As regards the place of meeting for the next Tonkunstler- Versammlung I am quite of your opinion. First of all I advise you to consult Bulow. Owing to his long connection with the Court at Carlsruhe he is best qualified to take the preliminary measures ("to pave the way"!). If the Grand Duke and Grand Duchess take up the matter favorably, then without doubt all that is requisite and necessary will be done in the most desirable manner. The most essential things are
(a) Letting us have the theater free of charge for two to three evenings—(as at Weimar—would not it perhaps be best to mention this in the 1st letter?).
(b) Official preparatory measures by the Intendant to ensure the co-operation of the Carlsruhe orchestra and chorus, also free of charge.
You will have to consult more fully with Dr. Devrient and Kalliwoda as to the best time for it. But the thing to be done before all else is to gain the Grand Duke's interest—and if you think it would be practicable for me to write a few lines to H.R.H. later on I will do so with pleasure. I only beg that you will give me exact particulars of the steps already made and their results.
For my part I think that to Bulow, a priori, ought to be entrusted the conducting of the Musical Festival, and this point should be at once mentioned as settled in the introductory letter to the Grand Duke. Otherwise Bedow's position in the affair would not be sufficiently supported.
To sum up briefly: Request Bulow to undertake the conductorship of the Musical Festival; and address the Grand Duke of Baden, either by letter or by word of mouth (as opportunity may warrant), with the request that H.R.H. would graciously support the proposed Musical Festival of the third Tonkunstler- Versammlung, by giving it his patronage, as the Grand Duke of Weimar did last year, etc., etc.
.—. That excellent Pohl has quite forgotten me. I asked him, through Gottschalg, to send me my Gesam- melte Lieder [complete songs], the "Dante Symphony" (in score and arrangement for 2 Pianos), the 4-hand Symphonic Poems, and a couple of copies of my Catalogue (published by Hartel).
I have been waiting in vain for these for two months. A few days ago I wrote to Frau von Bulow to send Pohl an execution; perhaps this may help matters at length!
The Berlioz parts have remained at Weimar. Grosse knows about them—and possibly they have also gone to Pohl with the rest of the scores. As soon as they are found I shall be happy to make a present of them to the library of the Musikverein for their use, as well as the scores, and I authorise you with pleasure, dear friend, to do the same with the score and parts of the "Gran Mass."
The newspaper has not reached me from Pohl any more than the parcel.
Hearty greetings to your wife from yours in all friendship,
F. L.
6. To Dr. Franz Brendel
Dear Friend,
Well, as the parcel has come at last, Pohl shall not be scolded any more, and his "innocence" shall shine out in full splendor! .—.
I have just received a few lines from Berlioz; Schuberth, whom I commissioned, before I left, to send the dedication-copy of the "Faust" score to Berlioz, has again in his incompetent good nature forgotten it, and perhaps even from motives of economy has not had the dedication-plate engraved at all!!—Forgive me, dear friend, if I trouble you once more with this affair, and beg you to put an execution on Schuberth in order to force a copy with the dedication-page from him. The dedication shall be just as simple as that of the "Dante Symphony," containing only the name of the dedicatee, as follows,
"To Hector Berlioz."
After this indispensable matter has been arranged I beg that you will be so kind as to have a tasteful copy, bound in red or dark green, sent, perhaps through Pohl (?), to Berlioz at Baden (where he will be at the beginning of August. In case neither Pohl nor his wife should go to Baden this summer (which however I scarcely expect will be the case), send the copy to Fraulein Genast (who, as I learn from the "Zeitschrift" [periodical], is at present in Carlsruhe) with the request that she will give it to Berlioz.
Is there not any talk of bringing out an arrangement of the "Faust Symphony" for 2 Pianofortes?—Schuberth is sure to have far greater things in contemplation, and I almost regret having incommoded him by giving up the manuscripts!—
Nonetheless, please take him to task about it, or, better, bully him into action with "Faust-Recht" [Faust rights or Faust justice.] In truth the final chorus of Part III. of the Faust tragedy, "faithful to the spirit of Part II. as composed by Deutobold-Symbolizetti-Allegoriowitsch-Mystifizinsky"—
"Das Abgeschmackteste
Hier ward es geschmeckt,
Das Allvertrackteste
Hier war es bezweckt"
[A parody on the concluding lines of Goethe's Faust. The parody may be freely translated as follows:—
The most insipid
Here was tasted;
In queerest nonsense
Here all was wasted.">[
can often be applied to matters of publishing. And while I am touching on this, to me, very disagreeable chapter, may I also take the opportunity of inquiring how long our amiable friend and patron Julius Schuberth is intending to ignore the 2 Episodes from Lenau's "Faust" ("Nachtlicher Zug"—and "Mephisto Walzer"), which I recommended to his good graces more than a year ago, and gave him in manuscript?
Must the pages perchance become quite mouldy, or will he bring them out as an oeuvre posthume [posthumous work]? I am tired of doing silent homage to this noble mode of proceedings, and intend next time to help the publisher out of all his perplexities [Untranslatable pun on "Verleger" and "Verlegenheiten.">[ by putting the manuscripts back in their place again.—
—
"O Freunde, nicht diese Tone, sondern lasst uns angenchmere anstimmen!" [A quotation from Schiller's "Ode to joy" in Beethoven's "Choral Symphony:" "O friends, not tones like these, but brighter ones let us sing.">[ (I am perhaps not quoting exactly, although the sense of the apostrophe remains clearly present, especially in musical enjoyments and experiences!) Amongst the "more pleasant" things I at once place much information given in your letter and the newspaper (which reached me at the same time in some 16 numbers with Pohl's parcel). My most earnest wishes are, first and foremost, bound up in the complete prospering, upspringing, and blossoming of the "grain of mustard-seed" of our Allgemeine Deutsche Musik-Verein. With God's help I will also support this in other fashion than mere "wishes." According to my opinion the third Tonkunstler- Versammlung will be the chief factor in strengthening and extending the Allgemeine Deutsche Musik-Verein, which comprises in itself the entire development and advancement of Art.
Various reasons led me to recommend Carlsruhe to you in my last letter as the most suitable place for the third Tonkunstler- Versammlung, that is, supposing that H.R.H. the Grand Duke gives his countenance to the matter, and grants us favorable conditions with regard to the disposal of the theater, orchestra, and chorus. It behoves Bulow, as conductor of the musical performances, to undertake to "pave the way" towards a favorable promise on the Grand Duke's side. Within two to three months the necessary preliminaries can be fixed, and I shall then expect fuller tidings from you about the further plans and measures.
Without wishing to make any valid objection to Prague—rather with all due acknowledgment of what Prague has already accomplished and may still accomplish—yet it seems to me that the present political relations of the Austrian monarchy would make it inopportune to hold the Tonkunstler-Versammlung in Prague just now. On the other hand I am of opinion that a more direct influence than has yet been possible on South Germany, which is for the most part in a stagnating condition, would be of service. Stuttgart in particular, through Pruckner, Singer, Stark, etc., might behave at it differently from what it did at a previous Musical Festival in Carlsruhe!
Dr. Gille's interest in the statutes and deliberations of the M.V. [Musik-Verein] is very advantageous, as also Pohl's previous removal to Leipzig. .—. The constant intercourse with you, together with the Leipzig acids and gases, will be sure to suit him well.
From Weimar I have received a good deal of news lately from Count Beust, Dingelstedt, Gille, and Stor. To the latter my answer will be little satisfactory; but I cannot continue with him on any other road, and let the overpowering Dominant of his spasmodic vanity serve as the Fundamental note of our relations.
I am writing to Gille by the next post, and also to Muller, who rejoiced me lately by his Erinnerungs-Blatt [remembrance] from Weimar, (in the 8th November issue of the "Zeitschrift," which I have only now received). Will you, dear friend, when you have an opportunity, give my best thanks to Kulke for his article upon Symphony and Symphonic Poem—and also the enclosed lines to Fraulein Nikolas, from whom I have received a charming little note?
