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Project Gutenberg Etext of Letters of Franz Liszt, Volume 1,
"From Paris to Rome: Years of Travel as a Virtuoso," collected
by La Mara and Translated by Constance Bache

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Title: Letters of Franz Liszt, Volume 1, "From Paris to Rome:
Years of Travel as a Virtuoso"

Author: Franz Liszt; Letters assembled by La Mara and translated
into English by Constance Bache

Release Date: January, 2003  [Etext #3689]
[Yes, we are about one year ahead of schedule]
[The actual date this file first posted = 07/18/01]

Edition: 10

Language: English

Project Gutenberg Etext of Letters of Franz Liszt, Volume 1,
"From Paris to Rome: Years of Travel as a Virtuoso,"

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Letters of Franz Liszt, Volume 1, "From Paris to Rome: Years of
Travel as a Virtuoso"

by Franz Liszt; letters collected by La Mara and translated by
Constance Bache




CONTENTS



BRIEF BIOGRAPHICAL SKETCH
DEDICATION
PREFACE TO THE ENGLISH EDITION, BY CONSTANCE BACHE
TABLE OF LETTER CONTENTS
THE LETTERS OF FRANZ LISZT, VOL. 1
INFO ABOUT THIS E-TEXT EDITION



BRIEF BIOGRAPHICAL SKETCH



The Austrian composer Franz Liszt (1811-1886) was a pianistic
miracle. He could play anything on site and composed over 400
works centered around "his" instrument. Among his key works are
his Hungarian Rhapsodies, his Transcendental Etudes, his Concert
Etudes, his Etudes based on variations of Paganinini's Violin
Caprices and his Sonata, one of the most important of the
nineteenth century. He also wrote thousands of letters, of which
260 are translated into English in this first of a 2-volume set
of letters.

Those who knew him were also struck by his extremely
sophisticated personality. He was surely one of the most
civilized people of the nineteeth century, internalizing within
himself a complex conception of human civility, and attempting to
project it in his music and his communications with people. His
life was centered around people; he knew them, worked with them,
remembered them, thought about them, and wrote about them using
an almost poetic language, while pushing them to reflect the high
ideals he believed in. His personality was the embodiment of a
refined, idealized form of human civility. He was the consummate
musical artist, always looking for ways to communicate a new
civilized idea through music, and to work with other musicians in
organizing concerts and gatherings to perform the music publicly.
He also did as much as he could to promote and compliment those
whose music he believed in.

He was also a superlative musical critic, knowing, with few
mistakes, what music of his day was "artistic" and what was not.
But, although he was clearly a musical genius, he insisted on
projecting a tonal, romantic "beauty" in his music, confining his
music to a narrow range of moral values and ideals. He would have
rejected 20th-century music that entertained cynical notions of
any kind, or notions that obviated the concept of beauty in any
way. There is no Prokofiev, Stravinsky, Shostakovich, Cage, Adams
and certainly no Schoenberg in Liszt's music. His music has an
ideological "ceiling," and that ceiling is "beauty." It never
goes beyond that. And perhaps it was never as "beautiful" as the
music of Mozart, Bach or Beethoven, nor quite as rational (Are
all the emotions in Liszt's music truly "controlled?"). But it
certainly was original and instructive, and it certainly will
linger.



DEDICATION



To the Memory of
MY BROTHER WALTER,
AND TO OUR
DEAR AND HONORED FRIEND
A.J. HIPKINS, ESQ.,
I DEDICATE THIS TRANSLATION.

--C.B.



PREFACE TO THE ENGLISH EDITION, BY CONSTANCE BACHE



In writing a few words of Preface I wish to express, first and
foremost, my appreciation of the extreme care and
conscientiousness with which La Mara has prepared these volumes.
In a spirit of no less reverence I have endeavored, in the
English translation, to adhere as closely as possible to all the
minute characteristics that add expression to Liszt's letters:
punctuation has, of necessity, undergone alteration, but italics,
inverted commas, dashes and other marks have been strictly
observed. It may be objected that unnecessary particularity has
been shown in the translation of various titles, names of
Societies or newspapers, quotations, etc.; but there are many
people who, while understanding French, do not read German, and
vice versa, and therefore it has seemed better to translate
everything. Where anything has been omitted in the printed
letters I have adhered to the sign .--. employed by La Mara to
indicate the hiatus. It has seemed best to preserve the spelling
of all proper names as written by Liszt, and not to Anglicise
any, as it is impossible to do all; and therefore, even at the
risk of a seeming affectation, the original form of the name has
been preserved. In the same spirit I have adhered to the correct
form of the name of our adopted composer Handel, and trust I may
be pardoned for so doing on the strength of a little joke of
Liszt's own "The English," he said, "always talk about Gluck and
Handel!"

La Mara says in her Preface that this collection can by no means
be considered a complete one, as there must exist other letters--
to Liszt's mother, to Berlioz, Tausig, etc.--which it is hoped
may yet be some day forthcoming. In like manner might there not
also be letters to his daughter Madame Ollivier (not to mention
his still-living daughter Madame Wagner)? [Another volume of
Liszt's letters, of a still more intimate character, addressed to
a lady friend, will be published later on.]

The English edition is increased by four letters one to Peter
Cornelius, No. 256A in Vol. I., which is interesting in its
reference to the "Barbier"; and, in Vol. II., a kind letter of
introduction which the Master gave me for Madame Tardieu, in
Brussels; one letter to Walter Bache, and one to the London
Philharmonic Society (Nos. 370A and 370B); one of these, it is
true, is partially quoted in a footnote by La Mara, but at this
distance of time there is no reason why these letters should not
be inserted entire, and they will prove of rather particular
interest, both to my brother's friends, and also as having
reference to that never-to-be-forgotten episode--Liszt's last
visit to England.

This visit, which took place in 1886, a few months before the
Master's death, was for the purpose of his being present at the
performance of his Oratorio of St. Elizabeth (see Letter 370 and
subsequent letters).

More than forty years had elapsed since Liszt's previous visit to
our shores; times had changed, and the almost unknown, and wholly
unappreciated, had become the acknowledged King in a realm where
many were Princes. Some lines embodying in words England's
welcome to this king--headed by a design in which the Hungarian
and the English coats-of-arms unite above two clasped hands, and
a few bars of a leading theme from the St. Elizabeth--were
written by me and presented to Liszt with a basket of roses
(emblematic of the rose miracle in the Oratorio) tied with the
Hungarian colors, on his entrance into St. James's Hall on April
6th, 1886.

As a memento of that occasion it has been chosen as frontispiece
to the Second Volume.

Constance Bache

London, December 1893



TABLE OF LETTER CONTENTS (LETTER NUMBER, FOLLOWED BY ADDRESSEE):



1.   Carl Czerny in Vienna. December 23rd, 1828
2.   De Mancy in Paris. December 23rd, 1829
3.   Carl Czerny. August 26th, 1830
4.   Alphonse Brot in Paris. Beginning of the 30th year
5.   Pierre Wolff in Geneva. May 2nd, 1832
6.   Ferdinand Hiller. June 20th, 1833
7.   Abbe de Lamennais, La Chenaie. January 14th, 1835
8.   Liszt's Mother 183-
9.   Abbe de Lamennais. May 28th, 1836
10.  Lydie Pavy in Lyons. August 22nd, 1836
11.  Abbe de Lamennais. December 18th, 1837
12.  Breitkopf and Hartel in Leipzig. April 5th, 1838
13.  Robert Schumann in Leipzig. May, 1838
14.  The Gesellschaft der Musikfreunde in Vienna. June 1st, 1815
15.  Simon Lowy in Vienna. September 22nd, 1838
16.  Pacini in Paris. September 30th, 1838
17.  Breitkopf and Hartel. January 3rd, 1839
18.  Princess Christine Belgiojoso in Paris. June 4th, 1839
19.  Robert Schumann. June 5th, 1820
20.  Breitkopf and Hartel. June, 1839
21.  The Beethoven Committee at Bonn. October 3rd, 1839
22.  Count Leo Festetics in Pest. November 24th, 1839
23.  Clara Wieck. December 25th, 1839
24.  Robert Schumann. March 27th, 1841
25.  Franz von Schober in Vienna. April 3rd, 1840
26.  Maurice Schlesinger in Paris. May 14th, 1840
27.  Franz von Schober. May or June, 1840
28.  the same. August 29th, 1840
29.  Buloz in Paris. October 26th, 1840
30.  Franz von Schober. December 5th, 1840
31.  Breitkopf and Hartel. May 7th, 1841
32.  Simon Lowy. May 20th, 1841
33.  Franz von Schober. March 3rd, 1842
34.  The Faculty of Philosophy at the University of Konigsberg.
March 18th, 1842
35.  Freiherr von Spiegel in Weimar. September 12th, 1842
36.  Carl Filitsch2 or 1843
37.  Franz von Schober. March 4th, 1844
38.  Franz Kroll. June 11th, 1844
39.  Freund. June 11th, 1844
40.  Franz von Schober. March 3rd, 1845
41.  Franz Kroll in Glogau. March 26th, 1845
42.  Abbe de Lamennais. April 28th, 1845
43.  Frederic Chopin. May 21st, 1845
44.  George Sand. May 21st, 1845
45.  Abbe de Lamennais. June 1st, 1845
46.  Gaetano Belloni in Paris. July 23rd, 1845
47.  Mme. Rondonneau in Sedan. February 11th, 1846
48.  Grillparzer 1846 (?)
49.  Franz von Schober in Weimar. April 11th, 1846
50.  the same. May 28th, 1846
51.  Alexander Seroff. September 14th, 1847
52.  Carl Haslinger in Vienna. December 19th, 1847
53.  Baron von Dornis in Jena. March 6th, 1848
54.  Franz von Schober. April 22nd, 1848
55.  Bernhard Cossmann in Baden-Baden. September 18th, 1848
56.  Carl Reinecke. March 25th, 1849
57.  Count Sandor Teleky(?) May 5th, 1849
58.  Belloni(?). May 14th, 1849
59.  Carl Reinecke. May 30th, 1849
60.  Robert Schumann. June 5th, 1849
61.  the same. July 27th, 1849
62.  the same. August 1st, 1849
63.  Carl Reinecke. September 7th, 1849
64.  Breitkopf and Hartel. January 14th, 1850
65.  the same. February 24th, 1850
66.  J. C. Lobe in Leipzig. July 10th, 1850
67.  Friedrich Wieck in Dresden. August 4th, 1850
68.  Simon Lowy. August 5th, 1850
69.  Mathilde Graumann. October 11th, 1850
70.  Carl Reinecke. January 1st, 1851
71.  Leon Escudier in Paris. February 4th, 1851
72.  Carl Reinecke. March 19th, 1851
73.  Dr. Eduard Liszt in Vienna1
74.  Count Casimir Esterhazy. June 6th, 1851
75.  Theodor Uhlig in Dresden. June 25th, 1851
76.  Rosalie Spohr in Brunswick. July 3rd, 1851
77.  the same. July 22nd, 1851
78.  Breitkopf and Hartel. December 1st, 1851
79.  Louis Kohler in Konigsberg. April 16th, 1852
80.  Carl Reinecke. April 16th, 1852
81.  Carl Czerny. April 19th, 1852
82.  Gustav Schmidt in Frankfort-on-the-Maine. May 18th, 1852
83.  Robert Schumann. June 8th, 1852 84.the same. June 26th, 1852
85.  Peter Cornelius. September 4th, 1852
86.  Clara Schumann. September 11th, 1852
87.  Carl Czerny. September or October, 1852
88.  Breitkopf and Hartel. October 30th, 1852
89.  the same. November 10th, 1852
90.  Julius Stern in Berlin. November 24th, 1852
91.  Wilhelm von Lenz in St. Petersburg. December 2nd, 1852
92.  Robert Radecke in Leipzig. December 9th, 1852
93.  Bernhard Cossmann. December, 1852
94.  Wilhelm Fischer in Dresden. January 13th, 1853
95.  Edmund Singer. January 15th, 1853
96.  To Frau Dr. Lidy Steche in Leipzig. February 14th, 1853
97.  Gustav Schmidt. February 27th, 1853
98.  Heinrich Brockhaus in Leipzig. March 22nd, 1853
99.  Dr. Franz Brendel in Leipzig. April 3rd, 1853
100. the same. April 30th, 1853
101. Louis Kohler. May 6th, 1853
102. the same. May 24th, 1853
103. the same. August 1st, 1853
104. Richard Pohl in Dresden. November 5th, 1853
105. Wilhelm Fischer. January 4th, 1854
106. Escudier in Paris. January 21st, 1854
107. the same. January 28th, 1854
108. Dr. Franz Brendel. February 20th, 1854
109. Louis Kohler. March 2nd, 1854
110. Dr. Franz Brendel. March 18th, 1854
111. Louis Kohler. April or May, 1854
112. Dr. Franz Brendel. April 26th, 1854
113. Louis Kohler. June 8th, 1854
114. Dr. Franz Brendel. June 12th, 1854
115. Carl Klindworth in London. July 2nd, 1854
116. Dr. Franz Brendel. July 7th, 1854
117. Anton Rubinstein. July 31st, 1854
118. Dr. Franz Brendel. August 12th, 1854
119. Anton Rubinstein. August, 1854
120. Alexander Ritter in Dresden. September 6th, 1854
121. Bernhard Cossmann. September 8th, 1854
122. Gaetano Belloni. September 9th, 1854
123. Dr. Eduard Liszt October 10th, 1854
124. Anton Rubinstein. October 19th, 1854
125. Dr. Franz Brendel. Beginning of November, 1854
126. Anton Rubinstein. November 19th, 1854	 215
127. Dr. Franz Brendel. December 1st, 1854
128. J. W. von Wasielecvski in Bonn. December 14th, 1854
129. William Mason in New York. December 14th, 1854
130. Rosalie Spohr. January 4th, 1855
131. To Alfred Dorffel in Leipzig. January 17th, 1855
132. Anton Rubinstein. February 1st, 1855
133. Louis Kohler. March 16th, 1855
134. Dr. Franz Brendel. March 18th, 1855
135. the same. April 1st, 1855
136. Anton Rubinstein. April 3rd, 1855
137. Freiherr Beaulieu-Marconnay. May 21st, 1855
138. Anton Rubinstein. June 3rd, 1855
139. Dr. Franz Brendel. June, 1855
140. the same. June 16th, 1855
141. Edmund Singer. August 1st, 1855
142. Bernhard Cossmann. August 15th, 1855
143. August Kiel in Detmold. September 8th, 1855
144. Moritz Hauptmann. September 28th, 1855
145. Dr. Eduard Liszt December 3rd, 1855
146. Frau Meyerbeer in Berlin. December 14th, 1855
147. Dr. Ritter von Seiler in Vienna. December 26th, 1855
148. Dr. Eduard Liszt February 9th, 1856
149. Dr. von Seiler. February loth, 1856
150. Dr. Franz Brendel. February 19th, 1856
151. Dionys Pruckner in Vienna. March 17th, 1856
152. Breitkopf and Hartel. May 15th, 1856
153. Louis Kohler. May 24th, 1856
154. the same. July 9th, 1856
155. Hoffmann von Fallersleben. July 14th, 1856
156. Wilhelm Wieprecht. July 18th, 1856
157. Edmund Singer. July 28th, 1856
158. Joachim Raff. July 31st, 1856
159. Anton Rubinstein. August 6th, 1856
160. Joachim Raff. August 7th, 1856
161. Anton Rubinstein. August 21st, 1856
162. Dr. Eduard Liszt September 5th, 1856
163. Louis Kohler. October 8th, 1856
164. Dr. Gille in Jena. November 14th, 1856
165. Dr. Adolf Stern in Dresden. November 14th, 18293
166. Louis Kohler. November 21st, 1856
167. Dr. Eduard Liszt November 24th, 1856
168. Alexander Ritter in Stettin. December 4th, 1856
169. L. A. Zellner in Vienna. January 2nd, 1857  299
170. Von Turanyi in Aix-la-Chapelle. January 3rd, 1830
171. J. W. von Wasielewski. January 9th, 1857
172. Alexis von Lwoff in St. Petersburg. January 10th, 1857
173. Johann von Herbeck in Vienna. January 12th, 1857
174. Franz Gotze in Leipzig. February 1st, 1857
175. Dionys Pruckner. February 11th, 1857
176. Joachim Raff. February, 1857
177. Ferdinand David. February 26th, 1857
178. Wladimir Stassoff in St. Petersburg. March 17th, 1857
179. Wilhelm von Lenz in St. Petersburg. March 24th, 1857
180. Dr. Eduard Liszt March 26th, 1857
181. Georg Schariezer in Pressburg. April 25th, 1857
182. Dr. Eduard Liszt April 27th, 1857
183. Frau von Kaulbach. May 1st, 1857
184. Fedor von Milde in Weimar. June 3rd, 1857
185. Johann von Herbeck. June 12th, 1857
186. Countess Rosalie Sauerma. June 22nd, 1857
187. Ludmilla Schestakoff in St. Petersburg. October 7th, 1857
188. Carl Haslinger. December 5th, 1857
189. Stein in Sondershausen. December 6th, 1857
190. Alexander Ritter. December 7th, 1857
191. Max Seifriz in Lowenberg. December 24th, 1857
192. Alexander Seroff. January 8th, 1858
193. Basil von Engelhardt. January 8th, 1858
194. Felix Draseke. January Loth, 1858
195. Louis Kohler. February 1st, 1858
196. L.A. Zellner. February 8th, 1858
197. Peter Cornelius. February 19th, 1858
198. Dionys Pruckner. March 9th, 1858
199. Dr. Eduard Liszt March Loth, 1858
200. Fran Dr. Steche. March 20th, 1858
201. L. A. Zellner. April 6th, 1858
202. Dr. Eduard Liszt April 7th, 1858
203. Adolf Reubke in Hausneinsdorf. June 10th, 1858
204. Prince Constantin von Hohenzollern-Hechingen. August 18th,
1858
205. Frau Rosa von Milde. August 25th, 1858
206. Dr. Franz Brendel. November 2nd, 1858
207. Johann von Herbeck. November 22nd, 1858
208. Felix Draseke. January 12th, 1859
209. Heinrich Porges. March loth, 18379
210. Max Seifriz. March 22nd, 1859
211. Dr. Eduard Liszt April 5th, 1859
212. Music-Director N. N. April 17th, 1859
213. Peter Cornelius. May 23rd, 1859
214. Dr. Franz Brendel. May 23rd, 1859
215. Felix Draseke. July 19th, 1859
216. Peter Cornelius. August 23rd, 1859
217. Dr. Franz Brendel. September 2nd, 1859
218. Louis Kohler. September 3rd, 1859
219. Dr. Franz Brendel. September 8th, 1859
220. Johann von Herbeck. October 11th, 1859
221. Felix Draseke. October 20th, 1859
222. Heinrich Porges. October 30th, 1859
223. Ingeborg Stark. November 2nd, 1859
224. Johann von Herbeck. November 18th, 1859
225. Dr. Franz Brendel. December 1st, 1859
226. Anton Rubinstein. December 3rd, 1859
227. Dr. Franz Brendel. December 6th, 1859
228. Dr. Eduard Liszt December 28th, 1859
229. Josef Dessauer. December 30th, 1859
230. Wilkoszewski in Munich. January 15th, 1860
231. Johann von Herbeck. January 26th, 1860
232. Dr. Franz Brendel. January 25th, 1860
233. Friedrich Hebbel. February 5th, 1860
234. Dr. Franz Brendel. February, 1860
235. the same March or April, 1860
236. Louis Kohler. July 5th, 1860
237. Dr. Eduard Liszt July 9th, 1860
238. Ingeborg Stark. Summer, 1860
239. Dr. Franz Brendel. August 9th, 1860
240. Princess C. Sayn-Wittgenstein. September 14th, 1860
241. Dr. Franz Brendel. September 20th, 1860
242. Dr. Eduard Liszt September 20th, 1860
243. Hoffmann von Fallersleben. October 3oth, 1860
244. Franz Gotze. November 4th, 1860
245. Dr. Franz Brendel. November 16th, 1860
246. the same. December 2nd, 1860
247. C.F. Kahnt in Leipzig. December 2nd, 1860
248. the same. December 19th, 1860
249. Dr. Franz Brendel. December 19th, 1860
250. Felix Draseke. December 3oth, 1860
251. Dr. Franz Brendel. Beginning of January, 1861
252. the same. January 20th, 1861
253. the same. March 4th, 1861
254. Peter Cornelius. April 18th, 1861.
255. Hoffmann von Fallersleben. April 18th, 1861
256. Peter Cornelius. July 12th, 1861
256A. the same. July 14th, 1861
257. Alfred Dorffel. July 18th, 1861
258. Edmund Singer in Stuttgart. August 17th, 1861
259. C.F. Kahnt. August 27th, 1861
260. Dr. Franz Brendel. September 16th, 1861



THE LETTERS OF FRANZ LISZT, VOL. 1



1. To Carl Czerny in Vienna.

[Autograph in the possession of M. Alfred Bovet at Valentigney.--
The addressee was Liszt's former teacher, the celebrated Viennese
teacher of music and composer of innumerable instructive works
(1791-1857).]

My very dear Master,

When I think of all the immense obligations under which I am
placed towards you, and at the same time consider how long I have
left you without a sign of remembrance, I am perfectly ashamed
and miserable, and in despair of ever being forgiven by you!
"Yes," I said to myself with a deep feeling of bitterness, "I am
an ungrateful fellow; I have forgotten my benefactor, I have
forgotten that good master to whom I owe both my talent and my
success."...At these words a tear starts to my eyes, and I assure
you that no repentant tear was ever more sincere! Receive it as
an expiation, and pardon me, for I cannot any longer bear the
idea that you have any ill-feeling towards me. You will pardon
me, my dear Master, won't you? Embrace me then...good! Now my
heart is light.

You have doubtless heard that I have been playing your admirable
works here with the greatest success, and all the glory ought to
be given to you. I intended to have played your variations on the
"Pirate" the day after tomorrow at a very brilliant concert that
I was to have given at the theater of H.R.H. Madame, who was to
have been present as well as the Duchess of Orleans; but man
proposes and God disposes. I have suddenly caught the measles,
and have been obliged to say farewell to the concert; but it is
not given up because it is put off, and I hope, as soon as ever I
am well again, to have the pleasure of making these beautiful
variations known to a large public.

Pixis [a notable pianist (1788-1874)--lived a long time in Paris]
and several other people have spoken much to me of four concertos
that you have lately finished, and the reputation of which is
already making a stir in Paris. I should be very much pleased, my
dear Master, if you would commission me to get them sold. This
would be quite easy for me to do, and I should also have the
pleasure of playing them FROM FIRST HAND, either at the opera or
at some big concerts. If my proposition pleases you, send them to
me by the Austrian Embassy, marking the price that you would like
to have for them. As regards any passages to be altered, if there
are any, you need only mark them with a red pencil, according to
your plan which I know so well, and I will point them out to the
editor with the utmost care. Give me at the same time some news
about music and pianists in Vienna; and finally tell me, dear
Master, which of your compositions you think would make the best
effect in society.

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



96. To Frau Dr. Lidy Steche in Leipzig

[The addressee sang for two winters in the Gewandhaus concerts
(as Frl. Angermann). After her marriage she started a Vocal
Union, in the forties, with which, in December 1853, she gave so
excellent a pianoforte performance of "Lohengrin" at her own
house, and afterwards at the Minerva "lodge," that Hoplit, in his
account of stage performances (Neue Zeitschrift fur Musik), spoke
of the Steche undertaking as a "model performance." This was
before the performance of "Lohengrin" at the Leipzig theater in
January 1854.]

My dear Madame,

I have the pleasure of answering your inquiries in regard to the
performances of the Wagner operas with the following dates:--

For next Wednesday, February 16th, the birthday of H.R.H. the
Grand Duchess, the first performance of the "Flying Dutchman" is
fixed. (N. B.--For that evening all the places are already taken,
and, as a great many strangers are coming, it will be difficult
to find suitable rooms in Weymar.) The following Sunday, February
20th, the "Flying Dutchman" will be repeated; and on the 27th
(Sunday) "Tannhauser" is promised, and on March 5th (Saturday)
"Lohengrin." Between these two performances of February 27th and
March 5th the third performance of the "Flying Dutchman" will
probably take place, of which I can give you more positive
information at the end of this week. The Wagner week proper
begins therefore with February 27th and closes with March 5th,
and if it were possible to you to devote a whole week to these
three glorious works of art I should advise you to get here by
the 27th,--or, better still for you (as you are already quite
familiar with "Tannhauser"), to come in time for the third
performance of the "Flying Dutchman," the date of which is still
somewhat uncertain, but which will probably be fixed for the 2nd
or 3rd March. Immediately after the first performance we shall
get quite clear about it, and I will not fail to let you know
officially the result of the theater Conference here (in which I
am not concerned).

Accept, my dear Madame, the assurance of the high esteem of

Yours most truly,

F. Liszt

Weymar, February 4th, 1853



97. To Gustav Schmidt, Capellmeister at Frankfort-On-The-Maine

[Autograph (without address) in the possession of M. Alfred Bovet
at Valentigney.--The contents show to whom the letter was
addressed.]

Dear Friend,

Berlioz's two symphonies, "Romeo and Juliet" and "Faust," have
been twice given here in the course of this winter with the
utmost success. Berlioz was so good as to lend me the score and
parts,--but with the express condition that they should not go
out of my hands. When, at the request of the Leipzig Academy of
Singing [Singacademie], I asked him some weeks ago whether he
would not allow me to place "Faust" at the disposal of the
Leipzig Institute for a proposed performance, he replied to me as
follows:--

"Considering the deplorable performances of which my works have
often been the victims both in Germany and elsewhere, I have
resolved never to lend them in manuscript. Moreover there are
enough of my works printed in score and in separate parts (the
three Symphonies, several Overtures, the 5th May, the Requiem,
etc.) to make it unnecessary to seek for others. If I made an
exception for you," ["Pour toi." Showing that Liszt and Berlioz
employed the "tutoyer" towards one another.] etc...

Although I was perfectly certain that the Leipzig performance
would be a very satisfactory one, as many of my friends took a
lively interest in it, and although I have not the least doubt
that you would be anxious to give "Faust" its full value in
Frankfort, yet you see from the above lines of Berlioz that I, to
my regret, dare not risk any further application to him in this
matter. "Faust," moreover, will appear in score this year in
Paris, and I sent Berlioz his manuscript back a short time ago.

Should you be disposed to perform something or other of Berlioz's
in Frankfort, I can recommend you, first of all, most warmly:-

The two Overtures to "Cellini" and the "Carnaval Romain";

Two numbers out of the Symphony "Romeo and Juliet" -the feast at
Capulet's house and the Queen Mab (Scherzo);

And two Marches from the "Harold" Symphony and the "Symphonie
Fantastique"-the March of the Pilgrims and the "Marche de
Supplice" ["March on the Way to Execution"].

But it will be necessary for you to have several rehearsals--and
indeed separate rehearsals for the quartet, and separate
rehearsals for the wind instruments.

The effect of Berlioz's works can only be uncommonly good when
the performance of them is satisfactory.

They are equally unsuited to the ordinary worthy theater and
concert maker, because they require a higher artistic standpoint
from the musician's side.

I looked through Kittl's [1809-68. Director of the Prague
Conservatorium.] opera some years ago in a piano arrangement,
and, between ourselves, I do not think the work will last. Kittl
is a personal friend of mine, and I should have been glad to be
able to give his work here; but...nevertheless...etc., etc.

Raff's "King Alfred" is a much more successful and important
work; and, without wishing to injure Kittl, there is in Raff
quite other musical stuff and grist. [Steckt doch in Raff ein
ganz anderer musikalischer Kern and Kerl: untranslatable play on
words.]

During your last stay in Weymar I spoke to you of Vesque's new
opera "Der lustige Rath." Various local circumstances have
delayed the performance at Vienna of this really pretty, nicely
worked out opera. The mise-en-scene does not require any special
efforts; the piece only requires a somewhat piquant and not
unskillful soprano singer. Altogether the opera appears to me to
be written in a charming style, not too superficially
conservative, and to be one of the best among the new operas
mezzo-carattere. In case you still have time and are not
indisposed to give the opera in Frankfort, I can send you the
score. You would do Vesque an essential service if you could give
the opera soon, and would have friendly relations with him, for
Vesque is a cultivated, intelligent, and first-rate man. [Vesque
von Puttlingen (pseudonym, Hoven), 1803-83, Councillor of the
Austrian Foreign Ministry, composer of songs and operas.] There
are not too many such!

Yours in all friendship,

F. Liszt

Weimar, February 27th, 1853



98. To Heinrich Brockhaus, Bookseller in Leipzig

[Published in a German translation: La Mara, "Letters of
Musicians during Five Centuries, vol. ii., 1887.]

My dear Mr. Brockhaus,

In thanking you for your kind mention of the notice joined to my
name in the Conversations Lexikon, I wish above all things not to
go beyond the limits of most scrupulous delicacy, which in these
sorts of things have always appeared to me all the more desirable
to maintain because they are so very often passed. Consequently I
will only allow myself to point out three misstatements of fact
in the article about myself: firstly, my supposed title of ex-St.
Simonien; secondly, my supposed journey to America; thirdly, my
diploma of the University of Konigsberg, which my biographer
arbitrarily changes into a diploma of Doctor of Music, which was
not the one given to me.--

I have never had the honor of belonging to the association, or,
to put it better, to the religious and political family of St.
Simonisme. Notwithstanding my personal sympathy with this or that
member of it, my zeal has been but little beyond that which
Heine, Boerne, and twenty others whose names are in the
Conversations Lexikon showed at the same period, and they limited
themselves to following pretty often the eloquent preachings of
the Salle Taitbout. Among my numerous tailors' bills, I can
certify that there is not one to be found of a bleu-barbot coat
[The dress of the St. Simonists.]; and, as I have mentioned
Heine, I ought to add that my fervor was far short of his, for I
never thought of wishing to "Commune through space with the
Child-lake Father," by correspondence or dedication, as he has
done!--

Further, I can also assure you that my practical course of the
geography of Europe has not extended beyond it, and that the four
or five other parts of the globe are entirely unknown to me. And
when you come to see me at Weymar I can show you, amongst other
diplomas, that of the University of Konigsberg, in virtue of
which I have the honor to belong, exceptionally, to the class of
Doctors in Philosophy, an honor for which I have always been
peculiarly grateful to this illustrious University.

As to the summary judgment passed upon my person and my works in
this article, you will easily understand that I only accept it as
transitory and with due reserve, much obliged though I am besides
to the author for his kind intentions. After having attained,
according to my biographer, the first aim of my youth,--that of
being called the Paganini of the Piano,-it seems to me it is
natural that I should seriously have the ambition of bearing my
own name, and that I should count somewhat on the results of a
desire and of persevering work, so far as to hope that in one of
the later editions of the Conversations Lexikon I may have a
place more in accordance with my aims. [The article in question,
which was published at a time when Liszt's greater works had
partly not yet been written, and partly were not yet known in the
wider circles, speaks of poverty of invention, and considers his
compositions rather those of a virtuoso than of imaginative
significance.]

Accept, my dear Mr. Brockhaus, the expression of my most sincere
regard, and believe me

Yours very truly,

F. Liszt

Weymar March 22nd, 1853



99. To Dr. Franz Brendel in Leipzig

[Autograph of the letter to Brendel in the possession of Frau Dr.
Riedel in Leipzig.--Brendel (born 1811, died November 25th, 1868,
in Leipzig) rendered great services to the New German (i.e., the
Wagner-Liszt) musical tendencies, as a writer on music
(Geschichte der Musik, History of Music), and as editor of the
Neue Zeitschrift fur Musik (founded by R. Schumann). He also,
together with Liszt, originated the "Allgemeine Deutsche
Musikverein" (the "German Universal Musical Union"), and was its
president up to his death.]

Dear Friend,

A little trip to Gotha, where the Duke had invited me to be
present at the performance of his opera "Casilda" the day before
yesterday, must bear the blame of my delay in writing to you.
After duly thinking over and considering your letter, I must tell
you first and foremost my exact opinion with regard to the
immediate appearance of the proposed paper. In my opinion at
least two or three months are requisite to establish the
necessary relations with the chief co-operators, and to give due
weight to the whole undertaking. Without complete agreement as to
means and aims we should compromise rather than help the matter.
We must have the positive agreement and assurance of Semper,
Stahr, Hettner, Hauenschild, and others (among whom Vischer of
Tübingen must be sure not to be forgotten), before the first
number appears. We have to struggle for a far higher and more
difficult end than, for instance, the Unterhallungen am
hausliehen Herd [Entertainments at Home] or the Fliegende Blatter
fur Musik. [Fly-leaves for Music.] The most important step for us
is the very first, at the house door; and if we do not weigh this
step with due reflection we shall run a great risk of winning
only imaginary future subscribers for the Art Work of the Future,
and of seeing our best wishes for its feasibility shipwrecked.

Whether also the title Kunstwerk der Zukunft [Art Work of the
Future.]	should be employed, or what other definition should
be the axis of our united efforts in the opening number, I will
put on one side for the present. The full discussion of this and
other things I will keep for your next visit to Weymar. Raff's
opera is announced for this day fortnight (Sunday, April 17th).
If it is agreeable to you to come here sooner, you will be most
welcome at any moment. This time and every time that you come to
Weymar, I beg you to stay with me, both for your own convenience
and mine.

Förster's exact address I will send you very soon, although I
conclude that letters addressed Herr Hofrath Ernst Forster would
be safely delivered by the post office. Stahr is the best person
to give you information about Herr von Hauenschild (Max Waldau--
not Count, as far as I know), and Hettner is a Professor in Jena.

Further, it is my opinion that you had better not send your
communications to these gentlemen until we have settled some of
the chief points in this matter.

I shall undertake a security of four hundred thalers on this
proposed agreement between us, in return for a receipt from the
management which you will give me. I cannot at present hold out
the prospect of further support; yet it is possible that I may
succeed in getting three to five hundred thalers annually, under
certain conditions, for which there is no personal ground
whatever (and which I hinted to you in our last conversation in
Leipzig), for the pages of The Present and Future.

Remember me kindly to your wife, and be assured of the entire
willingness of

Yours truly,

F. Liszt

Weymar, April 3rd, 1853



100. To Dr. Franz Brendel

Dear Friend,

Good advice is seldom cheap, and I must honestly confess that in
my present very fluctuating circumstances I am not rich enough to
help you efficaciously by lending you a helping hand, however
much I might wish to do so. Stahr's refusal is very much to be
regretted, for, in order to attain your end and to influence the
world of literature, you positively require more literary men of
great note to join you. Next to the money question the formation
of the nucleus of management is the most important matter in this
undertaking. However zealous and self-sacrificing you and
Schlonbach [Arnold Schlonbach, journalist, died long ago.] may be
in devoting your talents and powers to the paper, yet I doubt
whether you will be able to keep it going unless you get some
further capable men of talent as co-operators. This brings us,
however, again to the money question, which I unfortunately am
not in a position to solve. To be obliged to give it up after six
months would be a far worse fate than not to begin it at all.
Therefore, before everything, the moral guarantee must be
forthcoming for its continuance, and for the constantly
increasing spread of the paper, and these depend principally on
the guarantee which the first five or six co-operators warrant.
You remark quite truly that, if Wagner would take an interest in
the matter, it would be of the greatest help. Perhaps he might be
persuaded to do so, and I will willingly start the subject to
him.

The title, size (as well as the limits of the paper, and cover),
and fortnightly issue give me thorough satisfaction, and
according to my opinion nothing more need be altered in these
three particulars. A weekly issue has its advantages--
nevertheless I have always thought that two papers per month are
on the whole better than four. But whether it is possible and
advisable to make the first start as early as July I much
question. "Tout vient a point a qui sait attendre," says the
French proverb. It certainly is important to seize the right
moment, and that must be decided by you. Let me only beg you not
to give too much weight to passing and local influences, and only
to come forward when you can hold your ground with quiet,
deliberate courage. Retreat belongs to the enemy. For us it is
"Gradatim vincimus."

The matter of the security remains as promised. If you should not
be ready by July, October would be just as favorable, if not more
so--only, in Heaven's name, no backward step when once started!--
Some articles of provision and ammunition seem to me to be
absolutely necessary before you begin. Two months are a short
time to get them ready, and I scarcely think it will be possible
for you to be ready for action by July. Have you written yet to
Wagner? You must not expect much from Hettner without Stahr. But,
through Hinrichs or Franz, Hauenschild might perhaps be won over.
I advise you to stick fast to Schwind. One of his last pictures,
"Beethoven's Fancy," bought by the King of Greece, points to him
above all others as the representative of painting in your paper.

May I beg you also to send a few lines to Kurnberger to tell him
that I have given you his manuscript? It would be discourteous if
I were to leave him without any answer, and, as I cannot say
anything further to him, we should save useless circumlocution if
you would be so good as to correspond with him direct.

Incidentally you would also save me another letter about nothing,
if you would write to Lenz (on the subject of this conference).

Whilst I am talking with you, Senora Pepita Oliva is doing her
favorite tricks at the theater, which are more prized and rated
higher than they deserve, so I am assured. "J'aime mieux y croire
qu'y aller voir." [I would rather take it for granted than go and
see it.] The brothers Wieniawski have also been here some days.
The violinist is a virtuoso of importance,--that is to say, in
the ordinary, but not quite correct, sense of this word; for
Virtuoso comes from Virtu, and should neither be so falsified nor
so misapplied.

Yours very truly,

F. Liszt

April 30th, 1853.



101. To Louis Kohler

Dear Friend,

You have again given me a real pleasure by your article on the
Romanesca (in the last numbers of the Signale), for which I would
gladly requite you. The best way to do this would be by a
performance of "Lohengrin"; unfortunately there is very little
prospect of that. Still it is not impossible that between the
19th and 26th of this month there may be a performance of this
one work by royal command; and, as you are already so kindly
disposed towards me, and have promised me to come to Weymar, do
make yourself ready, and give me the great pleasure of your
company for a few days--if possible, from the 19th to the 26th of
this month. The marriage festivities of Princess Amalie of Sachs-
Weymar and Prince Henry of the Netherlands, which will take place
then, will be the occasion of a grand court concert on the 20th,
and the performance of Marx's oratorio "Moses" on the 22nd or
24th, and probably a couple of other musical performances.
Joachim is also coming at the same time, and there will be no
dearth of entertainment for us. Once more best thanks-and a safe
journey--and a revoir--which will be a great pleasure to your
very affectionate and obliged.

F. Liszt

Weymar, May 6th, 1853



102. To Louis Kohler

Dear Friend,

A safe journey--and "auf Wiedersehen" next year in Weymar at a
chance performance of "Lohengrin"! There is now no probability of
a Wagner performance here for a week or ten days, and probably
the "Flying Dutchman" will then be chosen.

You ought to keep all my scribblings which appear henceforth.
Meanwhile I send you only the score of the Weber Polonaise, in
which the working-out section (pages 19, 20, 21) will perhaps
amuse you.

I am writing to Wagner today that he should himself offer you a
copy of the "Nibelungen." You ought to receive it soon.

You will find a little packet of Plantaja cigars in your cloak.
May it help you to recall your Weymar visit, and think with warm
remembrance of

Yours in all friendship,

F. Liszt

Weymar, May 24th, 1853

If you should stay some days in Berlin, ask Dorn why he has not
yet sent me his score of the "Nibelungen"? Perhaps he has not had
my letter in reply to his in which he mentioned that the score
was coming.

When you have half an hour to spare, ask my pupil Winterberger
[Composer, piano and organ virtuoso; born at Weimar 1834; was for
a long time a Professor at the St. Petersburg Conservatorium;
since then lives at Leipzig.] (through Schlesinger) to play you
my "Prophete" Fugue on the organ. I consider this opus as one of
my least bad productions--if you have not got a copy of it I will
send you one on the first opportunity through Hartel.

Your box and cloak are just sent off "Station restante."



103. To Louis Kohler

"Kiraschio! Plimaschio!"

[The refrain of a journeyman's song, given by L. Kohler in his
work "The Melody of Speech," in which "The cry of the natural man
gives vent to itself in unbridled pleasure."]

Dear friend! Your work [The same work, "The Melody of Speech"
(Leipzig, J. J. Weber, 1853).] has given me a refreshing draught
to quaff,--not exactly a theoretical "cure" water, such as the
people promenading past my window are constrained to take, and
which, thank Heaven, I neither require nor take; but a finely
seasoned, delightfully comforting May drink,--and I thank you
warmly for the lively, pleasant hours I have passed with you in
reading and singing your work. The objections with which the
Philistines and pedants will arm themselves against you don't
interest me in the least. You have certainly brought forth a
fresh and exciting little book, and that is a great service not
easily attained!--Be satisfied not to please the worse half of
brave musicians, among which I might count myself, and write on
cheerfully, regardless of shops and shopkeepers!--Specially do I
give you my best thanks for the "Weymarasche Zeilen," and the
very friendly quotation of my earlier songs. Later on, when I
bring out a couple more numbers, I must make a somewhat remodeled
edition of these earlier songs. There must, in particular, be
some simplifications in the accompaniment. But that you have
thought favorably and indulgently of these things, with a due
regard to the inner impulse which brought them forth (in my
"storm and stress" period), is very pleasant to me. The Lenau
concluding song is charmingly composed--only publish some more
like that, with or without comment!

I have just received a letter from Wagner for you, which he sends
to me as he does not know your address. Take this opportunity of
sending me your street and number; for I always address to Putzer
and Heimann, which is too formal. At the beginning of July I
enjoyed several Walhalla-days with Wagner, and I praise God for
having created such a man. Of my further summer projects I will
only say that at the end of September I shall conduct the Musical
Festival at Carlsruhe, and at the beginning of October shall
return to Weymar (where I shall spend the winter).

I have written to Haslinger and Spina to send you the "Hungarian
Rhapsodies" and the "Soirees de Vienne" (songs after F. Schubert,
in nine parts). The next time I pass through Leipzig I will tell
Kistner that you must not fail to have a copy of the "Harmonies
Poetiques et Religieuses." The previously mentioned pieces you
will have without delay. I have sent my Mass and Ave Maria to
Marpurg by Raff. If you approve of these compositions I will
gladly get a couple more copies in your honor. My Catalogue will
not come out till next winter, as I have not yet had any time to
revise it.

Let me hear soon from you, dear friend, and keep ever in friendly
remembrance

Yours sincerely and with many thanks,

F. Liszt

Carlsbad, August 1st, 1853

Address to me always at Weymar.



