exoteric region of Art.—For the present allow me, at the risk of often repeating myself hereafter, to compliment you most sincerely on your volume, which will be a chosen book and a work of predilection for people of taste, and particularly for those who feel and understand music. Artists and amateurs, professors and pupils, critics and virtuosi; composers and theorists—all will have something to gain from it, and a part to take in this feast of attractive instruction that you have prepared for them. What ingenious traits, what living touches, what well-dealt blows, what new and judiciously adapted imagery should I not have to quote, were I to enter in detail into your pages, so different from what one usually reads on similar subjects! In your arguments, and in the intrinsic and extrinsic proofs you adduce, what weight—without heaviness, what solidity—without stiffness, of strong and wholesome criticism—without pedantry! Ideas are plentiful in this by turns incisive, brilliant, reflected, and spontaneous style, in which learning comes in to enhance and steady the flow of a lively and luxuriant imagination. To all the refinement and subtle divination common to Slavic genius, you ally the patient research and learned scruples which characterize the German explorer. You assume alternately the gait of the mole and of the eagle—and everything you do succeeds wonderfully, because amid your subterranean maneuvers and your airy flights you constantly preserve, as your own inalienable property, so much wit and knowledge, good sense and free fancy. If you had asked me to find a motto for your book I should have proposed this,
"Inciter et initier,"
as best summing up, according to my ideas, the aim that you fulfill by your twofold talent of distinguished writer and musician ex professo. It is really curious to observe how the well-known saying, "It is from the north that light comes to us today," has been verified lately with regard to musical literature. After Mr. Oulibicheff had endowed us with a Mozart, here come you with a Beethoven. Without attempting to compare two works which are in so many respects as different and separate as the two heroes chosen by their respective historiographers, it is nevertheless natural that your name should be frequently associated with that of Mr. Oulibicheff—for each is an honor to Art and to his country. This circumstance, however, does not do away with your right to lecture Mr. Oulibicheff very wittily, and with a thorough knowledge of the subject, for having made of Mozart a sort of Dalai-Lama, [The head of the temporal and spiritual power in Thibet (Translator's note)] beyond which there is nothing. In all this polemical part (pp. 26, 27, etc.), as in many other cases, I am entirely of your opinion, with all due justice to the talents and merits of your compatriot. From a reading of the two works, Mozart and Beethoven, it is evident that, if the studies, predilections, and habits of mind of Mr. Oulibicheff have perfectly predisposed him to accomplish an excellent work in its entirety, yours, my dear Lenz, have led you to a sort of intimacy, the familiarity of which nourished a sort of religious exaltation, with the genius of Beethoven. Mr. Oulibicheff in his method proceeds more as proprietor and professor; you more as poet and lawyer. But, whatever may be said about this or that hiatus in your work, the plan of which has confined you disadvantageously to the analysis of the piano sonatas, and however much people may think themselves justified in cavilling at you about the distribution of your materials, the chief merit, which none could refuse you without injustice, is that you have really understood Beethoven, and have succeeded in making your imagination adequate to his by your intuitive penetration into the secrets of his genius.