Already more than 140 pages of the score of my "Elizabeth" are written out complete (in my own little cramped scrawl). But the final chorus—about 40 pages—and the piano-arrangement have still to be done. By the middle of August I shall send the entire work
to Carl Gotze at Weimar to copy, together with the "Canticus of St. Francis," which I composed in the spring. ["Cantico del Sole," for baritone solo, men's chorus, and organ. Kahnt.] It would certainly be pleasanter for me if I could bring the things with me—but, between ourselves, I cannot entertain the idea of a speedy return to Germany. If later there seems a likelihood of a termination to my stay in Rome, you, dear friend, shall be the first to hear of it.
With hearty greetings to your wife, I remain
Yours in sincere and friendly attachment,
F. Liszt
Rome, July 12th, 1862
Your little commission about Lowenberg shall be attended to. Let me soon have news of you and of my intimate friends again. There is absolutely nothing to tell you from here that could interest you. In spite of the heat I shall spend the summer months in Rome.
7. To Dr. Franz Brendel
[Letters 7, 8, 9, 18, and 24 to Brendel have been partially published in La Mara's "Musikerbriefe" (Letters of Musicians), Vol. II.]
What a delightful bunch of surprises your letter brings me, dear friend! So Pohl has really set to work on the Faust brochure—and Schuberth is actually not going to let the piano-arrangement of the "Faust Symphony" lie in a box till it is out of date. How curious it all sounds, just because it is so exactly the right thing and what I desired!—If you are back in Leipzig please send me soon a couple of copies of the Faust brochure (those numbers of the journal containing Pohl's articles have not reached me), and also send me the 2-pianoforte arrangement of the Faust Symphony (a few copies when convenient). I have as yet received nothing of the parcel which Kahnt announced as having sent me with some of my 4-hand things; and as I have fished out here a very talented young pianist, Sgambati [A pupil of Liszt's, and now one of the first pianoforte players and composers of Italy; has been, since 1871, Professor at the Academia Sta. Cecilia in Rome] by name, who makes a first-rate partner in duets, and who, for example, plays the Dante Symphony boldly and correctly, it would be a pleasure to me to be able to go through the whole cycle of the Symphonic Poems with him. Will you be so good therefore, dear friend, as to ask Hartel for the whole lot in the 2-pianoforte arrangement (a double copy of each Symphonic Poem, for with one copy alone I can do nothing, as I myself can only play the thing from notes!), and also the 4-hand arrangement, with the exception of the "Festklange," which Hartels have already sent me?
Besides these, I expect in the same parcel the Marches which
Schuberth has published (the "Goethe Marsch" and the Duke of
Coburg) and the "Kunstler Festzug" [Artists' procession] (for 4
hands), which I ordered previously.—
The "Legend of St. Elizabeth" is written out to the very last note of the score; I have now only to finish a part of the piano arrangement, and the 4-hand arrangement of the Introduction, the Crusaders' March, and the final procession—which shall be done by the end of this month at latest. Then I send the whole to Weimar to be copied, together with a couple of other smaller manuscripts. What will be its ultimate fate will appear according as…Meanwhile I will try one or two little excursions into the country (to Albano, Frascati, Rocca di Papa—and a little farther still, to the "Macchia serena" near Corneto, where in earlier times much robbery and violence took place!), and before the end of September I hope to be able to set steadily to work again, and to continue my musical deeds of "robbery and murder"! Would that I only could hear, like you, the Sondershausen orchestra, and were able to conjure friend Stein and his brave phalanx into the Colosseum! The locality would assuredly be no less attractive than the "Loh," [The Sondershausen concerts are, as is well known, given in the "Lohgarten.">[ and Berlioz's Harold Symphony, or Ce que l'on entend sur la montagne [One of Liszt's Symphonic Poems], would sound there quite "sonderschauslich" [curious] [Play of words on Sondershausen and "sonderbar" or "sonderlich">[. I often imagine the orchestra set up there, with the execrated instruments of percussion in an arcade—our well—wishers Rietz, Taubert, and other braggarts of criticism close by (or in the Aquarium!)—the directors of the Deutsche Musik-Verein resting on the "Pulvinare," and the members all around resting on soft cushions, and making a show in the reserved seats of the Subsellia, as senators and ambassadors used to do!—
Tell Stein of this idea, and give him my most friendly thanks for all the intelligent care and pains that he so very kindly gives to my excommunicated compositions. As regards the performances of the Sondershausen orchestra I am quite of your opinion, and I repeat that they are not only not outdone, but are even not often equalled in their sustained richness, their judicious and liberal choice of works, as well as in their precision, drilling, and refinement.—It is only a shame that no suitable concert-hall has been built in Sondershausen. The orchestra has long deserved such an attention; should such a thing ever fall to their lot, pray urge upon Stein to spread out the Podium of the orchestra as far as possible, and not to submit to the usual limited space, as they made the mistake of doing in the Gewandhaus, the Odeonsaal in Munich, etc., etc., and also, alas, in Lowenberg. The concert- hall of the Paris Conservatoire offers in this respect the right proportions, and a good part of the effect produced by the performances there is to be ascribed to this favorable condition.—
According to what I hear Bulow is not disposed to mix himself up in the preliminaries of the next Tonkunstler-Versammlung. Accordingly some one else must be entrusted with the afore- mentioned task in Carlsruhe, although Bulow was the best suited for it. If you do not care to enter at once into direct communication with Devrient, Pohl would be the best man to "pioneer" the way. It would not be any particular trouble to him to go from Baden to Carlsruhe, and to persuade Devrient to favor the matter. This is before all else needful, for without Devrient's co-operation nothing of the sort can be undertaken in Carlsruhe. If the Tonkunstler-Versammlung takes place not out of the theater season, then one or more theatrical performances can be given in conjunction with it, especially of Gluck's Operas; as also an ultra-classical Oratorio of Handel's might well be given over to the Carlsruhe Vocal Unions. .—.
What "astonishing things" are you planning, dear friend? This word excites my curiosity; but, on the other hand, I share your superstition to speak only of actions accomplished ("faits accomplis"). In Schelle you will gain a really valuable colleague. Has his "History of the Sistine Chapel" come out yet? If so, please be so good as to send me the book with the other musical things.—
My daughter, Frau von Bulow, writes to me that Wagner's new work "Die Meistersinger" is a marvel, and amongst other things she says:—
"These 'Meistersinger' are, to Wagner's other conceptions, much the same as the 'Winter's Tale' is to Shakespeare's other works. Its phantasy is found in gaiety and drollery, and it has called up the Nuremberg of the Middle Ages, with its guilds, its poet- artisans, its pedants, its cavaliers, to draw forth the most fresh laughter in the midst of the highest, the most ideal, poetry. Exclusive of its sense and the destination of the work, one might compare the artistic work of it with that of the Sacraments-Hauschen of St. Lawrence (at Nuremberg). Equally with the sculptor, has the composer lighted upon the most graceful, most fantastic, most pure form,—boldness in perfection; and as at the bottom of the Sacraments-Hauschen there is Adam Kraft, holding it up with a grave and collected air, so in the 'Meistersinger' there is Hans Sachs, calm, profound, serene, who sustains and directs the action," etc.
This description pleased me so much that, when once I was started on the subject, I could not help sending you the long quotation. The Bulows, as you know, are with Wagner at Biebrich—at the end of this month there is to be a performance of "Lohengrin" at Frankfort under Wagner's direction. There must not fail to be a full account of this in the Neue Zeitschrift, and for this I could recommend my daughter as the best person. The letters in which she has written to me here and there of musical events in Berlin and elsewhere are really charming, and full of the finest understanding and striking wit.—
Berlioz was so good as to send me the printed pianoforte edition of his Opera "Les Troyens." Although for Berlioz's works pianoforte editions are plainly a deception, yet a cursory reading through of "Les Troyens" has nevertheless made an uncommonly powerful impression on me. One cannot deny that there is enormous power in it, and it certainly is not wanting in delicacy—I might almost say subtilty—of feeling.
Pohl will let you know about the performance of Berlioz's comic Opera "Beatrice and Benedict" in Baden, and I venture to say that this Opera, which demands but little outside aids, and borrows its subject from a well-known Shakespeare play, will meet with a favorable reception. Berlin, or any other of the larger theaters of Germany, would certainly risk nothing of its reputation by including an Opera of Berlioz in its repertoire. [This took place a quarter of a century later.] It is no good to try to excuse oneself, or to make it a reason, by saying that Paris has committed a similar sin of omission—for things in which other people fail we should not imitate. Moreover Paris has been for years past developing a dramatic activity and initiative which Germany is far from attaining—and if special, regrettable personal circumstances prevent Berlioz from performing his works in Paris, the Germans have nothing to do with that.