104. To Richard Pohl in Dresden

[Printed in Pohl's pamphlet "The Carlsruhe Musical Festival in
October, 1853" (by Hoplit). Leipzig, Hinze, 1853.--The addressee,
a writer on music (born 1826), one of the oldest and most
faithful adherents of Liszt and Wagner, lived in Weimar after
1854, his wife Jeanne (nee Eyth) having a post there as a harp
virtuosa: after Liszt's departure he was, as he still is,
occupied as editor in Baden-Baden.]

In various accounts that I have read of the Festival at
Carlsruhe, there is one point on which people seem pretty much
agreed--namely, the insufficiency of my conducting. Without here
examining what degree of foregone judgment there may be in this
opinion, without even seeking to know how much it has been
influenced by the simple fact of the choice of myself as
conductor, apart from the towns of Carlsruhe, Darmstadt, and
Mannheim, it certainly would not be for me to raise pretensions
quite contrary to the assertion which it is sought to establish
if this assertion were based on facts or on justice. But this is
precisely what I cannot help contesting in a very positive
manner.

As a fact one cannot deny that the ensemble of the Carlsruhe
programme was very remarkably performed, that the proportion and
sonority of the instruments, combined with a view to the locale
chosen, were satisfactory and even excellent. This is rather
naively acknowledged in the remark that it is really surprising
that things should have gone so well "in spite of" the
insufficiency of my conducting. I am far from wishing to deck
myself in the peacock's feathers of the Carlsruhe, Mannheim, and
Darmstadt orchestras, and am assuredly more disposed than any one
to render full justice to the talents--some of them very
distinguished--of the members of these three orchestras; but, to
come to the point, whatever may be said to the contrary, it is
acknowledged, even by the testimony of my adversaries, that the
execution was at times astonishing, and altogether better than
there had been reason to expect, considering that I was
conductor.

This fact placed beyond discussion, it remains to be seen whether
I am so completely a stranger there as they try to make out, and
what reasons there can be for thus crying down a conductor when
the execution was satisfactory, especially if, as is just, one
bears in mind the novelty of the works on the programme for
almost the entire audience. For, as every one knew at Carlsruhe,
the Ninth Symphony, as well as the works of Wagner, Berlioz,
Schumann, etc., were not well known by any one but myself, seeing
that they had never been given before in these parts (with the
exception of the Berlioz piece, which a portion only of the
Carlsruhe orchestra had played under the direction of the
composer).--

Now as regards the question of right--to know whether in good
conscience and with knowledge of the matter one can justly accuse
me of being an insufficient conductor, inexperienced, uncertain,
etc.: without endeavoring to exculpate myself (for which I do not
think there is any need amongst those who understand me), may I
be permitted to make an observation bearing on the basis of the
question?

The works for which I openly confess my admiration and
predilection are for the most part amongst those which conductors
more or less renowned (especially the so-called "tuchtigen
Capellmeister" [ Qualified conductors.]) have honored but little,
or not at all, with their personal sympathies, so much so that it
has rarely happened that they have performed them. These works,
reckoning from those which are commonly described nowadays as
belonging to Beethoven's last style (and which were, not long
ago, with lack of reverence, explained by Beethoven's deafness
and mental derangement!)--these works, to my thinking, exact from
executants and orchestras a progress which is being accomplished
at this moment--but which is far from being realized in all
places--in accentuation, in rhythm, in the manner of phrasing and
declaiming certain passages, and, of distributing light and
shade--in a word, progress in the style of the execution itself.
They establish, between the musicians of the desks and the
musician chief who directs them, a link of a nature other than
that which is cemented by an imperturbable beating of the time.
In many cases even the rough, literal maintenance of the time and
of each continuous bar |1,2,3,4,|1,2,3,4,| clashes with the sense
and expression. There, as elsewhere, the letter killeth the
spirit, a thing to which I will never subscribe, however specious
in their hypocritical impartiality may be the attacks to which I
am exposed.

For the works of Beethoven, Berlioz, Wagner, etc., I see less
than elsewhere what advantage there could be (which by-the-bye I
shall contest pretty knowingly elsewhere) in a conductor trying
to go through his work like a sort of windmill, and to get into a
great perspiration in order to give warmth to the others.

Especially where it is a question of understanding and feeling,
of impressing oneself with intelligence, of kindling hearts with
a sort of communion of the beautiful, the grand, and the true in
Art and Poetry, the sufficiency and the old routine of usual
conductors no longer suffice, and are even contrary to the
dignity and the sublime liberty of the art. Thus, with all due
deference to my complaisant critics, I shall hold myself on every
occasion ulterior to my "insufficiency" on principle and by
conviction, for I will never accommodate myself to the role of a
"Profoss" [Overseer or gaoler.] of time, for which my twenty-five
years of experience, study, and sincere passion for Art would not
at all fit me.

Whatever esteem therefore I may profess for many of my
colleagues, and however gladly I may recognize the good services
they have rendered and continue to render to Art, I do not think
myself on that account obliged to follow their example in every
particular--neither in the choice of works to be performed, nor
in the manner of conceiving and conducting them. I think I have
already said to you that the real task of a conductor, according
to my opinion, consists in making himself ostensibly quasi-
useless. We are pilots, and not mechanics. Well, even if this
idea should meet with still further opposition in detail, I could
not change it, as I consider it just. For the Weymar orchestra
its application has brought about excellent results, which have
been commended by some of my very critics of today. I will
therefore continue, without discouragement or false modesty, to
serve Art in the best way that I understand it--which, I hope,
will be the best.--

Let us then accept the challenge which is thrown to us in the
form of an extinguisher, without trouble or anxiety, and let us
persevere, conscious of right--and of our future.

F. Liszt

Weymar, November 5th, 1853



105. To Wilhelm Fischer, Chorus Director at Dresden

[Autograph in the possession of Herr Otto Lessmann, writer at
Charlottenburg. (Printed in his Allgemeine Musik-Zeitung, 1887,
No. 38.)--The addressee was the well-known friend of Wagner. (See
"Wagner's Letters to Uhlig, Fischer, and Heine."--Grevel & Co.)
Vol. I. 12]

Dear Sir and Friend,

Your letter has given me real pleasure, and I send you my warmest
thanks for your artistic resolve to bring "Cellini" to a hearing
in Dresden. Berlioz has taken the score with him to Paris from
Weymar, in order to make some alterations and simplifications in
it. I wrote to him the day before yesterday, and expect the score
with the pianoforte edition, which I will immediately send you to
Dresden. Tichatschek is just made for the title-role, and will
make a splendid effect with it; the same with Mitterwurzer as
Fieramosca and Madame Krebs as Ascanio, a mezzo-soprano part.
From your extremely effective choruses, with their thorough
musicianly drilling, we may expect a force never yet attained in
the great Carnival scene (Finale of the second act); and I am
convinced that, when you have looked more closely into the score,
you will be of my opinion, that "Cellini", with the exception of
the Wagner operas,--and they should never be put into comparison
with one another--is the most important, most original musical-
dramatic work of Art which the last twenty years have to show.

I must also beg for a little delay in sending you the score and
the pianoforte edition, as it is necessary entirely to revise the
German text and to have it written out again. I think this work
will be ready in a few weeks, so you may expect the pianoforte
edition at the beginning of February. At Easter Berlioz is coming
to Dresden, to conduct a couple of concerts in the theater there.
It would be splendid if you should succeed in your endeavors to
make Herr von Luttichau fix an early date for the "Cellini"
performance, and if you could get Berlioz to conduct his own work
when he is in Dresden. In any case I shall come to the first
performance, and promise myself a very satisfactory and
delightful result. [Dresden did not hear "Cellini" till thirty--
four years later.]

Meanwhile, dear friend, accept my best thanks once more for this
project, and for all that you will do to realize it successfully,
and receive the assurance of the high esteem of

Yours very truly,

F. Liszt

Weymar, January 4th 1841



106. To M. Escudier, Music Publisher in Paris

[Autograph (without address) in the possession of Monsieur
Etienne Charavay in Paris.--The contents show to whom it was
written.]

My dear Sir,

My time has been so absorbed by the rehearsals of a new opera in
five acts, "Die Nibelungen", by Mr. Dorn, musical conductor in
Berlin, the first performance of which will take place tomorrow,
and also by a heap of small and great local obligations which
accumulate for me in particular at the beginning of winter, that
I have never yet had a moment in which to send you my very
cordial thanks for your biographical notice on occasion of the
Alexandre Piano, which [i.e., the biographical notice had just
reached me. [A "giant grand piano" with three keyboards and
pedals and registers, made according to Liszt's own directions.]
I hope you will excuse this delay in consideration of the short
time left me, and that you feel sure beforehand how kindly I take
it of you for thus taking my part, in divers circumstances, for
the honor of my name and of my reputation--a matter in which I
will endeavour not to render your task too difficult.

With regard to the Schubert opera of which you again spoke to me
in your last letter, I have a preliminary and very important
observation to make to you--namely, that the rights of the score
of "Alfonso and Estrella," in three acts, were obtained some
years ago by Messrs. Hartel of Leipzig. As this work has not
hitherto been performed anywhere they have not been in a hurry to
publish it, and it was only communicated to me (by a copy) in
case of a performance at Weymar. Therefore, before taking any
other steps, it is indispensable that you should apply to Messrs.
Hartel to obtain their authorization, either for a performance,
or for the right to make a foreign edition of this work, and to
make conditions with that firm relative to the matter. I do not
doubt that Messrs. Hartel will be most obliging in the matter;
but you cannot neglect this first step without serious ulterior
disadvantages.

Hartel's consent once given, you must think of adapting to this
charming music a libretto which is worthy of it,--and, if you are
fortunate in doing this, success, and a popular and productive
success, is undoubted.

Allow me to beg you once more to send me a copy of the ballet of
Gluck's "Don Juan" and of the "Dictionary of Music" which you
have just published,--I have already asked Belloni for them, but
he is a little subject to distractions in these matters,--and
accept, my dear sir, together with my best thanks, the assurance
of my affectionate regard.

F. Liszt

Weymar, January 21st, 1854



107. To Monsieur Marie Escudier, Music Publisher in Paris.

[Autograph in the possession of M. Alfred Bovet at Valentigney.]

My Dear Sir,

Mr. Franck [Cesar Aug. Franck, born at Liege in 1822, composer
and professor at the Paris Conservatoire, teacher of Faure,
Chabrie, and d'Indy, the chief representatives of the new French
school of music.] having written to me for a special introduction
to you, I have great pleasure in fulfilling his request by
writing these few lines to you. For many years past I have had a
favorable opinion of Mr. Franck's talent in composition, through
having heard his trios (very remarkable, as I think, and very
superior to other works of the same kind published latterly).--

His oratorio "Ruth" also contains beautiful things, and bears the
stamp of an elevated and well-sustained style. If the opera which
he wants to have performed at the Lyric theater answers to these
antecedents and to what I expect of Mr. Franck, the Lyric theater
could only congratulate itself on its choice, and the best chance
of success would be assured. Being unable to judge of it at a
distance, and the score of this opera being unknown to me, I
confine myself simply to drawing your attention to the very real
talent of Mr. Franck, at the same time recommending him
affectionately to your kindness.

Pray accept, my dear Sir, the expression of my sincere regard.

F. Liszt

Weymar, January 28th, 1854



108. To Dr. Franz Brendel

Dear Friend,

I have lately been over-occupied, and in addition to that I have
been working somewhat, so that I have never had a free half-hour
for correspondence.

I send you today the score and pianoforte edition of my
"Kunstler-Chor." By next autumn I hope that half a dozen other
(longer) scores will be in print. "Ha, der Verruchte!" ["Ah, the
wretch!"] we can then say, as in "Tannhauser." Happily, however,
no journey to Rome is necessary to obtain my absolution. We only
wish to have done with so much outcry and tasteless chatter.

I shall beg David to put off my Leipzig rehearsals for a couple
of weeks, as I cannot well get away from here now, and must also
have the parts written out afresh. If David does not arrange it
otherwise I shall probably come in the latter half of March.--.

Cornelius is telling you more fully, at the same time with this,
what I have talked over with him.--Griepenkerl has been here a
couple of days, and yesterday read his drama "Ideal and Welt"
before our Grand Duke. The company was much the same as at
Schlonbach's reading.--.

About your book I am very curious, and beg that you will send it
me immediately. With regard to the opportunity for the paper I
can tell you something when I come to Leipzig. In the course of
next summer a monthly paper will make its appearance here, out of
which much might grow. This is between ourselves, for the public
will learn about it later.

Remember me most kindly to your wife, and remain good to

Your very sincere and grateful friend,

F. Liszt

Weymar, February 20th, 1854

P.S.--If you see Count Tyskiewicz please repeat my invitation to
him to come for a couple of days to Weymar. If he is free next
Thursday, that would be a good day. We have a concert here at
which the "Kunstler-Chor" and a new orchestral work of mine ("Les
Preludes"), the Schumann Symphony (No. 4.), and his Concerto for
four horns will be given.



109. To Louis Kohler

My very dear Friend,

I come late--yet I hope you have not forgotten me. I am sending
you, together with this, the score and pianoforte arrangement of
my chorus "an die Kunstler," ["To the artists."] and also those
numbers of the Rhapsodies which have been brought out by
Schlesinger. The "Lohengrin" score you have no doubt received two
months ago from Hartel, whom I begged to send it you direct--also
the "Harmonies" from Kistner, and the last number of the
"Rhapsodies" from Haslinger. At the end of the year you shall get
some still greater guns from me, for I think that by that time
several of my orchestral works (under the collective title of
"Symphonische Dichtungen" [Symphonic Poems.]) will come out.
Meanwhile accept once more my best thanks for the manifold proofs
of your well-wishing sympathy, which you have given me publicly
and personally. You may rest assured that no stupid self-conceit
is sticking in me, and that I mean faithfully and earnestly
towards our Art, which in the end must be formed of our hearts'
blood.--Whether one "worries" a bit more or a bit less, as you
put it, is pretty much the same. Let us only spread our wings
"with our faces firmly set," and all the cackle of goose-quills
will not trouble us at all.

That your article has been rudely and spitefully criticized need
not trouble you. You presuppose your reader to have refinement
and educated feeling, artistic acuteness, a fine perception, and
a certain Atticism. These, my dear friend, are indeed rare
things--and only to be found in very homoeopathic doses among our
Aristarchuses. Sheep and d[onkeys] have no taste for truffles.
"Good hay, sweet hay, has not its equal in the world," as the
artist-philosopher Zettel very truly says in the "Midsummer
Night's Dream"! Moreover, dear friend, things didn't and don't go
any better with other better fellows than ourselves. We need not
make any fancies about it, but only go onward quietly,
perseveringly, and consistently.

"Lohengrin" will be given here on the Grand Duchess's next
birthday, April 8th. Gotze is coming this time from Leipzig, and
sings the part of the Knight of the Swan. I hope that in May
Tichatschek will undertake the role; he has already been studying
the complete work for a long time past, and has had a splendid
costume made for it. Perhaps you will be inclined to hear this
glorious work here either in April or May. That would be very
delightful of you, and I need not tell you how pleased I should
be to see you among us again.--

Rafi is working hard at his "Samson," and tells me that he will
have finished it by Christmas. Cornelius, whom I think you do not
know (a most charming, fine-feeling and distinguished nature),
has likewise a dramatic work, poem and music, in readiness for
next season. We gave a good performance of Gluck's "Orpheus"
lately, and for the last performance of this season (end of June
I think we shall still give the Schubert opera "Alfonso und
Estrella," if those same theater influences which already made
themselves prominent by the "Indra" performance when you were at
Weymar do not decide against this work, so interesting and full
of intrinsic natural charm!--Farewell, dear friend, and send
speedy tidings of yourself to

Yours most sincerely,

F. Liszt

Weymar, March 2nd, 1854



110. To Dr. Franz Brendel

Dear Friend,

Herewith an article which I send you for your paper. "Euryanthe,"
which I conduct here tomorrow, is the occasion of it. Still a
more general question is aroused in it, which I am to a certain
extent constrained "to agitate" from Weymar.["Gesammelte
Scriften" vol. iii., I.] I flatter myself that our ideas will
meet and harmonize in it. At first I had prefaced it by a couple
of introductory lines, which I now erase. Will you be so good as
to introduce me yourself in the Neue Zeitschrift by a few words?
You will be the best one to make up this little preface. My name
can be put quite openly with its five letters, as I am perfectly
ready to stand by my opinion.

Tuesday morning I go to Gotha. The Duke's opera is to be given at
the end of this month, or at latest on the 2nd April, and from
the day after tomorrow till the first performance I shall be
quartered at Gotha. In consequence of this I must unfortunately
give up my excursion to Leipzig for the moment,--but I hope that
David will allow another rehearsal in the Gewandhaus in the
course of April, after the "Lohengrin" performance here with Gaze
(on April 7th and 8th), which I must of necessity conduct. The
news, which it appears some papers have published, that I was
thinking of arranging a concert in Leipzig, belongs to the
generation of ducks [geese?] who amuse themselves in swimming
around my humble self. My visit to Leipzig has no other object
than to make some of the musicians acquainted with one or two of
my symphonic works. Should they be pleased with them, they might
perhaps be given there next season. In any case, however, several
of them will appear in score next autumn.

My time is exceedingly limited, and I must see about a great many
things today which do not put one in the mood for correspondence.

Yours in friendship,

F. Liszt

Saturday, March 18th [1854]



111. To Louis Kohler.

[Weimar, April or May, 1854]

My very dear friend,

I am extremely glad that you liked my article on "Euryanthe" and
theater direction, and I thank you most truly for your warm and
very encouraging letter. For many weeks past I have been
imitating you (as you and others always set me a good example),
and am publishing several views on Art-subjects and Art-works in
the Weimar official paper. By degrees these articles will swell
into a volume, which shall then contain the complete set.

For the present I allow myself to send you my Sonata, which has
just been published at Hartel's. You will soon receive another
long piece, "Scherzo and March," and in the course of the summer
my "Annees de Pelerinage, Suite de Compositions pour le Piano"
will appear at Schott's; two years--Switzerland and Italy. With
these pieces I shall have done for the present with the piano, in
order to devote myself exclusively to orchestral compositions,
and to attempt more in that domain which has for a long time
become for me an inner necessity. Seven of the Symphonic Poems
are perfectly ready and written out. I will soon send you the
little prefaces which I am adding to them, in order to render the
perception of them more plain. Meanwhile I merely give you the
titles:--

1. "Ce qu'on entend sur la Montagne" (after V. Hugo's poem in the
"Feuilles d'Automne").

2. Tasso. "Lamento e Trionfo"

3. "Les Preludes" (after Lamartine's Meditation poetique "Les
Preludes").

4. "Orphee."

5. "Promethee."

6. "Mazeppa" (after V. Hugo's Orientale "Mazeppa").

7. "Festklange."

8. "Heroide funebre."

9. "Hungaria."

By Christmas I intend to bring out the scores of all these--which
would make about fifteen hundred plates in octavo size.

The post affair in regard to your letter with the article on
Raff's "Fruehlingsboten" is very unpleasant to me. Neither has
come into my hands, or else I should assuredly have let you know
much sooner. What has become of it cannot now be traced; a
similar thing happened also with a manuscript sent to me from
Dresden, which was never able to be found. Excuse me, dear
friend, for the carelessness which you supposed I had shown, of
which I am in this case not guilty, as Pohl has already written
to you by my request--and continue to keep for me always your
sympathetic friendship, with which I remain, in complete
harmonious unison,

Yours most truly and gratefully,

F. Liszt



112. To Dr. Franz Brendel

Dear Friend,

Whilst you are trotting about in Leipzig aus Rand und
Band,[Uncontrolledly; a pun on the words Rand and Band (edge of
the paper and volume), Brendel being editor of a paper.] I have
been obliged to keep my bed, owing to a slight indisposition. The
reading of your article in the Jahrbuchern [Year-books] has given
me a pleasant hour, and I thank you heartily for the value and
significance which you accord to my influence and endeavour here,
both in this article and in the topographic section of your book.
As long as I remain here we will take care that Weimar does not
get into a bad way.

I hope to be quite on my legs again in a few days. My present
indisposition is nothing but an overstrain and knock-up, which a
couple of days' rest and some homoeopathic powder will easily set
right. Probably we shall see one another in the early days of
next week at Leipzig; but don't let us speak of it before-hand,
as I have already been three times prevented from making this
little trip.

The Orpheus article was sent to you yesterday. Perhaps it would
still be possible to let it appear in the next number of the
paper; if not, then it can appear the following week. The order
of succession which  I gave you by letter appears to me the right
one, and begins with the Orpheus. This article is moreover as
good as new, for, as your paper allowed me more space, I profited
by it to make the earlier articles twice as long.["Gesammelte
Schriften." vol. iii., 1.]

There are several points in your writing that we will soon talk
over viva voca. I am still really very weak today, and merely
wanted to write to thank you, and to tell you of my speedy advent
in Leipzig (probably next Tuesday or Wednesday).

Yours in friendship,

F. Liszt

Wednesday, April 26th, 1854

Your commissions to Cornelius and letter to Cotta have been
attended to.



113. To Louis Kohler

Dear Friend,

I am going once more to give you a pleasure. By today's post you
will receive Richard Wagner's medallion. A friend of mine, Prince
Eugene Sayn-Wittgenstein, modeled it last autumn in Paris, and I
consider it the best likeness that exists of Wagner.

A thousand thanks for all the kind things you write and think of
me. I very much wish that you should be in agreement with my
present and my next work. If I could only dispose of my time
better! But it is a wretched misery to have to spend one's time
upon so many useless things and people, when one's head is quite
full of other things!--Well, it must be so. God grant only
patience and perseverance! I cannot remember for certain whether
I have already sent you the Avant-propos to my Symphonic Poems,
which I have in the meantime had printed on the occasion of their
performance here. In any case I send them, together with the
portrait for which you asked. I am now working at the ninth
number (Hungaria)--the eight others are perfectly ready; but it
will certainly be next spring before they appear in score.

Of pianoforte music I have nothing more to send you (until the
"Annees de Pelerinage" appear at Schott's), except the little
"Berceuse," which has found a place in the "Nuptial Album" of
Haslinger. Perhaps the continuous pedal D-flat will amuse you.
The thing ought properly to be played in an American rocking-
chair with a Nargileh for accompaniment, in tempo comodissimo con
sentimento, so that the player may, willy-nilly, give himself up
to a dreamy condition, rocked by the regular movement of the
chair-rhythm. It is only when the B-flat minor comes in that
there are a couple of painful accents...But why am I talking such
nonsense with you?--Your very perspicuous discovery of my
intention in the second motive of the Sonata--

[Here, Liszt illustrates with a 2-measure score excerpt from his
Sonata]

in contrast with the previous hammer-blows--

[Here, Liszt illustrates with another 2-measure score excerpt
from his Sonata, similar to the first excerpt above except the
melody is transposed and the rhythm is slightly different]

perhaps led me to it.

Farewell, my dear friend, and remain good to your

F. Liszt

Weymar, June 8th 1854



114. To Dr. Franz Brendel

Dear Friend,

I have had to alter a good deal in the "Robert" article,
especially in the division of the subjects. Do not be angry about
it. It will only make a very little trouble, and it pleases me
better like this. Ergo my present Varianten [various readings]
must be printed word for word in the next number.

If you have a couple of hours to spare, come next Saturday to
Halle. Schneider's "Weltgericht [Last Judgment] is to be given
there by the united Liedertafel [Singing Societies] of Dessau,
Magdeburg, Berlin, Halle, etc. (on Saturday afternoon at 3
o'clock), and I have promised to be there. It would give me great
pleasure to meet you at Halle; I shall put up at the Englischer
Hof there. I hope you will accept my invitation, and therefore I
shall say, Auf Wiedersehen [Au Revoir]!

Yours in friendship,

F. Liszt

June 12th, 1854

It will be easy for you to find out for certain about the
performance at Halle. In any case I shall come for the day fixed
for the "Weltgericht" (a peculiar work, written, as it were, from
a pedestal of his own!). At present it is announced for next
Saturday. Should there be any alteration, I shall arrange
accordingly, and come later.--.

P.S.--The proofs must be very carefully revised, as there are a
great many little alterations. Be so good as to revise the whole
thing accurately yourself. When the article has appeared, please
send me today's proofs back. ["Gesammelte Schriften," vol. iii.,
I.]



115. To Karl Klindworth in London

[A pupil of Liszt's, eminent both as a pianist, conductor, and
musical editor; born at Hanover in 1830, lived in London, Moscow,
and America; has, since 1882, been director of a music school in
Berlin.]

Best thanks, dear Klindworth, for your nice letter. After the
"Lamento" it seems a "Trionfo" is now about to be sounded. That
gives me heartfelt pleasure. Your Murl-connection and Murl-
wanderings [The Society of "Murls" (Moors, Devil-boys--that is to
say, Anti-Philistines) was started at that time in Weimar. Liszt
was Padischah (i.e. King or President); his pupils and adherents,
Buelow, Cornelius, Pruckner, Remenyi, Laub, Cossmann, etc., etc.,
were Murls.] with Remenyi [A celebrated Hungarian violinist.] are
an excellent dispensation of fate, and on July 6th, the day of
your concert at Leicester, the Weimar Murls shall be invited to
supper at the Altenburg, and Remenyi and Klindworth shall be
toasted "for ever!"--[Liszt writes "for ever hoch leben lassen."]


On July 8th I go from here to Rotterdam. The days of the
performances are July 13th, 14th, and 15th. The last number but
one of Brendel's paper (June 16th) contains the complete
programme. The principal works will be Handel's "Israel in
Egypt," Haydn's "Seasons," the Ninth Symphony, and a newly
composed Psalm by Verhulst (the royal conductor of the
Netherlands, director of the Euterpe Concerts in Leipzig about
twelve years ago, and at present director of the Rotterdam
Festivals). Roger, Pischek, Formes, Madame Ney, Miss Dolby, etc.,
have undertaken the solos, and the programme announces nine
hundred members. It would be very-nice if you and Remenyi and
Hagen [Theodor Hagen, a writer, known as a witty critic of his
time under the name of "Butterbrod" [bread and butter] in the
signale; died subsequently in America.] could come; in that case
you would have to start at once, for on the 13th it begins, and
on the 16th I leave Rotterdam--and go for a couple of days to
Brussels, where I shall meet my two daughters.

A couple of Murls would look well in Rotterdam, and would make up
to me in the best possible way for a lot of Philistinism which I
shall probably have to put up with there (by contact with many
honorable colleagues and companions in Art)...So, if you possibly
can, come. We will then have a Murl-Musical Festival in my room.
(N.B.--I shall be staying with Mr. Hope, the banker.)

One has to get accustomed to the London atmosphere, and make
one's stomach pretty solid with porter and port. For the rest,
musical matters are not worse there than elsewhere, and one must
even acknowledge some greatness in bestiality. If you can stand
it, I am convinced that you will make a lucrative and pleasant
position for yourself in London, and also gain a firm footing for
the Murl propaganda ("une, indivisible et invincible") on the
other side of La Manche, "ce qui sera une autre paire de
manches." (In case you don't understand this joke, Remenyi must
explain it to you.) So be of good courage and among good things!
However things may be, never make capitulation with what is idle,
cowardly, or false--however high your position may become-and
preserve, under all circumstances, your Murldom!--

The two pieces from Raff's "Alfred" [Arranged by Liszt for the
piano.] have been brought out by Heinrichshofen (Magdeburg), and
are dedicated to Carl Klindworth. Write me word how I can send
them to you in the quickest and most economical manner--together
with the Sonata. [It bore the title, in Liszt's handwriting, "Fur
die Murlbibliothek" (for the Murl Library).] The Dante Fantasia
will appear in the autumn, with the other pieces of the "Annees
de Pelerinage," at Schott's, and I will tell him to reserve a
copy for you.

Since you went away I have worked chiefly at my Symphonic Poems,
composing and elaborating. The nine numbers are now quite ready,
and seven of them entirely copied out. Next winter I intend to
publish the scores, which ought to make about a thousand engraved
plates. Immediately after my return from Rotterdam I shall set to
work on the Faust Symphony, and hope that I shall have it ready
written out by February.

Hartel is publishing also a couple of transcriptions from
"Lohengrin" (the Festal March before the third act, with the
Bridal Chorus, Elsa's Dream and Lohengrin's rebuke to Elsa),
which I wrote lately.

A propos of Hartel, haven't you heard anything of your
arrangement of the Schubert Symphony? The matter is being delayed
rather long, and when I go to Leipzig I will inquire at Hartel's.
[The arrangement for two pianos of the C major Symphony was
brought out by them.]  I have nothing new to tell you of Wagner.
Joachim and Berlioz came to see me in May. Hoffmann von
Fallersleben has settled here, and we see each other pretty
often. His last poems, "Songs from Weymar," are dedicated to me.

Mason went to London a fortnight ago, and will probably come to
Rotterdam. Laub is getting married in Bohemia, and brings his
wife here in September. Schulhoff was also with me for a day.

Of Rubinstein I will tell you more when there is an opportunity.
That is a clever fellow--the most notable musician, pianist, and
composer, indeed, who has appeared to me from among the newer
lights, with the exception of the Murls. Murlship alone is
wanting to him still. But he possesses tremendous material, and
an extraordinary versatility in the handling of it. He brought
with him about forty or fifty manuscripts (Symphonies, Concertos,
Trios, Quartets, Sonatas, Songs, a couple of Russian Operas,
which have been given in Petersburg), which I read through with
much interest during the four weeks which he spent here on the
Altenburg. [Liszt's home] If you come to Rotterdam you will meet
him there.

Now farewell, my dear Klindworth, and let me soon hear from you.

Your

F. Liszt

July 2nd, 1854

From the 10th to the 15th of July letters will find me in
Rotterdam--Poste restante. N.B.--Remenyi gives me no reply about
the manuscript of Brahms' Sonata (with violin). Probably he has
taken it with him, for I have, to my vexation, rummaged through
my entire music three times, without being able to find the
manuscript. Don't forget to write to me about this in your next
letter, as Brahms wants this Sonata for printing.



116. To Dr. Franz Brendel

Dear Friend,

I send you herewith a long article on "Harold" and Berlioz, which
Pohl will translate, and adopt in his intended book on Berlioz.
Be so good as to see that Pohl gets the manuscript as soon as
possible, as he is probably in Leipzig now.

[The article appeared in the "Neue Zeitschrift" in 1855
(afterwards "Gesammelte Schriften," vol. iv), whereas it did not
appear in Pohl's book on Berlioz, which only saw the light thirty
years later, in 1884.]

Tonight I go to Rotterdam for the Musical Festival, and thence
for a couple of days to Brussels. On the 22nd--24th of July I
shall come to Leipzig for a few hours, before I get back to
Weimar.

I suppose you have given up your Rotterdam journey. If you have
anything to send for from there, write me a line immediately to
Poste restante, Rotterdam.

Two articles are ready for your paper, "Die weisse Frau" [The
White Lady] and "Alfonso and Estrella." As soon as the
"Montecchi" and the "Favorita" appear you shall receive them [the
complete "Gesammelte Schriften," vol. iii, 1]. The "Fliegender
Hollander" is also ready, but must be copied.["Gesammelte
Schriften," vol. iii., 2.] This article is a very long one, and
will take up several of your numbers.

Remember me kindly to your wife, and bear me in friendly
remembrance as your willing collaborator and attached friend,

F. Liszt

Weymar, July 7th, 1854



117. To Anton Rubinstein.

[Rubinstein (born 1830, at Wechwotynetz in Russian Bessarabia)
gave concerts as early as 1839 in Paris, and Liszt, who was
there, welcomed in the boy the future "inheritor of his playing,"
and helped him in his studies, both during his stay in Paris, and
during his stay in Vienna later on, by giving him lessons. When
Rubinstein, in 1854, after a long sojourn in Russia, came back to
Germany, Liszt gave him a most hospitable reception at the
Altenburg at Weimar.]

What are you doing with yourself, my dear Van II.? [From
Rubinstein's likeness to Beethoven Liszt jokingly called him Van
II. (that is, Van Beethoven)] Are you settled according to your
liking at Bieberich, and do you feel in a fine vein of good-humor
and work, or are you cultivating the Murrendo[This must refer to
some witty joke.] of your invention?

Your luggage van of manuscripts was sent off to you the day after
my return, and will have reached you in good condition, I think.
I acquit myself herewith of my little debt of one hundred
thalers, with many thanks for your obligingness, until the case
arises again. A propos of obligingness, will you please send me
the letter of introduction for Cornelius's sister, who is about
to begin her theatrical career in the choruses of the Italian
opera at St. Petersburg? I told Cornelius that you had promised
it to me. And I should be very glad to send it him without too
much delay. His sister is an excellent young person, not too
pretty, but well brought up, and whom one can introduce with a
good conscience. It is to be feared that she will feel herself
very isolated there, and will get "Heimweh" [homesickness]!

Let me hear from you soon. As regards myself I have very little
to tell you at this moment. Weymar is deserted, as the Court is
absent. Schade alone is radiant, for he has already got a heap of
subscribers to his "Weymar'sche Jahrbucher" [Weimar Year-books],
the first number of which is half printed and will definitely
appear on the 28th August. Mr. de Beaulieu will not be back for
three weeks; in spite of this send me your scenario of the
Russian opera as soon as ever you have finished it, for I will
see that he has it, and, if there is no political obstacle (which
is a very exceptional circumstance in these matters), your work
shall be given next November. [The opera "The Siberian Hunters"
was, in point of fact, given at Weimar through Liszt's
instrumentality.] When you have sufficiently enjoyed the charms
of Bieberich, come and see me at the Altenburg. It seems to me
that you will be at least as comfortable here as elsewhere
(Baden-Baden with Madame * * * excepted!), and Van II may be
certain of being always welcome

To his very affectionate friend,

F. Liszt

Weymar, July 31st, 1854

For the translation of your opera I again recommend Cornelius,
but you will have to pass some weeks here to hasten the work.



118. To Dr. Franz Brendel

You would have greatly deceived yourself, dear friend, if you had
attributed any sort of personal aim to my last intimation
regarding the conduct of the critical part of your paper. By no
means could that be the case, and I think I even said to you in
the course of conversation that, so long as my set of articles on
various operas, which provisionally closes with the "Flying
Dutchman", is going on in the Neue Zeitschrift, it seems to me
more becoming not to bespeak any other musical productions of
mine. None the less do I consider it desirable and quite in the
interest of our cause that, for the future, the more important
productions, especially the works of R. Schumann, Hiller, Gade,
etc., should be brought into consideration more fully and oftener
than has been the case of late years. The bookseller's views, as
regards the sending or non-sending of works, appear to me
unimportant and even injurious for the higher position which your
paper maintains.--

I send you herewith Cornelius's article on the Prize Symphony and
the "Girondistes" Overture. It is very nicely written, and will
probably suit you. If possible put it into your next number.

I cannot now undertake the discussion about the Schumann
collective writings, as I am prevented by musical work for a long
time. Still, if I write later on a couple of articles on the
work, that need not prevent you from bringing out very soon one
or more articles discussing the same work. There is much to take
in and to bring out in it, which one critic alone is scarcely
capable of conceiving. The best plan of all would be if you
yourself will undertake the discussion of the Schumann writings.
Should you, however, not have time for it, then Pohl would be the
best man for this work. His predilection for Schumann, and his
familiarity with Schumann's views, qualify him thoroughly for
this.

My articles on the "Flying Dutchman" must not wait so long as you
propose to me in your letter. I wish explicity that the two
articles on the "Weisse Dame" and "Alfonso and Estrella" should
appear as soon as possible, and immediately afterwards the
"Flying Dutchman", so that by the end of September this series of
twelve opera discussions may have all appeared in the Neue
Zeitschrift.

At the same time with the proofs of the article on the "Weisse
Dame" you will receive the "Alfonso and Estrella" article, and,
as soon as these are out, the "Flying Dutchman", which must be
published in September--for various reasons, which cannot well be
explained in a letter.

Raff's book "Die Wagnerfrage" [The Wagner Question] has arrived
here today, and I have already read it. The author is so pleased
with himself that it would be a miracle if his readers were
joined to him in the same proportion, and Raff is specially at
variance with miracles!--

This book makes on me the effect of a pedagogic exuberance. Even
the occasional good views (on harmony, for example) that it
contains are obscured by a self-sufficiency in the tone and
manner of them, of which one may well complain as insupportable.
What Raff wishes to appear spoils four-fifths (to quote the time
which he adapts so ridiculously to "Lohengrin" of what he might
be. He is perpetually getting on scientific stilts, which are by
no means of a very solid wood. Philosophic formulas are sometimes
the envelope, the outside shell, as it were, of knowledge; but it
may also happen that they only show empty ideas, and contain no
other substance than their own harsh terminology. To demonstrate
the rose by the ferule may seem a very scientific proceeding to
vulgar pedants; for my part it is not to my taste; and without
being unjust to the rare qualities of Raff's talent, which I have
long truly appreciated, his book seems to me to belong too much
to the domain of moral and artistic pathology for it to help in
placing questions of Art in their right light.

I beg you, dear friend, not to repeat this to anybody, for I
could not go against Raff in any but the most extreme case, for
which I hope he will not give me any occasion. Against the many
charges to which he has exposed himself I even intend to shield
him as far as possible, but I am very much grieved that he has
mingled so much that is raw and untenable in his book with much
that is good, true and right.

Farewell, dear friend, and give most friendly greetings to your
wife from

Yours most sincerely,

F. Liszt

August 12th, 1854

In the "Favorita" article a great error has been allowed to
remain. "No lover, no knight behaves thus"--and not "A lover
behaves thus," etc. Send me at once the proofs of the "Weisse
Dame", and in September bring the "Fliegende Hollander", which
must not wait any longer.

I am now working at my Faust Symphony. The three-keyboard
instrument arrived yesterday from Paris. It might be well to take
the opportunity of my Catalogue appearing at Hartel's to see
about a special article on it in your paper.



119. To Anton Rubinstein

[August, 1854]

My dear Van II.,

Whatever scruple I may have in making the shadow of an attempt on
the liberty of your determinations and movements,--a scruple of
which I gave you a pertinent proof by not insisting any further
on your choosing Weymar instead of Bieberich as your villegiatura
during this last month,--yet duty (and a theatrical duty!)
obliges me to snatch you from your Rhine-side leisure, to set
yourself to work afresh at your business on the banks of the
Ilm,--

"Non piu andrai, farfalone," etc. [Aria from Mozart's "Figaro"]

We have to hunt the Siberian bear; ["The Hunters of Siberia", an
opera of Rubinstein's.] and whether it is the season or not, I
don't trouble myself about that. Mr. de Beaulieu has just
answered me in the affirmative about the proposition I made to
him to give your "Hunters of Siberia" at the beginning of
November (the 9th, a date already made famous by the "Homage to
Art" a Prologue which will be again given this season), and asks
me particularly to push on as fast as possible the copying of all
the parts. Now one must kill the bear before selling his skin--
that is to say, translate the libretto, fit it to the music, and
arrange the score for the performance at Weymar.

According to what we arranged verbally, I spoke about it to
Cornelius, who accepts the work of translator with pleasure, and
will fulfill it promptly, and, I am persuaded, to your
satisfaction. The only thing wanting is for you to come at once,
and spend a fortnight at Weymar to finish everything. I give you
then rendez-vous at the Altenburg, where your former quarters
await you. No one will bother you there, and you can give
yourself up to cultivating murrendos [La Mara thinks there was a
joke in connection with this; I cannot help thinking it is a
corruption of morendo, and that perhaps Rubinstein joked about
cultivating a particular touch or nuance.--Translator's note] to
your heart's content whenever the fancy takes you. Try therefore
not to be too long over your farewells to the Tannhausers of the
banks of the Rhine (and if by chance Madame S. is there, pack
yourself off secretly so as not to provoke a scene of too much
frenzy), so as to get to Weymar by 1st to 3rd September, for your
score must be given to be copied by the 15th to the 20th. I will
keep your three books till you come, and will give them you back
at the Altenburg, and I take great pleasure in advance in your
success on our stage.

A revoir then, my dear Rubinstein, in a week's time.

Yours ever in friendship,

F. Liszt

Write me simply a word to fix the date of your arrival, so that I
may let Cornelius know, as he is gone for a week to his mother, a
few hours away from here.

In the matter of news I will tell you that my instrument with
three keyboards is installed in the second etage of the
Altenburg, and that I have finished the first part of my Faust
Symphony (a third of the whole)--the two other parts will be
ready in November, I hope.

I shall also have a little friendly quarrel to pick with you,
which I reserve for our after-tea conversations.

A bientot!



120. To Alexander Ritter in Dresden.

[Ritter at this time joined the Weimar Hofcapelle (Court
orchestra); was afterwards music director at Stettin, and lives
now in Munich; is celebrated as the composer of the operas "Der
Faule Hans" and "Wem die Krone."]

Hearty good wishes on your marriage, dear friend. I reproach
myself for disturbing you in your honeymoon. Well, a little music
to it won't hurt anybody. So come as soon as it is agreeable to
you. The matter is not so very pressing; I only beg you to send a
few lines in reply to Herr Jacobi, the secretary of the Court
theater, who wrote to you previously, and to tell him the date of
your arrival in Weymar. As your marriage takes place on the 12th
of this month, you are quite justified in asking for a few days'
respite. If it suits you to stay a fortnight longer in Dresden,
then fix the 1st of October for your coming to Weymar. With
regard to your quarters, I am quite ready to help you in word and
deed.

In case Pohl is in Dresden you can tell him that his wife is also
engaged from the 15th of September (on which date the theater
here reopens). I wrote yesterday to Brendel, in order to get
Pohl's exact present address. I expect the answer tomorrow, and
Herr Jacobi will immediately write to Frau Pohl.

Meanwhile remember me most kindly to your wife, and dispose
entirely--without ceremony--of

Yours most sincerely,

F. Liszt

Weymar, September 6th, 1854



121. To Bernhard Cossmann, Schloss Chanceaux bei Loches in
Touraine

Weymar, September 8th, 1854

Dear Friend,

Whilst you are promenading at your leisure beneath the fine oaks,
beeches, birches, horse-chestnuts, etc., of Chanceaux, I have the
sotte chance [Silly opportunity] of gaping chanceusement
[doubtfully] to the crows of Weymar, where we have certainly no
Chanceaux, but pretty well of gens sots [stupid people] im Loch
[In this hole. All plays upon words, and given therefore in the
original.] (near Loches!!). This almost attains to the height of
punning of our friend Berlioz, does not it?--I should not be able
to keep on such heights, and therefore I hasten to descend to
more temperate regions (des regions plus temperees),-"le Clavecin
bien tempere of J. S. Bach," for example, or to some "Beau lieu"
with or without marque au nez (Marconnay). [A play on words. The
name of the Intendant of the Weimar Court theater was Beaulieu-
Marconnay.] (I implore you to keep this execrable improvisation
to yourself, for, in my position as Maitre de Chapelle, I should
run the risk of being fined by the "Hofamt" [office in the royal
household] for allowing myself such an application of Berlioz's
treatise on instrumentation--but I really don't know what
tarantula of a pun is biting me at this moment!)