For us musicians, Beethoven's work is like the pillar of cloud and fire which guided the Israelites through the desert—a pillar of cloud to guide us by day, a pillar of fire to guide us by night, "so that we may progress both day and night." His obscurity and his light trace for us equally the path we have to follow; they are each of them a perpetual commandment, an infallible revelation. Were it my place to categorize the different periods of the great master's thoughts, as manifested in his Sonatas, Symphonies, and Quartets, I should certainly not fix the division into three styles, which is now pretty generally adopted and which you have followed; but, simply recording the questions which have been raised hitherto, I should frankly weigh the great question which is the axis of criticism and of musical aestheticism at the point to which Beethoven has led us—namely, in how far is traditional or recognized form a necessary determinant for the organism of thought?—
The solution of this question, evolved from the works of Beethoven himself, would lead me to divide this work, not into three styles or periods,—the words "style" and "period" being here only corollary subordinate terms, of a vague and equivocal meaning,—but quite logically into two categories: the first, that in which traditional and recognized form contains and governs the thought of the master; and the second, that in which the thought stretches, breaks, recreates, and fashions the form and style according to its needs and inspirations. Doubtless in proceeding thus we arrive in a direct line at those incessant problems of "authority" and "liberty." But why should they alarm us? In the region of liberal arts they do not, happily, bring in any of the dangers and disasters which their oscillations occasion in the political and social world; for, in the domain of the Beautiful, Genius alone is the authority, and hence, Dualism disappearing, the notions of authority and liberty are brought back to their original identity.—Manzoni, in defining genius as "a stronger imprint of Divinity," has eloquently expressed this very truth.—
This is indeed a long letter, my dear Lenz, and as yet I am only at the preliminaries. Let us then pass on to the Deluge,—and come and see me at Weymar, where we can chat as long and fully as we like of these things in the shade of our fine park. If a thrush chances to come and sing I shall take advantage of the circumstance to make, en passant, some groundless quarrels with you on some inappropriate terms which one meets with here and there in your book,—as, for example, the employment of the word "scale" (ut, fa, la, etc.) instead of arpeggio chord; or, again, on your inexcusable want of gallantry which leads you maliciously to bracket the title of "Mamselle" (!) on to such and such a Diva, a proceeding which will draw down upon you the wrath of these divinities and of their numerous admirers. But I can assure you beforehand that there are far more nightingales than thrushes in our park; and, similarly, in your book the greater number of pages, judiciously thought out and brilliantly written, carry the day so well in worth and valor over any thinly scattered inattentions or negligences, that I join with my whole heart in the concert of praise to which you have a right.
Pray accept, my dear Lenz, the most sincere expressions of feeling and best thanks of
Your very affectionate and obliged
F. Liszt
Weymar, December 2nd, 1852
As Madame Bettina d'Arnim has been passing some weeks at Weymar, I let her know about your book. Feeling sure that the good impression it has made on her would be a pleasure to you to hear, I begged her to confirm it by a few lines, which I enclose herewith.—
92. To Robert Radecke in Leipzig
[Printed in the Neue Berliner Musik-Zeitung, November 20th, 1890.—The addressee, afterwards Conductor of the Royal Opera, and present Director of the Royal Academical Institute for Church Music in Berlin, was formerly Vice-director of the Leipzig "Singacademie" with Ferdinand David, and, intoxicated with the first performance of Berlioz's Faust at Weimar, he had determined to give such another in the Vocal Union of which he was Co- director. With this object he begged Liszt for the score. But the plan was not carried out, as Radecke exchanged his post at New Year, 1853, for that of a Music Director at the Leipzig Town theater.]
Best thanks, dear Radecke, for your letter and the approved good intention.
The "Faust" score will be at your service with great pleasure as soon as I have got it back from Berlioz. It is probable that the copy which Berlioz will see about for me in Paris will be ready by Christmas, so that I shall be able to send it you soon after New Year.
In the course of the winter I intend also to give a performance of the little oratorio "La Fuite en Egypte," attributed to the imaginary Maitre de Chapelle Pierre Ducre. This graceful and interesting work should meet with approbation in Leipzig, and offers no difficulty either for voice or orchestra. If you keep the secret, and let your Gesangverein [Vocal Union] study it under the name of Pierre Ducre, a composer of the sixteenth century, I am convinced that it will not fail to make an effect.
[Liszt's playful suggestion about the Flight into Egypt was based upon the fact that Berlioz, on its first performance, had mystified the Paris public and brought forward the work under the feigned name of Pierre Ducre, the organist of the Sainte Chapelle in Paris in the year 1679.]
Joachim goes the day after tomorrow to Berlin; Cossmann is in Paris; and Nabich [The first trombone player of the Weimar orchestra, and a most admirable performer on his instrument.] is performing in London, Liverpool, and Manchester. None the less we are giving "Tannhauser" next Sunday (12th) (with subscriptions suspended!), and for this occasion the entire Finale of the second act and the new ending of the third will be studied.