Hoping soon for news of you (even if not about the "astonishing things"), I remain, dear friend, with faithful devotion,
F. Liszt
Rome, August 10th, 1862 Via Felice, 113
Who has corrected the proofs of the "Faust Symphony"? Please impress upon Schuberth not to send out into the world any unworthy editions of my works. Bulow is so good as to undertake the final revision, if only Schuberth will take the trouble to ask him to do so.
8. To Dr. Franz Brendel
Via Felice, 113 [Rome], August 29th [1862]
Dear Friend,
In explanation of the main point of your last letter (which crossed mine), namely, the question as to where the next Tonkunstler-Versammlung is to be held, let me add the following in colloquial form.
I should not, without further proof, exactly like to consider Carlsruhe as a town altogether unsuitable for the purpose— although Pohl and Bulow are afraid it is, and have various reasons for assuming it to be so. As regards Bulow, I have already asked you not to trouble him with any of the preliminary details. When the time comes, he is certain to do his part—that is, more than could be expected or demanded of him. Only he must not be tormented with secondary considerations, not even where, owing to his position and antecedents, he is best known (for instance, in Carlsruhe, as already said). His individuality is such an exceptional one that its singularities must be allowed scope. Hence let us meanwhile leave him out of the question, he being what he is, with this reservation—that he undertakes to conduct the musical performances—as I hope and trust he will finally arrange to do. But again as to Carlsruhe, I would propose that unless you have important, positive objections to the place, you should write to the Grand Duke yourself and beg him in my name to take the Musik-Verein under his patronage, etc.—The worst that could happen to me in return would be to receive a courteously worded refusal; this, it is true, is not a kind of thing I cultivate as a rule, but as a favor to such an honorable association I would gladly face the danger, in the hope that it might prove of some use and advantage.
Write and tell me, therefore, in what spirit Seifriz has answered you, and what information Riedel has gathered in Prague. Prague, for certain (yet rather uncertain?) considerations, is indeed much to be recommended; only one would need, in some measure, to have the support of the musical authorities and notabilities of the place, as well as that of the civic corporation (because of municipal approbation and human patronage). In short, if the Tonkunstler-Versammlung were taken up and set in a good light there by a few active and influential persons, everything else would be easy to arrange, whereas otherwise all further steps would be so much trouble thrown away. I cannot altogether agree with your opinion, dear friend, that "the difficulties would in no way be greater in Prague than in Leipzig"—you forget that you yourself, in the capacity of a Leipzig citizen, removed most of the difficulties by your unswerving perseverance and your personal influence, whereas in Prague you could act only through the intervention of others. The question, therefore, is whether you can confidently reckon upon reliable friends there.
Until I receive further news from you, it seems to me that Bulow's idea of preferring Lowenberg to all other places is one very well worth consideration. Our amiable Prince would certainly not fail to give his earnest support to the Tonkunstler- Versammlung, and the small miseries of the little town of Lowenberg might be put up with or put down, for a few days at all events. Think this plan over again carefully, and do not look at Lowenberg through the glasses of our excellent friend Frau von Bonsart!—Of course a date would have to be fixed when the orchestra is assembled there, and the whole programme arranged with Seifriz and drawn up with his friendly co-operation. In my opinion many things might be possible in Lowenberg that could scarcely be broached elsewhere; and as, in fact, Bulow conceived the idea I expressly recommend it you as a means for "paving the way" to a happy issue.—
Together with your last letter I received three of the Faust essays by Pohl. I shall send him my warm thanks for them by next post, and shall add, for his bibliographical and statistical edification, the little remark that Mademoiselle Bertin had an Italian opera performed in Paris before the Revolution of July, entitled "Faust" or "Fausto." Before Pohl's articles appear in pamphlet form I should like to have read them all through—but if he is in a hurry about them, do not mention this to him; perhaps, however, if it did not make the pamphlet too thick, it might be well to include Pohl's essay on the "Dante Symphony" (as it appeared in Hartel's edition of the score).
In spite of the unsatisfactory performance of the "Dante Symphony" in Dresden (partly, moreover, the fault of the bad, incorrectly written orchestral parts, and my careless conducting), and without regard to the rapture of the spiritual substance (a matter which the general public tolerates only when demanded by the higher authority of tradition, and then immediately gapes at it upside down!)—in spite, therefore, of this grievous Dresden performance, which brought me only theone satisfaction of directly setting to work at some not unessential improvements, simplifications, and eliminations in the score— that had taken hold of me during the rehearsals and the performance, and which I felt at once, without troubling myself about the audience present…—Now, what was I about to say, after all these parentheses and digressions? Yes, I remember now:—the "Dante Symphony" is a work that does not need to be ashamed of its title,—and what you tell me of the impression produced by the "Bergsymphonie" (in Sondershausen) strengthens me in my presumption. Hence I should be glad to see the preface by Pohl printed again, and placed at the end of the "Faust" pamphlet; for, considering what most people are, they require to read first, before attaining the capacity for learning, understanding, feeling, and appreciating.—
The edition of the "Faust Symphony" (arranged for two pianofortes) is worthy of all praise, and, in the language of music-sellers, elegant. The printer has done well in so arranging the type that a number of lines are brought on to one page and a number of bars on to every line. Schuberth shall ere long receive a complimentary note from me, together with a few "proof" indications for the "Faust Symphony." But, in fact, I have come across only a few and unimportant errors as yet.
The publication of Lenau's two "Faust Episodes" (a point Pohl touches upon in his essay with fine discrimination) Schuberth might undertake according as he sees fit. I am pretty well indifferent as to whether the pianoforte arrangement or the score appears first; only, the two pieces must appear simultaneously, the "Nachtlicher Zug" as No. 1 and "Mephisto's Walzer" as No. 2. There is no thematic connection between the two pieces, it is true; but nevertheless they belong together, owing to the contrast of ideas. A "Mephisto" of that species could proceed only from a poodle of that species!—.—.
With the "Elizabeth" (of which I have now to write only the pianoforte score, which will take about a fortnight's time) I am also sending to Weimar the three Psalms in their new definitive form. It would please me if, some day, a performance of the 13th Psalm, "How long wilt Thou forget me, O Lord?" could be given. The tenor part is a very important one;—I have made myself sing it, and thus had King David's feelings poured into me in flesh and blood!—
It is to be hoped that Schnorr will be kind enough to adapt himself to the tenor part (the only solo voice in the Psalm, but which affects everything, and penetrates and sways chorus and orchestra). Theodor Formes sang the part very well eight years ago in Berlin; but that performance at Stern's Concert was to me only a first trial performance!—
With notes alone nothing can be accomplished; one thirsts for soul, spirit, and actual life. Ah! composing is a misery, and the pitiful children of my Muse appear to me often like foundlings in a hospital, wandering about only as Nos. so and so!—
Please give my best thanks to Schnorr for having so kindly interested himself in my orphaned "Songs." His better self- consciousness—the God we carry in our breasts—requite him for it!—My daughter, Frau von Bulow, writes and tells me marvels about Schnorr and his wife, and of the performance of "Tristan" at Wagner's in Biebrich. If only we possessed electric telegraphs in favor of musical ubiquity! Assuredly I would not make any misuse of them, and only rarely put myself in correspondence with the music-mongers; but Tristan and Isolde are my "soul's longing"!
The French journals contain nothing but praise and exclamations of delight at the success of "Benedict and Beatrice," Berlioz's new opera, which was performed in Baden. Pohl is sure to give you a full report of it. To judge from his essay, the tenor solo at the end of the "Faust Symphony" caused less offence in Leipzig (it was the stumbling-block in the Weimar performance, so much so that influential and well-disposed friends have urgently advised me to strike out the solo and chorus and to end the Symphony with the C major common chord of the orchestra). It was really my intention at first to have the whole "Chorus mysticus" sung invisibly—which, however, would be possible only at performances given in theaters, by having the curtain lowered. Besides which, I felt doubtful whether the sound would not have thus become too indistinct…
However it may be with this and other things, I will not fail to exercise patience and goodwill—but neither will I make too great a demand upon yours. Enough, therefore, for today from your heartily devoted
F. Liszt
P.S.—N.B.—With the next sending of music please enclose the choruses from Schumann's "Manfred" (Songs and pianoforte accompaniment). I shall probably this autumn be engaged with the same subject, which, in my opinion, Schumann has not exhausted.