Mr. de Beaulieu has just done two graceful acts for me, for which
I am very grateful. Madame Pohl is engaged as harpist to the
Weymar Kapelle, and A. Ritter of Dresden--the brother of Hans de
Bulow's friend--as violinist in place of little Abel, who is
leaving us to go and probably assassinate some Cain at a second
or third desk in an orchestra, somewhere!

A. Ritter is going to marry Mdlle. Wagner on the 12th of this
month (the sister of Johanna), who has played in comedy at the
Breslau theater, and who, by her husband's orders, will not
continue playing when she has her home to keep. Let us hope so at
least! These two new engagements are a great pleasure to me, and
I shall willingly console myself for the loss of the innocent
Abel.

And as Mr. de Beaulieu is just in such a good temper, I advise
you to profit by the circumstance to write him a letter,
artistically turned, to beg for a prolongation of your holiday,
which he will grant you with a good grace, I am sure.

The theater will reopen the 15th September. The 16th "Ernani"
will be given. In the course of October we shall have the
"Huguenots", with a new singer from Prague, Mdlle. Stoger, of
whom one hears wonders.

For the 9th October (fiftieth anniversary of the entry of H.I.H.
the Grand Duchess Marie Paulowna into Weymar) a rather curious
performance will be arranged:--

1st. The Homage to Art by Schiller.

2nd. One of my Poemes Symphoniques.

3rd. "The Hunters of Siberia", Opera in one Act--Music by
Rubinstein.

4th. The Finale of "Lorelei" by Mendelssohn.

For the winter season they are thinking of giving the two
"Iphigenies", "in Aulis" and "in Tauris", by Gluck, and
Schumann's "Genoveva".

Rubinstein and Wasielewski (of Bonn) have been here some days.
Raff has published his volume "The Wagner Question." I would
neither answer nor vindicate it!--My monster instrument with
three keyboards has also arrived a fortnight ago, and seems to me
to be a great success--and on your return I shall pretty nearly
have finished my Faust Symphony, at which I am working like a
being possessed.

This is all my news from here, to which I add the expression of
the old and sincere friendship of your very affectionate

F. Liszt

P.S.--I, on my side, will also write to Mr. de Beaulieu about
you, but it is the thing for you to write him a few lines. The
matter in itself will not present any difficulty.



122. To Gaetano Belloni in Paris

[autograph in the possession of M. Etienne Charavay in Paris]

[September 9th, 1854]

My dear Belloni,

Will you do me the kindness to tell Mr. Escudier that on my last
visit to H.R.H. the Duke of Gotha I gave Monseigneur the volume
on Rossini, and spoke to him at the same [time] of the desire
that Mr. Escudier had mentioned to me in his last letter to be
admitted into the order of H.R.H., before putting himself at his
command? It goes without saying that I warmly recommended Mr.
Escudier to the Duke; but nevertheless he seemed to turn a little
deaf, at any rate with one ear, to the side of the ribbon. In the
course of this month I shall probably see the Duke again, and
will speak to him again about it. On your side do not neglect
Oppelt [a Belgian writer; translated the Duke's opera], who
frequently corresponds with Gotha, and rest assured that I shall
not fail to be agreeable to your friends on this occasion.

Yours ever,

F. Liszt

Nothing new here. The theatrical season will open with "Ernani"
on the 16th September at latest; they talk of mounting
"Rigoletto" or the "Foscari." Unfortunately the German
translations of Verdi's operas are not worth a straw, and we are
great purists at Weimar. In November the "Huguenots" will also be
given, for the first time at Weymar, the late Grand Duke never
having permitted the performance of this work on account of his
respect for Luther, whom his ancestors had specially protected.

Hartel is going to engrave several of my scores. Four or five of
them will appear in the course of the winter ("Tasso"--the
"Preludes"--"Orphee"--"Mazeppa" will be printed first) under the
title of "Poemes Symphoniques."

I won't write to Escudiers--it will be enough if you let them
know of my good intentions in regard to them. You know that I am
overdone with correspondence, and, unless it is absolutely
necessary for me to write, I abstain from it, so as not to
interrupt my work of composition, which is my first raison
d'etre.



123. To Eduard Liszt in Vienna

What affliction and what desolation, my very dear friend! [Eduard
Liszt, then member of the provincial Court of Justice in	the
Civil Senate, had lost his wife from cholera.] Alas! in trials
such as these even the sympathy felt by those who are nearest to
us can do but little to alleviate the overwhelming weight of the
cross which we have to bear. And yet I wish to tell you that in
these days of sorrow my heart is near to yours, sympathizing with
your suffering, and trusting that "the peace of the Lord," that
peace which the world can neither give nor take away, may sustain
you.

Ever yours,

F. Liszt

October 10th, 1854

P.S.--Try to come and see me soon!



124. To Anton Rubinstein

Weimar, October 19th, 1854

Schott makes me ashamed, my dear Rubinstein. Here come the new
proofs of the "Kamenoi-Ostrow," [Rubinstein had written a number
of short pianoforte pieces named after the Emperor's summer
residence near St. Petersburg.] which he addresses to me for you,
and I have not yet sent you the previous ones! To excuse myself I
must tell you that I am frightfully busy (especially at the
theater), and that I did not want to put the proofs in a wrapper
without writing and thanking you for your charming and clever
letter from Leipzig. Well, here is the whole packet at last,
which you can send direct to Schott. Nevertheless, I am in your
debt for the carriage (which please beg Redslob to put to my
account), and for ten crowns which I borrowed from you at the
railway. As you are coming back here at the beginning of November
we shall have plenty of time to settle these little matters.

The rehearsals of your "Chasseurs de Siberie" begin in the course
of next week. You may trust in my zeal, and be assured that your
work will be suitably prepared. I only beg you to be here about
the 4th November, in order to give us your own ideas at the final
rehearsals. If you decidedly prefer to be a spectator at the
performance, I will willingly conduct the work--but perhaps at
the general rehearsals the fancy may take you to mount the
conductor's chair, as I proposed to you at first: whatever you
definitely decide in this matter will only be agreeable to me.
Therefore just do as you generally do, I beg you, without
ceremony or bother of any kind.

How do you find yourself as regards the musical atmosphere of
Leipzig? Has your "Ocean" obtained the suffrages of the Areopagus
which must be its first judge? At which Gewandhaus Concert will
Mr. Van II. be heard? If you already know anything positive as to
your debuts in Leipzig, write it to me, with a continuation of
the commentaries which amused me so much in your former letter.
We have nothing of special news here which can interest you.
Madame Wagner returns to Weymar the day after tomorrow, and next
Sunday "Lohengrin" will be given. The Wednesday after that a new
singer (Mdlle. Stoger, the daughter of the director at Prague),
who possesses a beautiful voice and appears to be highly endowed,
will make her debut in "Lucrezia Borgia." On the 24th October I
expect Madame Schumann, whom you will already have seen and heard
at Leipzig. When you have an opportunity please tell her not to
delay her journey to Weymar, for I have made all the arrangements
with Mr. de Beaulieu, etc., from the 24th to the 26th, for the
Court Concert and for the one which will take place at the
theater in her honor.

My "Faust" is finished, and I am going to give it to the copyist
in a couple of days. I am very curious to make acquaintance with
yours, and to see in how far the beaux-esprits differ whilst
meeting on common ground! Your "murrendos" at Leipzig will have
proved favorable to your conversations with the Muse, and I look
forward to a fine Symphony. A revoir then, dear friend; on the
4th November, or the 5th at latest, we have the first performance
of an unpublished tragedy, "Bernhard von Weymar," for which Raff
has written a grand Overture and a March, and on the following
days your general rehearsals.

Yours in all friendship,

F. Liszt



125. To Dr. Franz Brendel

[Beginning of November, 1854]

Dear Friend,

Pohl's article on Lieder und Spruche, etc. (Songs and Sayings),
appears to me to be of general interest to the public--therefore
I begged you to put it in your paper.

Touching what you have reserved of Raff's, I am quite of opinion
that you should also make room for him in his critical
examinations of the Minnesingers. [The German poet-singers of the
Middle Ages.] The ground is an interesting and attractive one--
and if a rather warm discussion should ensue later on between
Raff and Pohl, the field of the Minnegesang (love-song) is by far
the most agreeable for both, as well as the more entertaining for
your readers. Ergo, put Pohl's article into your next number.
Raff can then spring his mines in honor of the Minnegesang when
he pleases. This may make a quite pleasant and harmless joke--
perchance a crown of lilies will mingle with it in the end and
shape the affair into a University concern...Your paper, in any
case, will not suffer. Therefore set to work and go through with
it!

In Bussenius [Bussenius, under the pseudonym W. Neumann,
published the set of biographies "The Composers of Recent Times"
(Balde, Cassel).] you have rightly found the man of whom I
previously foretold you somewhat. I think that by the New Year he
will settle at Gotha, and carry on there with his firm (Balde)
greater literary and publishing undertakings. Meanwhile don't
speak of this. When the outlook is more certain, and things are
favorably settled, I will tell you more.

I gladly accept your friendly invitation to write an article for
your New Year's number. In the course of the next few days you
will receive the article on Clara Schumann, and shortly
afterwards the second half of "Robert Schumann."

Cornelius has been rather unwell for several days, which has
delayed the translation. [Peter Cornelius translated the articles
written in French by Liszt--with the collaboration of the
Princess Wittgenstein--for the Neue Zeitschrift; those which are
published in vols. iii. to v. of the "Gesammelte Schriften."]

Will you, dear friend, be so good as to give my special thanks to
Herr Klitzsch for his article in today's number? By the favorable
manner in which he enters into the intentions of my Mass, and the
artistic sympathy he shows for my endeavour, he has given me a
very great pleasure. Probably a good opportunity will present
itself, later on, for me to undertake a further work in the
religious style, as I feel and conceive it, by the composition of
a "Missa Solemnis" for mixed chorus and orchestra...For the
present I cannot, however, occupy myself with this; but
aufgeschoben soll nicht aufgehoben heissen. [A German proverb--
"Put off is not given up."]

When I come to Leipzig I shall have the pleasure of calling on
Klitzsch and giving him my best thanks in person. If you think I
ought to write him a few lines before then, let me know.

Litolff was here several days, and we have come nearer together
both from a friendly and an artistic standpoint. His fourth
Concerto (Conzert-Symphonie) is a marked advance on the previous
ones. He played this, as well as the third Concerto, the day
before yesterday, in a truly masterly and electric, living
manner. Frau Dr. Steche will have told you about it. Perhaps in
your next number you will put in a short appreciative notice of
Litolfff's appearance here.

Rubinstein left for Leipzig at midday today. The performance of
his Symphony ["Ocean"; given for the first time, November 16th,
1854, at the Gewandhaus Concert for the Poor.] is fixed for the
16th at the Gewandhaus, and later on he will also appear as a
pianist. Hartel, Hofmeister, and Schott have already taken about
thirty of his manuscripts, which is about the smaller half of his
portfolio!--

About the Berlin "Tannhauser" affair I cannot for the moment say
more than that I have always made Wagner feel perfectly at
liberty to put me on one side, and to manage the matter himself,
according to his own wishes, without me. But so long as he gives
me his confidence as a friend, it is my duty to serve him as a
discreet friend--and this I cannot do otherwise than by giving no
ear to transactions of that kind, and letting people gossip as
much as they like. Don't say anything more about it for the
present in your paper. The matter goes deeper than many
inexperienced friends of Wagner's imagine. I will explain it to
you more clearly by word of mouth. Meanwhile I remain passive--
for which Wagner will thank me later on.

Yours most truly,

F. Liszt

N. B.--Pohl wishes his Minnesinger article not to be signed with
the name Hoplit, but with the letters R. P., when it appears in
your paper.



126. To Anton Rubinstein

Your "Dialogue Dramatique" a propos of your "Ocean" is a little
chef-d'oeuvre, and I shall keep it, in order, later on, to put it
at the disposal of some future Lenz, who will undertake your
Catalogue and the analysis of the three styles of Van II. We
laughed with all our hearts, a deux, in the little blue room of
the Altenburg, and we form the most sincere wishes that Gurkhaus,
[Principal of the music firm F. Kistner in Leipzig.] the deus ex
machine, may have come to put you out of the uncomfortable state
of suspense in which the Gewandhaus public did you the honor to
leave you. To tell the truth, this decrescendo of applause, at
the third movement of your Symphony, surprises me greatly, and I
would have wagered without hesitation that it would be the other
way. A great disadvantage for this kind of composition is that,
in our stupid musical customs, often very anti-musical, it is
almost impossible to appeal to a badly informed public by a
second performance immediately after the first; and at Leipzig,
as elsewhere, one only meets with a very small number of people
who know how to apply cause and effect intelligently and
enthusiastically to a piece out of the common, and signed with
the name of a composer who is not dead. Moreover I suspect that
your witty account is tainted with a species of modesty, and I
shall wait, like the general public, for the accounts in the
newspapers in order to form an opinion of your success. Whatever
may come of it, and however well or ill you are treated by the
public or criticism, my appreciation of the value that I
recognize in your works will not vary, for it is not without a
well-fixed criterion, quite apart from the fashion of the day,
and the high or low tide of success, that I estimate your
compositions highly, finding much to praise in them, except the
reservation of some criticisms which almost all sum up as
follows--that your extreme productiveness has not as yet left you
the necessary leisure to imprint a more marked individuality on
your works, and to complete them. For, as it has been very justly
said, it is not enough to do a thing, but it must be completed.
This said and understood, there is no one who admires more than I
do your remarkable and abundant faculties, or who takes a more
sincere and friendly interest in your work. You know that I have
set my mind upon your "Ocean" being given here, and I shall beg
you also to give us the pleasure of playing one of your
Concertos. In about ten days I will write and tell you the date
of the first concert of our orchestra.

Meanwhile your "Chasseurs de Siberie" will be given again on
Wednesday next (the 22nd). I will tell Cornelius to give you
tidings of it, unless the fancy takes you to come and hear it, in
order to make a diversion from your "Voix interieures" [internal
voices] of Leipzig.

Write to me soon, my dear Van II., and believe me wholly your
very affectionate and devoted friend,

F. Liszt

November 19th, 1854



127. To Dr. Franz Brendel

Dear Friend,

Kahnt [The subsequent publisher, for many years, of the Neue
Zeitschrift.] is only known to me by name, as an active and not
too moderately Philistine publisher. Personally I have never met
him, and therefore I cannot give a decided opinion as to his
fitness and suitability for the post of publisher of the Neue
Zeitschrift--yet, on the grounds you give me, it seems quite
right. Nothing is to be expected from Bussenius until he has made
a firm footing at Gotha, which can only come to pass in the
course of the next months; besides this, he has such gigantic
plans for his new establishment in Gotha that the affairs of the
Neue Zeitschrift might be left somewhat in the background. I
entirely agree with you on this point, that you cannot put the
Neue Zeitschrift in the market and offer it to just any publisher
who has shown himself up to now hostile to our tendencies. To do
such a thing as that could never lead to a satisfactory result. I
would, however, remark that the next few years will probably set
our party more firmly on their legs; the invalidity of our
opponents vouches pretty surely for that, apart from the fact,
which is nevertheless the principal point, that powerful talent
is developing in our midst, and many others who formerly stood
aloof from us are drawing near to us and agreeing with us.
Consequently it seems to me that it is not to your interest to
conclude at once a contract for too many years with Kahnt,
unless, which is scarcely likely, he were to make you such an
offer that you would be satisfied with it under the most
favorable conditions. If Kahnt shows the necessary perception and
will for the matter, try to get him to have a consultation with
me about it at Weymar. As he is also a music publisher I could
tell him some things, and make others plainer, which would not be
without interest to him. He need not be afraid that I shall
belabor him with manuscripts or urge him to untimely or useless
sacrifices...(I need not waste more words over the purity of my
intentions!) But I think it is desirable that, if Kahnt consents
to become editor of the Neue Zeitschrift, I should put him on his
guard about several things beforehand which do not come exactly
within the sphere of your activity, but which may essentially
help to the better success of the undertaking. A couple of hours
will be ample for it, and as I shall not be absent from Weymar
during the coming weeks Kahnt will find me any day. Perhaps it
could be arranged for you to come to Weymar with him for a day,
and then we three can make matters perfectly clear and
satisfactory.

Although it is very difficult to me to make time for the more
necessary things, yet I am quite at your service with a short
article for the trial-number on Wagner's "Rheingold." I had
arranged the article so as to do for the New Year's number--you
shall have it in four to five days. Dispose of it as suits you
best. In case the "Clara Schumann" article does not appear in the
next number of the paper, and we do not have to wait too long for
the trial-number, it would be well perhaps to put it in there.
Possibly it might also be reprinted in the trial-number.

I am glad that you, dear friend, after some "jerks and wrenches,"
have come together again with the pseudo-Musician of the Future,
Rubinstein. He is a clever fellow, possessed of talent and
character in an exceptional degree, and therefore no one can be
more just to him than I have been for years. Still I do not want
to preach to him--he may sow his wild oats and fish deeper in the
Mendelssohn waters, and even swim away if he likes. But sooner or
later I am certain he will give up the apparent and the
formalistic for the organically Real, if he does not want to
stand still. Give him my most friendly greetings; as soon as our
concert affairs are settled here I shall write and invite him to
give one of his orchestral works here.

Do not let yourself be grieved at the ever-widening schism in
Leipzig about which you write to me. We have nothing to lose by
it; we must only understand how to assert our full rights in
order to attain them. That is the task, which will not be
accomplished in a day nor in a year. Indeed, it is as it is
written in the Gospel, "The harvest truly is plentiful, but the
laborers are few!" Therefore we are not to make ourselves over-
anxious--only to remain firm, again to remain firm--the rest will
come of itself!--

I will do my utmost for Fraulein Riese, [Pianoforte teacher in
Leipzig, who for years went every Sunday to Weimar to study with
Liszt; died 1860] that she may not repent the somewhat trying
journey. It is a splendid and plucky determination of hers to
come regularly to Weymar, and I hope she will gain thereby much
pleasure and satisfaction.

Nauenburg's proposal of a Tonkunstler-Versammlung (meeting of
musicians) in Weymar is very flattering to me; the same was
written to me from several other sides. Hitherto I have always
abstained from it, because I thought it was more prudent not to
sell the bear's skin before the bear is shot. Moreover the
ordinary fine talk without deeds ["much cry and little wool"] is
very distasteful to me: let friend Kuhmstedt [Professor at a
school, and Music Director at Eisenach; died 1858] sing that kind
of philosophical fiortures in Eisenach; I have no talent for it.
None the less we can return to the Nauenburg proposition at a
convenient opportunity, and see how it could be best carried out.
According to my opinion, Leipzig would be the most suitable
place--and the summer a good time for it.

I consider Raff's polemic entirely harmless. Your readers will
get a lesson in history from it, for which they can but be
grateful to you--and we need not be anxious about Pohl. It will
not puzzle him to eat his way out suitably and wittily.

Yours ever,

F. Liszt December 1st, 1854



128. To J.W. von Wasielewski in Bonn

[Formerly Conductor of the Town Vocal-Union at Bonn (born 1822),
afterwards at Dresden; then again in Bonn as Music Director, and
living since 1884 in Sondershausen. Widely known as a literary
man through his biographies of Schumann and Beethoven, and also
through his book "The Violin and its Masters," etc.]

Dear Friend,

Owing to the somewhat long detour of the "Pesther Lloyd," in
which the friendly lines of remembrance have been reprinted which
you dedicated to the "Altenburg" in the Cologne paper, I only
heard of these a few days ago. [Written on the occasion of a
week's visit to Liszt at the Altenburg at Weimar, at which time
A. Rubinstein was also the Master's guest.] Please therefore to
excuse the delay in my thanks, which are none the less sincere
and heartfelt.

I have heard many accounts of your most successful concert
performances in Bonn, all of which unite in giving you due praise
for your excellent conducting. At the beginning of January
concert affairs here, which have hitherto been in a vacillating
and fluctuating condition, owing to various local circumstances,
will take a more settled turn; I will send you the complete
programme shortly. By today's post you will receive the "Songs
and Sayings" from the last period of the "Minnesang," arranged
for four voices by W. Stade (of Jena). It is an interesting work,
and the editors would be very much indebted to you if you would
have the kindness to give a couple of numbers of them at your
concerts. The little pieces make quite a pretty effect, and one
peculiar to themselves, which will prove still more intense with
the beautiful Rhine Voices. Perhaps you would also find time and
inclination to make the public favorably disposed towards the
work by a few lines in the Cologne paper.

How is Hiller? Has his "Advocate" [an opera, "The Advocate." It
had no success, and was publicly ridiculed at the Cologne
Carnival.] won his requisite suit, as I wish from my heart may be
the case? It would be very kind of you to let me know your plain,
unvarnished opinion of the performance. I should like to
recommend an early performance of the opera in Weymar if Hiller
has nothing against it. As you frequently have occasion to see
Hiller I beg you to ask him whether it would be agreeable to him
to send me the text-book and the score, so that I may make the
proposal to the management to give the opera here very soon.--
Should the matter be then so arranged that he himself conducts
the first performance I should be very glad indeed, and I will
write to him more fully about it.

The opera Repertoire here will be rather at a stand-still this
winter. Frau von Milde is in an interesting condition:
consequently there can be no Wagner operas from three to four
months; for Frau von Milde is for us, and for these operas in
particular, not to be replaced. Berlioz's "Benvenuto Cellini"
must also be left unperformed; all the more because Beck, the
tenor, has entirely lost his upper notes, and is less able than
ever to sing the part of Cellini. But Berlioz will come here in
January to conduct his oratorio "L'Enfance du Christ," etc.
(German translation by Cornelius), and his "Faust." I on my side
have also finished my "Faust Symphony" (in three parts--without
text or voice). The entity or non-entity has become very long,
and I shall in any case have the nine "Symphonic Poems" printed
and performed first, before I set "Faust" going, which may not be
for another year. Rubinstein's "Ocean Symphony" is to figure in
one of our next programmes. If it were not the rule to keep these
concerts exclusively instrumental, I should have begged Hiller
for his "Loreley." Probably a good opportunity will occur for
giving this work when he himself comes to Weymar, as he promised
me he would do.

Joachim sent me, together with his Hamlet Overture, which is in
print, two others--to "Demetrius" (by Hermann Grimm), and to
"Henry IV." (of Shakespeare)--two remarkable scores composed with
lion's claws and lion's jaws!--

Have you any news of Schumann? Give me some good tidings of his
recovery. "Genoveva" will be given here in April at latest.--

Once more best thanks, dear friend, for the very pleasant days
you gave us here, which the inhabitants of the Altenburg most
agreeably remember; they send you most friendly greetings. I have
not forgotten about the Weimar orchestra matter--a half-prospect
has already appeared of realizing my wish, which is in accord
with your own. I cannot help, however, always doubting whether it
will be for your advantage to exchange Bonn for Weymar, for your
position in Bonn appears to me to offer you decidedly improving
chances from year to year, and in these regions so much is
wanting...that I am constrained to be satisfied with small
things. Well, what must be will be. Meanwhile keep in kind
remembrance

Yours in sincere friendship,

F. Liszt

Weymar, December 14th, 1854



129. To William Mason in New York

[A pupil of Liszt's, born 1828 at Boston, esteemed as a first-
rate piano virtuoso in America]

My dear Mason,

Although I do not know at what stage of your brilliant artistic
peregrinations these lines will find you, yet I want you to know
that I am most sincerely and affectionately obliged to you for
the kind remembrance you keep of me, and of which the papers you
send me give such good testimony. "The Musical Gazette" of New
York, in particular, has given me a real satisfaction, not only
on account of the personally kind and flattering things it
contains about me, but also because that paper seems to ingraft a
superior and excellent direction on to opinion in your country.

Now you know, my dear Mason, that I have no other pride than to
serve, as far as in me lies, the good cause of Art, and whenever
I find intelligent men conscientiously making efforts for the
same end I rejoice and am comforted by the good example they give
me. Will you please give my very sincere compliments and thanks
to your brother, who, I suppose, has taken the editorship-in-
chief of, the Musical Gazette, and if he would like to have some
communications from Weymar on what is going on of interest in the
musical world of Germany I will let him have them with great
pleasure through Mr. Pohl, who, by the way, no longer lives in
Dresden (where the numbers of the Musical Gazette were addressed
to him by mistake), but in the Kaufstrasse, Weymar. His wife,
being one of the best harpists whom I know, is, now among the
virtuosi of our orchestra, which is a sensible improvement both
for opera and concerts.--

A propos of concerts, I will send you in a few days the programme
of a series of Symphonic performances which ought to have been
established here some years ago, and to which I consider myself
in honor as in duty bound to give a definite impetus at the
beginning of the year 1855.--Toward the end of January I expect
Berlioz. We shall then hear his trilogy of "L'Enfance du Christ,"
[The Childhood of Christ] of which you already know "La Fuite en
Egypte," [The Flight into Egypt] to which he has added two other
little Oratorios called "Le Songe d'Herode" [Herod's Dream] and
"L'Arrivee a Sais." [The Arrival at Sais]--His dramatic Symphony
of Faust (in four parts, with solos and chorus) will also be
given entire while he is here.

As regards visits of artists last month which were a pleasure to
me personally, I must mention Clara Schumann and Litolff. In
Brendel's paper (Neue Zeitschrift) you will find an article
signed with my name on Madame Schumann, whom I have again heard
with that sympathy and thoroughly admiring esteem which her
talent commands. As for Litolff, I confess that he made a great
impression on me. His Fourth Symphonic Concerto (in manuscript)
is a very remarkable composition, and he played it in such a
masterly manner, with so much verve, such boldness and certainty,
that it gave me very great pleasure. If there is something of the
quadruped in Dreyschock's marvelous execution (and this
comparison should by no means vex him: is not a lion as much a
quadruped as a poodle?), there is certainly something winged in
Litolff's execution, which has, moreover, all the superiority
over Dreyschock's which a biped with ideas, imagination, and
sensibility has over another biped who fancies that he possesses
a surfeit of them all--often very embarrassing!

Do you still continue your intimate relations with old Cognac in
the New World, my dear Mason?--Allow me again to recommend you
measure, which is an essential quality for musicians. In truth, I
am not very much qualified to preach to you the quantity of this
quantity; for, if I remember rightly, I employed a good deal of
Tempo rubato in the times when I was giving my concerts (a
business that I would not begin again for anything in the world),
and again, quite lately, I have written a long Symphony in three
parts entitled "Faust" (without text or vocal parts), in which
the horrible measures of 7/8, 7/4, 5/4, alternate with C and
3/4.--

In virtue of which I conclude that you ought to limit yourself to
7/8ths of a small bottle of old Cognac in the evening, and never
to go beyond five quarters!--

Raff, in his first volume of the "Wagner-Frage," has realized
something like five quarters of doctrinal sufficiency; but that
is an example that can hardly be recommended for imitation in a
critical matter, and especially in Cognac and other spirituous
matters.

Pardon me, my dear Mason, for these bad jokes, which however my
good intentions justify, and try to bear yourself valiantly both
morally and physically, which is the heartfelt wish of

Your very affectionate

F. Liszt

Weymar, December 14th, 1854

You did not know Rubinstein at Weymar. [Liszt was mistaken about
this. Mason had even done the principal honors to Rubinstein at
his first visit to Weimar, in the absence of the Master.] He
stayed here some time, and notoriously cuts himself off from the
thick mass of so-called pianist composers who don't know what
playing means, and still less with what fuel to fire themselves
for composing--so much so that with what is wanting to them in
talent as composers they think they can make themselves pianists,
and vice versa.

Rubinstein will constantly publish a round fifty of works--
Concertos, Trios, Symphonies, Songs, Light pieces--and which
deserve notice.

Laub has left Weymar; Ed. Singer has taken his place in our
orchestra. The latter gives great pleasure here, and likes being
here also.

Cornelius, Pohl, Raff, Pruckner, Schreiber, and all the new
school of new Weymar send you their best remembrances, to which I
add a cordial shake hand. [Written thus in English by Liszt]

F. L.



130. To Rosalie Spohr

Pray pardon me, dear artist and friend, that I am so late in
expressing the hearty sympathy which your Weymar friends take in
the joyful event of your marriage. [To Count Sauerma.] You know
well that I am a poor, much-bothered mortal, and can but seldom
dispose of my time according to my wishes. Several pressing
pieces of work, which I was obliged to get ready by this New
Year's Day, have prevented me up to now from giving you a sign of
life--and I am employing my first free moment to assure you that
the changing date of the year can bring with it no variation in
my sincere, friendly attachment. Remember me most kindly to the
papa and sister, and write to me when you can and tell me where
you are going to live henceforth. Possibly I might happen to be
in your neighborhood, in which case I should hasten to come and
see you.

I have but little news to give you of Weymar. That Litolff has
been to see me here, and played his two Symphony-Concertos
capitally, you doubtless know. Probably he will come back after
his journey to Brussels, in the course of next month, when I also
expect Berlioz here. Our orchestra now also possesses a very
first-rate harpist, Frau Dr. Pohl, with a good double-movement
harp of Erard. It seems that poor Erard is no better, and his
"cure" at Schlangenbad has not had the desired result. I
frequently get very sad tidings of his condition through my
daughter.

I thank you warmly for the friendly reception you accorded to
Herr Wolf as a Weymarer. I hope he did not inconvenience you by
too long visits. His wife brought me some weeks ago the original
sketch of your portrait, which is to become my possession.

The Frau Furstin [Princess] and Princess Marie commission me to
give you their most friendly greetings and wishes, to which I add
once more the expression of my friendly devotion.

A thousand respects and homage.

F. Liszt

January 4th, 1855



131. To Alfred Dorffel in Leipzig

[Writer on music, born 1821; custodian of the musical section of
the town library of Leipzig: the University there gave him the
degree of Dr. phil. honoris causa.]

Dear Sir,

Allow me to express to you direct my most cordial thanks for the
conscientious and careful pains you have taken in regard to my
Catalogue. ["Thematic Catalogue of Liszt's Compositions."] I am
really quite astonished at the exactitude of your researches, and
intend to repeat my warm thanks to you in person in Leipzig, and
to discuss with you still more fully the motives which lead me
not entirely to agree with your proposal, and only to use a part
of your new elaboration of my Catalogue. To avoid diffuseness, I
can for today only state a couple of points.

The standpoint of your new arrangement is, if I have rightly
understood you, as follows:--There are still being circulated in
the music-shops a certain number of copies of my works,
especially of the "Studies," "Hungarian Rhapsodies," and several
"Fantasiestucke" (under the collective title of "Album d'un
Voyageur"), etc., that I have not included in my Catalogue, which
I gave into Dr. Hartel's hands for printing;--and you have taken
upon yourself the troublesome task of arranging these different
and somewhat numerous works in what would be, under other
circumstances, a most judicious manner.

However gratifying to me this interest of yours in the production
of a suitable Catalogue can but be, yet I must declare myself
decidedly for the non-acceptance of the portions added by you
(with certain exceptions).

1. The Hofmeister edition of the twelve Studies (with a
lithograph of a cradle, and the publisher's addition "travail de
jeunesse"!) is simply a piracy of the book of Studies which was
published at Frankfort when I was thirteen years old. I have long
disowned this edition and replaced it by the second, under the
title "Etudes d'execution transcendante," published by Haslinger
in Vienna, Schlesinger in Paris, and Mori and Lavener in London.
But this second edition has now been annulled several years ago,
and Haslinger has, by my desire, put aside my copyright and
plates, and bound himself by contract not to publish any more
copies of this work henceforth. After a complete agreement with
him I set to work and produced a third edition of my twelve
Studies (very materially improved and transformed), and begged
Messrs. Hartel to publish it with the note "seule edition
authentique, revue par l'auteur, etc.," which they did.
Consequently I recognize only the Hartel edition of the twelve
Studies as the SOLE LEGITIMATE ONE, which I also clearly express
by a note in the Catalogue, and I therefore wish that the
Catalogue should make no mention of the earlier ones. I think I
have found the simplest means of making my views and intentions
clear by the addition of the sign (+).

2. It is the same case with the Paganini "Etudes" and the
"Rhapsodies Hongroises;" and after settling matters with
Haslinger I completely gained the legal right to disavow the
earlier editions of these works, and to protest against eventual
piracy of them, as I am once more in possession both of the
copyright and the entire engraving plates.

These circumstances will explain to you the reappearance (in a
very much altered conception and form) of many of my
compositions, on which I, as piano player and piano composer, am
obliged to lay some stress, as they form, to a certain extent,
the expression of a closed period of my artist-individuality.

In literature the production of very much altered, increased, and
improved editions is no uncommon thing. In works both important
and trivial, alterations, additions, varying divisions of
periods, etc., are a common experience of an author. In the
domain of music such a thing is more minute and more difficult--
and therefore it is seldom done. None the less do I consider it
very profitable to correct one's mistakes as far as possible, and
to make use of the experiences one gains by the editions of the
works themselves. I, for my part, have striven to do this; and,
if I have not succeeded, it at least testifies to my earnest
endeavour.

3. In the "Annees de Pelerinage" (Schott, Mainz) several of the
pieces are again taken from the "Album d'un Voyageur." The Album
brought out by Haslinger must not be quoted in the Catalogue,
because the work has not been carried out according to its
original plan, and Haslinger has given me back, in this case
also, the copyright and plates.

As the natural consequence of what I have said I beg you
therefore, dear sir, not to undertake any alteration in the
disposition and arrangement of my Catalogue, and only to add the
various enlargements and improvements, for which I have to thank
your overlooking and corrections, as I have now given them and
marked them.--

The title of the Catalogue might sound better thus in German:--

F. Liszt

"Thematischer Catalog." ["Thematic Catalogue"]

And the letters of the headings "Etudes--Harmonies--Annees de
Pelerinage--Ungarische Rhapsodien--Fantaisies on Airs from
Operas, etc.," must be rather large, and these headings separated
from the special title of the works.

I cannot agree with the admission of a supplementary Opus-
number,--but it is of consequence to me that the Catalogue should
come out speedily, in order to get as clear a survey as possible
of my works up to the present time (which, however, are by no
means sufficient for me).

Accept once more my best thanks, dear Sir, as also the assurance
of high esteem of

Yours most truly,

F. Liszt

January 17th, 1855.

P.S.--I take the liberty of keeping your edition of the Catalogue
here meanwhile, as it cannot be used for the arrangement of the
Hartel edition.



132. To Anton Rubinstein

Your fugue of this morning, my dear Rubinstein, is very little to
my taste, and I much prefer to it the Preludes that you wrote at
an earlier date in this same room, which, to my great surprise, I
found empty when I came to fetch you for the Berlioz rehearsal.
Is it a fact that this music works on your nerves? And, after the
specimen you had of it the other time at the Court, did the
resolution to hear more of it seem to you too hard to take? Or
have you taken amiss some words I said to you, which, I give you
my word, were nothing but a purely friendly proceeding on my
part? Whatever it may be, I don't want any explanations in
writing, and only send you these few lines to intimate that your
nocturnal flight was not a very agreeable surprise to me, and
that you would have done better in every way to hear the "Fuite
en Egypte" and the "Fantaisie sur la Tempete" of Shakespeare.

Send me tidings of yourself from Vienna (if not sooner), and,
whatever rinforzando of "murrendo" may happen, please don't do a
wrong to the sentiments of sincere esteem and cordial friendship
invariably maintained towards you by

F. Liszt

Weymar, February 21st, 1855.



133. To Louis Kohler

My very dear Friend,

Hans von Bulow will bring you these lines. You must enjoy
yourself in the artist who, above all other active or dying out
virtuosi; is the dearest to me, and who has, so to speak, grown
out of my musical heart.--When Hummel heard me in Paris more than
twenty-five years ago, he said, "Der Bursch ist ein
Eisenfresser." [The fellow is a bravo."] To this title, which was
very flattering to me, Hans von Bulow can with perfect justice
lay claim, and I confess that such an extraordinarily gifted,
thorough-bred musical organism as his has never come before me.

Receive him as an approved and energetic friend, and do all you
can to make his stay in Konigsberg a pleasant one.

Yours in friendship,

F. Liszt

Weymar, March 16th, 1855

The engraving of my Symphonic Poems is in progress, and in the
course of this summer five or six of them will be ready. There is
a good bit of work in it.

At the present time I am exclusively engaged in the composition
of a "Missa Solemnis." You know that I received, from the
Cardinal Primate of Hungary, the commission to write the work for
the consecration of the cathedral at Gran, and to conduct it
there (probably on the 15th of August).



134. To Dr. Franz Brendel

Sunday, March 18th, 1855

A few words in haste, dear friend, for I am over head and ears in
work. First and foremost, my best thanks for your communications,
with the request to continue them, even if I cannot always answer
the different points thoroughly.

I send you herewith the title of "The Captive" [Song, by Berlioz,
for alto voice with orchestra or piano.]--the words must be
written under the notes both in French and German. There can be
no copyright claimed for this Opus in Germany, as it appeared
years ago in Paris. It is to be hoped, however, that Kahnt will
not lose by it, as he has only to bear the cost of printing--and
in any case it is a suitable work for his shop..--.

To be brief--Panofka's [A well-known teacher of singing and
writer on music (1807-88); collaborator of the Neue Zeitschrift.]
letter, in your last number, must be regarded as a mystification.
In the first few lines a glaring falsehood, founded on facts, is
conspicuous, for the Societe de Ste. Cecile has been in existence
for years, and was formerly [1848-54] conducted by Seghers [Pupil
of Baillot (1801-81)]--not to mention that Berlioz conducted the
Societe Philharmonique, where "many Symphonies were performed,"
for at least a season (of something like four years)--and then as
regards Scudo, [Musical critic and journalist in Paris (1806-64)]
it must appear incredible to see a man like that mentioned with
approval in your paper. It is well known that Scudo has, for
years past, with the unequivocal arrogance of mediocrity, taken
up the position of making the most spiteful and maliciously
foolish opposition, in the revue des Deux Mondes (the
"Grenzboten" only gives a faint impression of it), to our views
of Art, and to those men whom we honor and back up. (I can tell
you more about this by word of mouth.) If Panofka calls that
"persuasion and design," I give him my compliments...on his
silliness.--

Your views on the characteristic motives are right, and for my
part I would maintain them very decidedly against the bornes
attacks which they have to bear--yet I think it is advisable not
to discuss Marx's book ["The Music of the Nineteenth Century,"
1855.] at present.

Yours ever,

F. Liszt



135. To Dr. Franz Brendel

April 1st, 1855

Dear Friend,

The question of criticism through creative and executive artists
must some time come on the tapis, and Schumann affords a
perfectly natural opportunity for it. [Liszt's article on Robert
Schumann, "Gesammelte Schriften," Vol. iv.] By the proofs of the
second article (which I thank you much for having corrected with
the necessary exactitude) you will observe that I have modified
several expressions, and have held them in more just bounds.
Believe me, dear friend, the domain of artists is in the greater
part guilty of our sluggish state of Art, and it is from this
side especially that we must act, in order to bring about
gradually the reform desired and pioneered by you.

Tyszkiewicz's [Count Tyszkiewicz, writer on music, collaborator
of the Neue Zeitschrift.] letter gave me the idea of asking you
to make him a proposal in my name, which cannot be any
inconvenience to him. In one number of Europe artiste he
translated the article on "Fidelio." [By Liszt, "Gesammelte
Schriften," Vol. iii., I.] Should he be disposed to publish
several of my articles in the same paper, I am perfectly ready to
let him have the French originals, [Liszt's articles were, as
already mentioned, written in French and translated into German
by Cornelius.] whereby he would save time and trouble. He has
only to write to me about it; for, after his somewhat capricious
behaviour towards me, I am not particularly inclined to apply to
him direct, before he has written to me. I am in perfect
agreement with his good intentions; it is only a question how far
he is able and willing to carry them out, and how he sets about
it. His "Freischutz-Rodomontade" is a student's joke, to which
one can take quite kindly, but which one cannot hold up as a
heroic feat. If he wishes to be of use to the good cause of
musical progress, he must place and prove himself differently.
For my part I have not the slightest dislike to him, only of
course it seemed rather strange to me that, after he had written
to me several times telling me that he was coming to see me at
Weymar, and had also allowed Wagner to write a letter of
introduction for him, which he sent to me, he should ignore me,
as it were, during his long stay in Leipzig. This does not of
course affect the matter in hand, and I am not in the least angry
at his want of attention, but I simply wait till it occurs to him
to behave like a reasonable man.

I thank you for your tidings about Dietrich--although I am
accustomed to expect less, rather than more, from people.

On the 9th April Schumann's "Genoveva" will be given here--and I
think I may venture to promise before-hand that the performance
will be a far better one than that at Leipzig. Fraulein Riese
will tell you about the "Transfiguration of the Lord." [Oratorio
by Kuhmstedt] Of this kind there should certainly be no more
[oratorios The word is missing in the original, as the corner of
the letter is cut off] composed.

Yours in friendship,

F. Liszt



136. To Anton Rubinstein

My dear Rubinstein,

Gurkhaus has just sent me a copy of your "Persian Songs," on the
title-page of which there is a mistake which I beg you to get
corrected without delay. The Grand Duchess Sophie is no longer
"Hereditary Grand Duchess," but "Grand Duchess" pure and simple,
and I think it would not do to send her the dedicatory copy with
this extra word. Please write therefore to Gurkhaus to see to it.

In the number of the Blatter fur Musik which has come to me I
have read with great pleasure and satisfaction Zellner's article
on your first concert in Vienna. It is not only very well written
but thoroughly well conceived, and of the right tone and manner
to maintain for criticism its right and its raison d'etre. I
second it very sincerely for the just eulogy it gives to your
works; and, if you have the opportunity, make my compliments to
Zellner, to whom I wrote a few lines the other day. This article
coincides rather singularly with that which appeared in the Neue
Zeitschrift (No. II.) on Robert Schumann, in which I probed
rather deeply into the question of criticism. If you believe me,
my dear Rubinstein, you will not long delay making yourself of
the party; for, for the few artists who have sense, intelligence,
and a serious and honest will, it is really their duty to take up
the pen in defense of our Art and our conviction--it matters
little, moreover, on which side of the opinions represented by
the Press you think it well to place yourself. Musical literature
is a field far too little cultivated by productive artists, and
if they continue to neglect it they will have to bear the
consequences and to pay their damages.