Now farewell, and be active and cheerful, is the wish of yours most sincerely,
F. Liszt
December 9th, 1852
93. To Bernhard Cossmann
[Weimar, December, 1852.]
[The date and ending of the letter are wanting, but from its contents it may be ascribed to this date.]
Thanks, dear friend, for your kind few lines, which have given me sincere pleasure. Joachim is not yet back from Berlin, and Beck [The chief tenor (hero-tenor) at the Court Opera] has again got his old attack of the throat, and I fear rather seriously, from which these six years of cures, it appears, have not succeeded in curing him radically. In consequence of this dearth of tenors, the performances of Wagner's and Berlioz's operas are going to be put off till February, when I hope that Tichatschek will be able to come from Dresden and sing "Tannhauser," "Lohengrin," and the "Flying Dutchman."
As for Cellini [Berlioz's opera]; we shall unfortunately have to wait until Dr. Lieber, the new tenor engaged for next season, at present at the Cologne theater, has learnt the part. I hear Lieber's voice highly spoken of, and it seems that he possesses also a dose of intelligence sufficient to understand how he ought to behave here.—
In the matter of news I have one small item to give you—namely, that on your return your salary will be raised fifty crowns, to make the round sum of four hundred.—Laub [Ferdinand Laub, a noteworthy violinist, was engaged for the 1st of January, 1853, as Joachim's successor as Concertmeister at Weimar.] will arrive very shortly, and accepts the propositions which have been made to him. He will not be…
94. To Wilhelm Fischer, Chorus Director in Dresden
[Autograph in the possession of Herr Otto Lessmann at
Charlottenburg.—The addressee was an intimate friend of Wagner's
("Letters to Uhlig, Fischer, and Heine"—Leipzig, Breitkopf and
Hartel, 1889).]
Dear Sir,
By today's post I have sent you a minutely corrected copy of the score of the "Flying Dutchman."
As this copy was my own property (Wagner had left it for me after his stay here in 1869) I could not suppose that Uhlig could expect it back from me as a theater score. The last letter from Wagner to me has made the matter clear, and I place this score with pleasure at his further disposal. I have replied to Wagner direct and fully; he is therefore aware that I have sent you my copy. [For fuller particulars about this see the "Wagner-Liszt Correspondence," vol. i., pp. 207-9.]
Allow me to beg you kindly to make my excuses to Herr Heine [Ferdinand Heine, Court actor and costumier, famous through Wagner's letters to him.] that I do not answer his letter just now. His indulgent opinion of our Lohengrtn performance is very flattering to me; I hope that by degrees we shall deserve still better the praise which comes to us from many sides: meanwhile, as the occasion of his writing was just the matter of the "Hollander" score, and as this is now quite satisfactorily settled, it does not require any further writing.
With best regards, yours truly,
F. Liszt
Weymar, January 13th, 1853
Is Tichatschek coming to our "Lohengrin" performance in February? Please beg him to try to do so. On Weymar's side nothing will be neglected, and it will be a real joy to us both.
95. To Edmund Singer
[Formerly Concertmeister at Weimar; at present Court
Concertmeister and Professor at the Stuttgart Conservatorium.]
Dear Sir,
I thank you much for your friendly letter, and commission Herr Gleichauf (in whom you will recognize an admirable viola virtuoso) to persuade you not to retract your promised visit to me at Weymar. It would be very pleasant to me to be able to keep you here a longer time, yet I doubt whether you would be satisfied with such a modest post as our administrative circumstances warrant. When we have an opportunity we will talk further of this; meanwhile it will be a pleasure to me to see and hear you again. Laub's acquaintance will also interest you; he has just been playing some pieces with a really extraordinary virtuosity and bravura, so that we have all become quite warm about it.
Come, then, as soon as you have a couple of spare days, and be assured beforehand of the most friendly reception.
With my very best regards,
Yours truly,
F. Liszt
Saturday, January 15th, 1853