9. To Dr. Franz Brendel
Dear Friend,
You will have heard of the grievous shock I received in the middle of September. [Liszt's eldest daughter, Mme. Blandine Ollivier, had died.] Shortly afterwards Monsieur Ollivier came to Rome, and during his stay here, which lasted till the 22nd October, I could not calculate upon being able to take any interest in other outward matters. This last week I have had to spend in bed. Hence my long delay in answering you.
So far as I understand the position of affairs with regard to the Tonkunstler-Versammlung, it seems difficult to give any definite advice. The question here is not one of theoretical, but of absolutely practical considerations, with regard to which unfortunately my influence is very limited. In my last letter I believe I told you that I am prepared, in case you decide upon Prague, to subscribe my name to the petition addressed to the Austrian ministry in behalf of state support. At the same time I intimated to you that my cousin Dr. Eduard Liszt would be the best one to draw up the said petition (in accordance with a draft sent to him), and in fact might aid the undertaking with good advice, and otherwise promote its interests. I, on my side, will not spare myself any trouble in order to obtain from the Austrian government a favorable result for the objects of the Tonkunstler- Versammlung. I cannot, of course, guarantee success beforehand; still I consider it not impossible, and when the time comes I will communicate all further details to you.
In the first place, however, comes the question whether I can take any personal part in the meeting of the Tonkunstler- Versammlung in the year '63? [This meeting did not take place in 1863, but in 1864.] And unfortunately this question I am forced to answer decidedly in the negative. Owing to its being my custom not to enlighten others by giving an account of my own affairs, I avoid, even in this case, entering further into particulars. Of this much you may meanwhile be assured with tolerable certainty: I have neither the intention nor the inclination to make any lengthened stay in Germany. Probably, however, during the course of next summer I may go to Weimar for perhaps a three weeks' visit to my gracious Master the Grand Duke. From Weimar I should go to Leipzig, and then return here by way of Trieste or Marseilles.
Requests for concert performances of my works under my direction have been addressed to me from several quarters of late. Yesterday again I received a letter on this same subject from London, to which, as in the case of the others, I shall reply with grateful thanks and excuses.—
I am firmly resolved for some length of time to continue working on here undisturbed, unremittingly and with an object. After having, as far as I could, solved the greater part of the "Symphonic" problem set me in Germany, I mean now to undertake the "Oratorio" problem (together with some other works connected with this). The "Legend of Saint Elizabeth," which was altogether finished a couple of months ago, must not remain an isolated work, and I must see to it that the society it needs is forthcoming! To other people this anxiety on my part may appear trifling, useless, at all events thankless, and but little profitable; to me it is the one object in art which I have to strive after, and to which I must sacrifice everything else. At my age (51 years!) it is advisable to remain at home; what there is to seek, is to be found within oneself, not without; and, let me add, I am as much wanting in inclination to wander about as I am in the necessary means for doing so. But enough of my insignificant self. Let us pass over at once to the subject of those two brave fellows who, in your opinion, ought to play a chief part in the next Tonkunstler-Versammlung: Berlioz—and Wagner.
To class them together thus seemed strange to me at first, considering the present state of affairs. And, so far as their two-headed personality is drawn in, I hold it to be impossible even. So let us take each apart.
A) Berlioz. Considering what has occurred, and what has appeared in print, it strikes me as more than doubtful whether Berlioz would make up his mind to undertake the musical conductorship of the Tonkunstler-Versammlung, even though Benazet should come forward en personne as mediator. Besides which his moral influence at the Festival and the negotiations would be hindering and disturbing. Hence let us leave Berlioz in Paris or in Baden- Baden, and be content in being consistent and in giving him a proof of our admiration by getting up a performance of one of his larger works. (Perhaps the "Te Deum?"—if I am not mistaken it lasts a good hour. For Prague this choice would be appropriate— unless the "Requiem" might be preferred. We might even consider whether the two might not be given together; this would abundantly fill one concert. Discuss the requisite means, etc., for giving these, with Riedel.)
B) Wagner. What am I to say to you of Wagner? Have you had any talk with him lately in Leipzig? On what terms are you with him at present?…Ah, it is a pity that we cannot procure a stream of gold for him, or have some palaces of gold built for him! What can he do with admiration, enthusiasm, devotion, and all such non-essential things?
Nevertheless it is our indebtedness and duty to remain faithful and devoted to him. The whole German Musik-Verein shall raise up a brazen wall in his honor!—He is verily worthy of it!
Hence, dear friend, see what can be arranged with Wagner. Since I left Berlin we have not corresponded. But I am surprised almost that I did not receive a line from him after Blandine's death! .—.
Au revoir, therefore, dear friend. In Weimar or in Leipzig only can I tell you what I may be able to accomplish later. I must, however, most urgently beg to be exempted from undertaking to direct the German Musik-Verein for the year '63!—
With cordial and most friendly greetings,
Yours sincerely,
November 8th [1862]
F. Liszt
P.S.—Best thanks for your Sondershausen essays.
10. To A. W. Gottschalg
Dear Friend,
Your kind letter reached me on October 22nd, and this day, which could not pass without sorrow, has this year been brightened by many loving and solemn remembrances. Accept my thanks, and present my best remembrances to all those whose names you mention, and who have so kindly thought of me. Unfortunately there is no prospect of my soon being able to celebrate the 22nd October with Weimar friends; but I may tell you that I intend paying H.R.H. the Grand Duke a visit during the course of the summer. And we two shall then also have a bright and happy day in Tieffurt—and look through a couple of new Organ pieces together. Grosse must not fail to be there likewise, nor his trombone box, which I have specially had in my mind ever since the journey to Paris. [Grosse took his instrument with him on the journey, in order that it might be at hand in case Liszt should want it.] Meanwhile, however, tell dear, good Grosse not to be vexed about the delay in connection with the promised despatch of his "Sonntags-Posaunenstuck." [Sunday piece for trombone.] It is long since finished, also some three or four Organ pieces, which, dear friend, I wrote for you last spring. But the postal arrangements are so little safe, under present circumstances, that I do not care to send manuscripts by this means. In despatching parcels to Vienna or Paris I could, of course, make use of the courtesy of the embassies; but it is more difficult with Weimar…and so the parcel with the "Legend of Saint Elizabeth," the three Psalms instrumented (and essentially remodelled), several Pianoforte and Organ pieces, together with Grosse's "Sunday-piece," must remain in my box till some perfectly reliable opportunity presents itself. If the worst comes to the worst I shall bring the whole lot myself.
The Schneider-Organ-Album, and the one to appear later—the Arnstadter-Bach-Organ-Album (which is to contain the magnificent fugal subject from Bach's Cantata that I arranged for the Organ— and not without difficulty), I beg you to keep in your library till my return.
I am very unpleasantly affected by the hyper-mercantile craftiness of one of my publishers whom you mention in your letter. It would truly be unjust if you were not to receive the usual discount, and indeed an exceptional amount, when purchasing the "Faust Symphony." But who would ever succeed in washing a negro white? And, in addition, one has generally to put up with the inky blackness of his bills!—I could tell many a tale of such doings, and indeed of persons who are afterwards not ashamed to talk braggingly of their friendship for me! "O friends, not these tones, rather let us strike up pleasanter ones," sings Beethoven.
The "Elizabeth," it is to be hoped, contains something of the sort. At least, as far as possible, I have labored carefully at the work, and, so to say, lived it through for more than a year. In No. 3 of the score—the "Crusaders"—you will come across the old pilgrim song from the days of the Crusades which you had the kindness to communicate to me. It has rendered me good service for the second subject of the "Crusaders' March." In the concluding notice of the score I acknowledge my thanks to you for it and give the whole song from your copy.
Among the pleasant bits of news (exceptions to the rule!) which reach me from our quarters is that about the improvement of your pecuniary position, which is probably accompanied by your appointment as teacher at the newly established Seminary classes. In the way of merit you lack nothing, and nothing in zeal and energetic perseverance. Let me hope, dear friend, that you may more and more meet with your due reward!