With regard to Weymar news, I beg to inform you that this evening
Kulhmstedt's oratorio "The Transfiguration of the Lord" will be
given at the theater, under the very undirecting direction of the
composer. I cannot, unfortunately, return him the compliment he
paid you at Wilhelmsthal--"Young man, you have satisfied me";
for, after having heard it at three rehearsals, I found no
satisfaction in it either for my ears or my mind: it is the old
frippery of counterpoint--the old unsalted, unpeppered sausage,
[Figure: Musical example]

etc., rubbish, to the ruin of eye and ear! I will try to leave it
out in my Mass, although this style is very usual in composing
Church music. In five or six weeks I hope to have finished this
work, at which I am working heart and soul (the Kyrie and Gloria
are written). Perhaps I shall still find you at Vienna (or in the
outskirts, which are charming), when I come to Gran in the month
of July.

If not, we shall see each other again at Weymar, for you owe me a
compensation for your last fugue, which is no more to my taste
than Kuhmstedt's counterpoint. When are you going to send me the
complete works of Anton Rubinstein that you promised me, and
which I beg you not to forget? Your idea of a retrospective
Carnival seems to me excellent, and you know how to write
charming and distinguished pieces of that kind.

Farewell, dear friend; I must leave you to go and have a
rehearsal of Schumann's "Genoveva," which is to be given next
Monday. It is a work in which there is something worthy of
consideration, and which bears a strong impress of the composer's
style. Among the Operas which have been produced during the last
fifty years it is certainly the one I prefer (Wagner excepted--
that is understood), notwithstanding its want of dramatic
vitality--a want not made up for by some beautiful pieces of
music, whatever interest musicians of our kind may nevertheless
take in hearing them.

A thousand cordial greetings, and yours ever,

F. Liszt

Weymar, April 3rd, 1855

When you write to me, please add your address. I beg you will
also return my best compliments to Lewy. [Pianist in St.
Petersburg; a friend of Rubinstein's.]

A thousand affectionate messages to Van II. from the Princess.



137. To Freiherr Beaulieu-Marconnay, Intendant of the Court
theater at Weimar

[Autograph in the possession of Herr Hermann Scholtz, Kammer-
Virtuosos in Dresden. The addressee died in Dresden.]

Dear Baron,

It is not precisely a distraction, still less a forgetfulness,
with which I might be reproached as regards the programme of this
evening's concert. The indications which Her Royal Highness the
Grand Duchess condescends to give me are too precious to me for
me not to be most anxious to fulfill at least all my duties. If,
then, one of Beethoven's Symphonies does not figure in today's
programme, it is because I thought I could better satisfy thus
the intentions of H.R.H., and that I permitted myself to guess
that which she has not taken the occasion to explain this time.
The predilection of His Majesty the King of Saxony for
Beethoven's Symphonies assuredly does honor to his taste for the
Beautiful in music, and no one could more truly agree to that
than I. I will only observe, on the one side, that Beethoven's
Symphonies are extremely well known, and, on the other, that
these admirable works are performed at Dresden by an orchestra
having at its disposal far more considerable means than we have
here, and that consequently our performance would run the risk of
appearing rather provincial to His Majesty. Moreover if Dresden,
following the example of Paris, London, Leipzig, Berlin, and a
hundred other cities, stops at Beethoven (to whom, while he was
living, they much preferred Haydn and Mozart), that is no reason
why Weymar--I mean musical Weymar, which I make the modest
pretension of representing--should keep absolutely to that. There
is without doubt nothing better than to respect, admire, and
study the illustrious dead; but why not also sometimes live with
the living? We have tried this plan with Wagner, Berlioz,
Schumann, and some others, and it would seem that it has not
succeeded so badly up to now for there to be any occasion for us
to alter our minds without urgent cause, and to put ourselves at
the tail--of many other tails!--

The significance of the musical movement of which Weymar is the
real center lies precisely in this initiative, of which the
public does not generally understand much, but which none the
less acquires its part of importance in the development of
contemporary Art.

For the rest, dear Baron, I hasten to make all straight for this
evening by following your advice, and I will ask Messrs. Singer
and Cossmann to play with me Beethoven's magnificent trio (in B-
flat--dedicated to the Archduke Rudolph), as No. 3 in the
programme.

A thousand affectionate compliments, and

Yours ever,

F. Liszt

Monday, May 21st, 1855



138. To Anton Rubinstein

My dear Rubinstein,

On my return from the Musical Festival at Dusseldorf, where I
hoped to meet you, I found the parcel of oeuvres choisies and the
portrait, which is very successful, of Van II. I hasten to give
you my best thanks for this first sending, begging you not to
forget your promise to complete, in the course of their
publication, the collection of your works, which have for me
always a double interest of Art and friendship. This morning we
had a taste, with Singer and Cossmann, of the Trio in G minor, of
which I had kept a special recollection--and afterwards Princess
Marie Wittgenstein (who commissions me to give all her thanks to
you, until she can have the pleasure of giving them to you in
person) demanded the pieces dedicated to her, which had complete
success. A propos of dedications, the Grand Duchess Sophie is
enchanted with the "Persische Lieder" ["Persian Songs"], and this
she has probably already intimated to you. Shortly before her
departure for Dusseldorf she sang several of them over again,
taking more and more liking to them. Decidedly the first
impression that these "Lieder" made on me, when you showed them
to me, and when I begged you to publish them without delay, was
just, and I have not been deceived in predicting for them a
quasi-popular success. Mdlle. Genast, who has returned from
Berlin, tells me that she made a furor there with "Wenn es doch
immer so bliebe!" ["Oh, could it remain so for ever!"] But,
unfortunately, as an older song has it, "it cannot remain so for
ever under the changing moon!" The last time I was passing
through Leipzig (where they gave my "Ave Maria" exceedingly well
at the Catholic Church), I told Gotze to appropriate to himself
three or four of your "Persische Lieder," which he will sing
splendidly; and, as he comes here pretty often, I will beg him to
give us the first hearing of them at some Court concert. The
Grand Duchess Olga is expected for the day after tomorrow; and
if, as is probable, they treat her to a little concert, I shall
take advantage of the opportunity to make her become better
acquainted with the Trios you dedicated to her, and which I
consider as among your best works. In the parcel I noticed the
absence of "L'Album de Kamennoi-Ostrow," which I should like to
make known, or, better still, to offer from you to H.I.H. the
Dowager Grand Duchess, and which I want you to send me for this
purpose.

If by chance you pass through Bonn, do not forget to go and see
Professor Kilian, who has been interested in you from very old
times, and with whom we talked much of you and your works during
the journey from Cologne to Dusseldorf.

Write me word soon what you are doing now. I, for my part, shall
spend the summer at Weymar, up to the time of my journey to Gran
(June-August). I count on your promise to come and see me in the
autumn, unless your road should lead you into these parts sooner.
You may be very sure of being always most welcome at the
Altenburg--and, even if a number of those holding our musical
opinions should meet still less often than in the past, that
would not in any way influence the very sincere feelings of
friendship and esteem which I bear towards you and keep towards
you invariably. When we see each other again, you will find my
"Divina Commedia" pretty far advanced; I have sketched a plan of
it (a Symphony in three parts: the two first, "Hell" and
"Purgatory," exclusively instrumental; the third, "Paradise,"
with chorus): but I cannot set myself entirely to this work until
I have finished the new score of my choruses from Herder's
"Prometheus," which I am rewriting in order to have it printed
shortly after the publication of my Symphonic Poems, six of which
will come out next October.

I am very curious to see what your new case of manuscripts will
contain. Have you set to work on "Paradise Lost"? I think that
would be the most opportune work for taking possession of your
fame as a composer.

A thousand cordial expressions of friendship, and

Yours ever,

F. Liszt

June 3rd, 1855



139. To Dr. Franz Brendel

[Weimar, June 1855]

Dear Friend,

Best thanks for your munificence. The weed [Cigars] is very
welcome, and you will have to answer for it if it induces me to
importune you with some more columns. Meanwhile I send you the
proofs of the second Berlioz article, together with a fresh
provision of manuscripts, and with the next proofs you will get
the end.

I will also send you very soon a report of the Dusseldorf Musical
Festival (not by me), the authorship of which I beg you to keep
strictly anonymous. Probably he will be piquant and forcible. On
the whole, and also in detail, the Dusseldorf Musical Festival
can only be described as a great success, and I, for my part,
rejoice in this and every success without particularly envying
it. My task is quite a different one, the solution of which is by
no means troubled thereby.

If you should by any chance have read that I am going to America
(!--there are many people who would be glad to have me out of
sight!), and that a Leipzig virtuoso (in Leipzig such animals as
virtuosi are seldom to be met with!) is going to take my place
here, you can simply laugh, as I have done, at this old canard--
but don't say anything to contradict it in your paper; such bad
jokes are not worth noticing, and are only good as finding food
for inquisitive Philistines. In a few days I hope to be able
again to do something serious with my work, and shall not leave
Weymar until my journey to Hungary (at the end of August).
Gutzkow's appointment is still in suspense, but is not
impossible. Have you read Frau Marr's (Sangalli's) brochure,
brought out by Otto Wigand? The pages which she devotes to my
work here may perhaps interest you, and I have absolutely nothing
to complain of in them, especially in view of the fact that I
have not hitherto been able to go "hand in hand" with Marr. Marr
has, moreover, according to what he told me, given in his
resignation as artistic Director, [At the Weimar Court theater]
and one cannot get clear about the entire theater-management for
some weeks to come. I keep myself very passive in the matter, and
don't fish in troubled waters. Thus much is certain--that if
Weymar wants to do anything regular, it cannot do without my
ideas and influence. About the rest I don't need to trouble
myself. Last Sunday we held a satisfactory performance of
"Tannhauser" in honor of the Princess of Prussia--and next Monday
the opera will be repeated.

Friendly greetings to your wife from your almost too active
fellow-worker and friend,

F. Liszt

I am writing to Fraulein Riese one of these next days, to invite
her to the performance of my Mass at Jena. [The Mass for male
voices was performed there in the latter half of June.]



140. To Dr. Franz Brendel.

[The first sheet of the original is missing]

Evers' [Doubtless Carl Evers (1819-75), composed Sonatas, Salon
pieces, etc.] letter has amused me, and it will cost you but
little diplomacy to conciliate the sensitive composer. You know
what I think of his talent for composition. From people like that
nothing is to be expected as long as they have not learned to
understand that they are uselessly going round and round in what
is hollow, dry, and used up. That good Flugel [Music writer and
composer; at that time teacher in a school at Neuwied; now
organist at the Castle at Stettin.] has also little power of
imagination, although a little more approach to something more
earnest, which has at least this good in itself--that it checks a
really too naive productiveness...His letter on the Dusseldorf
Musical Festival is again a little bit of Barenzucker
[Liquorice.] (reglisse in French), and W.'s article in comparison
with it quite a decent Pate Regnault. When we see each other
again I will make this difference clear to you--meanwhile make
the Rhinelanders happy with the latter, and don't be afraid of
the whispers which it may perhaps call forth; for, I repeat, it
contains nothing untrue or exaggerated, and in your position of
necessary opposition it would be inconsistent if you were to keep
back views of that kind from the public.

With the most friendly greeting, your

F. Liszt

June 16th, 1855.

My Mass for male voices and organ (published by Hartel two years
ago) will be given next week at the church in Jena. As soon as
the day is fixed I will let Fraulein Riese know.

Once more I recommend you to keep the W. article strictly
anonymous.



141. To Concertmeister [Leader of orchestra] Edmund Singer.

Dear Singer,

If I write but seldom to my friends there is, besides other
reasons, one principal cause for it, in that I have but seldom
anything agreeable or lively to tell them. Since your departure
very little has happened here that would interest you. One half
of our colleagues of the Neu-Weymar-Verein [New Weymar Union] is
absent--Hoffmann in Holland, Preller in the Oldenburg woods,
Pruckner and Schreiber at Goslar, etc., etc.--so that our
innocent reunions (which finally take place in the room of the
shooting-house) are put off for several weeks. Cornelius is
working at a Mass for men's voices--on the 15th of August we
shall hear it in the Catholic Church. I, on my side, am working
also at a Psalm (chorus, solos, and orchestra), which will be
ready by your return, in spite of all interruptions which I have
to put up with by constant visits. An exceptionally agreeable
surprise to me was Hans von Bulow, who spent a couple of days
here, and brought with him some new compositions, amongst which I
was particularly pleased with a very interesting, finely
conceived, and carefully worked-out "Reverie fantastique."  Until
the 15th of August (when his holidays end) he remains in
Copenhagen, where he will certainly meet with a friendly
reception. Perhaps next summer you would be inclined to go there.
You would find it a very pleasant neighborhood, and many pleasant
people there, who have also been agreeably remembered by me. If I
had time, I would gladly go there again for a couple of weeks, to
find a little solitude in the Zoological Gardens and to forget
somewhat other bestialities. [Probably a play on the words
Thiergarten (beast-garden) and Bestialitaten]  This satisfaction
is not so easily attainable for me elsewhere.

I envy you immensely about Patikarius [Hungarian gipsy
orchestras] and Ketskemety. [Hungarian gipsy orchestras] This
class of music is for me a sort of opium, of which I am sometimes
sorely in need. If you should by chance see Kertbeny, who has now
obtained a logis honoraire, please tell him that my book on the
Gipsies and Gipsy Music is already almost entirely translated by
Cornelius, and that I will send it to him by the autumn. But beg
him at the same time not to write tome, as it is impossible for
me to start a detailed correspondence with K.

I sent the pianoforte arrangement (with the voices) yesterday to
Herr von Augusz, with the request that he would present them,
when he had an opportunity, to His Eminence Cardinal Scitowsky.
The Mass [Liszt's Graner Messe.] will not take up an excessively
long time, either in performance or studying. But it is
indispensable that I should conduct the general rehearsal as well
as the performance myself; for the work cannot be ranked amongst
those in which ordinary singing, playing, and arrangement will
suffice, although it offers but small difficulties. It is a
matter of some not usual trifles in the way of accent, devotion,
inspiration, etc.

When are you coming back, dear Singer?  Only bring home with you
an orderly packet of manuscripts, that is to say to Weymar, where
I hope that you will feel yourself more and more at home.

The members of our Club who are still here send you the most
friendly greetings by me, to which I add a cordial "auf baldiges
Wiedersehen" ["May we soon meet again!"].

Yours ever,

F. Liszt

August 1st, 1855

P.S.--Joachim is going to make a walking tour in Tyrol. I hope he
will come and see us on his return. Berlioz proposes to give some
concerts in Vienna and Prague next December. I shall probably
postpone my journey to Wagner (at Zurich) until November. I shall
remain here for the next few months, in order to write several
things in readiness for the winter.



142. To Bernhard Cossmann In Baden-Baden

Wilhelmsthal, August 15th, 1855

Here am I really on the road to Baden-Baden, dear friend; but
that does not advance matters at all, and in spite of myself I
must resign myself to remain en route. Tomorrow morning I return
to Weymar, where I have promised to meet my two daughters, as
well as Mr. Daniel [Liszt's son], who has pretty well
distinguished himself at the general competition. After passing
ten days or so with me the girls will take up their abode with
Madame de Bulow at Berlin, who is good enough to take charge of
them, and Daniel will return to Paris to continue his studies
there. I was hoping also to be able to spend a week or two there-
-but that cannot possibly be arranged, and on reflection I was
obliged to limit myself to conducting the Princess W[ittgenstein]
as far as Eisenach, whence she has continued her journey to Paris
with her daughter (with the special view of seeing the exhibition
of pictures there); and for my exhibition I shall content myself
with that to the north, which I can enjoy from the windows of my
room!--This picturesque solemnity is almost up to the height of
the musical solemnities of Baden which you describe to me in such
bright and lively colors, but with this difference, that at
Wilhelmsthal we are very much favored by the element of damp,
whereas at Baden the artists who give concerts are drained dry.

At Weymar all the world is out of doors, and the town is pretty
full of nothing, offering to the curiosity of travelers only the
trenches and practical circumvallations in honor of gas-lighting
which they are going to start in October. Singer is bathing in
the Danube (at Ofen), and tells me he shall be back by the roth
of September; Raff is promenading amid the rose and myrtle
shrubberies of his "Sleeping Beauty" at Wiesbaden; Stor is
returning with his pockets full of new nuances which he has
discovered at Ilmenau, where he has composed (as a pendant to my
Symphonic Poem) "Ce qu'on entend dans la vallee"! ["What is heard
in the valley." Liszt's work bears the title "Ce qu'on entend sur
la montagne" ("What is heard on the mountain.")] Preller
[Friedrich Preller, the celebrated painter of the Odyssey
pictures] has found beautiful trees in the Duchy of Oldenburg
which serve him as a recovery of the "Recovery" [Or a "recreation
of the Recreation." I do not know which is meant. The original is
"qui lui servent d'Erholung von der 'Erholung.'"--Translator's
note.]; Martha Sabinin [A pupil of Liszt's, a Russian] is
haunting the "Venusberg" in the neighborhood of Eisenach in
company with Mademoiselle de Hopfgarten; Bronsart [Hans von
Bronsart, Liszt's pupil, now General-Intendant at Weimar] is gone
to a sort of family congress at Konigsberg; and Hoffman [Hoffmann
von Fallersleben, the well-known poet] is running through Holland
and Belgium to make a scientific survey of them; whilst Nabich is
trying to gain the ears of England, Scotland, and Ireland with
his trombone!

I, for my part, am in the midst of finishing the 13th Psalm (for
tenor solo, chorus, and orchestra), "How long wilt Thou forget
me, O Lord?" which you will hear this winter; and I shall not
leave Weymar till November to go and pay a few days' visit to
Wagner at Zurich. Don't altogether forget me, my dear Cossmann,
in the midst of your solemnities----[The end of the letter was
lost.]



143. To August Kiel, Court Conductor in Detmold

[Autograph (without address) in the possession of M. Alfred
Bovet, of Valentigney. The contents lead to the conclusion that
the above was the addressee (1813-71).]

I have been prevented until now, by a mass of work and little
outings, from sending you my warmest thanks for your kind
forwarding of the opera text of "Sappho," and I beg that you will
kindly excuse this delay. The manner in which Rietz's composition
to the Schiller dithyramb is to be interwoven with the poem I
cannot venture fully to explain. I confess also that the
dramatico-musical vivifying of the antique is for me a sublime,
attractive problem, as yet undecided, in the solution of which
even Mendelssohn himself has not succeeded in such a degree as to
leave nothing further to be sought for. Some years ago "Sappho"
(in three acts--text by Augier, music by Gounod) was given at the
Paris Opera. This work contains much that is beautiful, and
Berlioz has spoken of it very favorably in the Journal des
Debats. Unfortunately it did not appear in print, and up to the
present time no other theater has performed it, although it made
a sensation in Paris and ensured a first-rate position to the
composer. If it would interest you, dear sir, to get to know the
score, I will willingly write to Gounod and beg him to give me
the work to send to you.

I have repeatedly heard the most gratifying tidings of the
sympathy and care which you bestow in Detmold upon the works of
Wagner and Berlioz. Regardless of the many difficulties,
opposition, and misunderstandings which meet these great
creations, I cherish with you the conviction that "nothing truly
good and beautiful is lost in the stream of Time," and that the
pains taken by those who intend to preserve the higher and the
divine in Art do not remain fruitless. In the course of this
autumn (at the end of November at latest) I am going to see
Wagner, and I promise to send you from Zurich a little autograph
from his hand. I would gladly satisfy your wish sooner, but that
the letters which Wagner writes to me are a perfectly inalienable
benefit to me, and you will not take it amiss if I am more than
avaricious with them.

Accept, my dear sir, the assurance of my highest esteem, with
which I remain

Yours most truly,

F. Liszt

Weymar, September 8th, 1855

Enclosed are Berlioz' letter and the manuscript of "Sappho."



144. To Moritz Hauptmann

[The celebrated theorist and cantor of the Thomashirche in
Leipzig (1792-1868)]

Very dear Sir,

By the same post I send you, with best and warmest thanks for
your friendly letter, the volume of Handel's works which contains
the anthems. The second of them, "Zadok the Priest and Nathan the
Prophet anointed Solomon King," is a glorious ray of Handel's
genius, and one might truly quote, of the first verse of this
anthem, the well-known saying, "C'est grand comme le monde." ["It
is as great as the world."]--

The cantata "L'Allegro, il Pensieroso," etc., enchants me less,
yet it has interested me much as an important contribution to
imitative music; and, if you will kindly allow me, I want to keep
the volume here a few days longer and to send it back with the
two others.

I agree entirely, on my side, with your excellent criticism of
Raimondi's triple oratorio ["Joseph," an oratorio by the Roman
composer, consisting of three parts, which was given with great
success in the Teatro Argentina in Rome in 1852]. There is little
to seek on that road, and still less to find. The silver pfennig
(in the Dresden Art-Cabinet), on which ten Pater Noster are
engraved, has decidedly the advantage of harmlessness to the
public over such outrages to Art, and the Titus Livius, composed
by Sechter, will probably have to moulder away very
unhistorically as waste-paper. Later on Sechter can write a
Requiem for it, together with Improperias over the corruption of
the taste of the times, which have found his work so little to
their taste.

With the pleasant expectation of greeting you soon in Leipzig,
and of repeating to you my best thanks, I remain, my dear sir,
with the highest esteem,

Yours truly,

F. Liszt

Weymar, September 28th, 1855



145. To Eduard Liszt

I have just received your last letter, dearest Eduard, and will
not wait till Vienna to give you my warm thanks for your faithful
friendship, which you always prove to me so lovingly on all
possible occasions. The Mozart Festival seems to me now to have
taken the desired turn--that which I suggested from the
beginning--and to shape itself into a festival of "concord,
harmony, and artistic enthusiasm of the combined Art-fellowships
of Vienna." [Liszt was invited by the magistrate of the city of
Vienna to conduct two concerts on the 27th and 28th of January,
1856, for the	celebration of the centenary of Mozart's
birth.]

It is to be hoped that I shall not stick fast in my task, and
shall not let this opportunity go by without attaining the
suitable standpoint in Vienna.

Meanwhile I rejoice at the satisfactory prospects which present
themselves for the Mozart Festival, and greet you heartily.

F. L.

Berlin, December 3rd, 1855

You will have the most favorable news from Berlin.



146. To Frau Meyerbeer in Berlin

[The wife of the composer of the Huguenots (1791-1864), with whom
Liszt stood all his life in such friendly relations that it is
very	extraordinary that there are no Liszt letters extant among
Meyerbeer's possessions.]

Madame,

Your gracious lines only reached me at the moment of my leaving
Berlin, so that it was no longer possible for me to avail myself
of the kind permission you were good enough to give me.
Nevertheless, as it is to be presumed that neither the brilliant
departure of which I was the hero a dozen years ago, nor the less
flattering dismissal with which the infallible criticism of your
capital has gratified me this time, will prevent me from
returning from time to time, and without too long an interval, to
Berlin (according to the requirements of my instructions and of
my artistic experiments), I venture to claim from your kindness
the continuation of your gracious reception, and thus venture to
hope that the opportunity will soon arise for me to have the
honor of renewing viva voce, Madame, the expression of my
respectful homage.

Your very devoted servant,

F. Liszt

Weymar, December. 14th, 1855

The Princess Wittgenstein is much pleased with your remembrance,
and would be delighted to have the opportunity of thanking you
personally.



147. To his worship Dr. Ritter von Seiler, mayor of the city of
Vienna, etc.

[Autograph in the possession of M. Alfred Bovet, of Valentigne--.
VOL. I.]

Your worship and dear Mr. Mayor,

The willingness which I had already expressed, at the first
mention of the impending Mozart Festival, becomes to me, by your
kind letter of the 19th of December (which I only received
yesterday, owing to the delay from its having gone to Berlin), a
duty, which it is equally my honor and pleasure to fulfill. With
the utmost confidence and conviction that the resolution of the
Town Council will meet with the fullest assent and most
gratifying recognition among all circles of society--the
resolution is as follows: "That all undertakings in connection
with the Mozart Secular Festival shall be conducted and carried
out in the name of the city of Vienna,"--and in agreement with
the honorable motives of the Town Council "to lend to the
festivities the worthy and higher expression of universal
homage," I, for my part, undertake with the most grateful
acknowledgments the commission to conduct the Festival Concert on
the 27th January, 1856, and its repetition on the 28th according
to your desire; and I hope to fulfill quite satisfactorily every
just claim which is made on the musical director of such a
celebration.

Although the excellent orchestra, chorus, and staff of singers in
Vienna--long intimate with Mozart's works--afford the complete
certainty of a most admirable performance, yet I think it is
desirable that I should come a couple of weeks before the concert
is to take place, in order to have time for the necessary
rehearsals; and immediately on my arrival. I shall have the honor
of paying my respects to you, dear Mr. Mayor, and of placing
myself at the service of the Festival Committee.

In the programme which has been sent to me, the music of which
will take about three hours in performance, I am pleased with the
prospect before us, that the glories which Mozart unfolds in the
different domains of Art--Symphony, Opera, Church, and Concert
music-are taken into account, and that thus the manifold rays of
his genius are laid hold of, as far as is possible in the limits
of a concert programme. Whilst thoroughly agreeing with the
performance of the different items as a whole, I have
nevertheless one request to make--namely, that you would be good
enough to excuse me from the performance of the Mozart Pianoforte
Concerto which has been so kindly designed for me, and that this
number may be given to some other pianist of note. Apart from the
fact that for more than eight years I have not appeared anywhere
in public as a pianist, and that many considerations lead me to
adhere firmly to my negative resolve in this respect, the fact
that the direction of the Festival will require my entire
attention may prove, in this case, my sufficient excuse.

Accept, Your Worship, the assurance of the high esteem with which
I have the honor to remain,

Dear Mr. Mayor, yours very truly,

F. Liszt

Weymar, December 26th, 1855.



148. To Eduard Liszt

My very dear Eduard,

Scarcely had I returned to Weymar [From the Mozart Festival at
Vienna.] when I again put on my travelling coat to help in
Berlioz' concert at Gotha, which took place the day before
yesterday--and the whole day yesterday was spent in rehearsals of
"Cellini;" followed by a Court concert in the evening (in honor
of H.R.H. the Prince Regent of Baden); so that this morning is
the first leisure moment I have had to take up my pen again and
my position...at my writing-table. I profit by it first of all to
tell you how happy I am in this earnest intimacy, as sincerely
felt as it is conscientiously considered--this real intimacy of
ideas and feelings at the same time--which has been cemented
between us in these latter years, and which my stay in Vienna has
fully confirmed. All noble sentiments require the full air of
generous conviction, which maintains us in a region superior to
the trials, accidents, and troubles of this life. Thanks to
Heaven, we two breathe this air together, and thus we shall
remain inseparably united until our last day!

I am sending you after this the document which serves as a basis
to the Bach-Gesellschaft [Bach Society], from which it will be
easy to make out an analogous one for the publication of Mozart's
complete works. I earnestly invite and beg you to carry out this
project to its realization.

According to my ideas, the "Friends of Music in Austria" should
constitute and set the matter going, and the Royal State Press
should be employed for it, especially as one can foresee that
special favors might be obtained from the Ministry. Probably the
whole Festival Committee of the Mozart Celebration will also
consent to this undertaking, in the sense that, by an edition of
Mozart's works, critically explained, equally beautifully
printed, and revised by a committee appointed for it, a
universally useful, lasting, and living monument to the glorious
Master will be formed, which will bring honor and even material
gain to all Austrian lovers of music and to the city of Vienna
itself. Without doubt, if the matter is rightly conducted, it
will also pay well and be pretty easy to carry through. In about
twelve years the whole edition can be completed. In the
composition of the Committee of Revision I stipulate to call your
attention to a few names. Spohr, Meyerbeer, Fetis, Otto Jahn,
Oulibicheff, Dr. Hartel--among foreigners these ought especially
to have a share in the matter; and a special rubric must be given
to the cost of revision. The work of proof-correcting, as well as
the special explanations, commentaries, comparisons of the
different editions, ought not to be expected gratis; therefore a
fixed sum should be applied to it. Haslinger, Spina, and Gloggl,
being Vienna publishers, ought specially to be considered, and
would be the best to direct the propagation and regular sending
out of the volume, which is to appear on the 27th of January
every year.

At Spina's you would find several volumes of the Bach-
Gesellschaft, to which is always added a list of the subscribers
and a statement of accounts for the past year.

I advise you to keep on good terms with Zellner, who was the
first to air the subject in his paper (after I had invited him to
do so), and to get him into the proposed Committee, if the matter
be taken up in earnest. In the Committee of Revision Schmidt (the
librarian) and Holz must not be forgotten. With regard to my
humble self, I don't want to be put forward, but simply to take
my place in alphabetical order; but please explain beforehand
that I am ready to undertake any work which they may think fit to
apportion to me. I likewise undertake to invite the Grand Duke of
Weimar, the Duke of Gotha, etc., to become subscribers.

The whole affair must bear the impress of an Art enterprise--and
in this sense the invitation to a Mozart-Verein [Mozart Union]
must be couched. (I leave you to decide whether you prefer the
word Mozart-Gesellschaft [Mozart Society] or Mozart-herein for
the Publication of the Complete Works of Mozart, or any other
title.) Together with this I repeat that certainly there is no
need to fear any loss in this matter, but that probably there
will be a not insignificant gain. This gain, according to my
ideas, should be formed into a capital, until the edition is
completed, to be then employed, or perhaps not till later, by the
Society of Austrian Lovers of Music for some artistic purpose to
be decided upon.

.--. Be so good as to give Herr Krall the sum (24 florins) for
the four seats kindly placed at my disposal for the two concerts
of the Mozart Festival. Although I have only paid in cash six
gulden of the amount, because the other gentlemen insisted on
sending me several gulden, yet I expressly wish that the receipts
should not be any smaller through me--any more than that the
performance should suffer by my conducting!--Therefore please
don't forget the twenty-four gulden.

Berlioz arrived here yesterday evening, and I shall be over head
and ears in work with Cellini, the great Court concert on the
17th, and the performance of Berlioz' Faust in the course of next
week, the preparations for which I have undertaken.

Cellini I shall conduct--with the two others I only direct the
rehearsals.

In faithful friendship thy Saturday, February 9th, 1856.
F. Liszt



149. To Dr. von Seiler, Mayor of Vienna. [Autograph in the
possession of M. Alfred Bovet, of Valentigney.]

Dear Sir,

As it was not permitted me to see Your Worship again at home
before my departure, I venture to express once more in these few
lines my warmest thanks for the very great kindness shown to me
during my stay in Vienna, the remembrance of which will not fade
from my grateful thoughts.

The worthy example which you, dear Mr. Mayor, and the Town
Council of Vienna have given on the occasion of the Mozart
Festival, guaranteed and attained the desired prosperity and
success of the affair. This example will doubtless bring forth
fruit in other places, so that the whole artist society will owe
you the most grateful acknowledgments for it. As regards myself
and my modest services on that occasion, I am very happy to think
from the kind letter signed by yourself and Herr Councillor
Riedel von Riedenau, that what I did so gladly was well done--and
I only cherish the wish that coming years may offer me an
opportunity of devoting my poor, but seriously well-intentioned
services in the cause of music to the city of Vienna, whose
musical traditions shine forth so gloriously. Accept, dear sir,
the assurance of high esteem with which I have the honor to
remain

Your most obliged

F. Liszt

Weymar, February 10th, 1856



150. To Dr. Franz Brendel

Dear Friend,

Before everything else I must give you my warmest thanks for the
manifold proofs of your friendship and attachment which you have
given me lately; especially has the article in the last number
but one of the paper, taken from the concluding chapter of your
musical history, truly rejoiced me, and I should have written you
at once a couple of lines in grateful acknowledgment had I not
been so very much engaged, on my return here, that I have had no
leisure hour until now. In Leipzig I could only stay from the
time of one train to the other, and could not go to see any one
except Hartel, whom it was necessary for me to see. Scarcely had
I arrived here than I had to go to Gotha (where I was present at
Berlioz' concert), and the previous week we had enough to do with
the preparations and rehearsals of "Cellini" and the Court
concert. The performance this time was really capital. Caspari
had studied his part admirably, and made a good thing of it; the
opera, thanks to him, made quite a different impression from what
it did formerly, when poor Beck (now the proprietor of a cafe in
Prague, where I saw him lately) had to fit himself as best he
could into the Cellini jacket!--Probably Pohl will send you a
full account, and also mention the concert which took place the
day before yesterday at the Castle. Berlioz conducted it, and
Fraulein Bianchi very much pleased the nobility as well as the
rest of the audience--so that she is again engaged for a small
concert next Thursday.

In contrast to many other artists of both sexes, Fraulein Bianchi
is well-bred, without being stupidly stuck up, and, in addition,
a pleasant and well-trained singer whom one can safely recommend.

The few lines which she brought me from you were her best
introduction to me--only I will beg you, another time, not to be
in doubt as to "whether I still think of you with the old
friendship." Once for all, you may be perfectly certain on this
point, that I shall not develop any talent for Variations towards
you, but be always ready to give a proof, on every opportunity,
of how highly I prize your services in matters musical, and how
sincerely friendly I am to you personally.

F. Liszt

February 19th, 1856

Next Sunday "Lohengrin" will be given (with Fraulein Marx from
Darmstadt as Ortrude)--and on Thursday, the 28th February, the
entire "Faust" of Berlioz.



151. To Dionys Pruckner in Vienna

[Liszt's pupil; has been a professor at the Stuttgart
Conservatorium since 1858.]

Dearest Dionysius,

The joyful tidings of your success ever find the most joyful echo
in Weymar, and I thank you much for the pleasant tidings in your
letter. Haslinger, on his side, was so kind as to write me a full
account of your first concert, as well as the Court soiree at
H.R.H. the Archduchess Sophie's--and yesterday evening v.
Dingelstedt gave me also full details of your concert ravages in
Munich. All this plainly shows dass man Bock-Bier trinken kann,
ohne deswegen Bocke zu schiessen! [A play on words: that one may
drink "Bock" beer, without thereby making blunders.]

I entirely approve of your intention of spending some months in
Vienna and its charming environs--also of your closer intercourse
with the Master Czerny, whose many-sided musical experiences may
be of the greatest use to you practically and theoretically. Of
all living composers who have occupied themselves especially with
pianoforte playing and composing, I know none whose views and
opinions offer so just an experience. In the twenties, when a
great portion of Beethoven's creations was a kind of Sphinx,
Czerny was playing Beethoven exclusively, with an understanding
as excellent as his technique was efficient and effective; and,
later on, he did not set himself up against some progress that
had been made in technique, but contributed materially to it by
his own teaching and works. It is only a pity that, by a too
super-abundant productiveness, he has necessarily weakened
himself, and has not gone on further on the road of his first
Sonata (Op. 6, A-flat major) and of other works of that period,
which I rate very highly, as compositions of importance,
beautifully formed and having the noblest tendency. But
unfortunately at that time Vienna influences, both social and
publishing, were of an injurious kind, and Czerny did not possess
the necessary dose of sternness to keep out of them and to
preserve his better ego. This is generally a difficult task, the
solving of which brings with it much trouble even for the most
capable and those who have the highest aims.

When you see Czerny remember me to him as his grateful pupil and
devoted, deeply respectful friend. When I pass through Vienna
this summer, I shall rejoice to have a couple of hours with him
again. I shall probably find you still there. According to what
has been written to me, the consecration of the Gran Cathedral
will take place at the beginning of September, in which case I
shall start from here at the beginning of August.

Excuse me for not having been willing to send you the orchestral
parts to the "Turkish Capriccio." It seemed to me, on the one
hand, unsuitable to ask Hans for it--apart from the fact that the
sending of the parts backwards and forwards from Berlin to Vienna
is very roundabout--and, on the other hand, I could not but
suppose that you would find first-rate copyists in Vienna, who
would do the copying for you far better in a fortnight.
Principles of economy are UTTERLY WORTHLESS in copying, and, if
you will believe my experience, always choose therefore the best,
and consequently most expensive, copyists for transcribing the
parts that you want. Recommend them, into the bargain, to do them
with great care, and to add the cues (which are a great help
towards a good performance).

Bronsart wrote to you at my direction, to let you know in good
time that you should get the parts copied out in Vienna yourself,
and should look them over carefully with the copyist before the
rehearsal--a work which I have often done in earlier years, and
in which I generally make a rule of not sparing myself.

Please find out for me at Spina's, on a convenient opportunity,
how far the engraving of the Schubert Fantasia [Fantasia in C
major, on the Wanderer.] (instrumented by me) has progressed, and
whether he can soon send me the proofs. Bronsart played the
Fantasia with orchestral accompaniment lately at Jena.

Fare you well, dearest Dionysius, and send soon some good tidings
of yourself to

Yours in all friendship,

F. Liszt

Weymar, March 17th, 1856.



152. To Breitkopf & Hartel

Dear Sir,

Whatever fate may be in store for my Symphonic Poems, however
much they may be cut up and pulled to pieces and found fault with
through their performances and reviews everywhere, yet the sight
of the beautiful manner in which these first six numbers are
published and got up will always be a pleasant satisfaction to
me, for which I give you my warmest and heartiest thanks..--. The
two scores still wanting (Nos. 1 and 9) I will send you at the
end of this month, and will request you to publish them in the
same size and manner. Although there is somewhat of the
SPECULATIVE in these things, yet [I] by no means seek

to make a speculation of it, and only expect your friendly favor
in so far as a favorable pecuniary result may arise from it in
future years. I am expecting next time the proofs of the two-
piano arrangements, and you shall receive the two remaining piano
arrangements at the same time as the two last scores..--.

In the matter of the Handel-Gesellschaft, [Handel Society] the
scheme of which you have sent me, pray be assured of my most
complete readiness. The choice of Messrs. Hauptmann, Dehn,
Chrysander (Otto Jahn?), as the musical directors proper, I
consider thoroughly suitable--as also of Messrs. Gervinus and
Breitkopf and Hartel as members of the committee--and, as soon as
the pecuniary basis of the undertaking is fixed, I shall not fail
to get you some subscriptions, as I did for the Bach-
Gesellschaft.

With warm thanks and esteem,

Yours very truly,

F. Liszt

Weymar, May 15th, 1856

If it is possible to you to send me soon the proofs of the five
piano arrangements I shall be glad, as they make the
comprehension and spread of the scores easier.



153. To Louis Kohler

Dear Friend,

After I had seen about your commission to Dr. Hartel, and he had
sent me your Methode, [Systematic method of teaching for
pianoforte playing and music, 1857 and 1858.] I delayed writing
to you, because the result (favorable, as might be expected) of
the little business had been already communicated to you through
Hartel, and I wished at the same time to send you somewhat of my
wares. Unfortunately, I have been hindered by multifarious
occupations from getting through the proofs of my Symphonic Poems
quickly; and, besides this, these proofs have taken up a great
deal of my time; for although I had not omitted, in the first
proofs, to have things altered in the scores many times, yet many
things looked different to me in print from what I wished them to
be, and I had to try them over again plainly with the orchestra,
have them written out again, and ask for fresh proofs. At last
the six first numbers have come out, and even if they are very
badly done I can no longer do them otherwise or better. No doubt
you have already received from Hartel the copy destined for you,
and within a short time you will receive the somewhat freely
arranged pianoforte edition--for two pianos--of the same things.
I tried at first a four-hand arrangement of them, which would be
much more practicable for sale, but gave up this mutilation, as I
saw that in four-hand pieces the working into one another of the
hands stands too much in the way of my tone-picture. The two-
piano arrangement sounds passable, if I mistake not. Bulow,
Bronsart, Pruckner, etc., have played it several times, and you
will assuredly find in Konigsberg a partner (masculine or
feminine) who will beguile you into it. I shall be very glad if
the things please you somewhat. I have labored too much in order
to realize the requisite proportion and harmony, for them to be
able to give me any other pleasure if some sympathy, and also
some understanding of the spirit of them on the part of my few
friends, does not fall to my share. However that may be, tell me,
dear friend, quite candidly, without any compliments, what
impression the pieces have made on you. The three numbers which
will appear next are still longer, worse, and more venturesome.
But I cannot let matters rest there, for these nine numbers serve
only as Prolegomena [Prologue, preface] to the "Faust" and
"Dante" Symphonies. The former is already settled and finished,
and the second more than half written out. "Away, away," [Written
in English.] with Mazeppa's horse, regardless of the lazy hack
that sticks in the mud of old patterns!

Let me soon hear from you how you dispose of your time in
Konigsberg. In Frau Knopp you have got an excellent Ortrude. What
have you been giving this winter? Do you keep on a good
understanding with Marpurg? Is Pabst remaining in K.?

Don't forget also to let me have your Methode (I forget the exact
title) through Hartel. Although I have grown too old and too lazy
to improve my piano-playing, yet I will get some good out of it
for my pupils, amongst whom are two or three really brave,
earnest fellows. Beyond that I have very little to tell you of
Weymar. Since Berlioz' stay here, which gave occasion for the
Litolff cudgel-smashing newspaper rubbish, Carl Formes and
Johanna Wagner have been playing here; the latter with well-
deserved and extraordinary success in Gluck's "Orpheus" and
"Iphigenia in Aulis" (in Wagner's translation and arrangement).
This evening the "Sleeping Beauty" (a fairy-tale epic), by
Joachim Raff, will be given. According to my opinion, this is
Raff's most successful and grateful work.