With kindest greetings,
F. Liszt
Rome, November 15th, 1862
11. To Eduard Liszt
Dearest Eduard,
The feeling of our double relationship is to me always an elevating and comforting one. Truly you abide with me, as I do with you—cum sanguine, corde et mente.
Accept my thanks for your kind lines, and excuse my not having written to you long ago. I might indeed have told you many a thing of more or less interest; but all seemed to me tiresome and insufficient in writing to you. I needed more than ever, and above all things, ample time to compose myself, to gather my thoughts, and to bestir myself. During the first year of my stay here I secured this. It is to be hoped that you would not be dissatisfied with the state of mind which my 50th year brought me; at all events I feel it to be in perfect harmony with the better, higher aspirations of my childhood, where heaven lies so near the soul of every one of us and illuminates it! I may also say that, owing to my possessing a more definite and clearer consciousness, a state of greater peacefulness has come over me.
Blandine has her place in my heart beside Daniel. Both abide with me bringing atonement and purification, mediators with the cry of "Sursum corda!"—When the day comes for Death to approach, he shall not find me unprepared or faint-hearted. Our faith hopes for and awaits the deliverance to which it leads us. Yet as long as we are upon earth we must attend to our daily task. And mine shall not lie unproductive. However trifling it may seem to others, to me it is indispensable. My soul's tears must, as it were, have lacrymatoria made for them; I must set fires alight for those of my dear ones that are alive, and keep my dear dead in spiritual and corporeal urns. This is the aim and object of the Art task to me.
Yon know that I have finished the "Legend of Saint Elizabeth" (200 pages of score—2 and 1/2 hours' duration in performance). In addition to this some other compositions have been produced, such as: the "SunCanticus ("Cantico del Sole") of Saint Franciscus"—an instrumental Evocatio in the Sistine Chapel-two Psalms, etc. I trust you may again find us in these, in mind and feeling.
I am now about to set myself the great task of an Oratorio on Christ. By the 22nd October, '63, I hope to have solved the difficulty as far as my weakness and strength will permit.
As you see, dearest Eduard, it is impossible to get out of my head the idea of writing notes. [Notenkopfe] In spite of all good precepts and friendly counsellors (who mean it much better by me than I can ever understand!) I go so far as to maintain that for several years past and in many yet to come I have not done and shall not do anything more ingenuous than cheerfully to go on composing. And what more harmless occupation could there be? especially as I never force my little works upon any one, nay, have frequently begged persons to refrain from giving certain too unconscientious [Play on words "gewissen" and "ungewissenhaft">[ renderings of them,—and that I ask for no further appreciation or approval than can, in fact, be granted according to taste and disposition.
From Pest I have lately received through Baron Pronay, in the name of the Council of the Conservatoire, an invitation to establish my domicile there, and to promote the interests of Hungarian music. Probably you will hear of my excusatory reply.
Between ourselves, and frankly said in plain German, it would be of no advantage to me again to take up any outward musical activity (such as my conductorship in Weimar which came to an end a few years ago, and after September 1861 became a locked door to me through my Chamberlain's key). But possibly I may later find a fitting opportunity for composing something for Hungary. After the precedent of the "Gran Mass" I might, for instance, on some extraordinary occasion, be entrusted, say, with a "Te Deum" or something of the kind. I would gladly do my best, and only on some such terms could I regard my return to Hungary as becoming.
Meanwhile remains quietly in Rome, honestly striving to do his duty as a Christian and an artist,
Thine from his heart,
F. Liszt
Rome, November 19th (St. Elizabeth's Day), 1862
12. To Dr. Franz Brendel
Dear Friend,
The difficulties and troubles of the musical situation of which you speak in your last letter but one, I can, unfortunately, only too well understand. No one is better acquainted with such matters than I am, and hence no one is better able to appreciate and recognise the value of your unselfish, persevering work and efforts, which also show you so sincere in your convictions. And one of the dark sides in my present position, dear friend, is that I can be of so little use to you, that I am compelled to remain in a state of passivity and forbearance that does not at all agree with me. However, you may rely upon my readiness to render any assistance wherever I may still be able to help.—In accordance with your wish I shall take an early opportunity of writing to Prince H[ohenzollern] concerning the Tonkunstler- Verein. It is to be hoped that our amiable, noble-minded patron will show himself no less disposed in our favor than he has done on former occasions. And you, on your part, do not fail to discuss with Seifriz by letter the points and modals of the support expected. It is a pity that Bulow's proposal to hold the next meeting of the T.K. Verein in Lowenberg has not proved feasible. Were it likely to be broached again I should not make any objections to it, because, in fact, the place seems to be precisely a favorable centre at present. But, as already said, it is not my place to express any definite opinion on the subject, and I am entirely satisfied in leaving all that has to be done to your judgment and foresight.
I am delighted to hear of Bulow's extraordinary success in Leipzig, and still more so to hear of your renewed and intimate relations with him. He is the born prototype of progress, and noble-minded to a degree! Without his active co-operation as director and standard-bearer a Tonkunstler-Versammlung at the present time would at least be an anachronism.
From Wagner I lately received a letter in which he informed me of a performance of his "Tristan" in Vienna towards the end of January. Afterwards he intends arranging some concerts in Berlin- -and, it seems, in St. Petersburg also. My endeavors to secure him comfortable quarters in Weimar seem for the time being to be useless, because of his dislike to an insignificant appointment, and the adverse circumstances of life in a small town. Certainly his project of drawing annually 3,000 thalers (*450 British pounds sterling*), by some agreement between the Grand Dukes of Weimar and Baden, is much more to the point. The question is only whether their Highnesses will consent to it? .—.
With heartiest greetings, most sincerely yours,
F. Liszt
December 30th, 1862
13. To Breitkopf and Hartel
Dear Herr Doctor,
The four scores of the Beethoven Symphonies, of which you advised me in your friendly letter, reached me yesterday. My eyes are meanwhile revelling and delighting in all the glories of the splendid edition, and after Easter I shall set to work. Nothing shall be wanting on my part, in the way of goodwill and industry, to fulfil your commission to the best of my power. A pianoforte arrangement of these creations must, indeed, expect to remain a very poor and far-off approximation. How instil into the transitory hammers of the Piano breath and soul, resonance and power, fulness and inspiration, color and accent?—However I will, at least, endeavor to overcome the worst difficulties and to furnish the pianoforte-playing world with as faithful as possible an illustration of Beethoven's genius.
And I must ask you, dear Herr Doctor, in order that the statement on all the title pages—"critically revised edition"—may be complied with, to send me—together with your new edition of the scores of the "Pastoral," the C minor, and A major Symphonies—a copy of my own transcriptions of them. Probably I may alter, simplify, and correct passages—and add some fingerings. The more intimately acquainted one becomes with Beethoven, the more one clings to certain singularities and finds that even insignificant details are not without their value. Mendelssohn, at whose recommendation you formerly published my pianoforte scores of the "Pastoral" and C minor Symphonies, took great delight in these minutiae and niceties!—
With regard to the agreement about the A major Symphony I mean shortly to write to Carl Haslinger, and expect that he will be quite willing to meet my wish. [A pianoforte transcription of this Symphony by Liszt had been published by Haslinger.]
With grateful thanks, dear Herr Doctor, I remain yours in readiness and sincerity,
F. Liszt
Rome, March 26th, 1863
P.S.—The four Symphonies shall be finished before the end of summer and sent to Leipzig. If you are satisfied with my work would you entrust the arrangement of the Overtures to me when I have finished the Symphonies—provided, of course, that you have not made any agreement with any one else?
14. To A. W. Gottschalg in Weimar
Dear Friend,
This year my name-day fell in the middle of Easter week, on Maundy Thursday. Your hearty letter again brought what to me is the pleasantest news in the world. Thank you for it, and let those know of it who share your sincere, friendly, and faithful sentiments! First let me mention Carl Gotze, [A chorister in Weimar (a favorite copyist of the Master's) became a musical conductor in Magdeburg and died in 1886.] whose kindly words I should so gladly like to answer in accordance with his wish, and then my dear Kammer-virtuoso, Grosse. Grosses trombone no doubt officiated brilliantly at Bulow's concert and at the performance of Berlioz's opera! An echo of the former reached me, thanks to your inspired notice in Brendel's paper, where I accidentally came across a little remark which you had addressed to one of the most estimable and graceful of German lady-singers anent my little-heeded songs. I certainly cannot find fault with you for showing some interest in the songs and for thus frankly expressing your opinion. On the contrary, your sympathetic appreciation is always welcome, amid the direct and indirect disparagement which falls to my lot. Unfortunately, however, I must make up my mind that only by way of an exception can I expect to find friends for my compositions. The blame is mine; why should one presume to feel independently, and set the comfortable complacency of other folks at defiance?—Everything that I have written for several years past shows something of a pristine delinquency which is as little to be pardoned as I am unable to alter it. This fault, it is true, is the life-nerve of my compositions, which, in fact, can only be what they are and nothing else.—
In the Psalms I have made some important alterations, and shall shortly send Kahnt the manuscript. A few passages (especially the verse "Sing us one of the songs of Zion") which had always appeared awkward to me in the earlier version, I have now managed to improve. At least they now pretty well satisfy my soul's ear.
The "Christus" Oratorio is progressing but slowly, owing to the many interruptions which I have to put up with this winter. It is to be hoped I may obtain some entire months of work during the summer. I thirst for it.
Of the musical undertakings here you will learn the more noteworthy events from a paper I sent to Brendel last week. Further and fuller news about myself is meanwhile uncertain. Probably I shall in the end not find myself able to do anything better than to put my whole story in the musical notes that I am incessantly writing down, but which need not either be printed or heard.
However that may be, I remain, dear friend, in sincere affection, yours gratefully and in all friendship,
F. Liszt
Rome, April 14th, 1863
P.S.—The Bach-Album and other music which you say you had to send me (e.g., your arrangement of the Dante fugue if it has been printed) please let me have through Kahnt. Enclose also a copy of the Ave Maria for Organ.
[Figure: Musical Score Excerpt]
15. To Dr. Franz Brendel
Dear friend,
The last months brought so many interruptions in my work that I still feel quite vexed about it. Easter week I had determined should, at last, see me regularly at work again; but a variety of duties and engagements have prevented my accomplishing this. I must, therefore, to be true to myself and carry out my former intention, shut myself up entirely. To find myself in a net of social civilities is vexatious to me; my mental activity requires absolutely to be free, without which I cannot accomplish anything.
How things will turn out later about my proposed journey to Germany I do not yet know. Probably my weary bones will be buried in Rome. Till then their immovability will serve you better than my wandering about on railways and steamboats. On the other hand, there is but little for me to do in Germany. War is at the door; drums and cannon will come to the fore; God protect the faith of heroes and give victory to the righteous among humanity! .—.
Where is Wagner, and what about the performances of "Tristan", the "Nibelungen", and the "Meistersinger" in Weimar or elsewhere? Tell me of this. I have not written to Weimar for long, and have also not had any news from there. My only German correspondent (Frau von Bulow) is suffering from some eye-trouble, which has interrupted our exchange of letters…so I am absolutely ignorant of what is going on. The February numbers of the "Neue Zeitschrft" are the last I have received. Your articles on Criticism are excellent, and, indeed, nothing else was to be expected. Give Louis Kohler my most friendly thanks for his kind perseverance in "paving the way for my scores to receive more kindly appreciation." The more thankless the task the more heartily grateful do I feel to my friends.
Most sincerely yours,
F. Liszt
Rome, May 8th, 1863
16. To Eduard Liszt
Dearest Eduard,
Weariness or something of the sort carried my thoughts back to my "Berceuse." Various other "Berceuses" rose up in my dreams. Do you care to join my dreams? It shall not cost you any trouble; without touching the keyboard yourself, you will only need to rock yourself in the sentiments that hover over them. A really amiable and variously gifted lady will see to this. She plays the little piece delightfully, and has promised me to let it exercise its charms upon you. I shall, therefore, ere long send you a copy of the new version of the "Berceuse" addressed "to the Princess Marcelline Czartoryska, Klostergasse 4." [A pupil of Chopin's] Wend yourway thither—and, in case you do not find the Princess at home, leave the manuscript with your card. I have already told her of your contemplated visit, and have spoken of you as my heart's kinsman and friend. You will find the Princess Cz. possessed of a rare and fine understanding, the most charming figure in society, and a kindly and enthusiastic worshipper of Mozart, Beethoven, and Chopin, and, above all this, the illuminating faith of the Catholic Church reflected in Polish blood.
"Patria in Religione et Religio in patria" might be the motto of
Poland. God protect the oppressed!
One other commission for the Princess Cz. please undertake for me. During her residence here she on several occasions expressed the wish to become acquainted with some of my compositions (to which, whether intentionally or not, she had hitherto not paid much attention). I played with her my arrangement of the Symphonic Poems for 2 pianofortes—the "Heroide funebre," "Tasso," and the "Preludes"—which she received with kindly and courteous tolerance. Without desiring more—for ample experience has taught me that my compositions more readily rouse estrangement than attraction—I should, nevertheless, like the musical threads of our pleasant relations not to be entirely dropped, and wish therefore to present her, first of all, with various pieces of music by way of making amends. In the badly stocked music shops of Rome I could not find anything suited to her talent, and promised to ask your help in the matter. I beg you, therefore, dearest Eduard, to get the following works simply and neatly bound in one volume (in the following order), and to present them soon to the Princess Cz.:—
1. "Glanes de Woronice" (Leipzig, Kistner). 2. "Melodies de Chopin", transcrites par Liszt (Berlin, Schlesinger). 3. "Mazurka" (Senff, Leipzig). 4. "2 Polonaises" (idem). 5. "2 Ballades" (1 and 2. Kistner, Leipzig.) 6. "Consolations" (Hartel, Leipzig).
If the volume is not too thick with the above you might add the "Valse melancolique" and "Romanesca" (second edition of Haslinger). Of course let all this, contents and binding, be put down to my account, and given to the Princess-artist as a present from me. If the pieces cannot be procured in Vienna, order them speedily from Leipzig through Haslinger or Spina.
A propos of Spina: has the arrangement for 2 pianofortes of my orchestral setting of Schubert's magnificent C major "Fantasia" not yet been published? This delay, or, more properly, this remissness, is by no means a pleasant matter to me. With all my heart, thine,
F. Liszt
Rome, May 22nd, 1863
17. To Dr. Franz Brendel
Dear Friend,
I had to remain in bed all last week—and am still pretty weak on my legs. But there is nothing further wrong: my head is free again; the rest can be imagined. The day after tomorrow I quit my rooms in the Via Felice and move to Monte Mario (an hour's distance from the city). Father Theimer is kind enough to allow me to occupy his apartments in the almost uninhabited house of the Oratorian. The view is indescribably grand. I mean now, at last, to try and lead a natural kind of life. I hope I may succeed in approaching more closely to my monastico-artistic ideal…Meanwhile you may laugh at me about it. In my next letter I will tell you where to address me.
Pastor Landmesser will bring you further news about me to Leipzig, before the end of July, on his way back to Dantzig. I shall get him to take you the manuscript of the Psalms (of which I spoke to you). They are now ready for publication, and will not disgrace Kahnt's house of business.
The corrected copy of the Faust Symphony, too, I will send you by this opportunity, for Schuberth.
With regard to performances of my works generally, my disposition and inclination are more than ever completely in the negative. My friends, and you more especially, dearest friend, have done their part in this respect fully and in the kindest manner. It seems to me now high time that I should be somewhat forgotten, or, at least, placed very much in the background. My name has been too frequently spoken of; many have taken umbrage at this, and been uselessly annoyed at it. While "paving the way for a better appreciation," it might be advisable to regard my things as a reserve corps, and to introduce new works by other composers.
This will sufficiently intimate that the "Legend of St. Elizabeth" may quietly go on slumbering in my paper-box. As may also the work upon which I am now engaged, and which to my regret is making but very slow progress, owing to the many interruptions which perpetually plague me.
Should any one of the programmes be filled with one of my compositions, it would be best to select one of those already published, in order that, at all events, the publisher's approval may, in some measure, be held up to view.
In my opinion you have made a good choice in Porges. The young man is reliable, intelligent, and capable of inspiration, and what he may still lack in skilfulness he will easily acquire. The essential point in a task of this kind is a modest, honest, and not too dry effort. What I have heard and know of Porges makes me feel assured that he will best fulfil the various demands made by the editorial office.