Farewell, dear friend, and bear in friendly remembrance

Your very sincere and obliged

F. Liszt

Weymar, May 24th, 1856



154. To Louis Kohler

My Very Dear Friend,

At last I have come out of my "Purgatory"--that is to say that I
have come to the end of my symphony to Dante's "Divina Commedia."
Yesterday I wrote the final bars of the score (which is somewhat
smaller in bulk than my "Faust" Symphony, but will take pretty
nearly an hour in performance); and today, for rest and
refreshment, I can allow myself the pleasure of giving you my
friendliest thanks for your friendly letter. The dedication of
your work "Systematic Method of Teaching for Pianoforte Playing
and Music" (the latter must not be forgotten!) pleases me much,
and you will allow me to take a modest revanche [revenge]
shortly, in dedicating one of my latest works to you. Probably
Schlesinger will bring out several books of my songs next winter,
in which you will perhaps find much that is in sympathy with your
ideas of the melody of speech. Hence I wish that you would not
refuse me the pleasure of using your name in connection with
them, and of letting it precede them, as an interpretation, as it
were, of the intention of the songs. Hartel will send you in a
couple of days the first seven numbers of the arrangements for
two pianofortes of my Symphonic Poems which have already
appeared. An arrangement of that kind is not so easy to make use
of as a four-hand one. Nevertheless, after I had tried to compass
the score of Tasso plainly into one pianoforte, I soon gave up
this project for the others, on account of the unadvisable
mutilation and defacement by the working into and through one
another of the four-hand parts, and submitted to doing without
tone and color and orchestral light and shade, but at any rate
fixing an abstract rendering of the musical contents, which would
be clear to the ear, by the two-piano arrangement (which I could
arrange tolerably freely).

It is a very agreeable satisfaction to me that you, dear friend,
have found some interest in the scores. For, however others may
judge of the things, they are for me the necessary developments
of my inner experiences, which have brought me to the conviction
that invention and feeling are not so entirely evil in Art.
Certainly you very rightly observe that the forms (which are too
often changed by quite respectable people into formulas) "First
Subject, Middle Subject, After Subject, etc., may very much grow
into a habit, because they must be so thoroughly natural,
primitive, and very easily intelligible." Without making the
slightest objection to this opinion, I only beg for permission to
be allowed to decide upon the forms by the contents, and even
should this permission be withheld from me from the side of the
most commendable criticism, I shall none the less go on in my own
modest way quite cheerfully. After all, in the end it comes
principally to this--WHAT the ideas are, and HOW they are carried
out and worked up--and that leads us always back to the FEELING
and INVENTION, if we would not scramble and struggle in the rut
of a mere trade.

When is your Method of teaching coming out? I rejoice beforehand
at all the incitement and forcible matter contained in it. You
will shortly receive a circular with a letter from E. Hallberger
(Stuttgart), who asks me to undertake the choice of pieces to
appear in his edition of the "Pianoforte." Do send something soon
to it; it is to be hoped that the establishing and spreading of
this collection will prove quite satisfactory.

Fare you well in your work, dear friend, and think affectionately
of

Yours ever sincerely,

F. Liszt

Weymar, July 9th, 1856.

P.S.--In your next letter send me your exact address.



155. To Hoffmann von Fallersleben

[The well-known poet (1798-1874), who was living at that time in
Weimar; was an intimate friend of Liszt, and in 1854 founded,
with him, the Neu-Weimar-Verein, which, under the presidency of
Liszt, was joined by all the most distinguished musicians,
authors, and painters of Weimar.]

Dear Friend,

In your [The second person singular is employed in this letter]
pleasant villeggiatura, where you will find no lack of the
Beautiful and Good, let yourself also be welcomed by a friend of
the New-Weymar

School, who is truly yours. It is true I have nothing new to tell
you. You already know that the Grand Duke received your poem on
the morning of his birthday, and said the kindest things about it
to me later on. Most of our colleagues of the Neu-Weimar-Verein
are away and scattered in various countries;--Singer in Pesth;
Soupper [Eugen v. Soupper, concert singer, a countryman of
Liszt's, was in Weimar in 1855-56.] in Paris, where he is trying
the solitude of a crowd (according to Chateaubriand's expression,
"the crowd, that vast desert--not dessert--of men"); Stor [Music
director in Weimar; died 1889.] at the bathing-place Heringsdorf,
probably drawn there by a secret affinity between his herring
form and the name of the place; Winterberger in Holland, to
inspect the Haarlem and other organs, which he will certainly do
in a masterly way; and Preller goes today to Kiel. On the
Altenburg no change worth mentioning has taken place: visits of
strangers to me fail not summer or winter, and, still less, works
which have become my life's task. I might almost sing, like
Hoffmann von Fallersleben,

"Hier sitz ich fest, ein Fels im Meer, Woran die Wellen toben; 's
geht drunter, dran and druber her--Ich bleibe fortan oben"--

["Here firm I sit, a rock sea-girt, On which the waves are
dashing, But I remain above, unhurt, Nor heed the waters'
lashing."]

if only there were more waves and less marsh!--

My travelling plans are still somewhat vacillating, because I
cannot yet decide whether I shall go to Hungary or not. In any
case I shall go and see R. Wagner, in the middle of September at
latest, at Zurich, where Stahr at present is with his wife (Fanny
Lewald). Stahr will shortly publish a new volume of Paris Letters
(about the Exhibition), and is translating Suetonius for the
Classical Library coming out at Stuttgart. He told me that there
is a passage in Suetonius which one can quite apply to the
baptism of the Prince Imperial in Paris! After this precedent,
why might not everything in the Horoe belg, and the Weymar Year-
Book be proved as referring to something?

Remember me most warmly to your dear Amphitrion, whom I
unfortunately did not manage to see again before her departure,
and, if the Mildes are in the same house as you, give them my
best greetings, woven into a toast.

Fare thee well, dearest friend, and do not remain too long away.

Thine in heartfelt friendship,

F. Liszt Weymar, July 14th, 1856



156. To Wilhelm wieprecht, General Music Director of the Military
Corps of the State of Prussia

[Autograph in the possession of Herr Otto Lessmann at
Charlottenburg. The addressee (1802-72) was one of the inventors
of the bass-tuba, and improved many of the wind instruments.]

Dear Friend, I learn from several Berliners, who have passed
through here, that you have had the great kindness to instrument
my march "Vom Fels zum Meer" ["From the Rock to the Ocean."]
splendidly, and have had it performed several times. Permit me to
express my warmest thanks to you for this new proof of your
friendship, and at the same time to remind you of a promise the
fulfillment of which is very much desired by me.

It is that, in my last visit to Berlin, you were so kind as to
say that the Symphonic Poem Tasso would not be amiss arranged by
you for a military band, and you, with your well-known readiness
for action, expressed your willingness to arrange the
instrumentation accordingly. Allow me today to lay claim to half
your kind offer, and to beg you to strike out forty-two pages of
this long score, and so to dispose your arrangement that, after
the last bar of page 5 (score), you make a skip to the second bar
of page 47 (Lento assai), by this means shortening the lamento of
Tasso and of the public also.

[Here, Liszt illustrates with a musical score excerpt of the last
bar of page 5.]

[Here, Liszt illustrates with another musical score excerpt, from
the second bar of page 47.]

By the same post I send you the score and the piano arrangement
(for two pianofortes) for convenience in looking it over. If the
concluding figure (Letter M., Moderato pomposo) seems to make a
better effect in the instrumentation by following the piano
arrangement with the simple quaver figure [Liszt illustrates with
a brief musical score excerpt] instead of the triplets, according
to the score, I have not the slightest objection to it, and beg
you altogether, dear friend, to feel quite free to do as you like
in the matter. The flattering thing for me would be just this--
that the work should please you sufficiently for you to be
allowed to take what liberties you wish with it.

Some years ago Dahlmann gave a lecture at Bonn upon immature
enthusiasm. God preserve us rather from untimely pedantry!
Certainly no one shall have to suffer from this from my side!

I am sending you, together with the "Tasso" score, that of
"Mazeppa" also. Take an opportunity of looking at the concluding
"March" (beginning page 89 of the score):--

[Here, Liszt illustrates with a musical score excerpt]

(N.B--It must begin with the 4/6 chord, perhaps after a couple of
introductory bars roll on the drum--without any distinct tone.)

Perhaps the subject may suit for some occasion or other.

Forgive me, dear friend, for being so pressing, and behold in
this only the joy which the fulfillment of your promise will give
me. Next winter I hope to give you my thanks in person in Berlin.

Meanwhile accept the expression of high esteem of yours truly and
with all friendly acknowledgments,

F. Liszt

Weymar, July 18th, 1856

If, as I imagine, the Finale from "Tasso" could be so arranged
that moderate military bands could play it fairly well, I should
of course be glad. However I leave it entirely in your hands to
do with it whatever seems best to you, and give you my best
thanks beforehand for your kindness.



157. To Concertmeister Edmund Singer

Dear Friend,

In consequence of the definite decision which was made known to
me yesterday by T. R. the Titular Bishop and the Cathedral Cantor
Fekete, my Mass is to be performed on the day of the
consecration. [Of the Cathedral of Gran] I shall therefore get to
Pest by the 11th or 12th August, as I had previously arranged,
and shall be very glad to see you and two or three others of my
friends again. I am also reckoning on you for certain as leader
of the orchestra at the rehearsals and performance of the Mass. I
am writing tomorrow to Winterberger, who is making a tremendous
sensation in Holland, to beg him to undertake the organ part, and
to be in Pest by the middle of August.

While speaking of Holland, I may add that Herr Vermeulen (General
Secretary of the "Maatschappy" ["Maatschappy tot bevordering der
toonkunst."]) is coming to see me here early in August. This
offers me a good opportunity of being of service to you in regard
to your concert arrangements in Rotterdam and Amsterdam, etc., of
which I will not fail to make use. More of this viva voce.
Meanwhile, it would be better for you not to write there.

I enclose several notes of acknowledgment for E., Dr. F., B. and
K., to which I beg you will kindly attend.

And now one more commission, which you can easily fulfill through
Rosavoegly, [Music publisher in Budapest] with my best greetings
to him. In my reply to the official letter of H. R. von Fekete
yesterday I forgot to repeat that, in order to avoid loss of
time, it is easy to have the voice parts (solos and chorus)
written out before my arrival, and as carefully as possible,
clean and clearly. I will willingly discharge the copyist's fee,
and the orchestral parts I will bring with me together with the
score, so that the rehearsals may begin as soon as the performers
taking part in it are assigned to me.

I confidently hope that we shall have a very fine performance,
without trouble and worry, and one in which musicians as well as
audience will find pleasure and edification. The length of the
Mass will also fulfill the required dimensions, and yesterday I
hunted out a couple of "cuts," which could be made, if necessary,
without any essential harm to the work. You know, dear Singer,
that I am a special virtuoso in the matter of making cuts, in
which no one else can easily approach me!--

I am simply not disposed, in spite of much prudent advice, to cut
my Mass and myself altogether, all the less so as my friends and
countrymen have on this occasion shown themselves so kind and
good to me. I therefore owe it to them to give them active proof
that their confidence and sympathy in me are not wholly
undeserved--and with God's help this shall be irrefragably
proved!

For the rest I want to keep very quiet and private this time in
Pest. Composers of my sort write, it is true, plenty of drum and
trumpet parts, but by no means require the too common flourish of
trumpets and drums, because they are striving after a higher aim,
which is not to be attained by publicity.

"Auf baldiges Wiedersehen," ["To a speedy meeting"] dear friend--
I leave here by the 9th August at latest. Meanwhile best thanks
for your letter,--and

Ever yours,

F. Liszt

July 28th, 1856.



158. To Joachim Raff

[Raff (1822-82) lived, as is well known, for some years in Weimar
(first of all as Liszt's secretary), and at that time joined the
Liszt tendencies as a composer, afterwards going other ways.]

Dear Sir and Friend,

It is very pleasant to me to find from your letter that you have
taken aright the recognition in my article on the "Sleeping
Beauty," and see unequivocally in its attitude a fresh proof of
the high estimation in which I hold your artistic powers, as well
as of my readiness to be of use to you as far as my insight and
loyalty in Art matters will permit me. In this first discussion
of a work so much thought of and so widespread, it was most
important that I should draw the attention of Art-fellowship to
your entire works and higher endeavors during the past six years.
You will still give me the opportunity, I hope, later on, of
spreading much deserved praise and of placing more in the shade
any chance differences in our views. If I have not placed you
this time so completely as I should have wished among the musical
fellowship of the time, like a Peter Schlemihl,[The man without a
shadow--German fable.] this was partly in consequence of your own
oft-repeated advice that "one should not exclusively praise men
and works if one wishes to be useful to them."[Neue Zeitschrift
fur Musik. Later "Gesammelte Schriften," vol. v.]

I do not always agree with you in this view, but on this occasion
I hope I have hit the happy medium.

Accept my best thanks for the friendly interest you have shown in
my orchestral compositions in the concert direction of Wiesbaden.
Whether I shall be able to comply with several invitations for
concerts in the coming winter depends on a good many
circumstances which I cannot quite settle beforehand. But in any
case I shall be glad if my compositions become more widely
spread, and perhaps during your present stay in Wiesbaden the
opportunity may offer of conducting one or two numbers of the
Symphonic Poems, in accordance with your previous intentions.

At the end of next week at latest I set out for Gran, to conduct
my Mass on the 31st of August (in celebration of the consecration
of the Basilica). Toward the middle of September I go to Zurich,
where, if I am not prevented by any special hindrances, for which
I always have to be prepared, I think of spending a couple of
weeks with Wagner.

Fare you well, dear Raff, and send soon some tidings of yourself
to

Yours most truly,

F. Liszt

Weymar, July 31st, 1856.

Hans von Bulow has been with me a couple of days, and goes to
Baden-Baden the day after tomorrow. Winterberger is scoring an
extraordinary triumph by his organ-playing in Holland, and played
the Prophete and BACH Fugue [Fugue on the name of Bach] before an
audience of two thousand people with immense success.

Do not forget to give my friendly greetings to Genast [the
celebrated Weimar actor, afterwards Raff's father-in-law] and my
homage to Mademoiselle Doris [Afterwards Raff's wife, an
excellent actress].



159. To Anton Rubinstein

It is a very great regret to me, my dear Rubinstein, to have to
miss your visit the day after tomorrow, of which you sent me word
by Mr. Hallberger. You know what a sincere pleasure it always is
to me to see you again, and what a lively interest I take in your
new works. This time in particular I am at high tension about the
completion of your Paradise Lost. If the continuation and the end
correspond with the beginning which you showed me, you have
reason to be really and truly satisfied with yourself, and you
may sleep in peace conscious of having written a grand and
beautiful work.

Unfortunately, whatever curiosity I have to be quite assured of
this, I cannot stay here any longer, and must start tomorrow
morning for Gran, where, in spite of a lot of useless talk, the
thread of which you have perhaps followed in the papers, they
will end after all by giving my Mass on the 31st of August (the
day of the consecration of the Basilica). You see that I have
only just time to set the thing on foot, and cannot, without the
risk of unpleasantness, defer my arrival beyond the day which,
moreover, I officially fixed about a week ago.

Please excuse me then, my dear Rubinstein, for my involuntary
fugue, and allow me to make up for it without too much delay. On
my return from Hungary I shall come through Stuttgart (towards
the middle of September). Perhaps I shall find you still there,
which would be a very great pleasure. We would sing together the
choruses, solos, and orchestra of your new score with all our
might! And Winterberger (who has just had a fabulous success at
Rotterdam, Haarlem, etc., where he has given several organ
concerts largely attended) might also be one of the party, for I
expect to make the journey from Zurich with him, and on our way
we shall explore the organs of Ulm, Stuttgart, Friburg, and
Winterthur.

Will you let me know by a few lines what your plans are for the
end of the summer and autumn? Shall you return to Leipzig? Will
it suit you to try your Oratorio first at Weymar? In this latter
case, which you may be sure will be the most agreeable to me, I
will try to facilitate the arrangements that have to be made as
regards copies, and to save you the expense of copying. Toward
the end of October, at latest, I shall be back here; and, if we
do not meet before, I count on your not letting this year elapse
without coming again for a few days to your room at the
Altenburg, where you are certain of being always most cordially
welcome, for we shall make no changes.

If you have a quarter of an hour to spare do write a piece of a
few pages for Hallberger, without making him wait any longer, for
I especially want one of your loose works to appear in the first
copy of the "Pianoforte."

The Princess bids me give you her best compliments, to which I
add the expression of frank and cordial friendship of your very
devoted

F. Liszt

August 6th, 1856.

Have you received my things in score? Continue to address me at
Weymar.



160. To Joachim Raff

You would be making a great mistake if you put any mistrust in my
conduct, and I can assure you with a perfectly good conscience
that to me there is nothing more agreeable and more to be desired
than to rely entirely on one's friends. With regard to the
Wiesbaden affair, I must necessarily await a definite invitation
from the concert directors before I can give a definite answer. I
think I have too often shown that I am ready and willing, for it
to be necessary for me to say more on that point. I was again at
Sondershausen last Sunday, and promised to go there again in the
course of next winter. The orchestra there, under its conductor
Stein (whose acquaintance I had not made until now), has
performed two of my Symphonic Poems--"Les Preludes" and
"Mazeppa"--with really uncommon spirit and excellence. Should
there be a similar willingness in Wiesbaden, it will of course be
a pleasure to me to accept the invitation of the concert
directors; so also I am greatly obliged to you for being so
helpful toward the spread and sympathetic understanding of my
works. But from your letter I see that you will not be staying
much longer in Wiesbaden, and as I am not acquainted with the
present circumstances there I cannot reckon beforehand on the
friendly reception without which public performances always prove
very unfruitful for composers. According, therefore, to whether
these circumstances show themselves favorable or unfavorable to
my honest endeavors, I will come, or I will remain at home.

I give you my heartiest good wishes for the performance of your
"King Alfred" [an opera of Raff's]. Your two "Tanz-Capricen"
(bolero and valse) have been sent me by Hallberger, and I have
already recommended a speedy edition of both.

This afternoon I start for Gran. In the middle of September I
shall get to Stuttgart and go to Zurich. Letters can be always
addressed to me at Weymar, and before the end of October I shall
be back here again.

With best greetings and thanks, yours very truly,

F. Liszt

Weymar, August 7th, 1856



161. To Anton Rubinstein

I much regret, dear Rubinstein, to have missed your visit to
Weymar, and, while thanking you most sincerely for your kind
intention, I am going to beg you to grant me full reparation by a
second visit when I return.

By the news which reaches me from the Altenburg I learn that you
think of spending part of the winter in Berlin, and will there
give your "Paradise Lost," which will doubtless be a piece well
found, and from which you will derive benefit. Please do not fail
to let me know in good time which day it is to be performed, for
I am set upon being present at this first performance, and shall
certainly come to Berlin unless anything absolutely unavoidable
prevents me.

I expect to be back at Weymar towards the end of October, and to
set seriously to work again, a thing which is not possible
elsewhere. The rehearsals of my Mass are going on here admirably,
and I expect we shall have a very fine performance at Gran on the
31st, where, moreover, there will be so many other things and
people of quite a different importance to be seen and heard, that
they will scarcely hear three bars of my Mass. Happily my work
has the good luck to have two general preliminary rehearsals,
public ones, at Pest next week, and a final rehearsal at Gran
itself. Zellner will probably be there, and you will hear about
it from him. Possibly also the same Mass will be given on the
28th September (the day of St. Wenceslas, the patron saint of
Bohemia) at Prague, whence they have just written to me to that
effect. You will give me great pleasure, my dear Rubinstein, if
you will write me something about your autumn and winter plans;
and if by chance I can be of use to you in any way show me the
friendship of disposing entirely of me, as of one who is your
very sincerely affectionate and devoted

F. Liszt Pest, August 21st, 1856

Address always to Weymar.

I am still expecting to go by Stuttgart to Zurich towards the
middle of September, but it is possible that Prague may occasion
me a fortnight's delay.



162. To Eduard Liszt

[Pest,] Friday, September 5th, 1856

Dearest Eduard,

Yesterday's performance of my Mass was quite according to my
intentions, and was more successful and effective by far than all
the preceding ones. Without exaggeration and with all Christian
modesty I can assure you that many tears were shed, and that the
very numerous audience (the church of the Stadtpfarrei [I.e., the
parish church] was thronged), as well as the performers, had
raised themselves, body and soul, into my contemplation of the
sacred mysteries of the Mass...and everything was but a humble
prayer to the Almighty and to the Redeemer!--I thought of you in
my heart of hearts, and sought for you--for you are indeed so
very near and dear to me in spirit!--Next Monday, the 8th
September, at the consecration of the Hermine-Kapelle (which the
Cardinal Prince Primate of Hungary will consecrate), my Mass for
four men's voices will be sung. Winterberger will accompany it on
a Physharmonica of the organ genus. On the same evening (Monday)
the concert for the benefit of the Pension Fund will take place
at the theater: Singer and Pruckner will play at it, and two of
my Symphonic Poems--"Les Preludes" and "Hungaria" (Nos. 3 and 9)-
-will be given.

On the 14th September at latest I shall get to Vienna, and I will
write to Haslinger more definitely about it. Meanwhile will you
please tell Haslinger, as I cannot write to him until the concert
in the Hungarian theater is over.

.--. I expect to leave here before the end of next week.

God be with you and with your

F. L.

At the rehearsal this morning I was told that you have got such
an excellent article on the Mass in the Wanderer. I suppose you
sent the number to Weymar? If possible let me have one here also.



163. To Louis Kohler

Bravo, dear friend, for the three very graceful and charmingly
conceived melody-dialogues! I have pleasure in them, and am
certain of the success of this charming selam. [Meaning a musical
bouquet.] As an old laborant [Worker in a laboratory] at piano
music allow me merely to lay before you a slight alteration in
the two bars before the return of the motive (No. I). According
to my conception one bar more would have a beneficial effect
there, thus:--

[Here Liszt writes out a 5-measure excerpt of piano music]

If you agree with this version, write me simply Yes to the
address of Richard Wagner, Zeltweg, Zurich. I shall get there
next Sunday, and stay some days with our great friend. At the
beginning of November I shall be back in Weymar.

Hearty greetings from yours in all friendship,

F. Liszt

Stuttgart, October 8th, 1856.

In No. 3 (in the first two bars) the F seems to me the right
sound in the bass, and that was what you had first written:--

[Here, Liszt illustrates with a musical score excerpt]

instead of:--

[Here, Liszt illustrates with another musical score excerpt]

Will you leave these little alterations to me in the proof?



164. To Dr. Gille, Councillor of Justice at Jena

[An ardent friend of Liszt's, a promoter of musical endeavors, a
co-founder and member of the Committee (General Secretary) of the
Allgemeine Deutsche Musikverein, is at the head of the Liszt
Museum in Weimar, and lives in Jena, where he is Prince's Council
and Councillor of Justice.]

Zurich, November 14th, 1856

My very dear Friend,

I am heartily rejoiced at the honorable proof of the sympathy and
attachment of our Circulus harmonicus Academiae Jenensis, which
was prepared for me for the 22nd October by your kindness, and I
give you my warmest thanks for it, begging you to be so good as
to pass them on also to our friends Stade and Herr Schafer, whose
names strengthen the diploma.

It touches me deeply that you join the Gran Basilica and my
"Missa Solemnis" in this diploma. You may be sure, dear friend,
that I did not compose my work as one might put on a church
vestment instead of a paletot, but that it has sprung from the
truly fervent faith of my heart, such as I have felt it since my
childhood. "Genitum, non factum"--and therefore I can truly say
that my Mass has been more prayed than composed. By Easter the
work will be published by the Royal State Printing Office at the
cost of the Government, thanks to the kind instructions of His
Excellency Minister von Bach, and I am looking forward to the
pleasure of presenting one of the first copies to the Circulus
harmonicus. The Mass has been given a second time at Prague since
I left, and, as Capellmeister Skraup writes, "with increasing
interest"; a couple more performances, in Vienna, etc., are
pending.

Pray excuse me, dear friend, for not having sent you my thanks
sooner. Your letter found me in bed, to which I am still confined
by a somewhat protracted illness, which will delay my return to
Weymar some weeks. Next week I am to begin to get out into the
air again, and I hope to be able to get away in about ten days.
At the beginning of December I shall be at Weymar, and shall then
soon come to you at Jena.--

I shall have a great deal to tell you verbally about Wagner. Of
course we see each other every day, and are together the livelong
day. His "Nibelungen" are an entirely new and glorious world,
towards which I have often yearned, and for which the most
thoughtful people will still be enthusiastic, even if the measure
of mediocrity should prove inadequate to it!--

Friendly greetings, and faithfully your

F. Liszt



165. To Dr. Adolf Stern in Dresden

[Poet and man of letters, now professor at the Polytechnikum at
Dresden, a member of the Committee of the Allgemeine Deutsche
Musikverein since 1867.]

Very Dear Sir and Friend,

A long and protracted illness has kept me in bed for a fortnight
past--and I owe you many apologies for my delay in sending you my
warmest thanks for the very kind remembrance with which you
adorned the 22nd of October. The beautiful poem, so full of
meaning, and soaring aloft with its delicately powerful flight,
goes deeply to my heart, and my dreams hear the charm of your
poetry through Lehel's magic horn tones! Perhaps I shall be able
shortly to tell you what I have heard, when the disjointed sounds
have united in shaping themselves harmoniously into an artistic
whole, from which a second part of my Symphonic Poem "Hungaria"
might well be formed.

Meanwhile I have ventured to send your poem to a couple of my
friends in Pest, who will delight in it like myself.

In spite of my illness I am spending glorious days here with
Wagner, and am satiating myself with his Nibelungen world, of
which our business musicians and chaff-threshing critics have as
yet no suspicion. It is to be hoped that this tremendous work may
succeed in being performed in the year 1859, and I, on my side,
will not neglect anything to forward this performance as soon as
possible--a performance which certainly implies many difficulties
and exertions. Wagner requires for the purpose a special theater
built for himself, and a not ordinary acting and orchestral
staff. It goes without saying that the work can only appear
before the world under his own conducting; and if, as is much to
be wished, this should take place in Germany, his pardon must be
obtained before everything.--I comfort myself with the saying,
"What must be will be!" And thus I expect to be also standing on
my legs again soon, and to be back in Weymar in the early days of
December. It will be very kind of you if you will not let too
long a time elapse without coming to see me. For today accept
once more my heartfelt thanks, and the assurance of sincere
friendship of your

F. Liszt

Zurich, November 14th, 1856



166. To Louis Kohler

Enclosed, dear friend, is a rough copy of the Prelude to
"Rheingold," which Wagner has handed me for you, and which will
be sure to give you great pleasure.

After having been obliged to keep my bed for a couple of weeks,
which has lengthened out my stay here, I am now making ready to
go with Wagner the day after tomorrow to St. Gall, there to
conduct a couple of my Symphonic Poems with a very respectable
orchestra (twenty violins, six double basses, etc.). Toward the
middle of December I shall be back in Weymar, and shall continue
to write my stuff!--

A thousand friendly greetings.

F. Liszt

Zurich, November 21st, 1856



167. To Eduard Liszt

St. Gall, November 24th, 1856

.--. A really significant concert took place yesterday at St.
Gall. Wagner conducted the Eroica Symphony, and I conducted in
his honor two of my Symphonic Poems. The latter were excellently
given--and received. The St. Gall paper has several articles on
the subject, which I am sending you.

By Christmas I will send you the new copies of my Mass (which I
think I have considerably improved in the last revision,
especially by the concluding Fugue of the Gloria and a
heavenward-soaring climax of the subject.

[Here, Liszt illustrates with a vocal score excerpt at the point
where the singer sings: "et u-nam sanctam catho-li-camet a-po -
sto - - - - li-cam"]

Probably the work will be ready to appear by Easter. If you write
by return of post, you can send the ministerial answer to my
letter to Bach to me here. The contents, of which you have told
me, please me much, and I reckon with confidence that the
publishing of the score will fix the sense and meaning of my work
in public opinion. The work is truly "of pure musical water (not
in the sense of the ordinary diluted Church style, but like
diamond water) and living Catholic wine."

.--. Farewell, dearest Eduard, and remain true to me in heart and
spirit, as is also to you your

F. Liszt



168. To Alexander Ritter, Music Director in Stettin

Munich, December 4th, 1856

Dear Friend,

I received your letter on a day when I again greatly missed your
presence. We were together with Wagner at St. Gall, and the
Musical Society there had distinguished itself by the production
of an orchestra of ten first, ten second violins, eight violas,
six celli and double basses. Wagner conducted the Eroica, and I
two of my Symphonic Poems--"Orpheus" and "Les Preludes." The
performance and reception of my works were quite to my
satisfaction, and the "Preludes" had to be repeated (as they were
in Pest). Whether such a production would be possible in Stettin
I much doubt, in spite of your friendly advances. The open,
straightforward sense of the public is everywhere kept so much in
check by the oft-repeated rubbish of the men of the "But" and
"Yet," who batten on criticism, and appear to set themselves the
task of crushing to death every living endeavour, in order
thereby to increase their own reputation and importance, that I
must regard the rapid spread of my works almost as an imprudence.
You desire "Orpheus," "Tasso," and "Festklange" from me, dear
friend! But have you considered that "Orpheus" has no proper
working out section, and hovers quite simply between bliss and
woe, breathing out reconciliation in Art? Pray do not forget that
"Tasso" celebrates no psychic triumph, which an ingenious critic
has already denounced (probably mindful of the "inner camel,"
which Heine designates as an indispensable necessity of German
aestheticism!), and the "Festklange" sounded too confusedly noisy
even to our friend Pohl! And then what has all this canaille to
do with instruments of percussion, cymbals, triangle, and drum in
the sacred domain of Symphony? It is, believe me, not only
confusion and derangement of ideas, but also a prostitution of
the species itself!

Should you be of another opinion, allow me at least to keep you
from too greatly compromising yourself, so near to the doors of
the immaculate Berlin critics, and not to drag you with myself
into the corruption of my own juggling tone-poems. Your dear wife
(to whom I beg you to remember me most kindly) might be angry
with me for it, and I would not on any account be put into her
bad books. Instead of conducting my Symphonic Poems, rather give
lectures at home of the safe passport of Riehl's "Haus-Musik,"
and take well to heart the warning,

"Ruckkehr zum Mass." ["A returning within bounds." A footnote by
Liszt follows: "Dabei wird naturlich das Mass der
Mittelmassigkeit als einzig massgebend verstanden." ("By this is
of course understood the bounds of mediocrity as the one
limitation.") A play on the words, "Mass," "Massigkeit," and
"Massgebend."]

On this road alone can you soon attain a conductor's post, and
the "esteem" due to you as a music director, both from musicians
and people of rank.

For the rest you would entirely misconstrue my good advice if you
thought you could see in it only a pretext for not keeping my
former promise of coming to see you at Stettin. I shall most
certainly come to you on the first opportunity, and shall be
delighted to spend a couple of days with such excellent friends.
But first of all I must stop in Weymar for a while, in order to
finish some works begun, and to forget altogether my lengthy
illness in Zurich.

I had some glorious days with Wagner; and "Rheingold" and the
"Walkure" are incredibly wonderful works.

To my great sorrow, I only saw your brother Carl [A musician, a
friend of Wagner's.] a couple of times in the early days of my
stay in Zurich. I will tell you vaud voce how this happened, so
entirely against my wish and expectation, through a provoking
over-sensitiveness on the part of your brother. I am sure you
don't need any assurance that I did not give occasion in any way
to this. But for the future I must quietly wait till Carl thinks
better and more justly of it.

Farewell, dear friend, and let me soon hear from you again.

Yours in all friendship,

F. Liszt

Bronsart is going shortly to Paris, where he will stay some time.
Cornelius is working at a comic opera [This would be the Barber
of Baghdad.--Translator's note.] in the Bernhard's-Hutle. Raff is
to finish his "Samson" for Darmstadt. Tausig is giving concerts
in Warsaw. Pruckner will spend the winter in Vienna and appear at
several concerts. Damrosch composed lately an Overture and Entre-
acte music to the "Maid of Orleans." Stor plunges himself into
the duties of a general music director. Thus much have I learned
of our Neu-Weymar-Verein.



169. To Professor L. A. Zellner in Vienna

[General Secretary of the Gesellschaft der Musikfreunde ("Society
of Lovers of Music") in Vienna; composer and writer on music.]

To my letter of yesterday I have still to add a postscript, my
dear friend, concerning the information in your new
Abonnement,[The Blatter fur Musik, Theater, and Kunst ("Pages of
Music, theater, and Art"), edited by Z.] in which I was struck
with	 the name of Bertini among the classics, which does not
seem to me suitable. As far as I know, Bertini is still living,
[He did not die till 1876.] and according to the common idea, to
which one must stick fast, only those who are dead can rank as
classic and be proclaimed as classic. Thus Schumann, the
romanticist, and Beethoven, the glorious, holy, crazy one, have
become classics. Should Bertini have already died, I take back my
remark, although the popularity of his Studies is not, to me, a
satisfactory reason for making his name a classic.--Moscheles'
and Czerny's Studies and "Methods" would have a much more just
claim to such a thing, and your paper has especially to set
itself the task of counteracting, with principle and consistency,
the confusion of ideas from which confusion and ruin of matters
arise. Hold fast then to this principle, both in great and small
things, for the easier understanding with the public, that the
recognition of posterity alone impresses the stamp of "classical"
upon works, in the same way as facts and history are established;
for thus much is certain, that all great classics have been
reviled in their own day as innovators and even romanticists, if
not bunglers and crazy fellows, and you yourself have commented
on, and inquired into, this matter many times..--.

In your number of today I read an extract from my letter to
Erkel, [A well-known Hungarian composer ("Hunyadi Laszlo")] in
which, however, the points are missing. Erkel shall show you the
letter on the first opportunity, for he has not left it lying
idle in his desk. Of course no public use is to be made of it.

Yours ever, F. L.

January 2nd, 1857



170. To Herr von Turanyi, Musical Conductor of the Town of Aix-
la-Chapelle

[Published in the Allgemeine Musikzeitung, July 11th, 1890]

Weymar, January 3rd, 1857

Dear Herr Capellmeister,

Although I am still kept to my bed by a long-continued
indisposition, yet I will not delay giving you my warmest thanks
for the active pains you have so kindly taken to place my
endeavors in the cause of Art in a better light than I could
otherwise have expected in your neighborhood.

The result of the choice of myself as conductor of the Musical
Festival at Aix-la-Chapelle this year--a result which was
notified to me yesterday by the letter of the Committee of the
Lower-Rhine Musical Festival--is a welcome sign to me of the
gradual recognition which an open and honestly expressed,
consistent, and thoroughly disinterested conviction may meet with
in different places. Whilst feeling myself especially indebted to
you for having brought about this result, I would express to you
at the same time the fact of my readiness to answer your very
flattering wishes to the best of my powers, and to put aside any
hindrances that may be in the way, in order to fulfill the task
entrusted to me, if the following remarks are brought to the
attention of the Committee, as I consider them essential to the
success and also to the importance of the Musical Festival.

My conducting in Aix-la-Chapelle can only have such significance
as attaches to the less-known and newer works, and those which
are more nearly allied to the Art-interests of today; its
justification would be strengthened by an excellent performance
of such works. I was on this account completely in accordance
with the programme you so kindly sent me (with the addition of
one or two numbers), as I am unable to be with the other
programme, received in the letter of the Committee yesterday. The
latter is as follows:--

First day: Messiah by Handel.--Second day: Mass (in D major) by
Beethoven.

The former as follows:--

First day: Mass by Beethoven (preceded by one of the shorter
works of Handel--or possibly by a Cantata by Bach [?]).

Second day: Schubert's Symphony (in C); one of the larger choral
works of Schumann (say, perhaps, "The Rose's Pilgrimage"--or one
of the Ballades), and, as I should propose, one of the longer
scenes from Berlioz' "Faust," and one or other of my Symphonic
Poems.

You will not expect of me, dear Herr Capellmeister, that I should
go off into a great panegyric about Handel and, if you caught me
doing it, you might stop me immediately with the words of the
ancient Greek who did not want any more praises of Homer--"You
praise him, but who is thinking of blaming him?" The fullness and
glory of this musical majesty is as uncontested as the pleasant,
emulating, easily attainable performance of the "Messiah," a
chef-d'oeuvre, which has been for years the "daily bread," so to
speak, of great and small vocal societies both in England and
Germany. With the exception of Haydn's "Creation" there is
scarcely a work of that kind existing which could show such
countless performances. I, for my part, chose the "Messiah" for
performance again in Weymar (in August 1850)--partly because
Herder had interested himself in the preparation of the German
text--and in the previous August they celebrated the Middle-Rhine
Musical Festival at Darmstadt with it. This latter circumstance
enhances my general consideration as to the artistic
judiciousness of a repeated performance of the Messiah, up to a
special point in regard to the Aix-la-Chapelle Festival, and
therefore I should like the question put to the Committee
"whether they consider that, in the interests of the 'fresher
life of the Musical Festival there,' it can be advantageous for
the Lower-Rhine to repeat it after the Middle-Rhine."

The sentence in the letter of the Committee, in which the hope is
cherished and expressed that "the celebrated Frau Lind-
Goldschmidt may be engaged," leads me to an almost more serious
consideration.--

Do not be alarmed, dear sir, and do not be in the least afraid
that I am going to struggle, in the usual style of our
unchivalrous Don Quixote of musical criticism, with the windmill
of virtuosity. You could not fairly expect this of me either, for
I have never concealed that, since the grapes of virtuosity could
not be made sour for me, I should take no pleasure whatever in
finding them sour in somebody else's mouth.

Frau Land-Goldschmidt stands as incomparable in her glittering
renown as a singer as Handel in his as a composer, with the
difference--which is in Frau Lind's favor to boot--that Handel's
works weary many people and do not always succeed in filling the
coffers, whereas the mere appearance of Frau Lind secures the
utmost rapture of the public, as well as that of the cashier. If,
therefore, we place the affairs of the Musical Festival simply on
the satisfying and commercial debit and credit basis, certainly
no artist, and still less any work of Art, could venture to
compete with, and to offer an equal attraction to, the high and
highly celebrated name of Frau Lind. Without raising the
slightest objection to this, I must express my common-sense
opinion that with this magnet all others would be quite
superfluous, which, however, cannot be quite so indifferent to
me; for, as Louis XIV. represented the State, so Frau Lind would
constitute the Musical Festival proper. This avowal (for which I
deserve, at the very least, stoning with the usual ingredients of
operations of that kind in our civilized age, if I did not happen
to implore grace of the divine Diva herself)--this avowal I
already made last year, on occasion of the Dusseldorf Musical
Festival, to my esteemed friend of many years, Ferdinand Hiller.
What is the use of orchestra and singers, rehearsals and
preparations, pieces and programmes, when the public only want to
hear the Lind, and then hear her again--or, more correctly
speaking, when they must be able to say they leave heard her, in
order to be able to wallow at ease in their enthusiasm for Art?
What I foresaw then was also confirmed to a hair, for it proved,
as everybody knows, that all the sympathy of the public went in
favor of whatever Frau Lind did, so that the so-called Artist-
concert on the third day was the most fully attended, because in
it there were an aria from "Beatrice di Tenda" and Swedish songs
as special attraction--for which marvels the very simplest
pianoforte accompaniment was no doubt sufficient.--Should the
Committee of Aix-la-Chapelle be minded to take to heart the motto
of Hiller's Symphony, "Es muss doch Fruhling werden," ["The
spring will surely come."] in all its artistic endeavour, and, as
you write, to steer clear towards the goal of a "fresher
rekindling of the Musical Festival," we shall be obliged, alas!
to do without the Swedish Nightingale and Europe's Queen of Song.

In short, the point of the matter of this year's Musical Festival
at Aix-la-Chapelle is, as concerns myself, as follows:-

If they decide on having the "Messiah," I must beg to be pardoned
for having to excuse myself from coming. [Liszt finally dropped
his objection to the "Messiah." He had it performed at the
Musical Festival, conducted by him.]

If the Committee accepts the programme I have drawn (Schubert
Symphony, etc., including the last numbers) for the second day,
then it will be a pleasing duty to me to accept the honor of the
invitation, always supposing that the means for a brilliant
performance of the Beethoven Mass and the other works are
forthcoming, as one cannot doubt will be the case in Aix-la-
Chapelle--if my share in the Festival does not in any way give
offence to the neighboring towns, in which case I should of
course gladly and quietly retire, in order not to occasion any
disturbance, or unsatisfactorily prepared discord in the customs
of the musical Rhine-lands. I think there is no need for me to
accentuate the fact that a musical conductor cannot blindly
subscribe to just every programme that is put before him, and I
hope that the honorable Committee will not consider that there is
any assumption in my proposition to place the Aix-la-Chapelle
programme more in accord with my own collective endeavors.

I am writing a few lines of thanks by the next post to President
Herr Van Houten for the distinction shown to me about the
consideration contained in this letter, which I beg that you will
communicate to him verbally.

Awaiting further communications from the Committee, I remain,
dear Herr Capellmeister, with warm acknowledgements and high
esteem,

Yours very truly,

F. Liszt



171. To J. W. von Wasielewski in Dresden

Dear Friend,

Your letter reached me, after some delay, in Zurich, where I had
to keep my bed for several weeks--and today I write to you still
from my bed, and sulking because the geographical change which I
have made has not brought about any improvement in my
pathological condition (which, by the way, is quite without
danger).

How are you, dear Wasielewski?  Have you settled yourself
pleasantly in Dresden? Are you working at music industriously and
methodically?--How far have you got in your biography of R.
Schumann? With regard to this work, the publication of which I am
awaiting with great interest, I am sorry to be unable to follow
the wish you so kindly express. Many letters addressed to me by
Schumann in earlier years are lost, and since my residence in
Weymar (from the year 1848) we certainly wrote to one another
from time to time, but only when theater or concert performances
of his works gave a sort of business occasion for it. Weymar does
not deserve the reproach of having kept itself too much in the
background in this respect. At the Goethe Festival in 1849 I had
the great closing scene to the second part of "Faust" given,
which was, later on, repeated; at the beginning of 1852 the music
to Byron's "Manfred," with a stage performance of the drama such
as he desired, was given several times, and, as far as I know, up
to now no other theater has made this attempt. [Liszt was
actually the first.] The Weymar theater is likewise the only one
which contains in its repertoire Schumann's "Genoveva" (which was
indeed given here for the first time in April 1855). It goes
without saying that, during the years of my work here, most of
his chamber music--Quartets, Trios, Sonatas--as well as his
Symphonies, Overtures, and Songs, have been cherished with
particular preference and love, and have been frequently heard in
various concerts, with the exception of one of the most
important; but the very slight amount of public activity of our
Vocal Union has prevented, as yet, any performance of the "Peri,"
which, however, has already been partly studied, and will ere
long be given at last.

As a contribution to your biographical studies, dear Wasielewski,
I should like to tell you truly with what sincere, heartfelt, and
complete reverence I have followed Schumann's genius during
twenty years and faithfully adhered to it. Although I am sure
that you, and all who know me more intimately, have no doubt
about this, yet at this moment the feeling comes over me--a
feeling which I cannot resist--to tell you more fully about my
relations with R. Schumann, which date from the year 1836, and to
give them you here plainly in extenso. Have a little patience,
therefore, in reading this letter, which I have not time to make
shorter.