What is one to think of the marvels which Pohl has brought back from Lowenberg? I haven't sufficient imagination to form any clear idea about them from the preliminary hints you communicated to me. Let me have a fuller report, therefore, if you think that, under certain conditions, I should mix myself up with the matter. And also tell me frankly, without periphrase, what the Musik- Verein wishes and expects from the patronage of the Grand Duke of Weimar?—One ought not to shoot about at random with Royal Highnesses! It would only lead to a vexatious loss of powder.
How is Kap[ellmeister] Wehner? Is he still in his King's good graces? [He was in the service of the King of Hanover; and is long since dead.] Kapellmeister Bernhard Scholz was here last month—but he did not honor me with a visit.
Today's post has brought me some very friendly lines from my worthy precentor Gottschalg in Tieffurt. He tells me of a concert in Denstedt, where several pieces of mine were performed—among others one of the Psalms (which I shall shortly send to Kahnt by Landmesser, an essentially improved version); they were sung by Fraulein Genast. This lady, so Gottschalg writes, is to be married today. Do you know to whom? I am so entirely cut off from all my Weimar connection that I had not heard anything about this. But as I still retain a very friendly recollection of this excellent lady-exponent of my songs, I beg you, dear friend, to let me have her new name and to tell me whether her husband resides in Weimar or elsewhere.
I am perfectly satisfied with my new abode at Monte Mario.—
Pastor Landmesser will give you a description of it—and perhaps
I may find a photograph of the place—if not I shall order one
for you later.
Your sincerely devoted
F. Liszt
Rome, June 18th, 1863
18. To Dr. Franz Brendel
Dear Friend,
You will receive these lines in the lovely Sondershausen Park. One gladly accustoms oneself to the place, and the admirable performances of the Loh-concerts—I derive the word from "Lohe" [flame]—give the atmosphere a certain spiritual stimulus. My friendly greetings to Stein—and present my warm thanks to the courageous orchestra, which has not been scandalised by the "Symphonic Poems"! . . .
The parcel from Kahnt reached me safely a few days after your letter (of 26th June). Mililotti [Director of the Classical Music Association in Rome; he had requested Professor Riedel to send him the programmes of his concerts.] intends writing to Riedel to thank him for his kindness in forwarding his programmes. When Mililotti's concerts prove more of a success he may, by way of a return, send his Roman programmes to Leipzig. But at present the musical doings here are of but small interest to other countries.
By sending me the score edition of "Mignon" and "Loreley" Kahnt has given me peculiar pleasure. It seems to me correct, and I am foolish enough to find the instrumentation pretty. By the way, other instrumental settings occur to me: those of several of Schubert's songs ("Erlking," "Gretchen," "The Young Nun," and a few others) that I wrote for Fraulein Genast. They are not mere manufactured arrangements, and might not altogether displease musicians of fine feeling. The manuscript of the scores was left with Seifriz in Lowenberg. If any publisher should feel inclined to accept them they are at his disposal. .—.
In answer to an important point in your letter, I quite agree about presenting the Grand Duke of Weimar with a Report describing the object and aims of the Allgemeine Deutsche Musik- Verein. And on this occasion H.R.H. should be respectfully and graciously invited to address an appeal to his illustrious relatives to take some interest in the progress and success of the Association; in plain language, to strengthen his protectorship by letters of recommendation, or in some other way. In presenting the Report (which might most appropriately be undertaken by Pohl and Regierungsrath Muller) the Grand Duke or His Excellency Count Beust might be addressed directly by word of mouth, and be distinctly given to understand the desirability of obtaining the sympathy of the Grand Duchess, the Queen of Prussia, the King of Holland, T.R.H. the Grand Duchesses Helene and Marie (of Russia), the Grand Duke Peter of Oldenburg (in St. Petersburg), the Grand Duke and Grand Duchess of Baden, the Hereditary Prince of Meiningen, the Dukes of Altenburg and Coburg, etc. I give these names because, owing to their near relationship with the Grand Duke and their own personal fondness for music, they should stand first as patrons and supporters of the Allgemeine Deutsche Musik-Verein.
Gladly would I have undertaken the duties of diplomatist to the Association in Weimar, and endeavored to obtain the Grand Duke's active intervention…But at this distance I cannot, for the time being, accomplish anything. My gracious Master has no leisure for lectures on artistic subjects that I might concoct in the Eternal City; and if I tried to enlighten him in any such way his first and only word in reply would be "Why does not Liszt come back, in place of writing such allotria?" [Observations beside the mark.]- -A short time ago I received from him a very kind, monitory letter, calling upon me to return to Weimar for the Kunstler- Versammlung in August. .—. I would advise you to make use of your stay at Sondershausen by getting an introduction to the Prince, and by obtaining his support as regards the Musik-Verein. Discuss this matter with Stein, for he is best able to attend to it. Possibly a larger performance in the Loh might be got up for the benefit of the Association. .—.
This letter is so filled up with Royal Highnesses, Majesties, and illustrious personages, that it offers me a natural transition to tell you of an extraordinary, nay, incomparable honor I received last Saturday evening, the 11th of July. His Holiness Pope Pius IX. visited the Church of the Madonna del Rosario, and hallowed my apartments with his presence. After having given His Holiness a small proof of my skill on the harmonium and on my work-a-day pianino, he addressed a few very significant words to me in the most gracious manner possible, admonishing me to strive after heavenly things in things earthly, and by means of my harmonies that reverberated and then passed away to prepare myself for those harmonies that would reverberate everlastingly.—His Holiness remained a short half-hour; Monsign. de Merode and Hohenlohe were among his suite—and the day before yesterday I was granted an audience in the Vatican (the first since I came here), and the Pope presented me with a beautiful cameo of the Madonna.—
I must add one other princely personage to this letter, and with this I am obliged to close. A visit at this very moment is announced from the Principe della Rocca, who has driven up with his photographic apparatus. You shall, therefore, ere long have a little picture of the Madonna del Rosario which, since the Pope's visit here, has been the talk of Rome.
A thousand hearty greetings.
F. L.
July 18th, 1863
19. To Breitkopf and Hartel.
Rome, August 28th, 1863
My Dear Sir,
The work that you were good enough to entrust to me is almost finished, and by the same post you will receive the Piano score of 8 Symphonies of Beethoven, whilst awaiting the 9th, which I propose to send you with the proofs of the preceding ones. Nos. 1, 2, 3, 4, and 8 are bound in one volume; there is only the "Funeral March" from the "Eroica Symphony" wanting, which is published in the Beethoven-Album by Mechetti, Vienna. I shall require to see this arrangement again (which you will oblige me by sending with the next proofs), for probably I shall make numerous corrections and modifications in it, as I have done in the Symphonies in C minor, in A, and the "Pastoral," which were edited some twenty years ago. The copies of these are returned to you today with a great many alterations, errata and addenda, inasmuch as—in order to satisfy my own criticism—I have been obliged to apply to them the torture of red pencil and gum, and to submit them to a very considerable alteration.
Whilst initiating myself further in the genius of Beethoven, I trust I have also made some little progress in the manner of adapting his inspirations to the piano, as far as this instrument admits of it; and I have tried not to neglect to take into account the relative facility of execution while maintaining an exact fidelity to the original. Such as this arrangement of Beethoven's Symphonies actually is, the pupils of the first class in the Conservatoires will be able to play them off fairly well on reading them at sight, save and except that they will succeed better in them by working at them, which is always advisable. What study is deserving of more care and assiduity than that of these chefs d'oeuvre? The more one gives oneself to them the more one will profit by them, firstly in relation to the sense and aesthetic intelligence, and then also in relation to the technical skill and the attaining of perfection in virtuosity—of which one should only despise the bad use that is sometimes made.
By the title of Pianoforte score (which must be kept, and translated into German by Clavier-Partitur or Pianoforte- Partitur?) I wish to indicate my intention of associating the spirit of the performer with the orchestral effects, and to render apparent, in the narrow limits of the piano, sonorous sounds and different nuances. With this in view I have frequently noted down the names of the instruments: oboe, clarinet, kettle- drums, etc., as well as the contrasts of strings and wind instruments. It would certainly be highly ridiculous to pretend that these designations suffice to transplant the magic of the orchestra to the piano; nevertheless I don't consider them superfluous. Apart from some little use they have as instruction, pianists of some intelligence may make them a help in accentuating and grouping the subjects, bringing out the chief ones, keeping the secondary ones in the background, and—in a word—regulating themselves by the standard of the orchestra.
In order to be perfectly satisfied with regard to my work allow me, my dear sir, to beg you to let Mr. Ferdinand David and Monsieur Moscheles see it before it is printed. The minute familiarity they have acquired with the Symphonies of Beethoven will show them in a moment any errors, oversights, faults and misdeeds of which I, very unwittingly, may have been guilty. Will you please assure them that any information from them in these respects will be most valuable to me, and that I shall not fail to profit by it for the honor of your edition. In particular I should like to know from Mr. David whether the N.B. placed on page 78 of the manuscript (Finale of the 8th Symphony—"the execution of the principal figure, etc.") is authorised,—and I should be very grateful to him for any other particulars he is kind enough to give me. As to Mr. Moscheles, I hope he will not disapprove of my having followed his example in putting a profuse fingering for the greater ease of the mass of performers; but perhaps he would be so kind as to suggest a better fingering himself, and to let me know his observations upon such and such an artifice of "piano arrangement" of which he is a consummate master. There is only one point on which I would venture even to an act of rebellion—it is that of the pedals, a bass [base] passion of which I cannot correct myself, no matter how annoying the reproaches it may draw upon me!—["Even if one may presuppose," he writes on another occasion (27th August, 1861) to Breitkopf and Hartel, "a correct use of the pedal on the part of piano-players, I am nevertheless, through manifold unpleasant experiences to my ears, brought back to giving the most minute indications of it.">[
If, as I venture to flatter myself, my arrangement of the Symphonies satisfies you, I should be tempted to propose to you, for next year, a similar work on the Quartets, those magnificent jewels in Beethoven's crown which the piano-playing public has not yet appropriated in a measure suitable to its musical culture.
But I really fear to exhaust your patience by giving you proofs of mine…consider therefore this project of the Quartets as not having been proposed if it seems to you inopportune, and pray accept, my dear sir, the expression of my very sincere and devoted sentiments.
F. Liszt
(Monte Mario, Madonna del Rosario)
P.S.—As it has been impossible for me to hunt out here a copyist who will fulfil the conditions that may reasonably be exacted (the one whom I employed pretty much last year divides his time between the prison and the public-house!), I am compelled to send you the manuscript such as it is, with many apologies for its badly written appearance. To make a fair copy of it someone with plenty of experience is needed; and I can safely recommend you such an one in Mr. Carl Gotze ("Member or Vice-director of the theater chorus") at Weimar. He is accustomed of old to my writing, and would make the copy of the Symphonies with intelligence and care.
N.B.—A copy of the Orchestral Score of the Symphonies will be a great help to the work of the copyist of my manuscript, for exactness in nuances, division of parts and indication of the instruments.
In any case it will be necessary for me to revise the final proofs. .—.
Let me add, in conclusion, that I shall be glad to receive, with the proofs or even sooner, a copy of my "Etudes d'execution transcendante," and also those "d'apres Paganini" (Breitkopf and Hartel edition), which I have promised to give to an excellent pianist here, Mr. Sgambati, who is most capable of playing them well in public;—and, besides these, a copy of my "Ave Maria" (for chorus with Organ accompaniment) which is shortly to be performed here.
20. To Dr. Franz Brendel
Dear Friend,
This morning I sent off manuscripts and corrections to Hartel and Schuberth—and thus had to write the word Leipzig several times. It struck me as a reproach as regards yourself, and I mean forthwith to get rid of it. You shall not hear of me through others without having the trouble of reading my own bad handwriting yourself. I have not, however, anything very special to relate. The summer has passed quietly and I have not wandered abroad much; have, in fact, been pretty constantly sitting at my work. My abode continues to suit me more and more, so I intend to spend the winter here. You no doubt received with my last letter the photograph of the "Madonna del Rosario." Unfortunately I cannot send you a picture of the grand, truly sublime view that can be enjoyed from every window. So you must imagine it to embrace all Rome, the wondrous Canmpagna, and all the past and present glories of the district.
For some time past I have had no other news of you than your excellent articles on "artistic individuality," etc., in which, among many other right and fine observations, I was specially pleased with the axiom: "The artistic temperament, when genuine, corrects itself in consequence of the change of contrasts." May it prove so in my case;—this much is certain,—that in the tiresome business of self-correction few have to labor as I have, as the process of my mental development, if not checked, is at all events rendered peculiarly difficult by a variety of coincidences and contingencies. A clever man, some twenty years ago, made the not inapplicable remark to me: "You have in reality three individuals to deal with in yourself, and they all run one against the other; the sociable salon-individual, the virtuoso and the thoughtfully-creative composer. If you manage one of them properly, you may congratulate yourself."—Vedremo! [We shall see!]
Weitzmann's "Carnival in Rome towards the Middle of the Seventeenth Century," I read with great pleasure in the "Neue Zeitschrift." It is a pleasant, lively sketch, spiced with learning but without pedantic lead. Did a very remarkable "History of the Pianoforte," etc., by the same author, appear in your paper? Frau von Bulow wrote to me lately that Hans is busy with some essays for the N. Z. Probably he is writing a review of Weitzmann's "History of the Pianoforte," which would be most appropriate; if this is not the case I would advise you to get one of your staff to undertake the work and to give several quotations from it. The confounded pianoforte has its unmistakable significance, were it only because of the general abuse to which it is put!—In honor of Hartel's edition of Beethoven I have been occupying myself again with studies and experiments in pianoforte pieces. The arrangements of the 8 Beethoven Symphonies which I am about to send to Leipzig are, I trust, successful. They cost me more trouble, in attempts of various sorts, in corrections, eliminations and additions, than I had anticipated. As we grow old we deliberate more and are less readily satisfied…
To Schuberth I have sent the corrections of the 2-pianoforte arrangement of the "Faust Symphony," together with a pretty, tuneful arrangement of the "Preludes" by Herr Klauser (of New York), and was thus induced to play the hackneyed piece through again, to touch up the closing movement and give it new figuration. In the hands of a skilful player it will prove brilliantly effective.
But enough of all this pianoforte stuff! I feel forced to set to work again in blackening score-sheets—and first of all the "Christus Oratorio" shall be proceeded with.—Write and tell me whether Kahnt is publishing the two Psalms which Pastor Landmesser took him, and advise him to request Herr von Bulow to revise the last proofs. There is nothing more vexatious to me than careless editions, full of errors, such as Schuberth would like to have if one gave free reins to his good nature! From the Committee of the Association for the Completion of Cologne Cathedral I have received an invitation to the Festival arranged for the 14th and 15th October. The letter reminds me, in the most courteous terms, that in the year '42 I had the honor of being a member of the Council. I had not forgotten this peculiar distinction; but the worthy gentlemen seem absolutely not to have considered how my activity could now appropriately be of service, and they wisely guard against mentioning any of my ecclesiastical compositions, although it might have occurred to them that I could manage something in that species of music. However, the worthy Committee find the old story of the "period of my brilliancy," and the "bewitching strains I drew from the keys," etc., more voluble and convenient. Besides which some small sum would have to be forthcoming were I to agree in considering myself what the good folks would like to consider me. Fortunately the determination of my work does not lie in their hands, and on account of this very evident conviction I answered their communication most courteously, modestly referring to my present occupation in Rome, and enclosing an extract from one of the Hymns of St. Ambrosius, from the Liturgy of the "Three Holy Kings," an incident intimately connected with Cologne Cathedral. At the same time I feel satisfied that I have not shown any intention to give annoyance, and declared myself as perfectly content to fulfil my duties as an honorary member of the Council, in quietude, by composing a work specially for the Cathedral (which I shall not fail to do), but without laying the slightest claim to the sympathy—much less to the patronage—of the worthy gentlemen of Cologne.—I flatter myself that I am not in the bad graces of the Three Holy Kings, consequently do not need to trouble myself about the rest of the Cologne folk!
Now my Leipzig parcels can be despatched with an easy mind.
With heartiest greetings,
Yours devotedly,
F. Liszt
September 7th, 1863