After the buzz and hubbub called forth by my article in the Paris
Gazette Musicale on Thalberg (the meaning of which, be it said in
passing, has been quite distorted), which was re-echoed in German
papers and salons, Maurice Schlesinger, the then proprietor of
the Gazette Musicale, took the opportunity of asking me to insert
in his paper a very eulogistic article on anything new that came
out in the world of Art. For months Schlesinger sent me with this
object all sorts of novelties, among which, however, I could not
find anything that seemed to me deserving of praise, until at
last, when I was at the Lake of Como, Schumann's "Impromptu" in C
major (properly variations), the "Etudes symphoniques," and the
"Concert sans orchestre" [Concerto without orchestra] (published
later, in the second edition, under the more suitable title
Sonata in F minor) came into my hands. In playing these pieces
through, I felt at once what musical mettle was in them; and,
without having previously heard anything of Schumann, without
knowing how or where he lived (for I had not at that time been to
Germany, and he had no name in France and Italy), I wrote the
critique which was published in the Gazette Musicale towards the
end of 1837, and which became known to Schumann.

Soon afterwards, when I was giving my first concerts in Vienna
(April to May 1838), he wrote to me and sent me a manuscript
entitled "Gruss an Franz Liszt in Deutschland" ["Greeting to
Franz Liszt in Germany"]. I forget at this moment under what
title it was afterwards published; the opening bars are as
follows:--

[Here, Liszt hand-writes the score for the opening bars. It is
the beginning of the second Novelette Op. 21, but not quite
correctly quoted by Liszt]

At about the same time followed the publishing of the great
"Fantasia" (C major) in three movements, which he dedicated to
me; my dedication to him in return for this glorious and noble
work was only made three years ago in my "Sonata" in B minor.

At the beginning of the winter of 1840 I traveled from Vienna
back to Paris by way of Prague, Dresden, and Leipzig. Schumann
paid me the friendly attention of welcoming me immediately on my
arrival in Dresden, and we then travelled together to Leipzig.
Wieck, afterwards Schumann's father-in-law, had at that time a
lawsuit against him to prevent his marriage with Clara. I had
known Wieck and his daughter from Vienna days, and was friendly
with both. None the less I refused to see Wieck again in Dresden,
as he had made himself so unfriendly to Schumann; and, breaking
off all further intercourse with him, I took Schumann's side
entirely, as seemed to me only right and natural. Wieck without
delay richly requited me for this after my first appearance in
Leipzig, where he aired his bitter feelings against me in several
papers. One of my earlier pupils, by name Hermann Cohen--a native
of Hamburg, who in later years aroused much attention in France,
and who, as a monk, had taken the name of Frere Augustin (Carme
dechausse [Barefooted Carmelite])--was the scapegoat in Leipzig
for Wieck's publicly inflamed scandal, so that Cohen was obliged
to bring an action for damage by libel against Wieck, which
action Hermann won with the assistance of Dr. Friederici,
barrister-at-law.

In Leipzig Schumann and I were together every day and all day
long--and my comprehension of his works became thereby more
familiar and intimate. Since my first acquaintance with his
compositions, I have played many of them in private circles in
Milan, Vienna, etc., but without being able to win over my
hearers to them. They lay, happily, much too far removed from the
insipid taste, which at that time absolutely dominated, for it to
be possible for any one to thrust them into the commonplace
circle of approbation. The public did not care for them, and the
majority of pianists did not understand them. In Leipzig even,
where I played the "Carneval" at my second concert in the
Gewandhaus, I did not succeed in obtaining my usual applause. The
musicians, together with those who were supposed to understand
music, had (with few exceptions) their ears still too tightly
stopped up to be able to comprehend this charming, tasteful
"Carneval," the various numbers of which are harmoniously
combined in such artistic fancy. I do not doubt that, later on,
this work will maintain its natural place in universal
recognition by the side of the "Thirty-three Variations on a
Waltz of Diabelli" by Beethoven (to which, in my opinion, it is
superior even in melodic invention and importance). The frequent
ill-success of my performances of Schumann's compositions, both
in private circles and in public, discouraged me from including
and keeping them in the programmes of my concerts which followed
so rapidly on one another--programmes which, partly from want of
time and partly from carelessness and satiety of the "Glanz-
Periode" ["Splendor period"] of my pianoforte-playing, I seldom,
except in the rarest cases, planned myself, but gave them now
into this one's hands, and now that one, to choose what they
liked. That was a mistake, as I discovered later and deeply
regretted, when I had learned to understand that for the artist
who wishes to be worthy of the name of artist the danger of not
pleasing the public is a far less one than that of allowing
oneself to be decided by its humors

--and to this danger every executive artist is especially
exposed, if he does not take courage resolutely and on principle
to stand earnestly and consistently by his conviction, and to
produce those works which he knows to be the best, whether people
like them or not.

It is of no consequence, then, in how far my faint-heartedness in
regard to Schumann's pianoforte compositions might possibly be
excused by the all-ruling taste of the day, but I did without
thinking of it thereby set a bad example, for which I can hardly
make amends again. The stream of custom and the slavery of the
artist, who is directed to the encouragement and applause of the
multitude for the maintenance and improvement of his existence
and his renown, is such a pull-back, that, even to the better-
minded and more courageous ones, among whom I am proud to reckon
myself, it is intensely difficult to preserve their better ego in
the face of all the covetous, distracted, and--despite their
large number--backward-in-paying We.

There is in Art a pernicious offence, of which most of us are
guilty through carelessness and fickleness; I might call it the
Pilate offence. Classical doing, and classical playing, which
have become the fashion of late years, and which may be regarded
as an improvement, on the whole, in our musical state of things,
hide in many a one this fault, without eradicating it:--I might
say more on this point, but it would lead me too far.

For my part I need not, at least, reproach myself with having
ever denied my sympathy and reverence for Schumann; and a hundred
of the younger companions in Art in all lands could bear witness
that I have always expressly directed them to a thorough study of
his works, and have strengthened and refreshed myself by them.

If these particulars have not wearied you, dear Wasielewski, I
will gladly continue them, and tell you about everything from my
second visit to Leipzig (at the end of 1841) which was brought
about by Schumann, up to my last meeting with him at Dusseldorf
(in 1851). Friendly greetings

From yours most sincerely,

F. Liszt

Weymar, January 9th, 1857.



172. To General Alexis von Lwoff in St. Petersburg

[1799-1877; in addition to his military position, he was a
celebrated violinist, and conductor of the Imperial Court-Singers
at St. Petersburg.]

Your Excellency and My Honored Friend,

Permit me to think that I am not quite effaced from your
recollection, and to avail myself of the medium of Mdlle. Martha
de Sabinin to recall myself to you more particularly. It being
her wish to find herself in pleasant relations with the chief
representatives of music in St. Petersburg, it was natural that I
should introduce her in the first instance to you, and recommend
her to you first and foremost as the protegee of Her Imperial
Majesty the Grand Duchess Marie Pawlowna, as well as of the
reigning Grand Duchess of Saxe-Weymar (in whose service she has
been for several years as Court Pianist and Professor at the
Institute for Young Ladies of the Nobility),--and, secondly, as a
clever woman and excellent musician and pianist, who, after
having gone through the most conscientious study, is perfectly
fitted to teach others in a most agreeable manner.	She
especially excels in her execution of classical music and
ensemble; and, this side of music being, from what I hear, more
and more cultivated at St. Petersburg, especially through your
care, I am pleased to think that Mdlle. de Sabinin will easily
find an opportunity of coming out advantageously in this line. I
much regret that you have, as yet, neglected Weymar since I have
been settled here. It would have been a pleasure to me to place
at your disposal a musical personnel, which has been justly
spoken of with praise, for the performance of your "Stabat Mater"
and other of your compositions, which we should have great
pleasure in applauding. Let me hope that you will not always be
so rigorous towards us, and pray accept the expressions of high
esteem and respect with which I shall always be, dear and honored
friend,

Your Excellency's very obedient servant,

F. Liszt

Weymar, January 10th, 1857



173. To Johann Von Herbeck in Vienna

[Hofcapellmeister (Court conductor), and an excellent conductor
(1831-1877).--The above letter, as well as a later one addressed
to the same musician, was published in "Johann Herbeck. Ein
Lebensbild von seinem Sohne Ludwig." Vienna, Gutmann, 1885.--Date
in Herbeck's handwriting.]

[Received January 12th, 1857]

Dear Sir,

On my somewhat delayed return to Weymar I find your friendly
letter, for which I send you my

sincere and warmest thanks. I am very much pleased to learn from
you that you have succeeded, thanks to your careful and
intelligent preparation, in making such a good effect with the
"Faust" (Student) Chorus. [It was the first choral composition
which was conducted by Liszt in Vienna, and with the very same
Mannergesangverein which Herbeck conducted.] This light little
piece has been pretty successfully given several times by
Mannergesangvereinen [Vocal societies of male voices] in Cologne,
Berlin, etc., and even in Paris. When I published it fifteen
years ago, I did not think much about making allowance for any
possible laxity in the intonation of the singers; but today, when
my experience has taught me better, I should probably write the
somewhat steep and slippery passage as follows:--

[Here, Liszt illustrates with a vocal score musical excerpt at
the point where the singer sings "Die Ko-chin hat ihr Gift
gestellt, da ward zu eng ihr in der Welt, etc."]

Probably this version would also be more effective--with the
alteration in the last verse (in honor of prosody!):--

[Here, Liszt illustrates with a vocal score musical excerpt at
the point where the singer sings "ha, sie pfeift auf dem letzten
Loch."]

I shall venture shortly to send you (by Herr Haslinger), my dear
sir, a couple of other Quartets for male voices to look through.
If, after doing so, you think you may risk a public performance
of them, I leave the matter entirely in your hands.

There is not the slightest hurry about the Mass, [For men's
voices. On the occasion of the Mozart Festival in Vienna in 1856,
conducted by Liszt, he had played portions of this Mass to
Herbeck, and the latter felt himself, as he wrote to Liszt,
"electrified by the spirit of this work and its creator," and set
himself "at the same time the artistic duty of a worthy rendering
of this Song of Praise."] and I fear that the preparation of this
work will cost you and your singers some trouble. Before all else
it requires the utmost certainty in intonation, which can only be
attained by practicing the parts singly (especially the middle
parts, second tenor and first bass)--and then, above all,
religious absorption, meditation, expansion, ecstasy, shadow,
light, soaring--in a word, Catholic devotion and inspiration. The
"Credo," as if built on a rock, should sound as steadfast as the
dogma itself; a mystic and ecstatic joy should pervade the
"Sanctus;" the "Agnus Dei" (as well as the "Miserere" in the
"Gloria") should be accentuated, in a tender and deeply elegiac
manner, by the most fervent sympathy with the Passion of Christ;
and the "Dona nobis pacem," expressive of reconciliation and full
of faith, should float away like sweet-smelling incense. The
Church composer is both preacher and priest, and what the word
fails to bring to our powers of perception the tone makes winged
and clear.

You know all this at least as well as I do, and I must apologize
for repeating it to you. If the extent of the chorus allows of
it, it might perhaps be desirable to add a few more wind
instruments (clarinets, bassoon, horns, indeed even a couple of
trombones) to support the voices more. If you think so too,
please send me a line to say so, and I will at once send you a
small score of the wind instruments. [Herbeck himself undertook,
at Liszt's desire (which, as he wrote, filled him with joy and
pride), to write the instrumental accompaniment to the Mass.] You
shall have the vocal parts from Jena immediately. For today
accept once more my best thanks, together with the assurance of
the highest esteem of

Yours ever,

F. Liszt



174. To Professor Franz Gotze in Leipzig

[The celebrated singer in Leipzig (1814-88); was a pupil of
Spohr's, and was first violinist in the Weimar Hofcapelle, then
went on to the stage, and both as a lyric tenor and as a singer
of Lieder was incomparable. He was the first who publicly went in
for Liszt's songs, in which his pupils imitated him.]

Dear Friend,

In consequence of an invitation of the directors, I shall have
the honor of having several of my works performed at the concert
on the 26th February for the Orchestral Pension Fund in Leipzig,
and very much wish that you would do me the kindness to sing two
of my songs ("Kling leise, mein Lied" and "Englein du mit blondem
Haar"), and to rejoice the public with your ardent and
beautifully artistic rendering of these little things.

Fraulein Riese is so good as to bring you the new edition of my
six first songs (amongst which is the "Englein" in A major)--a
couple more numbers will shortly follow.

Grant me my request, dear friend, and rest assured beforehand of
the best thanks, with which I remain,

Yours in most sincere friendship, F. Liszt

Weymar, February 1st, 1857



175. To Dionys Pruckner in Vienna

Weymar, February 11th, 1857

From all sides, dearest Dionysius, I hear the best and most
brilliant accounts of you. Without being surprised at this I am
extremely pleased about it. To make a firm footing in Vienna as a
pianoforte player is no small task, especially under present
circumstances! If one succeeds in this, one can, with the utmost
confidence, make a name throughout Europe. It is very important
for you, dear friend, to appear often in public, so as to make
yourself feel at home with them. In production the public have
far more to care about the artist than he has to care about them,
or indeed to let himself be embarrassed by them. At home, our
whole life through, we have to study and to devise how to mature
our work and to attain as near as possible to our ideal of Art.
But when we enter the concert-room the feeling ought not to leave
us, that, just by our conscientious and persevering striving, we
stand somewhat higher than the public, and that we have to
represent our portion of "Menschheits-Wurde," [Manhood's dignity]
as Schiller says. Let us not err through false modesty, and let
us hold fast to the true, which is much more difficult to
practice and much more rare to find. The artist--in our sense--
should be neither the servant nor the master of the public. He
remains the bearer of the Beautiful in the inexhaustible variety
which is appointed to human thought and perception--and this
inviolable consciousness alone assures his authority.

Through your father I learn that you are thinking of going to
Munich in the course of the spring. I, on my side, had also the
intention of giving you a rendez-vous there. But yesterday I
definitely accepted the conductorship of the Musical Festival of
the Lower-Rhine, which will take place this year in Aix-la-
Chapelle at Whitsuntide, on the 31st May, and could not undertake
a long journey before then, in order not to break in on my work
too much.

At the beginning of September we shall have grand festivities
here in honor of the centenary of Carl August. Rietschel's
Schiller and Goethe group will then be put up, and there will be
a great deal of music on this occasion at the theater, for which
I must prepare. I hope we shall see each other before then.

Bronsart is in Paris. You shall have his Trio very soon. Bulow is
playing in Rostock, Bremen, and Hamburg. The Aix-la-Chapelle
Committee have also invited him to the Musical Festival. Singer
goes next week to Rotterdam, and on the 26th February a couple of
my Symphonic Poems will be given at the Gewandhaus (directed by
myself). I yesterday finished the score of another new one, Die
Hunnenschlacht, [The Battle of the Huns] which I should like to
bring out in Vienna when there is an opportunity.

Yours in all friendship,

F. Liszt



176. To Joachim Raff

[February 1857]

You may rest assured, dear friend, that it was very much against
the grain to me that I could not accept the kind invitation of
the Wiesbaden Concert Committee, for which I have to thank your
intervention; and your letter, in which you explain to me some
other circumstances, increases my sincere regret. But for this
winter it is, frankly, impossible for me to accept any
invitations of that kind, and I think I have told you before now
that I have had to excuse myself in several cities (Vienna,
Rotterdam, etc.). Even for Leipzig, which is so near me (although
I might appear somewhat far-fetched to many a one there!), it was
difficult to find a day that would suit me. On the 26th of this
month the "Preludes" and "Mazeppa" are to be given in the
Gewandhaus under my direction (for the Orchestral Pension Fund
Concert). Perhaps this performance will serve as a definite
warning for other concert-conducting, which might have been
thought of, to question my "incapability as a composer," so often
demonstrated (see the proof number of the "Illustrirte

Monatsheft" of Westermann, Brunswick, the National Zeitung, and
the "thousand and one" competent judges who have long since been
quite clear on the matter!).

How far are you in your Opera? When will one be able to see and
hear something of it? As far as I have heard, you intend to
perform "Samson" first in Darmstadt. If this does not happen at
too awkward a time for me I shall come.

After having twice renounced the honor of conducting the
approaching Musical Festival of the Lower-Rhine (to be held this
year at Aix-la-Chapelle) a deputation of the Committee arrived
here yesterday. In consideration of their courtesy I shall
therefore go to Aix-la-Chapelle at Whitsuntide, and perhaps you
will let yourself be beguiled into visiting me there. By that
time also the Mass [The Gran Festival Mass] will probably have
already come out, and you must have a copy of it at once. By the
many performances, which have been of great use to me in this
work, many additions, enlargements, and details of performance
have occurred to me, which will enhance the effect of the whole,
and will make some things easier in performance. An entirely new
concluding fugue of the "Gloria," with this motive:--

[Here, Liszt illustrates with a vocal score musical excerpt at
the point where the singer sings "Cum sanc-to spi-ri-tu, in
Gloria."]

may not be displeasing to you.

Very shortly I will send you also the three numbers still wanting
(1, 8, and 9) of the Symphonic Poems, so that you may again have
some (for you) light reading as a rest from your work. The "Berg"
Symphony was given, in its present form, a short time ago at
Bronsart's farewell concert. Bronsart played the same evening a
Trio of his own composition in four movements, which I esteem as
a successful and very respectable work.

Once more best thanks for the fresh proof of your friendly
attachment which your letter gives me, and don't let too long a
time elapse without sending good news to

Yours most sincerely,

F. Liszt



177. To Concertmeister Ferdinand David in Leipzig

[Printed in Eckardt's "F. David and the Mendelssohn Family,"
Leipzig, Dunker & Humblot, 1888.]

Leipzig, February 26th, 1857, 10 o'clock

[Preceding the body of the letter, Liszt illustrates with a vocal
score musical excerpt with the words "Away! Away!" written in
English by Liszt.  It is a quotation from Liszt's Symphonic Poem
"Mazeppa," which he had conducted in the Leipzig Gewandhaus on
the same day as the "Preludes," and with which he had had ill-
success. David, who was present as leader of the orchestra,
"disapproved"--according to Eckardt--of Liszt's composing
tendency, but continued, till his life's end, "filled with
admiration for the incomparable artist and genial man," in the
friendliest relations with Liszt.]

Before I go to bed let me give you my most sincere and heartfelt
thanks, my very dear friend, which I owe you for this evening.
You have proved yourself anew such a thorough gentleman
[Gentleman, put in English by Liszt] and high-standing artist at
this evening's concert.

That is nothing new in you, but it gives me pleasure, as your old
friend, to repeat old things to you, and to remain ever yours
most gratefully,

Franz Liszt



178. To Wladimir Stassoff in St. Petersburg

[A Russian writer, a musical and art critic, at present director
of the Imperial Public Library at St. Petersburg.]

An illness, not in the least dangerous, but very inconvenient,
since it obliges me to keep my bed rather often (as at this
moment), has deprived me of the pleasure of replying sooner to
your very kind letter, firstly to thank you for it, and also to
tell you how delighted I shall be to make acquaintance with Mr.
Scroff's manuscripts, which you kindly introduce to me in so
persuasive a manner. Many people who have the advantage of
knowing Mr. Seroff, among others Mr. de Lenz and Prince Eugene
Wittgenstein, have spoken of him to me with great praise, as an
artist who unites to real talent a most conscientious
intelligence. It will be of great interest to me to estimate the
work to which he has devoted himself with such praiseworthy
perseverance, and thus to avail myself of the opportunity offered
to me of hearing those sublime works of the LAST PERIOD (I
purposely put aside

the inappropriate word MANNER, and even the term STYLE) of
Beethoven--works which, whatever Mr. Oulibicheff and other
learned men may say who succeed more easily in POURING FORTH in
these matters than in being well versed [A play on words--verser
and verse.] in them, will remain the crowning point of
Beethoven's greatness.

With regard to the edition of these scores of Mr. Seroff's for
two pianos, I will willingly do what you wish, though at the same
time confessing to you that my credit with the editors is not
worth much more than my credit with the above-mentioned learned
men, as these latter do their best to keep all sorts of cock-and-
bull stories going, which prevent the editors from running any
risk in mad enterprises they have so peremptorily been pointed
out to be! And, more than this, you are not ignorant that
arrangements for two pianos--the only ones adapted to show the
design and the grouping of ideas of certain works--are but little
in favor with music-sellers and very unsaleable, as the great
mass of pianists is scarcely capable of PLAYING ON the piano, and
cares very little (except sometimes for form's sake and human
respect) for the interest of intelligence and feeling which might
attach to the promenades of their fingers. In spite of all this,
please rest assured, sir, that I shall neglect nothing that can
justify the confidence you place in me, and pray accept the very
sincere regards of

Yours most truly,

F. Liszt

Weymar, March 17th, 1857

I am awaiting with impatience the parcel you promise me, and beg
you to make it as large as possible, so that I may make a
thorough acquaintance with Mr. Seroff's work. Especially be so
good as not to forget the arrangement of Beethoven's latter
Quartets.



179. To Wilhelm von Lenz in St. Petersburg

For pity's sake, dear friend, don't treat me like Moscheles;
don't think I am dead, although I have given you some little
right to think so by my long silence. But there are so many
"demi"-people, and demi-clever people (who are at least as
dangerous to Art as the demi-monde is to morals, according to
Alexandre Dumas), who say such utter stupidities about me in the
papers and elsewhere, that I really should not like to die yet,
if only not to disturb their beautiful business. You were even
complaining of one single whistling blackbird [Merle; means also
a whistling or hissing fellow.] pastorally perched on your book--
what shall I say then of the croaking of that host of ravens and
of obliques hiboux [Oblique owls; the term is repeated
afterwards, and evidently refers to some joke, or else to some
remark of Lenz's.--Translator's note.] that spreads like an
"epidemic cordon" all the length of the scores of my Symphonic
Poems?--Happily I am not made of such stuff as to let myself be
easily disconcerted by their "concert," and I shall continue
steadfastly on my way to the end, without troubling about
anything but to do what I have to do--which will be done, I can
promise you. The rest of your "Beethoven," of which you speak,
has never reached me, and for six months past I have not had any
news of B., who, I am afraid, finds that he is clashing with some
rather difficult editorial circumstances, but from which I
presume he will have the spirit to free himself satisfactorily. A
propos of Beethoven, here is Oulibicheff, who has just hurled
forth a volume which I might well compare with the dragons and
other sacred monsters in papier-mache, with which the brave
Chinese attempted to frighten the English at the time of the last
war.--The English simply replied by bombs, which was the best
mode of procedure. If I find time in the course of the summer, I
shall answer Oulibicheff very respectfully in a brochure which
may be a pretty big one. For the moment I am still pinned to my
bed by a lot of boils which are flourishing on my legs, and which
I consider as the doors of exodus for the illness which has been
troubling me rather violently since the end of October.

Mr. Stassoff, having written to me about Mr. Seroff, I wrote him
word quite lately that I should have real pleasure in making
acquaintance with the arrangement for two pianos of Beethoven's
later Quartets, etc. As soon as he lets me have them I will
examine them with all the attention that such a work merits, and
will write him my opinion, such as it is, with sincerity. As to
the question of the edition, that is not so easy to solve as you
seem to think. I wrote to Mr. Stassoff that arrangements for two
pianos, which are the only ones that give a suitable idea of
certain works, have very little currency with the public, as it
is very rare to find two instruments with most amateurs. In spite
of this, if, as I am inclined to think, Mr. Seroff's work answers
to the eulogies you pronounce on it, I shall try to find him a
publisher, and ask you only to get Mr. Seroff to let me know what
sum he expects.

Why, dear friend, don't you decide to make a trip to Germany, and
to come and see me at Weymar? I asked you this three years ago,
and I again assure you that such a journey would not be without
use to you. It is in vain for you and Oulibicheff to enumerate
the advantages and improvements of Russia in musical matters;
people who know anything of the matter will beware of taking you
literally. Art at Petersburg can only be an accessory and a
superfluity for a long time to come, in spite of the very real
distinction and, if you will, even the superiority of some
persons who work at it with predilection, and who reside there.
Proofs abound in support of this opinion, and could not be so
soon changed.

Believe me, my dear Lenz, if you wish to get to know the heart of
the musical question, come to Germany and come and see me.

Meanwhile don't trouble yourself any more than I do about either
"merles" or "obliques hiboux"; go on familiarizing yourself with
the smiles and glances of your "chimera," and believe me your
most sincerely affectionate and devoted

F. Liszt

Weymar, March 24th, 1857



180. To Eduard Liszt

Best and excellent Eduard,

At last I send you the pianoforte edition of the Mass, which I
could not get in order sooner, much as I wished to do so, partly
owing to the excess of matters, letters, and business which have
been pressing upon me, and partly also on account of my illness,
which has obliged me to keep my bed for more than three weeks
past. As regards the edition, which can be got up in two styles,
according to whether one wants it to be economical or luxurious,
I send you word of all that is necessary on the accompanying
note-sheet (first page of the score--written by my hand), and beg
you, best friend, to use your influence to get the proofs sent to
me and to get the work published as quickly as possible. [The
Gran Mass.]

Your last letter was again a great pleasure to me, owing to your
loving comprehension of my works. That in composing them I do not
quite work at haphazard and grope about in the dark, as my
opponents in so many quarters reproach me with doing, will be
gradually acknowledged by those among them who may be honest
enough not to wish entirely to obstruct a right insight into the
matter through preconceived views. As I have for years been
conscious of the artistic task that lies before me, neither
consistent perseverance nor quiet reflection shall be wanting for
the fulfillment of it. May God's blessing, without which nothing
can prosper and bear fruit, rest on my work!--

I have read with attention and interest the discussions in the
Vienna papers, to which the performance of the Preludes and the
concert gave rise. As I had previously said to you, the
doctrinaire Hanslick could not be favorable to me; his article is
perfidious, but on the whole seemly. Moreover it would be an easy
matter for me to reduce his arguments to nil, and I think he is
sharp enough to know that. On a better opportunity this could
also be shown to him, without having the appearance of correcting
him. I suppose the initials C. D. in the Vienna paper mean
Dorffl--or Drechsler? No matter by whom the critique is written,
the author convicts himself in it of such intense narrowness that
he will be very welcome to many other people less narrow than
himself. His like has already often existed, but is constantly in
demand. The musician nowadays cannot get out of the way of all
the buzzing. Twenty years ago there were hardly a couple of
musical papers in Europe, and the political papers referred only
in the most rare cases, and then only very briefly, to musical
matters. Now all this is quite different, and with my "Preludes,"
for instance (which, by the way, are only the prelude to my path
of composition), many dozen critics by profession have already
pounced on them, in order to ruin me through and through as a
composer. I by no means say that present conditions, taken as a
whole, are more unfavorable to the musician than the earlier
conditions, for all this talk in a hundred papers brings also
much good with it, which would not otherwise be so easy to
attain;--but simply the thinking and creative artist must not
allow himself to be misled by it, and must go his own gait
quietly and undisturbed, as they say the hippopotamus does, in
spite of all the arrows which rebound from his thick skin. An
original thinker says, "As one emblem and coat of arms I show a
tree violently blown by the storm, which nevertheless shows its
red fruit on all the boughs, with the motto, Dum convellor
mitescunt; or also, Conquassatus sed ferax."

When you have an opportunity I beg you to give my best thanks to
my old friend Lowy for the letter he wrote me directly after the
performance of the "Preludes." I know that he means well towards
me, in his own way, which, unfortunately, cannot be mine,
because, to me, friendship without heart and flame is something
foreign; and I cannot understand, for instance, why at the
concert in question he did not take his customary place, but kept
back in a corner, as he tells me. Pray when have I given him any
occasion to be ashamed of me? Do I not then stand up in the whole
world of Art as an honest fellow, who, faithful to his
conviction, despising all base means and hypocritical stratagems,
strives valiantly and honorably after a high aim? Given that I,
deceived by my many-sided experiences (which really cannot be
estimated as very slight, since I have lived and worked through
the periods--so important for music--of Beethoven, Schubert,
Mendelssohn, as well as Rossini and Meyerbeer), led astray by my
seven years' unceasing labour, have hit upon the wrong road
altogether, would it be the place of my intimate friend, in the
face of the opposition which is set up against me because I bring
something new, to blush, hide himself in a corner, and deny me?
You did otherwise and better in this, dearest Eduard, and your
conduct with Castelli was, as ever, perfectly right. My few
friends may take a good example from you, for they assuredly need
not let themselves be frightened by the concert which the bullies
and boobies raise against my things. I have, as usual, thought
over your musical remarks and reflections. The fourth movement of
the Concerto, [No. I, in E flat major.] from the Allegro
marziale,

[a score appears here]

corresponds with the second movement, Adagio:--

[a score appears here]

It is only an urgent recapitulation of the earlier subject-matter
with quickened, livelier rhythm, and contains no new motive, as
will be clear to you by a glance through the score. This kind of
binding together and rounding off a whole piece at its close is
somewhat my own, but it is quite maintained and justified from
the standpoint of musical form.

The trombones and basses

[a score appears here]

take up the second part of the motive of the Adagio (B major):--

[a score appears here]The pianoforte figure which follows

[a score appears here]

is no other than the reproduction of the motive which was given
in the Adagio by flute and clarinet,

[a score appears here]

just as the concluding passage is a Variante [various reading]
and working up in the major of the motive of the Scherzo,

[a score appears here]

until finally the first motive

[a score appears here]

on the dominant pedal B flat, with a shake accompaniment,

[a score appears here]

comes in and concludes the whole.

The Scherzo in E flat minor, from the point where the triangle
begins, I employed for the effect of contrast.

[a score appears here] As regards the triangle I do not deny that
it may give offence, especially if struck too strong and not
precisely. A preconceived disinclination and objection to
instruments of percussion prevails, somewhat justified by the
frequent misuse of them. And few conductors are circumspect
enough to bring out the rhythmic element in them, without the raw
addition of a coarse noisiness, in works in which they are
deliberately employed according to the intention of the composer.
The dynamic and rhythmic spicing and enhancement, which are
effected by the instruments of percussion, would in more cases be
much more effectually produced by the careful trying and
proportioning of insertions and additions of that kind. But
musicians who wish to appear serious and solid prefer to treat
the instruments of percussion en canaille, which must not make
their appearance in the seemly company of the Symphony. They also
bitterly deplore, inwardly, that Beethoven allowed himself to be
seduced into using the big drum and triangle in the Finale of the
Ninth Symphony. Of Berlioz, Wagner, and my humble self, it is no
wonder that "like draws to like," and, as we are treated as
impotent canaille amongst musicians, it is quite natural that we
should be on good terms with the canaille among the instruments.
Certainly here, as in all else, it is the right thing to seize
upon and hold fast [the] mass of harmony. In face of the most
wise proscription of the learned critics I shall, however,
continue to employ instruments of percussion, and think I shall
yet win for them some effects little known.

I hear from Paris that at all the street corners there they are
selling a little pamphlet for a sou entitled "Le seul moyen de ne
pas mourir le 13 Juin a 1'apparition de la Comete." ["The only
means how not to die on the 13th of June at the appearance of the
comet."] The only means is to drown oneself on the 12th of June.
Much of the good advice which is given to me by the critics is
very like this seul moyen. Yet we will not drown ourselves--not
even in the lukewarm waters of criticism--and will also for the
future stand firm on our own legs with a good conscience.

I had still much more to say to you, but the letter has become so
long that I should not like to take up any more of your time. It
is to be hoped that we shall see each other in the course of this
summer, when we shall be able again to talk over everything to
our hearts' content. Meanwhile I thank you again warmly for your
friendship, and remain yours from my heart.

F. Liszt

What you tell me of your idea for Daniel [Liszt's son] is very
agreeable and soothing. I must beg the Princess to correspond
with you in reference to the matter. My decision to send D. to
Vienna, in order to finish his law there, and to entrust him to
your protection, is pretty much unchanged.

Weymar, March 26th, 1857

In the next number of Brendel's paper appears a long letter from
R. Wagner on my individuality as a composer, which will be of
interest to you.



181. To Georg Schariezer, Vice-President of the Church Musical
Society at the St. Martin's Coronation Church in Pressburg

[From a copy of Herr Stadthauptmann Johann Batka in Pressburg.--
The Church Musical Society, which has been in existence since
1833, and which undertakes the performance of classical
instrumental Masses during the service every Sunday and saint's
day, performed Beethoven's Grand Mass as early as 1835, and many
times since, and has given Liszt's Gran Mass every year since
1872.]

Dear Sir,

The friendly intention of the highly renowned Pressburg
Kirchenmusikverein [Church Musical Society] to give a performance
of my "Missa Solemnis" is an uncommon pleasure to me, and I send
Your Honor my special thanks for the kind letter with which you
have honored me in the name of the Kirchenmusikverein. Much as I
should like to meet your wishes without any ceremony, and to send
you the score and parts at once, yet I am constrained to beg for
a long delay, for the reason that the score, together with the
pianoforte arrangement, is obliged to remain for some months
longer in the Royal State Printing House in Vienna, and I cannot
get the parts copied out afresh until the publication of the work
next September. The copies which were used at Gran and Prague
have been lost, and several essential alterations which I have
finally made in the score necessitate the making of an entirely
new copy.

I hope, however, that you, dear sir, as well as the K.-M.-V, will
continue your kind intention towards me, whereby I may have the
prospect of my Mass being performed by you later on. If I am not
quite mistaken, the Church element, as well as the musical style
of this work, will be better understood and more spiritually felt
after frequent performances than can be the case at first in the
face of the prevailing prejudice against my later compositions,
and the systematic opposition of routine and custom which I have
to meet with on so many sides. Thus much I may in all
conscientiousness affirm, that I composed the work, from the
first bar to the last, with the deepest ardor as a Catholic and
the utmost care as a musician, and hence I can leave it with
perfect comfort to time to form a corresponding verdict upon it.

As soon as the score comes out I shall have the pleasure of
sending Your Honor a copy; and should your present design perhaps
come to pass in the spring, I shall be delighted to be present at
the performance, and to conduct the final rehearsals myself.

Accept, dear sir, my best thanks, together with the expression of
my high esteem.

Yours most truly,

Franz Liszt

Weymar, April 25th, 1857



182. To Eduard Liszt

Dearest Eduard,

I have been thinking over the matter of supporting the voices by
some wind instruments and brass in my Mass for men's voices,
without being able to make up my mind to write out this
accompaniment. I ought properly to hear the Vienna chorus in
order to hit the right proportion, which is very various,
according to the size of the church, and also the class of
instruments, and the less or greater ability of the musicians. It
would be very agreeable to me if Herbeck, who appears to take an
interest in my work, would take the decision upon himself
according to what he thinks best, and would either keep in the
printed organ accompaniment, or write a small additional score as
support to the voices. In the latter case I think that horns,
clarinets, oboes, and bassoons cannot be dispensed with, and that
probably trombones would also make a good effect in the Kyrie and
Credo.

Remember me most kindly to Herbeck, and tell him my idea as well
as my request. In the studying of the Mass he will best ascertain
which passages most require a supplement-accompaniment.

Owing to my long-continued illness, which obliges me for the most
part to keep my bed, I have not yet been able to hear his
Quartet, which he was so good as to send me; but I shall shortly
give it over to our excellent Quartet Society (Singer, Cossmann,
Stor, Walbruhl) for a performance.

By today's post I send you an alteration in the Agnus Dei of my
Gran Mass, which I beg you to hand to the compositor. The voice
parts remain as before, but in the pauses I make the first
subject come in again in the basses, which makes the movement
more completely one whole. The compositor must work by this proof
for the whole Agnus Dei, and only revert to the general score
where the "Dona nobis pacem" (Allegro moderato) comes in.

Wagner's letter has been published in a separate form, and you
will receive several copies of it, as I believe you take interest
in it, and will make a good use of it.

The Princess has been a prisoner to her bed for more than three
weeks, and is suffering from acute rheumatism. Princess Marie has
also been poorly, so that the whole house has been very dismal.
The last few days I have pulled myself together, and have had my
choruses to Herder's "Prometheus" performed, which have
unexpectedly made a very good impression, and were received with
unusual sympathy. In the course of the summer I shall have the
whole work printed. The eight choruses, together with the
[spoken] text, which has been skillfully compiled after Herder
and Aeschylus [By Richard Pohl], and the preliminary Symphonic
Poem (No. 5 of those published by Hartel), take about an hour and
a half in performance. If I am not mistaken, the work will, later
on, approve itself in larger concerts.

About the 15th May I shall be going to Aix-la-Chapelle, to
conduct the Musical Festival there at Whitsuntide. That will be
another good opportunity for many papers to abuse me, and to let
off their bile!--If the programme which I shall put forward is
realized at the September Festival you must come here and hear it
with me.

My mother writes from Paris that Blandine has been living with
the Countess d'A. since the 20th of this month. Cosima's marriage
with H. von Bulow will probably take place before September.
About Daniel the Princess will write to you fully when she is
better.

God be with you and yours. Yours from my heart,

F. Liszt

Weimar, April 27th, 1857



183. To Frau von Kaulbach

[The letter, together with the following one, written by Kaulbach
to Liszt in the fifties, was published in the Tagliche Rundschau
[Daily Review], and afterwards in the Neue Berline Musikzeitung
[Berlin New Musical Paper] of March 19th, 1891. It is well known
that Liszt derived his inspiration to write the Hunnenschlachl
[Battle of the Huns] from Kaulbach's celebrated picture on the
staircase of the New Museum in Berlin. He intended to work up the
six pictures of Kaulbach's which are there, in a similar
symphonic manner, probably for theatrical performance in Weimar.
Dingelstedt appears also to have planned an after-poem in verses.
Kaulbach's letter to his friend is as follows: "Your original and
spirited idea--the musical and poetic form of the historical
pictures in the Berlin Museum--has taken hold of me completely. I
much wish to hear yours and Dingelstedt's ideas of this
performance. The representation of these powerful subjects in
poetical, musical, and artistic form must constitute a harmonious
work, rounded off into one complete whole. It will resound and
shine through all lands!!--I shall therefore hasten to Weimar, as
soon as my work here will let me free.--With the warmest regards
to the Princess, that truly inspired friend of Art, and to her
charming daughter, from myself and my wife, I remain, in
unchangeable respect and friendship, Your faithful, W.
Kaulbach."]

Dear Madam,

I have been encouraged to send you what indeed truly belongs to
you, but what, alas! I must send in so shabby a dress that I must
beg from you all the indulgence that you have so often kindly
shown me. At the same time with these lines you will receive the
manuscript of the two-pianoforte arrangement of my Symphonic Poem
"Die Hunnenschlacht" (written for a large orchestra and completed
by the end of last February), and I beg you, dear madam, to do me
the favor to accept this work as a token of my great reverence
and most devoted friendship towards the Master of masters.
Perhaps there may be an opportunity later on, in Munich or
Weymar, in which I can have the work performed before you with
full orchestra, and can give a voice to the meteoric and solar
light which I have borrowed from the painting, and which at the
Finale I have formed into one whole by the gradual working up of
the Catholic chorale "Crux fidelis," and the meteoric sparks
blended therewith. As I already intimated to Kaulbach in Munich,
I was led by the musical demands of the material to give
proportionately more place to the solar light of Christianity,
personified in the Catholic chorale "Crux fidelis," than appears
to be the case in the glorious painting, in order thereby to win
and pregnantly represent the conclusion of the Victory of the
Cross, with which I, both as a Catholic and as a man, could not
dispense.

Kindly excuse this somewhat obscure commentary on the two
opposing streams of light in which the Huns and the Cross are
moving; the performance will make the matter bright and clear--
and if Kaulbach finds something to amuse him in this somewhat
venturesome mirroring of his fancy I shall be royally delighted.

Through Dingelstedt, whom our Grand Duke is taking away from
Munich, you have heard the latest news from Weymar, and I have,
alas! only bad news to give you of the Princess W. For many weeks
she has been confined to bed with acute rheumatism, and it is
hardly likely that she will be restored to health before my
departure for Aix-la-Chapelle towards the middle of May. Allow
me, my dear lady, to beg you to give Kaulbach my warmest and most
hearty thanks for the wonderful sketch of Orpheus with which he
has honored and delighted me; and once more begging you to pardon
me for the dreadful scrawl of my manuscript, I remain yours with
all respect and devoted friendship,

F. Liszt

Weymar, May 1st, 1857



184. To Fedor von Milde, Kammersanger

[A singer in the service of a prince] in Weimar [An excellent
Wagner singer. The first Telramund in Lohengrin.]

Dear Friend,

I cannot refuse myself the pleasure of letting you know of the
really extraordinary success, not made up, but thoroughly
effectual and brilliant, of your wife. [Rosa, nee Agthe, trained
by Franz Gotze.] Cologne, Dusseldorf, Bonn, Elberfeld, and the
entire neighborhood agree with Aix-la-Chapelle that your wife
made the festivity of the Musical Festival; and although success
cannot as a rule be considered as a criterion of artistic worth,
yet if it be attested so truly and de bon aloi as in this case,
and follow that artistic worth, it has something refreshing and
strengthening in which we, in trio, can fully rejoice.

A speedy meeting to us, and friendly greetings and thanks from

Yours ever,

F. Liszt

Aix-La-Chappelle, Wednesday, June 3rd, 1857



185. To Johann von Herbeck

Weymar, June 12th, 1857

Dear Sir and Friend,

On my return from the Aix-la-Chapelle Musical Festival--which may
be considered successful on the whole, from the very fact that
opponents do not conceal their dissatisfaction--I find here your
kind letter, for which I send you my warmest thanks. My excellent
cousin and friend, Dr. Eduard Liszt, had already informed me of
your kind willingness to undertake the instrumentation of my
Vocal Mass: I am entirely in accord with the various sketches you
so kindly lay before me in your letter, and only beg you, dear
sir, to complete this work according to your own best judgment,
without any small considerations. I certainly should not wish the
organ to be absent from it, but it is a perfectly correct idea to
give those passages in the Kyrie, Suscipe deprecationem,
Crucifixus, and others besides,

[A score appears here]

to the wind exclusively. When I expressed to my cousin my wish to
place the instrumentation of the Mass in your hands, it was
because I was convinced beforehand of the excellence of your
work. The examples which you have given me in your letter show me
that I was not wrong, and I shall rejoice most sincerely when the
moment arrives for us to go through the whole score together.
Eduard intends to visit me here towards the end of August, and if
it is possible for you to come to Weymar at the same time with
him, and to stay a few days in my house, it will be very
agreeable to me.

On the 3rd, 4th, and 5th September the Jubilee festivities of the
Grand Duke Carl August will take place here, on which occasion I
propose to perform several of my later orchestral compositions,
and also the chorus "An die Kiinstler." ["To Artists."] Eduard
will give you a more detailed programme of the Festival later on.
Should you, however, be prevented from being present at it, it
needs no special assurance to you that your visit will be very
welcome to me any day, and I will do my best that you shall not
suffer from ennui in Weymar. [Herbeck accepted the invitation.]

May I also beg you to send me, when you have an opportunity, and
if possible very soon, the parts of your Quartet, [D minor,
unpublished] which pleases me so much, and which, both in its
mood and in its writing of the different parts, is so eminently
noble and finely sustained. In case you have not been able to
arrange for the copying of the parts, it will be a pleasure to me
to get them copied here. Our Weymar quartet, Messrs. Singer,
Stor, Walbruhl, and Cossmann, is competent for this work, and you
will, I trust, be satisfied with the performance. Unfortunately
Cossmann's illness has prevented our usual quartet-productions
for some months past, and Cossmann was also unable to take part
in the Aix-la-Chapelle Musical Festival. But yesterday he told me
that in a few days he should be able to take up his bow again,
and therefore I want them to set to work on your Quartet at once.

To our speedy meeting then, and once more best thanks from yours
in all friendship,

F. Liszt



186. To Countess Rosalie Sauerma, nee Spohr

Your letter gave me great pleasure, dear Countess and admirable
artist, and, though still obliged to keep my bed (which I have
been able to leave so little during the whole winter), I hasten
to reassure you entirely about my state of health. As a fact, I
have never done my obstinate illness the honor of considering it
serious, and now less than ever, for I hope to have entirely got
over it by the end of the week. So do not let us talk about it
any more, and let me tell you at once how sincerely I rejoice in
your projects of being, so to say, in the neighborhood of
Dresden, for it seems to me that, among the towns of Germany, it
is the one in which you will find most charm. I shall certainly
come and pay you my visit there in the course of the winter, and
I hope also that you will not altogether forget your friends of
Weymar.

When you come back here, you will find very little change, but
simply three more Weymarers--Goethe, Schiller, and Wieland--whose
statues will be inaugurated next September, on the occasion of
the celebration of the Jubilee fetes of the Grand Duke Carl
August. They are also planning music for the occasion; and I
predict to you beforehand that you will be able to read all sorts
of unflattering things on this subject, as the music in question
will be in great part my composition. However that may be, I
shall try to have always something better to do than to trouble
myself with what is said or written about me.

How delighted I shall be to hear you again, and to rock myself as
in a hammock to the sound of your arpeggi. You have not, I am
sure, broken off your good habits of work, and your talent is
certain to be more magnificent than ever. Quite lately Madame
Pohl, who played Parish Alvars' Oberon Fantaisie charmingly,
recalled most vividly the remembrance of the delightful hours at
Eilsen and Weymar, which I hope soon to resume at Dresden...Be so
kind as to present my best compliments to your husband and all
your dear ones, and pray accept, dear Countess, the expression of
most affectionate homage from yours very sincerely,

F. Liszt

Weymar, June 22nd, 1857

The Princess W. has been very seriously ill for more than two
months; she is only just convalescent, and bids me give her best
remembrances to you.



187. To Ludmilla Schestakoff, nee Glinka, in St. Petersburg

[sister of the celebrated Russian composer Glinka]

Madame,

I wish I were able to tell you how much I have been touched by
the letter you have done me the honor to address to me. Thank you
for having thought of me as one of the most sincere and zealous
admirers of the fine genius of your brother, so worthy of a noble
glory for the very reason that it was above vulgar successes. And
again thank you for the grace which prompts you to wish to
inscribe my name on one of his orchestral works, which are
certain to be valued and to obtain a sympathetic preference from
people of taste.

I accept with a real gratitude the dedication with which you
honor me, and it will be at once my pleasure and duty to do my
best towards the propagation of Glinka's works, for which I have
always professed the most open and admiring sympathy. Of this I
beg you, Madame, to receive anew my assurance, and to accept the
most respectful homage of

Yours very truly,

F. Liszt

Weymar, October 7th, 1857

I am writing by the same post to Mr. Engelhardt in Berlin to
thank him for his letter, and to tell him that I feel quite
flattered at seeing my name attached to a score of Glinka's.



188. To Carl Haslinger

[autograph without address in the possession of M. Alfred Bovet
in Valentigney--The above was presumably the addressee.]

Dear Friend,

The writing of notes [music] draws me more and more away from the
writing of letters, and my friends have already much to pardon me
in this respect. With the best will in the world to fulfill my
obligations, it is nevertheless impossible for me, owing to the
countless claims that are made on me, to find time to do so. So
do not scold me, dear friend, for having left your last letter
unanswered. I had given myself a great deal to do with some
manuscripts; the final proofs of the Faust and Dante Symphonies,
in particular, which will now soon be engraved, had occupied me
much longer than I expected. The two works are now as well
finished as I am in a position to make them, and will, I hope,
hold their POSITION.

I congratulate you most warmly on the performance of your opera.
You may safely expect various disagreeables in connection
therewith, which are inseparable from musical work. The great
thing is to remain cheerful, and to do something worth doing. The
cuckoo take the rest!--

Let me have a talk with you about the Zellner matter in Vienna,
if, as seems likely, I have to go there at the end of May for the
performance of my Mass. Meanwhile thank you very much for the
pains you have taken over the proof-sheets of this long-
protracted work, and I should be glad if the whole were ready to
come out by the time I reach Vienna.

Tausig, who is to come out in Berlin at the beginning of January,
will probably come with me. There is again a real "bravo,"
[Literally, iron-eater.] as Hummel said of me when he heard me in
Paris in the twenties.

Will you be so kind as to give the enclosed letters to
Winterberger and Rubinstein? How is our friend Winterberger
getting on in the not very suitable atmosphere of Vienna? Let me
know something about him soon. Yours ever,

F. Liszt

Weymar, December 5th, 1857.



189. To Hofcapellmeister Stein In Sondershausen.

[Autograph in the possession of M. Alfred Bovet at Valentigney.--
The addressee, a first-rate conductor (born 1818), lived from
1853 in Sondershausen; died 1864.]

Let me give you once more my hearty thanks, dear friend, for the
delightful day you gave me at Sondershausen, which continues so
brightly and pleasantly in my recollection. The rare consummation
with which your orchestra solved one of the most difficult tasks,
and brought "what one hears on the mountains" [Liszt's Mountain
Symphony] to the impressive understanding of the ears in the
valley (if not indeed under the water and worse still),
strengthens me in my higher endeavors,--and you, dear friend,
will have to bear some of the responsibility if I go on writing
more such "confused," "formless," and, for the every-day critic,
quite "fathomless" things.

Singer [A letter from this first-rate violinist is on the same
sheet with Liszt's.] needs no further recommendation from me, as
he is already known to you as an eminent virtuoso. Especially at
Court concerts his own refined and brilliant qualities are placed
in their most favorable light.

If it is possible for you to take an opportunity of bringing out
my dear and extraordinary budding genius Carl Tausig ["The last
of the virtuosi;" as Weitzmann called him; born at Warsaw 1841;
died at Leipzig 1871.] at the Court, I promise you that he will
do honor to your recommendation.

In all esteem and devotion, yours ever,

F. Liszt

Weymar, December 6th, 1857



190. To Alexander Ritter in Stettin.

Dear friend,

Your tidings sound as incredible as they are pleasant. And I must
admit, what has long been proved to me, that you are a valiant
and excellent friend, and prove your friendship splendidly by the
success of your venturesome undertaking. Specially do I give you
my best thanks for the pregnant and poetic form which you gave to
the Tasso programme. Later on, as you have broken the ice in so
happy a fashion, we can push on with

[Here, Liszt illustrates with a musical score excerpt of the
beginning of the Symphonic Poem "Festklange."

and other such corrupt things in Stettin!--

I was not able to attend to your letter about the matter of the
parts of the Flying Dutchman until after my return to Weymar.
Herr von Dingelstedt spoke to me about the idea in regard to the
fee for Wagner (from the Stettin Directors), and the reply to you
from the Secretary Jacobi will be to that effect. If, as I
presume, you can so arrange that this idea is carried out, and
that Wagner receives his fee, the parts shall be sent you from
here.

I visited your dear sisters many times in Dresden, and had some
delightful chats with them.

In Carl's Sonatas [Carl Ritter], which I have read with much
interest, there is a decidedly musical germ; only I hope that by
degrees more juicy fruit may spring from it.

Cornelius is bringing his completed opera back to Weymar at the
end of this month. [Doubtless "Der Barbier von Baghdad."] Lassen,
who is getting on splendidly with his ("Frauenlob "), has
composed several exquisite songs between whiles. "Landgraf
Ludwig's Brautfahrt" ["Landgrave Ludwig's Bridal Journey," an
unpublished opera of Lassen's.] will again be given next Sunday,
and from New Year (1858) Lassen will act as Grand Ducal Music
Conductor of Weymar. Gotze is retiring from work, and your friend
Stor undertakes his post as First Music Conductor. Damrosch, your
successor, has composed a quite remarkable Violin Concerto with a
Polonaise Finale, with which you will be pleased.

Recall me most kindly to your wife's remembrance, as one who
remains ever

Yours in all affection and devotion,

F. Liszt

Weymar, December 7th, 1857



191. To Capellmeister Max Seifriz At Lowenberg

[Autograph in the possession of Herr Alexander Meyer Cohn in
Berlin. The addressee (1827-85) was, after 1854, conductor to
Prince Hohenzollern-Hechingen at Lowenberg in Silesia, until the
latter's death in 1869, when he became Court Conductor in
Stuttgart.]

Dear Herr Capellmeister,

With my very best thanks for your friendly letter I send you,
according to your wish, the score of the "Prometheus" choruses.
For the present I am not requiring it, and send it you with great
pleasure, so that you may be able to read it through at your
ease. I fear, alas! that the difficulty of some of the intonation
in the first choruses may make the studying of it a rather
detailed matter to you. Such irksomeness unfortunately attaches
to all my works, not excepting the Ave Maria, which I might
nevertheless venture to recommend to you next, if you have any
intention of performing a vocal work of my composition. It was
published by Breitkopf & Hartel (score and parts), and has been
pretty favorably received at various performances of it.

I wrote yesterday to His Royal Highness, and expressed my special
thanks for the kind attention in inviting Herr von Bulow during
my stay at L. I rejoice immensely at the thought of these days,
in which musical matter will by no means be wanting to us.
Meanwhile remember me most kindly to your orchestra, which
preserves so well its high renown, and accept, my dear sir, the
assurance of high esteem with which I remain

Yours in all friendship,

F. Liszt

Weymar, December 24th, 1857

In the early part of April you shall hear when I am coming to
Lowenberg.



192. To Alexander Seroff

My dear Sir,

By what I said in the Neue Zeitschrift fur Musik, [1858, No. 1,
in the article "Oulibicheff and Seroff."] on New Year's Day, of
your remarkable articles on Oulibicheff, you will have seen to
what point I take your ideas into consideration, and how closely
we meet in our musical convictions. To the sincere eulogies which
I have had much pleasure in addressing to you in public, it
remains to me to add those which I owe you for the conscientious
work that you have had the kindness to communicate to me by
sending me the pianoforte score of Beethoven's Quartet in C sharp
minor. Without the least exaggeration, I don't think anything of
its kind could have been better done, as much on account of the
intelligent division of the parts between the two pianos, as by
the skill with which you have appropriated to the piano the style
of this Quartet, without forcing or disfiguring anything.

In this latter task there are without doubt some impossibilities
which one cannot fail to recognize, and, whatever effort we may
make, we shall never succeed in rendering on our instrument
either the intensity or the delicacy of the violin bow. In the
same manner the coloring, and the fine nuances of the violin,
viola, and violoncello will always escape us--but in spite of
this it is due to you in justice to recognize that your work
identifies itself as far as possible with the sentiment and
thought of the original, and that you have frequently succeeded
in supplementing the poverty and defects inherent in such an
arrangement.

About six weeks ago I sent your manuscript to Mr. Schott, the
editor, at Mainz, recommending him to publish your arrangement.
Up to the present time I have received no reply, which, however,
seems to me a good sign. As soon as ever I hear his determination
I will let you know. Possibly in the course of the summer you
will find a few weeks' leisure to make a journey into these parts
and to bring us the complete collection of your arrangements of
Beethoven's latter instrumental works. In that case let me beg of
you, my dear sir, not to forget me, and to rest assured
beforehand of the lively interest that I shall take in your work,
which it would be doubly interesting to me to go through with
you. Bearing in mind the original, we should probably find,
between us, some details to modify previous to a definite
publication.

For today allow me to thank you once more, my dear sir, very
cordially for having associated me in thought with your beautiful
work, and pray accept the expression of very sincere and
affectionate regard of

Yours very truly,

F. Liszt

Weymar, January 8th, 1858



193. To Basil von Engelhardt

[A very intelligent musical amateur, a friend of Glinka's, and
publisher of several of his works]

Sir,

Whilst giving you my very sincere thanks for so kindly sending me
the Glinka scores published by your friends, I am much pleased to
be able at the same time to inform you that the Capriccio on the
melody of the "Jota Aragonese" has just been performed (on New
Year's Day) at a grand Court concert with most complete success.
Even at the rehearsal the intelligent musicians whom I am proud
to count among the members of our orchestra had been both struck
and delighted by the lively and piquant originality of this
charming piece, so delicately cut and proportioned, and finished
with such taste and art! What delicious episodes, cleverly joined
to the principal subject (Letters A and B)! What fine nuances and
coloring divided among the different timbres of the orchestration
(Letters C to D)! What animation in the rhythmic movement from
one end to the other! How the happiest surprises spring
constantly out of the logical developments! and how everything is
in its right place, keeping the mind constantly on the watch,
caressing and tickling the ear by turns, without a single moment
of heaviness or fatigue! This is what we all felt at this
rehearsal; and the day after the performance we promised
ourselves to hear it again speedily, and to make acquaintance, as
speedily as possible, with Glinka's other works.

Will you, my dear musician, be so kind as to renew the expression
of my gratitude to Madame Schestakoff for the honor she has done
me in dedicating this work to me? And when you have time, do come
and hear it with your own ears at Weymar. I can assure you that
you will not have occasion to regret the troubles of a little
journey; and were it only the rhythm

[FIGURE: Music example in 2 staves, the upper 'wind and brass',
the lower 'string quartet']

that would be enough to make ample amends for them. I beg you,
sir, to accept the assurance of my sincere regard.

F. Liszt

Weymar, January 8th, 1858

P.S.--I shall be much obliged if you will send me two
supplementary parts of the quartet (first and second violin,
viola, and bass) of each of Glinka's works.



194. To Felix Draseke

[Now professor at the Dresden Conservatorium, a well-known
composer of importance, also a writer on music (born 1835)]

Your articles [Published in the paper started by Brendel, "Hints"
(or "Suggestions")], which were so universally suggestive, my
dear and valiant friend, have given great pleasure to us on the
Altenburg. I hope to have an opportunity of showing you my
gratitude in a lasting and abiding fashion. Meanwhile be
satisfied with a good conscience in having strengthened and
sustained an honest man in his better purpose.

I have received through Brendel an invitation to Prague, which I
shall probably accept for the beginning of March. I am delighted
to think of seeing you again, dear friend, in passing through
Dresden, and perhaps you might make it possible to accompany me
to Prague. The "Dante Symphony" and the "Ideale" are again to be
given there, and, if I am not mistaken, you will rather like the
former work in its present shape. The Dresden performance was a
necessity to me, in order to realize its effect. As long as one
has only to do with lifeless paper one can easily make a slip of
the pen. Music requires tone and resonance!--I cannot at first
lay claim to effectual results, because I have to meet too much
opposition. The chief thing is that my present works should prove
themselves to be taking a firm footing in musical matters, and
should contribute something towards doing away with what is
corrupt...

What is Reubke [A pupil of Liszt's.] doing, and how does he like
Dresden?--Take him most friendly greetings from me. By-the-by ask
him also to give me tidings as soon as possible (through Herr
Menert) about the copying	of the orchestral parts of the
Rubinstein Oratorio "Paradise Lost," and to get Herr Menert to
send me these parts to Weymar by the end of this month at latest.
It is to be hoped that Reubke won't have left the score in his
box like Pohl! But if by chance he has committed such a
transgression I beg that he will make amends as speedily as
possible.

Fischer (the organist) wrote to me lately, to ask me for a
testimonial to his musical ability, as he wants to have one to
show in Chemnitz. Please to make my friendly excuses to him for
not fulfilling his wish--possibly, in view of the enmity which I
have to bear on all sides, such a document would do him more harm
than good; apart from the fact that I very unwillingly set about
drawing up such testimonials. He must not, however, misconstrue
this disinclination on my part, and may rest assured of my
readiness to be of use to him.--

I would still draw your attention to Bronsart's concert in
Leipzig. It will take place in a few days, and if you can get
free I invite you to it. Bronsart is a very dear friend of mine;
I value him as a character and as a musician. If you go to
Leipzig go and see him; he will please you, and will receive you
in the most friendly manner. He is a friend of Bulow's. Both
names have the same initials, and for a long time Bronsart signed
himself "Hans II." in his letters to me.--

In the virtuoso line we have lately been hearing Sivori and
Bazzini here several times. The latter is now in Dresden; I told
him that Reubke would perhaps call on him. Get Reubke to do so,
and assure him that he will be most friendlily received. A well-
known piece of Bazzini's, "La Ronde des Lutins," was, by a
printer's error, called "Ronde des Cretins!" ["Rondo of Idiots."]
What an immeasurably large public for such a "Rondo"! If only
half of them would become subscribers to the Anregungen (Hints)!

Once more a thousand thanks, dear friend, for your courageous
battling; I on my side will endeavour not to let us have to
acquiesce with too overpowering a modesty! [An untranslatable pun
on the  words "beseheiden" and "Bescheidenheit."

Yours ever,

F. Liszt

[Weimar,] Sunday, January 10th, 1858



195. To Louis Koehler

My very dear friend,

A few days ago I received a letter from Koenigsberg, signed by a
gentleman unknown to me. By	chance this letter has got lost,
and I cannot myself remember the exact name. But, as your name
was mentioned in it, I beg you to be so good as to let Herr * * *
know that I do not possess the arrangement of the second movement
of my Faust Symphony made by Zellner in Vienna for pianoforte,
violin, harp, and harmonium, and that consequently I cannot hand
it over to him. Besides this, I do consider such a fragmentary
performance of this work of mine, which stands in such bad credit
with the critics, as rather unsuitable, and would not advise any
concert-giver, and still less any concert-directors, to smuggle
into a programme my name so challenged as a composer. How long
this curious comedy of criticism will last I am unable to
determine; anyhow I am resolved not to trouble my head about the
cry of murder which is raised against me, and to go on my way in
a consistent and undeterred fashion. Whether I shall be
answerable for the scandal, or whether my opponents will entangle
themselves in the scandal, will appear later. Meanwhile they can
hiss and scribble as much as they please. In the course of the
summer my "Faust" and "Dante" Symphonies will be published by
Hartel, together with a couple of new Symphonic Poems. The "Faust
Symphony" is dedicated to Berlioz, and the "Dante" to Wagner. I
am sending them to you, dear friend, with the two pianoforte
arrangements, with the risk that nothing will please you in them,
which however will not prevent us from being good friends. You
may rest assured that I shall always be grateful to you for the
friendliness you have shown me in past years, and that I would
never attempt to compromise you with my future. For the latter I
alone can and must care.

Please then make my best excuses to Herr * * *, whose kind letter
has, alas! cost me much useless searching, and continue your
personal well-wishing to your ever faithful friend (though fallen
in musical esteem and under your ban),

F. Liszt

Weymar, February 1st, 1858



196. To Professor L. A. Zellner in Vienna

You may believe me, dear friend, when I tell you that all the
disagreeables and vexations which the preparations for the
performance of my Mass [The Gran Festival Mass.] draw upon you
are the most acutely felt by myself. Do you really think it is
desirable to go against trifles of this sort and openly to fight
them? I should not like to decide this "a distance"; but I
promise you that I will not leave you in the lurch if in the end
the indispensable invitation to me follows. The concert at Prague
is to take place on the 12th of March, and I invite you to it.
Then after that I can travel with you on the 14th to Vienna or
return to Weymar. But I hope the former. I have nothing whatever
to say against the invitation of the Pest singers, because the
four persons have remained in my friendly remembrance. Yet I must
remark that the performance of the solos in my Mass offers no
special difficulties, and that consequently it could be quite
suitably and satisfactorily given by Vienna singers, which seems
both simpler and pleasanter. Herr Dr. Gunz, Herr Panzer, and
Fraulein Huber are quite satisfactory to me as soloists, as also
Fraulein Friedlowsky, of whom I have heard the highest praise as
Elizabeth. The tenor and alto are the chief people concerned, as
they have the principal subject in the Kyrie and Benedictus. If
we have two rehearsals with pianoforte, which I shall have great
pleasure in holding with the ladies and gentlemen myself, we
shall thoroughly get to the bottom of it; and if the singers have
steadfastness enough to make an effect with their part the thing
will go of itself.

With regard to the chorus and orchestra I reserve it to myself to
express my thanks to Hellmesberger and the chorus-directors in
writing, as soon as I have definite tidings. But to you, dear
friend, I can only repeat that he who will understand me loves me
also--and that I remain,

Yours in all friendship,

F. Liszt

Weymar, February 8th, 1858



197. To Peter Cornelius in Mainz

[Weimar,] February 19th, 1858

It is very bad, dearest Cornelius, that you have so long forsaken
us! Much as I must approve of your decision to finish writing
your Opera ["Der Barbier von Baghdad"] completely, yet I am
dreadfully sorry to be without you for so many months. I did hope
that you would be with us on the 18th of February for certain;
now you announce yourself for the middle of March, at which time
I shall probably not be here. On the 12th of March I conduct a
concert at Prague, at which the "Ideale" and the "Dante Symphony"
will be given. Thence I proceed to Vienna, and later to
Loewenberg (in Silesia) to my noble and most amiable patron
Prince Hohenzollern-Hechingen, who, in spite of political
changes, has not only retained his Hechingen orchestra, but has
also increased it by fresh members.

I wish I could give you better tidings of my work, best friend,
than I am able to do. The last few months have passed without my
being able to do any steady work at my writing. I have merely
sketched and patched.

By May will appear a new edition of the Kuenstler-Chor (with some
important simplifications and improvements), and shortly after
that the volume of my "Gesammelte Lieder" ["Collected Songs."]
(about thirty), one or two of which will not be displeasing to
you. I shall not be able to set to the working out of my
Elizabeth till my return from Vienna.

The three songs [by Cornelius] (dedicated to Princess Marie)
[Princess Wittgenstein, now Princess Hohenlohe in Vienna.] are
charming and excellent. There is in them such a refined and true
proportion in union with such fervent and ardent mood that other
people besides the author must love them.

In order to make no break in my wonted fault-finding, I observe
that in the fifth bar of the first song the A-flat is more
agreeable than G.

[Figure: Music example showing the passage in question.]  The
carrying out of the motive in the second song:

[Figure: Here Liszt writes 2 bars of music to illustrate.]

(page 2, last line, and page 3) you have done most happily--also
the moonlight conclusion of it,

[Figure: Here Liszt writes 3 bars of music to illustrate.]

and the poetic delineation of the last verse in the third song
(in which the rests in the voice part and the motive in the
accompaniment, enlivened by the rhythm [Here follows in the
original an illegible sign. In the song there come in here, in
place of the quaver movement which has prevailed hitherto, some
long-sustained chords in the accompaniment, which are again
interrupted by the quaver movement.], make an excellent effect):-
-

"Wenn mein Lied zu Ende geht, Sing ich's weiter in Gedanken,
Wie's im Wald verschwiegen weht, Wie die Rosen sich umranken!"

["When my song is ended quite, Yet in thought I still am singing,
As the wood at silent night Echoes from the day is bringing!"]

Well and good, dearest Cornelius, and now some more soon, let me
beg of you! Don't make too long pauses in your hermitage, and
allow us to tell you and prove to you how truly we love you.

F. Liszt

P.S.--About two months ago I at last sent Schott the proofs of
the second year of the "Annees de Pelerinage," together with the
manuscript of Seroff's arrangement for two pianofortes of
Beethoven's C-sharp minor Quartet. Will you be so good as to get
Schott to let me know the fate of the C-sharp minor Quartet?
Although two-piano arrangements are somewhat thankless articles
of sale, yet perhaps Schott may manage to bring out this Quartet,
of which I should be very glad.

Don't forget, dearest friend, to remind him that he has left my
letter about this matter hitherto unanswered--and I should be
glad to let Seroff know something definite.



198. To Dionys Pruckner in Munich

"Lohengrin" be thanked that I hear something from you again, dear
Dionysius, and I give you my best thanks that you wrote to me
directly after the first performance, and thus gave me fresh good
tidings [Namely after the first performance of Lohengrin in
Munich, on February 28th, 1858]. What criticism will emit about
it by way of addition troubles me little--in our present
circumstances its strength consists mainly in the fear which
people have of it; and, as the Augsburg gentlemen renounce all
claim "to wash to teach us," nothing remains for us but to teach
ourselves better than they can do it.

Ad vocem of the severe gentlemen of Augsburg, I will send you in
a few days Bronsart's brochure "Musikalische Pflichten" ["Musical
Duties." Leipzig, Matthes, 1858] (in answer to the "Musikalische
Leiden" ["Musical Sufferings." In Nos. 353-55 of the supplement
to the Augsburg Allgemeine Zeitung, 1857.], etc.). The
A[llgemeine]Z[eitung] only made a couple of extracts from it in
its columns, and from these the point was missing. Bronsart
exquisitely accuses our opponents of ill-will, unfairness, and
calumniation. Since they have not succeeded in silencing us in a
conspicuous manner, they would like to kill us insignificantly,
for which, however, other weapons would be necessary than those
which they have at their command.

Meanwhile Bronsart's form of argument will give you a pleasant
hour, and if, as you tell me, you have found in Munich a few
comrades of the same mind, let the "Musikalische Pflichten" be
recommended in their circle.

Amongst other things the assumption of the reporter of the A. Z.
that Wagner himself had never conducted his Lohengrin better than
Franz Lachner, appeared to me very droll. It is well known that
Wagner has never heard this work, let alone conducted it!--
Ignorance of this kind is, moreover, not the worst on the other
side, where intentional and unintentional ignorance and lies (not
to mince the matter) are continually being directed against us.

But enough of that. Let us continue to go on our own way simply
and honorably, and let the tame or wild beasts on our right and
left behave as they like!--

I have not kept your last letter (during my stay in Dresden).
Address, up to the 25th of this month, to Haslinger in Vienna. I
shall get there by the beginning of next week, and shall conduct
the Gran Mass in the Redouten-Saal [Ball-room] on the 22nd and
23rd. Next Thursday the "Dante Symphony" and the "Ideale" will be
given here--and on Sunday "Tasso" (in a Conservatorium Concert).
Tausig and Pflughaupt [A pupil of Henselt and Liszt (1833-71)]
play my two Concertos.

In the E-flat major (No. 1) I have now hit on the expedient of
striking the triangle (which aroused such anger and gave such
offence) quite lightly with a tuning-fork--and in the Finale
(Marcia) I have pretty nearly struck it out altogether, because
the ordinary triangle-virtuosi as a rule come in wrong and strike
it too hard.

Rubinstein and Dreyschock came to see me in Weymar before I left.
The latter is intending to go to Munich. Go and see him and give
him greetings from me.

Write and tell me, dear Dionysius, if I can be of use to you in
any way, and you may always dispose of Yours in all friendship,

F. Liszt

Prague, March 9th, 1858

P.S.--Give me some tidings about your stay in Munich. With whom
do you have most intercourse? Do you see many of my friends
there--Kaulbach, Frau Pacher, etc.? Do you give lessons? Are you
thinking of settling there, or do you intend to make a concert
tour, and if so, where?--Send me also your exact address.



199. To Eduard Liszt

Dearest Eduard,

Hearty thanks for your few lines.

The letter of invitation has not yet arrived. It goes without
saying that I shall accept it; and as soon as I know in what form
and to whom I have to reply, I shall write at once. Meanwhile I
intend to reach Vienna on Monday, or Tuesday at latest. After
tomorrow's concert (with "Dante" and the "Ideale") there is still
a Conservatorium Concert to come off on Sunday at midday, at
which I shall conduct "Tasso," and also my first Concerto will be
played by Herr Pflughaupt. I shall either start for Vienna at
once that same evening, or else on Tuesday early. Will you be so
good as to order me rooms, as before, in the Kaiserin von
Oesterreach [Empress of Austria.] hotel? I am bringing Tausig
with me, whose acquaintance you will like to make.

Yours in spirit, and by the ties of flesh and blood,

F. Liszt

Prague, Wednesday early, March 10th, 1858

I received the five hundred gulden all right--and also the big
bill, which was a pleasant surprise to me, for when I left Weymar
I had made up my mind to give up all claim to it. Now that it has
come, however, it must be something good!--I promise you this,
that we shall not disgrace ourselves, and shall even surpass the
expectations of our very few friends!--



200. To Frau Dr. Steche in Leipzig

Vienna, March 20th, 1858

How many excuses I owe you, my dear lady and kind friend, for all
the trouble and disagreeables that the "Preludes" have occasioned
you! I can really scarcely pardon myself for having written the
piece!--When the Princess informed me of your kind intention I
wrote to her that a performance of my things in Leipzig appeared
to me untimely, and that I was resolved to let them fall into
oblivion rather than to importune my friends with them. Hence the
heterogeneousness of the letters and telegrams to you, dear
madam, which I beg you kindly to excuse. Candidly, I still think
it is better not to have the "Preludes" performed now in
Leipzig;[As there had already been a performance of this on the
26th of February, 1857, this can only refer to a performance in
the "Euterpe" Concerts.] but I thank you none the less warmly for
the kind interest you take in my compositions--in spite of their
bad name--and take this opportunity of repeating to you the
expression of high esteem and friendly devotion with which I
remain

F. Liszt



201. To Professor L. A. Zellner in Vienna

Pest, April 6th, 1858

Dear Friend,

With the

[Here Liszt writes a musical score excerpt of a whole note A
falling to quarter note D, in octave below middle C, with the
word 'Cre - do' under the notes]

Cre-do we will conclude this time in Vienna! We must not give
certain gentlemen any occasion to imagine that I concern myself
about them more than is really the case. Faust and Dante can
quietly wait for the due understanding of them. I must send them
next to Hartel, so that they may be published by the end of this
year. Give my very best thanks to Hellmesberger for the kind way
in which he meets me; he will forgive me if I cannot as yet put
it to use. Under existing circumstances it is wise and suitable
for me "to strive with earnest consistency for my high aim,
regardless of adverse circumstances and small-minded people."

At the end of next week I go to Lowenberg, and thence back to
Weymar. Therefore no concert in Vienna for this season--what may
happen later on remains meanwhile undecided.

The Pest concert has also not been given; but possibly my
Symphonic Poems may obtain a hearing in Pest sooner than in
Vienna, because I may expect much more susceptibility to them
here. When I have got my Opera finished, [This must be
"Sardanapalus."] I must in any case stay here a couple of month--
and on that occasion, perhaps, I may be able to bring in my
Symphonic things in three or four concerts. But there is no hurry
whatever for this; the "Elizabeth" and the Opera must be finished
first...

My intention had been to get to Vienna yesterday, and to be
satisfied with calling only on our four solo-singers and Count
Raday in Pest to express my thanks. But I was pressed on all
sides in so kind a manner to let my Gran Festival Mass be heard
again that I willingly acquiesced. The articles in the Austrian
p[aper], and your brochure, have done the most towards stirring
up the general wish. The public is like this--that they only know
what they ought to think of a work when they see it printed in
black and white!--You have therefore to answer for it if the Mass
is performed here a second time--on Friday afternoon in the
Museum-Saal (for the benefit of the Conservatorium) and on Sunday
in the Parish Church. On Monday evening I shall be in Vienna. I
wrote to Tausig yesterday that we would decide on the evening of
our musical meeting at your house after Countess Banffy has
chosen on the evening for her soiree (at which Tausig will play).
If I hear anything further about it Tausig shall let you know at
once, so that you may be able to make your invitations in
advance. On Thursday or on Saturday at latest I leave Vienna. All
further particulars viva voce.

Yours ever,

F. Liszt

There is no truth in the idea of a private concert. I will tell
you in what way I might be able to realize it another time--and
will take counsel and consent about it from you.



202. To Eduard Liszt

Dearest Eduard,

It is not enough that I have already been in all sorts of trouble
here in connection with the two performances of the Gran Mass,
which will take place next Friday and Sunday (for which four to
five rehearsals at the least are indispensable)--but now the post
from Vienna brings me bad tidings, for which indeed I was
prepared, but which, nevertheless, are by no means desired by me.
I had a long letter yesterday from our friend Z., which I am
answering with a decided refusal as regards a nearly impending
performance of my Symphonic Poems in Vienna. For this time we
will stop at the two performances of the Gran Mass--neither a
note more nor less. Later on we will consider how we shall stand
on the next occasion, and I shall take counsel with you about it,
because I have the conviction that you not only intend and act
for the best and kindest as regards me, but also the most
judiciously!--

On Monday evening I shall be back in Vienna--and will expect you
directly I reach home. If possible I shall start from Vienna on
Thursday evening--but at the latest on Saturday early. I have
written to Tausig to take my old rooms for me. Much as I should
like to come to you, yet this time it is simpler for me to stay
at an hotel.

To our speedy meeting, which, alas! will be a good deal clouded
for us by these various obstructions. But in Vienna it can't be
otherwise. On this account you must soon come again to Weymar,
where we can belong to ourselves.

Heartfelt greetings in sincere friendship and loving devotion
from

F. Liszt

Pest, April 7th, 1858



203. To Adolf Reubke, Organ-Builder at Hausneinsdorf in the Harz.

[Written on the death of his son Julius Reubke (died June 3rd,
1858), a favorite pupil of Liszt's.]

Dear Sir,

Allow me to add these few lines of deepest sympathy to the poem
by Cornelius, ["Bein Tode von Julius Reubke" ("On the Death of
Julius Reubke"). Cornelius, Poems. Leipzig, 1890.] which lends
such fitting words to our feelings of sorrow. Truly no one
could feel more deeply the loss which Art has suffered in your
Julius, than the one who has followed with admiring sympathy his
noble, constant, and successful strivings in these latter years,
and who will ever bear his friendship faithfully in mind--the one
who signs himself with great esteem

Yours most truly,

F. Liszt

Weymar, June 10th, 1858



204. To Prince Constantin von Hohenzollern-Hechingen

[Autograph in the possession of Herr Alexander Meyer Cohn in
Berlin.--This very musical Prince was for years Liszt's patron,
and often invited the latter to stay with him at his Silesian
residence at Lowenberg, where he kept up an orchestra.]

Monseigneur,

When Your Highness was kind enough to express your views to me
respecting your noble design of encouraging in an exceptional
manner the progress of musical Art, and to question me as to the
best mode of employing a certain sum of money for this object, I
think I mentioned to you Mr. Brendel, the editor of the Neue
Zeitschrift fur Musik, as the best man to make your liberal
intentions bear fruit. As much on account of the perfect
uprightness of his character, which is free from all reproach, as
for the important and continuous services which his paper and
other of his works have rendered to the good cause for many years
past, I consider Mr. Brendel entirely worthy of your confidence.

It is not lightly that I put forward this opinion--and I venture
to flatter myself that my antecedents will be a sufficient
guarantee to Your Highness that in this matter, as in any others
in which I may have the honor of submitting any proposition to
you, I could follow no other influences, no other counsels, than
those of a scrupulous conscience. Putting aside all
considerations of vanity or personal advantage foreign to the end
in view, my sincere and sole desire is to make Your Highness's
intentions and capital the most productive possible. It is with
this view that I have openly spoken of the matter to Brendel,
whose letter, which I venture to enclose herewith, corresponds,
as it seems to me, with the programme in question.

I venture to beg you, Monseigneur, to look into this attentively,
and to let me know whether you will grant permission to Brendel
to enter into these matters more explicitly by writing to you
direct. In the event of the propositions contained in his letter
meeting with the approval of Your Highness, as I trust they may
do, it would be desirable that you should let him know without
too much delay in what manner you would wish your kind intentions
carried out.

In order to fulfill its task of progress, the Neue Zeitschrift
fur Musik has not spared its editor either in efforts or
sacrifices. By the fact that it represents, in a talented and
conscientious manner, the opinions and sympathies of my friends
and myself, it is in the most advanced, and consequently the most
perilous, position of our musical situation; therefore our
adversaries lose no opportunity of raising difficulties for it.
	Our opinions and sympathies will he sustained, I doubt not,
by their worth and conviction; but if Your Highness condescends
to come to our aid, we shall be both proud and happy--and it is
by spreading our ideas through the Press that we can best
strengthen our position.

In other words, I am convinced that, in granting your confidence
to Mr. Brendel, the sum that Your Highness is pleased to devote
to this matter will be employed in the most honest manner, and
that most useful to the progress of Art--and that all the honor
and gratitude which your munificence deserves will spring from
it--as is the earnest desire of him who has the honor to be,
Monseigneur, Your Highness's most devoted and humble servant,

F. Liszt

Weymar, August 18th, 1858



205. To Frau Rosa von Milde

[Court opera-singer in Weimar, nee Agthe; the first Elsa in
Lohengrin; a refined and poetical artist]

Weymar, August 25th, 1858

My honored and dear Friend,

If the outward circumstances which you mention in your kind
letter are not exactly of the kind that I could wish for you, yet
I am egotist enough to be much pleased at its friendly contents
towards myself. Accept my warmest thanks for them--and let me
tell you how anxious I am that you should like me very much, and
how desirous I am to deserve this--as far as it can be deserved;
for the best part of a harmonious intimacy must ever remain a
free gift.

The "wanton, ragged garments of the Muse," which you abandon with
strict generosity, make a show and  please almost everywhere. Her
sensual charm is not unknown to me; yet I think I may say that it
was given me to lay hold of a higher and a pure ideal, and to vow
to it my whole endeavors for many years past. You, dear friend,
have, through your singing, often led me to this in the best way,
without thinking of it. Moreover it always does me so much good
when we meet in unity in the same path.--

Owing to a heap of visits (among which were several of deep
interest, such as Kaulbach, Varnhagen, Carus, etc.), I have been
much interrupted in the completion of the "Elizabeth." Still, I
hope to be ready with it by February. You will then again do the
best part for it, and must practice works of artistic mercy!--
What is the good of anything that is written on paper, if it is
not comprehended by the soul and imparted in a living manner?--
But among the works of mercy I am not desirous that you should
have to bury a still-born Oratorio!--

My heartfelt, twofold greetings to Milde, as friend and as
artist. I am writing the part of Landgrave Ludwig for him--and,
as the Landgrave is very speedily got out of the way, I will ask
him to undertake, in addition, two other parts (those of a
Hungarian magnate and a bishop).

The day after tomorrow I accompany the Princess to the mountains
and cascades of the Tyrol. On our return journey we shall spend a
couple of days in Munich, and shall be back here by the end of
September. Will you allow me to conduct "Alceste" on the 2nd of
October?--Sobolewski's "Comala" [Opera by Sobolewski.] is fixed
for the 12th. I shall give over to our common friend Lassen (to
whom please remember me warmly) the pianoforte rehearsals during
my absence.

I hope you will get quite strong and enjoy yourself much at the
seaside, dear friend, and return in good spirits to us at Weymar,
where you are quite indispensable to

Yours most truly and devotedly, F. Liszt

P.S.--Possibly Fraulein * * * (whose name at this moment I
forget) will come from Berlin to Weymar during my absence. I
recommend her again to Milde and yourself. Preller will introduce
her to you, and I beg that Milde will help her with good
teaching. If I am not mistaken, she would stand proof well in
mezzo-soprano parts.

I have trustworthy tidings of the brilliant success of the first
performance of "Lohengrin" in Vienna (on the 19th of this month).
Rienzi was also taken up again in these days as before.



206. To Dr. Franz Brendel

Dear honored Friend,

The memorandum is excellent, and I agree with it in all points. I
have noted this, according to your wish, at the end by the words
vu et approuve [Seen and approved.] (a perfectly correct formula
in French). The Prince's address is as follows:--

To His Highness Prince Constantin Hohenzollern-Hechingen,
Lowenberg, Silesia. I should not be able for the present to find
you a Paris correspondent. But, as I understand, Bülow intends to
go to Paris in the course of this winter, and would then be best
able to tell you of a colleague there. There is no hurry about
the article on theater curtains. As soon as I am somewhat through
the mass of arrears in correspondence I will take an opportunity
of sending it to you, but whether it will be in time to appear in
the first number of the "Anregungen" I cannot say.

I told Pohl yesterday that I wish the Dresden Weber concerto
affair in the meantime not to be mentioned in the paper. The
whole affair has for the moment made an extraordinary stir, and I
will tell you about it later on. For the present there is nothing
to be said about it on our side, even if other papers mix
themselves up in it in an incompetent manner. Very likely the
winter will slip away before the intended concert comes off. [The
Dresden theater directors intended, as M. M. v. Weber tells us in
his biography of his father (vol. ii., p. 721), to arrange a
concert for the benefit of the Weber Memorial which was to be
erected. Liszt was equally desirous of doing something publicly
for the Master whom he so highly esteemed; but "because they
could not agree whether he should take part in the directors'
concert or use the personnel of the Royal Opera at his own
concert, neither of the concerts was given."]

Sobolewski (who has been detained this time by his theater work
in Bremen) will come here for the second performance of "Comala".
I will let you know about it.

The work is worth your hearing and interesting yourself in. Owing
to the acting of the two Schmidts (husband and wife), as guests
here, ["Das Gastspiel"--the playing as guests at a theater--is an
expression used when actors or singers other than those attached
to the theater of the place come to act or sing there for a time]
the second performance has been postponed until towards the
middle of this month.

I will send Riedel the pianoforte edition of my Mass very
shortly.

With heartfelt greetings,

Yours,

F. Liszt

November 2nd, 1858



207. To Johann von Herbeck

Dear Friend,

Your three splendid fellows, my high-minded and honorable
gipsies, ["Die drei Zigeuner" ("The Three Gipsies"), by Lenau,
for voice with pianoforte accompaniment.] are most excellently
lodged on the Altenburg. First of all the song was played on the
violin, then with cello--another time I tried it alone, and
yesterday Caspari sang me the song, so full of pith and beauty
and intrinsic worth, to the delight of us all and of myself in
particular. It will remain as a brilliant repertoire piece
amongst us, and I shall very soon introduce it to Tichatschek,
who will assuredly give it with inspiration and will make it
widely known. Please forgive me, dear friend, for not having
expressed my warm thanks to you sooner.--I only got home a few
weeks ago from my journey to the Tyrol and Munich, and have
scarcely been able to sit down to write, owing to all the
business pressing upon me from every side. If Lessing says "One
must not must," nevertheless the saying of Kladderadatsch, "Bien
muss," ["The bee must"--referring to a joke in the German Punch
(Kladderadatsch).] is, for ordinary mortals, much more
applicable--and over this "bee must" one at last becomes quite
idle from sheer weariness.

I will take the first opportunity of sending you your manuscript
of the score of the Mass for men's voices to Vienna. The Gloria,
which was performed at the University Jubilee Festival of Jena
last August, was made most effective by your excellent
instrumentation. You will observe a slight alteration at the
conclusion (six bars instead of five, and a slightly less risky
modulation), which I beg you to follow at any performance there
may chance to be in Vienna.

As regards the choruses to "Prometheus," I confess to you
candidly that, much as I thank you for thinking about them, I
think it is wiser to wait a little bit. I am not in the slightest
hurry to force myself on to the public, and can quietly let a
little more of the nonsense about my failure in attempts at
composition be spread abroad. Only in so far as I am able to do
something lasting may I place some modest value upon it. This can
and will be decided by time alone. But I should not wish
previously to impose on any of my friends the disagreeables which
the performance of my works, with the widespread presuppositions
and prejudices against them, brings with it. In a few years I
hope things will go better, more rationally, and more justly with
musical matters.

Until then we will go forward composedly and contemplatively on
our way! Once more best thanks and greetings from yours in all
friendship,

F. Liszt

Weymar, November 22nd (St. Cecilia's Day), 1858



208. To Felix Draseke

My very dear Friend,

Herewith the piano edition of the two first acts of "Sigurd."
[Opera by Draseke.]--Imagining that you may also want the score
of the first act, which had remained here, I send it also, sorry
as I am to part from this monumental work. Under present existing
circumstances, which on my side are passive and negative, as I
intimated to you after the performance of Cornelius's Opera,
there is no prospect of putting Sigurd on the boards at present.
But I promise myself the pleasure and satisfaction of letting all
your "Tamtis" and "Beckis" be heard, when I have again resumed my
active work at the Weymar theater, for which there may probably
be an opportunity next season.

After you left Weymar we had to swallow a kind of second piece or
supplement to the performance of the "Barber of Baghdad," on
occasion of Madame Viardot's performance as "guest" here. But I
will not weary you with tales of our local miseries and crass
improprieties. I will only intimate thus much--that, under the
present Intendant régime, to my sorrow, the inviting of Frau
Schroder-Devrient to play here as guest is met by almost
unconquerable difficulties from within. Tell our excellent friend
Bronsart this, and tell him into the bargain that a concert (in
the room in the Town Hall), at which he and Frau Schroder-
Devrient should appear without any other assistance, would
certainly be very welcome to the public, and I should look upon
this as in any case a practical introduction to the performance
as guest. This matter lies outside my present sway, but it goes
without saying that I will not fail to let my slight influence
towards a favorable solution of the matter be felt.--

The day before yesterday I heard at Gotha your countryman's new
opera (Diana von Solange) for the second time. The work was
received with great approval, and is shortly to be given in
Dresden, where you will be best able to judge of it. Mitterwurzer
and Frau Ney have some very effective moments in it.

The concerts of the joint Weymar and Gotha orchestras (a matter
which I broached long ago) again came under discussion, and
possibly this March an attempt will be made to set them going.
Meanwhile let us look after our cordial [Magen-Starkung] "mentre
che il danno e la vergogna dura," ["Whilst prejudice and shame
last."] as Michael Angelo says.--

Friendly greetings from your faithful and devoted

F. Liszt

January 12th, 1859

Will you give the enclosed letter to Bronsart?



209. To Heinrich Porges In Prague

[Now Royal music-director and conductor of a first-rate Gesang-
verein [vocal union] in Munich, where he has lived since 1867.
Born 1837. Is also a writer on music.]

Dear Sir and Friend,

Owing to your affectionate understanding of what I have striven
after in the "Dante Symphony" and the "Ideale", you have a
special right to both works. Allow me to offer them to you as a
token of my sincere attachment, as also of the grateful
remembrance which I keep of the Prague performance. [At Porges'
initiative the medical students had invited Liszt, in 1858, to a
concert, at which his Dante Symphony and the Icdeale were given.
In 1859 Bulow was also invited at Porges' inducement.] Taking
your kindness for granted, I beg you to give the other two copies
to Herr Professor Mildner and Herr Dr. Ambros with my best
thanks.

It is to be hoped that this year's "Medical" Concert will have
favorable results. My valiant son-in-law, H. von Bulow, cannot
fail to be recognized among you as an eminent musician and noble
character. I thank you and Herr Musil (to whom I beg you to
remember me most kindly) for offering Bülow this opportunity of
doing something in Prague.--There is no doubt that he will
fulfill all your expectations.

For the next "Medical" Concert I willingly place myself at your
disposal. Possibly we might on this occasion venture on the
Symphonic Poem No. I "Ce qu'on entered sur la Montagne"--the
chorus "An die Kunstler," and the "Faust Symphony?"--The
respected medical men would thus take the initiative in the new
musical pathology!--

For the Tonkunstler-Versammlung, etc. [Meeting of Musicians], in
Leipzig at the beginning of June Dr. Brendel is expecting you,
and I rejoice at the thought of meeting you again there. If the
affair is not too much hampered in its natural course by local
miseries and malevolence, it may do much for the bettering of our
suffering musical position. In any case we will not fail in doing
our part towards it.

With highest esteem, yours most truly,

F. Liszt

Weymar, March 10th, 1859



210. To Capellmeister Max Seifriz in Lowenberg

[Autograph in the possession of Herr Alexander Meyer Cohn in
Berlin.]

Dear Friend,

I feel the most heartfelt sympathy with you in your sad days at
Lowenberg, and trust with you that they will not last much
longer. When there is a suitable opportunity, express to our
Prince my heartfelt, grateful devotion. Then tell me quite openly
and candidly whether my visit to Lowenberg, in the course of next
month, will be welcome and will make no trouble. I had planned to
spend the Easter week there, and only await preliminary tidings
from you to announce myself by letter to His Highness. Dr.
Brendel wished at the same time to pay his respects to the
Prince. The press of work upon him just now especially will only
allow him to stay a couple of days with you; but I for my part,
if I am assured that my visit will not come inopportunely, should
like to prolong my stay a little. Perhaps, as you are so kindly
intending to invite Damrosch, it might be arranged for him to
come at the same time. It would be a great pleasure to me to see
the valiant friend and comrade in Art again with you.

I give you once more my best thanks for the kind attention which
you have caused to be bestowed on my works. The many attacks on
me which I have to bear enhance still more the value I place on
the sympathy and concurrence of my friends.

By today's post I send you the scores of the Dante Symphony, the
"Ideale," and the Goethe March, which have just come out--the
former merely to read through (as a memento of the Dresden
performance, which served as a rehearsal to me, after which
several alterations in the score occurred to me)-but the other
two might not be wholly unsuitable for a performance with your
gallant orchestra, to whom I beg you to remember me most kindly.

May the things be welcome to you, dear friend, as a token of the
very high esteem of

Yours in all friendship,

F. Liszt

Weymar, March 22nd, 1859



211. To Eduard Liszt

Warmest thanks for all you have done, said, and felt, dearest
Eduard. I hope that I am only going a few steps in front of you,
and that in a couple of years the same distinction will fall to
your lot, in which I shall then have the same pleasure as is
granted to you today. [This would be the bestowing of the title
of nobility on Liszt, who, however, as is well known, never used
it.]

Herewith my letter of thanks to S. E. von Bach. [Austrian
Minister of the Interior.] Perhaps you would think it well to
deliver the letter yourself. Take the opportunity of remembering
me to Wurzbach, who has always been most friendly to me. I will
write to Daniel one of these next days. The Princess goes
tomorrow to Munich, where Kaulbach is painting the portrait of
Princess Marie. On the 30th of this month I again make a visit to
Prince Hohenzollern at Lowenberg (Shlesia), and shall then soon
take up my quarters at Leipzig, where we shall have to live
through some rather warm days on the 1st, 2nd, and 3rd June. For
the rest there are good prospects for us there; and, even if
dishonesty and malevolence make the utmost exertions (as we may
expect they will do), this can do us but very little injury
(where it does not help us).

You have possibly already heard that the Schiller Festival in
Weymar has been frustrated by the imprudence of Dingelstedt. In
spite of that I am composing the Introduction to the Festival by
Halm, which may find its use here or elsewhere. With heartfelt
thanks and greetings, your

F. Liszt

[Weimar,] April 5th, 1859



212. To N. N., Music-Director at Weimer

[Autograph in the possession of Herr Gille, Privy Councillor in
Jena.]

Dear Herr Music-Director,

I learn today by chance of the measures which have been taken a
posteriori against the concert conducted and arranged by Herr
Gotze [Carl Gotze, chorister, afterwards music-director.] and
sincerely regret that a Weimar music-director and Weymar Court
musician could deem such a thing suitable.

I, with my exceptional and only occasional dealings with the
orchestra here, can only draw your attention to the fact of how
deplorably such occurrences run counter to a nice feeling of
decorum, and still more to the nobler artist feeling.

With compliments,

F. Liszt

April 17th, 1859



213. To Peter Cornelius In Vienna Weymar

May 23rd, 1859

Dearest Friend,

I learn with joy from your letter (which has just crossed mine
from Lowenberg), that things are going well and comfortably with
you in Vienna. It is easy to see that your stay there, when once
you have made a firm footing, will become very advantageous--and
whatever I can do towards helping this you may be sure I shall
do. Herewith a few lines for Herr von Villers, Secretary of the
Saxon Embassy (where you will learn his address). He is one of my
older friends who has remained very dear to me. In his refined
poetic and musical feeling many kindred tones will sound for you.
Tell him all about Weymar and play him something from the
"Barbier". [Cornelius' Opera] Although he lives somewhat a part,
he can prove himself agreeable to you in many things,--firstly,
by his own personal intercourse--and then also by his relations
with Baron Stockhausen (the Hanoverian Ambassador), at whose
house there is frequently really good music, etc.--Don't delay,
therefore, looking up Villers.

For today I must beg you also to get the Prologue for the Leipzig
days [The Leipzig Tonkunstler-Versammlung (Meeting of Musicians),
from which the Allgemeine Deutsche Musikverein (Universal German
Musical Society) sprang] ready as quickly as possible. I shall
settle down at the end of this week (Saturday) in Leipzig--Hotel
de Pologne. It would be very good of you if you could send me the
Prologue to Leipzig within eight days. Address to Brendel,
Mittelstrasse, 24. I still do not possess a single copy of my
Mass, because I sent on the two or three that had been previously
sent to me at once to M[usic]-D[irector] Riedel for studying the
work. But my cousin, Dr. Eduard Liszt, will certainly be
delighted to give you your copy at once. You have only to tell
Daniel to bring it to you, if you have not time to call on
Eduard.

Frau von Milde, Bulow, Bronsart, Draseke, Lassen, etc., etc.,
etc., are coming to Leipzig from Monday, 30th May, until Sunday,
4th June. You must not fail us, dearest friend, and we await you
with open arms and loving hearts. Your

F. Liszt

The Princess stays a little longer in Munich, and will not get to
Leipzig till towards the end of this month. Remember me most
respectfully and warmly to Hebbel.

Best greetings to Catinelli.

Once more, please send the "Prologue".



214. To Dr. Franz Brendel

[Autograph in the possession of Herr A.O. Schulz, bookseller in
Leipzig.]

Herewith is an answer to the nine points of your letter of today,
my dear friend [Referring to the Tonkunstler-Versammlung in
Leipzig, in June, 1859].

1. The Mildes have got leave of absence from Monday, 30th April,
till Friday, 3rd June, inclusive. Your programme remains as
already fixed. Duet from the "Flying Dutchman", "Cellini Aria",
Songs by Franz and Schumann (etc. ad libitum).

2. I will bring all the orchestral parts that there are with me,
or, better still, I will send you the whole lot tomorrow. For
"Tasso" the whole set is complete--but for the "Duet" from the
"Dutchman", and the "Cellini Aria" and "Overture" a couple of
copies of the quartet will have to be written out afresh in
Leipzig.

3. I do not possess the "Overture to the Corsair" [By Berlioz]
(and would not recommend it for performance), and the "Prelude to
Tristan" Bülow will see after.

4. I expect more particulars from Bülow in the course of the
week.

5. I am writing today to Cornelius about the Prologue affair.

6. Herewith is the German text of the Mass,[Lizst's "Gran
Festival Mass."] which is to be printed in Leipzig in the same
manner as in Vienna--namely, with the addition of the Latin text-
-and which belongs to the General Programme of the	Festival.
This programme we will settle and revise together next Sunday.

7. Leave of absence for Frau Pohl will be attended to.

8. I reserve to myself the matter of deciding on what pianists
shall accompany the Ballads, and undertake the piano part of the
"Trios" that are to be given. If possible I want Bronsart to take
a part in it.

9. I will send off the definite invitations to the nobility next
Sunday (at latest) from Leipzig to Gotha and Meiningen. I am
coming to you on Saturday afternoon, 21st May [Must be 28th May,
as the letter is dated the 23rd], and shall then stay in Leipzig
till the end of the Festival. For the present a suitable room
(without sitting-room) will satisfy me, and I beg you to bespeak
this for me in the Hotel de Pologne for Saturday. My ministering
spirit should have his room close to mine, because looking for
him and calling is highly disagreeable to me.

Goodbye till Saturday. Your

F. Liszt

Monday, May 23rd, 1859

P.S.--The performance of "Judas Maccabaeus" (for the Handel
Festival) is announced here for next Wednesday, 25th May.
Tomorrow, Tuesday, there will be a similar Handel celebration in
Erfurt with a performance of the "Messiah." Frau von Milde will
sing the soprano part there. Let Pohl know this--perhaps he may
like to hear "Judas."

The rehearsals of Rietz's little Opera are in progress, and
Pasque (who has written the libretto for it) told me yesterday
that the first performance will take place next week. Probably
Rietz will undertake to conduct it, as I proposed.



215. To Felix Draseke

Where, my dear, excellent friend, have you got hold of the
extraordinary idea that I could be angry with you? How to begin
such a thing I really should not know. You are far too good and
dear to me for me not to remain good to you also in all things!--
Herewith are a few lines for Wagner, which however you don't in
the least need. I am glad that you are not putting off this
journey any longer. But before you set out WRITE to Wagner (you
can add my lines to your letter extra), and inquire whether he
will be staying at Lucerne still, so that your Swiss pilgrimage
may not be in vain.--You will be certain to get an answer from
Wagner by return of post, and will thus be sure of your object.

Schuberth tells me that "King Helge" will ride into his shop
almost immediately...to Sigrun, the ever blooming delicious
sorrow!--How scornfully, "without greeting or thanks," will "King
Helge" look down upon all the other wares in Schuberth's shop.
Somewhat as the hippopotamus looks on toads and frogs.--But it is
quite right to let the Ballade come out, and I am impatiently
awaiting my copy.--[Liszt subsequently formed out of Draseke's
song the melodrama of the same name.]

I hope it may be possible for me to come to Lucerne at the end of
August. But send some tidings of yourself before then to

Your sincere and faithful

F. Liszt

[Weimar,] July 19th, 1859



216. To Peter Cornelius in Vienna

Dearest Friend,

You are quite right in setting store upon the choice and putting
together of the three Sonatas. The idea is an excellent one, and
you may rest assured of my readiness to help in the realization
of your intention as well as of my silence until it is quite a
settled thing. If Bronsart could decide on going to Vienna, his
cooperation in that matter would certainly be very desirable.
Write about it to him at Dantzig, where he is now staying with
his father (Commandant-General of Dantzig). Tausig, who is
spending some weeks at Bad Grafenberg (with Her Highness the
Princess von Hatzfeld), would also adapt the thing well, and
would probably be able to meet your views better than you seem to
imagine. As regards Dietrich, I almost fear that he does not
possess sufficient brilliancy for Vienna--but this might, under
certain circumstances, be an advantage. He plays Op. 106 and the
Schumann Sonata capitally--as also the "Invitation to hissing and
stamping," as Gumprecht designates that work of ill odor--my
Sonata. Dietrich is always to be found in the house of Prince
Thurn and Taxis at Ratisbon. He will assuredly enter into your
project with pleasure and enthusiasm, and the small distance from
Ratisbon makes it not too difficult for him. You would only have
to arrange it so that the lectures come quickly one after the
other.

Where Sasch Winterberger is hiding I have not heard. Presupposing
many things, he might equally serve your purpose.

In order to save you time and trouble, I will send you by the
next opportunity your analysis of my Sonata, which you left
behind you at the Altenburg.

Draseke is coming very shortly through Weymar from Lucerne. I
will tell him your wish in confidence. It is very possible that
he would like to go to Vienna for a time. I have not the
slightest doubt as to the success of your lectures, in
conjunction with the musical performance of the works.--I would
merely advise you to put into your programme works which are
universally known--as, for instance, several Bach Fugues (from
"Das wohltemperierte Clavier"), the Ninth Symphony, the grand
Masses of Beethoven and Bach, which you have so closely studied,
etc. [The proposed lectures did not come off.]

Well, all this will come about by degrees. First of all a
beginning must be made, and this will be quite a brilliant one
with the three Sonatas. Later on we will muster Quartets,
Symphonies, Masses, and Operas all in due course!

A propos of operas, how are you getting on with the "Barbier" and
the publication of the pianoforte edition? Schuberth told me for
certain that printing would begin directly they had received the
manuscripts. Don't delay too long, dearest friend--and believe me
when I once more assure you that the work is as eminent as the
intrigue, to which it momentarily succumbed, was mean-spirited.

Schuberth has no doubt told you that I want to make a
transcription of the Salamaleikum. But don't forget that another
Overture is inevitably NECESSARY, in spite of the refined,
masterly counterpoint and ornamentation of the first. The
principal subject

[Figure: Musical example of the principal subject.]

must begin, and the "Salamaleikum" end it. If possible, bring in
the two motives together a little (at the end). In case you
should not be disposed to write the thing I will do it for you
with pleasure--but first send me the complete piano edition for
Schuberth. The new Opera can then afford to wait a while, like a
"good thing"--only may weariness at it remain long absent
[Untranslatable play on the words Weile and Langeweile]!--In
order that you may not have a fit of it in reading this letter, I
will at once name to you the magic name of Rosa [Rosa von Milde,
the artist and friend of Cornelius, who wrote poetry upon her]...

In consequence of an insinuating intimation of our mutual
patroness, I have still to add the excuses of our good friend
Brendel to you. When I have an opportunity I will tell you in
person about the Prologue disturbances at the Leipzig Tonkunstler
Versammlung. Pohl had also supplied one--but the choice was given
over to Frau Ritter, and she chose her good "Stern," whose
prologue was indeed quite successful and made a good effect. But
oblige me by not bearing any grudge against Brendel, and let us
always highly respect the author of "Liszt as a Symphonic
Writer"!--

A thousand heartfelt greetings from your faithful

F. Liszt

Weymar, August 23rd, 1859

Princess Marie will thank you herself for the Sonnet, and at the
same time tell you about the musical performances of the 15th
August. Lassen's song, "Ave Maria," of which you gave him the
poem long ago, was especially successful. The Quartet:

"Elfen, die kleinen,
Wollen dich grussen,
Wollen erscheinen
Zu deinen Fussen"

["Elfin world greeting
To thee is sending,
Fairy forms lowly
At thy feet bending."]

composed by Lassen), and

"Wandelnde Blume, athmender Stern,
Duftende Bluthe am Baum des Lebens"

["Swift-changing flowers, pulsating star,
Sweet-scented blossoms on life's living tree."]

(composed by Damrosch), which we had sung together two years ago,
rejoiced us anew and most truly this time.



217. To Dr Franz Brendel

[In this letter, the programme refers to some theater concerts,
which were to be arranged according to Brendel's design.  The
sketch was as follows:--

"1st Concert: Paradise and the Peri.
2nd Concert:  Eroica, Prometheus.
3rd Concert:  Overture of Wagner. Solo (Bronsart). Overture of
              Beethoven.
              2nd part: L'enfance du Christ of Berlioz.
4th Concert:  Festival Song of Liszt. Solo. Draseke. Chorus for
              men's voices from his Opera.
              2nd part: Walpurgisnacht of Mendelssohn.
5th Concert:  Overture of Berlioz, Wagner, or Beethoven.
		  Solo. Preludes.
		  2nd part: Manfred.
6th Concert:  Overture. Solo. Tasso.
		  2nd part: B-flat major Symphony."

To this Liszt adds, besides some remarks about getting the parts for
No. 5:

"An orchestral work of Hans von Bulow (possibly the Caesar Overture)
would be suitable for this concert. I would also recommend that
Bronsart's "Fruhlings-Phantasie" ["Spring Fancy"] should be included in
one of the programmes.

"Of Berlioz' works I should recommend the following as the most
acceptable for performance:--

"The festival at Capulet's house (Romeo),
The Pilgrims' March (from Harold),
Chorus and Dance of Sylphs (Faust),
Terzet and Chorus (from Cellini), with the artists' oath,
Overture to Lear.

"N.B.--We can bring out the Terzet from Cellini at the next
Tonkunstler-Versammlung. It is a very important and effective piece."]

Dear Friend,

The sketch for your programme is excellent, and if I have some
doubts as to the entire project, yet your proposed programme
seems to me in any case the most suitable, both as regards choice
of works and their order and grouping. With regard to the doubts
which I have so often mentioned I will only make the general
remark that a competition with the Gewandhaus in Leipzig brings a
good deal of risk with it, and for this winter a passive attitude
on our side would not specially injure our cause (at least not
according to my opinion). Whether Wirsing and Riccius will be
able to give the requisite support to the theater concerts, or
are willing to do so, I cannot undertake to say, as the ground of
Leipzig lies in many ways too far removed from me. In this I rely
entirely on your insight and circumspection, dear friend. In case
you end by deciding in the affirmative I will willingly do
something to help--as, for instance, to undertake the conducting
of the "Prometheus." I would rather not let myself in for much
more than that, because conductings in general become more
burdensome to me every year, and I don't in the least desire to
offer further active resistance to the ill-repute with which I am
credited as a conductor. Indeed I owe my friend Dingelstedt many
thanks for having (without perhaps exactly desiring to do so)
given me the chance of freeing myself from the operatic time-
beating here, and I am firmly resolved not to wield the baton
elsewhere except in the most unavoidable cases! Bülow must now
often mount the conductor's desk. He has the mind, liking,
talent, and vocation for this. If the theater concerts should be
arranged, be sure to secure his frequent co-operation. He will
certainly bring new life into the whole affair, and possesses the
necessary amount of experience and aplomb, [Employed in French by
Liszt] to be their solid representative.

I have just written to Klitzsch [Music-conductor at Zwickau] and
promised him to conduct the "Prometheus" in Zwickau. The concert
will take place at the end of October (perhaps on my birthday,
the 22nd). Although you have heard the Prometheus choruses in
Dresden, I wish very much that you could come to Zwickau this
time. I have again worked most carefully at it, have amplified
some things, and have arranged others in a simple and more
singable manner, etc. Now I hope that it will thoroughly hold its
ground and stand the test of proof. So do come to Zwickau.

I have still one more request to make to you today, dear friend.
P. Lohmann [A music colleague of the Neue Zeitschrift fur Musik,
living in Leipzig] was so kind as to send me his drama some weeks
ago. I have read The Victory of Love with much interest, but I
have not yet been able to get so far as the other, and as little
have I been able to express my thanks to him in writing. Kindly
undertake my excuses to him, and tell him that I am exceedingly
obliged by his letter and what he sent me. On the occasion of my
journey to Zwickau I will call on Lohmann in Leipzig, and tell
him personally what an impression his dramas make on me. I
specially take notice of his article in the paper.

I thank you most truly for the kindness which you have shown to
B. He is in many things somewhat awkward, impractical--and almost
looks as though he could not devote himself to any productive and
consistently carried-out form of activity. None the less is there
in him a certain capacity and worth which, in a somewhat more
regular position than he has yet been able to attain, would make
him appear worth more. A more frequent application of a few
utensils such as soak tooth-brush, and nail brush might also be
recommended to him!--I expect much good to result from your
influence on B.'s further work and fortunes, and hope that your
store of patience will not be too sorely tried by him.

With heartfelt greetings, your

F. Liszt

Weymar, September 2nd, 1859

Herewith the programme scheme with two or three little remarks
appended. Weigh again the pros and cons of the matter, and keep
the right balance between the risk and the possible gain. Motto:
"First weigh, then risk it!"--[The nearest English equivalent
seems to be "Look before you leap."

.--. I have had so much of notes [musical] to write lately that
my writing of letters [of the alphabet] has got still worse. But
where you can't read what I have written, you can guess it all
the easier.--



218. To Louis Koehler

Dear Friend,

Your letter was a real joy to me, for which I thank you heartily.
You are far too honorable, brave, and admirable a musician for
our paths to remain long sundered. For the very reason that
people cannot (as you so wittily remark) immediately "label and
catalogue me correctly and place me in an already existing
drawer," I am in hopes that my efforts and working will
eventually prove in accordance with the spirit of the time, and
will fructify. I promise you also that I am not wanting in pains
and labour in honor of my friends. But I certainly cannot
recognize weaklings and cowards as such. It is only with high-
minded, brave, and trusty comrades that we move forwards, no
matter though the number remain small. In matters of intelligence
the majority always follows the minority, when the latter is
sufficiently strong to hold its own.--Welcome, therefore, dear
friend, welcome most truly. If there is still a lot of scandal
which we have to bear quietly and without mortification, we will
by no means let ourselves be confounded by it!

I have written at once to Hartel to send you the arrangements for
two pianofortes of the Symphonic Poems that you wished for. But
there is a better way for the scores than that of a bookseller.
Fraulein Ingeborg Stark is going to St. Petersburg on the 20th of
this month, and will stay a day in Konigsberg. She will bring you
the Dante Symphony, etc., and if there should be an opportunity
she will play the things through with Bronsart (who is also going
to Konigsberg at the same time). I have grown very much attached
to Fraulein Stark, as hers is a very particularly gifted artistic
nature. The same will happen to you if you hear her striking
Sonata. Ingeborg composes all sorts of Fugues, Toccatas, etc.,
into the bargain. I remarked to her lately that she did not look
a bit like that. "Well, I am quite satisfied not to have a fugue
countenance," was her striking answer.

The Pohls are both still in Baden-Baden (whence I hear the
excerpts from Berlioz' manuscript opera Les Troyens [The Trojans]
spoken of with enthusiasm). Madame Viardot sang a grand scena and
a duet from it in the concert conducted by Berlioz--and Fraulein
Emilie Genast is staying a couple of weeks longer with her sister
Frau Raff in Wiesbaden. On her return I will give her your
greetings, and Emilie will certainly be glad to make known the
concert song which you mention to her. In her performance a
beautiful and sympathetic "melody of speech" is reflected. As I
write this word I can't help at the same time wishing that you
may find in my "Gesammelte Lieder" something that appeals to your
feelings, which you have so cleverly represented in the "melody
of speech." You will receive a proof-copy of the six numbers at
the same time as the Dante Symphony. I wanted to dedicate the
last number, "Ich mochte hingehn" (poem by Herwegh), specially to
you, and when next you have occasion to come to Weymar, I will
look for the manuscript for you on which your name is put. But as
I have left out all other dedications in this complete edition, I
propose to dedicate something else to you later--probably some
bigger and longer work.

A Ballade of Draeseke's--"Koenig Helge"--has just appeared, which
pleases me extremely. You must look closely into this wonderful
Opus 1.

In conclusion one more request, dear friend. Do me the kindness
to be perfectly free and open and regardless of consequences in
the discussion of my works. Do not imagine that the slightest
vanity comes over me or impels me. I have long ago done with all
that sort of thing. So long as you allow that I possess the
necessary musical equipments to create freely in Art, as I gather
from your letter that you do, I can but be grateful to you for
all else, even were it severe blame. I have often expressed my
opinion to my friends that, even if all my compositions failed to
succeed (which I neither affirm nor deny), they would not on that
account be quite without their use, owing to the stir and impetus
which they would give to the further development of Art. This
consciousness so completely satisfies me that I can consistently
persevere and go on composing.

With all respect and attachment I remain,

Yours most sincerely,

F. Liszt

Weymar, September 3rd, 1859

If the Koenigsberg Academy does not take alarm at my name (as has
indeed been the case in other places, owing to the foolish
prattle of the critics), they might try the "Prometheus" choruses
there by-and-by. They are to be given almost directly (at the end
of October) at Zwickau, and probably later on in Leipzig, where I
shall then also have them published.

In the matters of the prize-subject we will wait and see what
comes. You very justly remark that it hinges now upon enharmony.

It is a pity that you do not bring something. Perhaps you will
still find time to do so.



219. To Dr. Franz Brendel

Dear Friend,

I beg you to send me by return of post a copy of the intricate
biography ("Liszt's Life and Work"--if I am not mistaken) by
Gustav Schilling. Siegel and Stoll in Leipzig have taken the work
from the Stuttgart publisher, and there will surely be some way
of getting a copy in Leipzig. Ask Kahnt to be so good as to see
after one and to send it me immediately by post, for I require
the work in connection with a special and pressing question which
I can best answer by a quotation from Schilling's book.

With friendliest greetings, your

F. Liszt

Weymar, September 8th, 1859

Why does not Schuberth send me my dedicatory copy of Draeseke's
Ballade "Koenig Helge"?



220. To Johann von Herbeck

Dear Friend,

Warmest thanks for your persevering and well-wishing sympathy. It
is a great pleasure to me that you are bringing about the
performance of the Mass for men's voices on the 23rd October, and
I hope that, as you have once "made your way through it," we
shall also not succeed ill.

The "sneaking brood" (as you well name the people) can henceforth
growl as much as they like. What does that matter to us, so long
as we remain true and faithful to our task? In the performance
last year at Jena (at the secular celebration of the University)
I had the opportunity of convincing myself how capital your
instrumentation of the Mass sounds, and I especially beg that you
will not leave out one iota of it in the oboes or trombones. The
organ alone is not sufficient, especially if there is a large
chorus, and the completion of the accompaniment could not have
been better accomplished than you have done it.

N.B.--At the Jena performance I hit upon the following
alterations at the conclusion of the Gloria:

[Here, Liszt illustrates with a vocal score musical excerpt]

If you are agreed with this, then let this simplification serve
for Vienna. I can only send you the score and parts of the
"Prometheus" choruses towards the middle of November, as Klitzsch
(in Zwickau) has arranged a performance of this work on the 12th
to the 14th November, and I have already placed the parts at his
disposal. If this delay does not hinder your kind intention of
having the "Prometheus" choruses performed in Vienna, I will send
the whole packet of parts to your address in Vienna, free,
immediately after the Zwickau Concert. For the poem belonging to
it, which I will also send with the rest, it is desirable that
you should get an adequate tragic declaimer. In Dresden Davison
undertook this, and in Zwickau Frau Ritter will declaim it. I am
writing today to Herr von Bulow, but rather doubt whether he will
be able to accept your invitation for this winter. According to
what he told me lately, he thinks of going to Warsaw and Paris in
the latter part of the winter. With regard to the eventual choice
of a piece you may, moreover, pacify the strict gentlemen of the
Committee. In case Bulow should make his appearance at the
Philharmonic Concert he will, on my advice, not play my A major
Concerto (nor any other composition of mine), but just simply one
of the Bach or Beethoven Concertos. My intimate friends know
perfectly well that it is not by any means my desire to push
myself into any concert programme whatever...With regard to the
scores and parts that you want, I have noted on a separate sheet
which ones I have at my disposal, and where you can obtain the
rest. In conclusion allow me once more to beg you kindly to let
me have a couple of lines about the performance of the Mass.
Perhaps some things may occur to you which might still be altered
and simplified. Do not deprive me, dear friend, of your good
advice, which I shall be glad to make use of in the score edition
of the Mass which must shortly ensue. Naturally your name will
stand on the title-page, and the responsibility of the
instrumentation will be remitted to you.

With friendly thanks and highest regard, I am

Yours most truly,

F. Liszt

Weymar, October 11th, 1859



221. To Felix Draseke

Dear excellent friend,

Your surmise that I could not go away from Weymar at present was
quite correct. The Altenburg is indeed very deserted, as Princess
Marie went away directly after her marriage on the 15th October,
and the Princess went to Paris yesterday for several days--yet I
will not leave my own hearth so soon, even if my outward activity
be much limited henceforth (as I have already intimated to you)
both here and elsewhere.--I require my whole time for my further
works, which must go on incessantly--consequently I have resolved
to keep at a distance all the delights of conductorship, and to
give the baton a rest equally with the piano.--

On the 9th November the festival play by Halm, "A Hundred Years
Ago," will be given here with the music I have composed to it--
and on the 11th the "Kuenstler-Chor" is to introduce the
Festival-oration by Kuno Fischer at Jena. Damrosch writes to me
also from Berlin that he intends to include the "Kuenstler-Chor"
in the programme of the Schiller Festival there. The Zwickau
Concert is fixed for the 15th November--and I am delighted to
think of meeting the Ritters there. By the way, I am of opinion
that Sasch [Sasch, i.e., Alexander, Ritter's Christian name] will
undertake two numbers of the programme, and will fulfill
Klitzsch's wish with the "Chaconne" as well as mine with the
original Concerto, on the same evening. Zwickau chances to belong
to the few towns where the "Chaconne" (so Klitzsch writes me
word) has never been heard in public. Sasch can take this fact
into consideration, and without doing anything derogatory can
grant the public the enjoyment of the "Chaconne." The assured
success which he will have with it may also act beneficially on
the receptiveness of the audience in connection with his
Concerto. Tell our dear friend this, with the proviso that, if he
only undertakes one number on the programme, I advise him in any
case to choose his Concerto. The piece has much that is
interesting and effective in itself, and it will be useful to
Sasch to test the relation of the orchestra to the solo part by a
public production. If necessary, therefore, force him to do it,
by my order.

With regard to the causes and excuses for your pretended
"obstinacy, dogmatism," and imaginary "arrogance," I beg you,
dearest friend, to rest assured that you will never find any such
suspicion in me. What you think, feel, compose, is noble and
great--therefore I take a sympathetic interest in it.--The next
time we are together I will merely endeavour to make "amputation"
more bearable to you by chloroform!--

With highest esteem I remain,

Yours in all friendship,

F. Liszt

[Weimar,] October 20th, 1859



222. To Heinrich Porges in Prague.

Dear Friend,

Your letter for the 22nd October gave me heartfelt pleasure, and
you need not be in doubt as to the correctness of the
affectionate and deep perception of my endeavour, which "has
proceeded both from man's need of freedom as well as of love,"
and which, by and with the grace of God, has been impelled to
raise itself toward the "Divine."--I cannot say much on this
subject; but may my works only remain no dumb witnesses, and may
your intimate understanding of them give you some satisfaction.

I send you herewith Dingelstedt's Festal Song for the Schiller
Celebration, which I have purposely composed in a very simple,
national manner. Perhaps there might be an opportunity of
bringing the thing to a hearing during the Schiller Festival in
Prague. Will you ask Apt whether he would be disposed to do it?
The studying of it would not give the least trouble. It requires
only a baritone or bass for the solo part, and an ordinary chorus
of men's voices without any accompaniment.--

Leaving it entirely in your hands to act about it as you may
think best, and either to promote the performance or to let it
alone, I remain, with best thanks and high esteem,

Yours very truly,

F. Liszt

October 30th, 1859

My composition to Halm's festival play has been sent through H.
von Dingelstedt to Herr Thome, and will probably be performed on
the 9th or 10th November. [The festival play was given in Prague
under the theater conductor Thome. The music to it was never
published. The Weimar archives probably possess the score.] Write
and tell me how the matter is settled.



223. To Ingeborg Stark

[A pupil of Liszt's, who afterwards married Liszt's pupil Hans
von Bronsart, now General Manager of the Weimar Court theater:
she was also known as a composer.]

It is very charming and graceful of you, dear Mademoiselle Inga,
to remember the 22nd October so kindly, and I should have thanked
you sooner for your letter, which gave me sincere pleasure, had I
not been kept to my bed for nearly a week in consequence of much
emotion and fatigue.

Through our friend Bronsart I have had some preliminary good
tidings of you; you have fulfilled your role of charmer in the
best possible manner, and Bronsart is full of raptures about you.
But all this is ancient history for you, something like a chapter
of Rollin on the history of the Medes,--after whom come the
Persians, the Greeks, and the Romans...

For the present it is the turn of Russia, which you are in the
way of conquering, and I see from here the enchantment of your
admirers of St. Petersburg, who are all ears and all eyes around
the piano where you are enthroned.

Will you remember me affectionately to Prince Odoyewski, and give
a friendly shake hand [Written in English by Liszt] from me to
Mr. Martynoff. As for our dear Tartar, [The composer Alexander
Seroff] tell him how much I am attached to him; he will be all
the more agreeably persuaded of this if you tell him. Ask him
also to write to me after your first concert, for I would not
risk offending your modesty so far as to beg you to send me an
exact account of your undoubted successes. But I don't intend on
that account to let you stand still as regards letter-writing,
and you will give me great pleasure if, for example, you will
continue your history of the musical prowess of Rubinstein (that
you have begun so well).

You know that I am truly interested in what he is doing,
considering that he has all that is wanting to compose good and
beautiful things, provided that he does not persist in writing
straight off too hurriedly, and guards a little against excess in
the very exercise of these grand qualities.

The "Ocean" of which Rubinstein has sung might serve as his model
in this; he knows how to restrain his waves in their liberty and
power--and I hope Rubinstein would not be offended by the
comparison!--Let me know then about his artistic actions and
attitudes, of which, I presume, he will have every occasion to be
satisfied and proud. Our little Weymar has remained, as usual,
pretty tame since you left; but in a week's time we shall be
celebrating here the centenary of Schiller's birth with all the
enthusiasm of which we are susceptible (which is not saying
much).

On the 9th November the music that I have composed for Halm's
Festival-play, "A Hundred Years Ago," will be given at the
theater, and Jena has put on its festival programme my chorus "An
die Kuenstler," which will terminate the ceremony of the 11th
(Friday next).

In addition you will find in the Schiller number of the Leipzig
Illustrirte Zeitung, which will appear on the 12th November, a
Festival song "im Volkston" [In the style of a folk-song] of my
composition. Do not be shocked at the extreme simplicity of this
song; it was not the occasion to make a display of musical
knowledge--but simply to write forty bars or so which could be
quite easily sung and remembered by tutti quanti. In order to do
this I had to dress my Muse in a blouse, or, if you prefer a more
German comparison, "ich habe der Dame eine bayrische Joppe
angezogen!" ["I have dressed the lady in a Bavarian jacket."]

How are you getting on with your truly Samsonic Variations--and
with your Fugue "Martha"? Don't make too great a martyr of
yourself over it, and reserve for yourself also the better
part...that of Mary. [She had written a fugue on the musical
letters of the names Martha and Maria [Mary]--the names of her
friends, the sisters Von Sabinin.]

As I have mentioned this name I will tell you that Princess Marie
Hohenlohe will spend her winter in Vienna.

I, for my part, shall not stir from the Altenburg, where I am
reckoning on finishing my Elizabeth, and on living more and more
as a recluse--indeed, even a little like a bear--but not in the
style of those estimable citizens of the woods, whom the
impresarii of small pleasures degrade by making them dance in the
market-places to the sound of their flutes and drums! I shall
rather choose a model ideal of a bear--be sure of that--and the
flutes and drums which might lead me into the slightest future
temptation of cutting capers have still to be invented.

Will you be so good, dear Mademoiselle Inga, as to present my
very affectionate respects to Madame, your mother, as well as my
best remembrances and compliments to la Sagesse Olivia--[Liszt's
name for the sister of Ingeborg Stark] and believe me invariably

Your very devoted

F. Liszt

Weymar, November 2nd, 1859



224. To Johann von Herbeck.

Dear Friend,

I only returned a few hours ago from Zwickau, and find your
friendly letter here, in reply to which I must excuse myself for
not having been able to fulfill your wish so soon as I had
intended, in respect to the Schubert Marches. This delay, which
was very unpleasant to me, was occasioned by an indisposition
which obliged me to keep my bed for a whole week  at the end of
October. The Weymar and Jena Schiller Festivals, following on the
top of that, made it utterly impossible for me to get on with the
instrumentation of the Marches. But I promise you that you shall
have the score by Christmas at latest.

"Prometheus" will present himself to you by the end of this
month. If after looking through the score, dear friend, you think
the work suitable for a performance in Vienna, I shall be glad.
If not, I beg you to tell me so with perfect candor, and without
the slightest scruple of thereby wounding my vanity. Whether the
stomach of the critics and of the public will be able to digest
such a liver cut out of the vulture as this of my "Prometheus,"
or whether at the very first bars all will not be lost, I cannot
determine; but still less would I prepare superfluous
disagreeables for you by the performance of my "Tonschmiererei;"
[Tone-daubing] of such ill-odor from the beginning!

Decide therefore entirely according to your own judicious
opinion--and, whatever that may be, rest assured of the sincere
acknowledgment and esteem with which I remain

Yours in all friendship,

F. Liszt

November 18th, 1859



225. To Dr. Franz Brendel

Dear Friend,

Of the three prize essays (which I return to you herewith) the
one with the motto "Try all things and maintain the best" is,
according to my opinion, very significant and suitable to the
definite solving of the question. The writer develops his thesis
with so safe, so rightly apprehending, and so far grasping a
logic that it shows convincingly that the now indispensable
practice is in complete union with the results of the theory. It
is to be hoped that our excellent colleague and friend Lobe will
also give his weighty judgment in favor of this prize essay, and
will also scientifically explain his motives for doing so--for I
cannot suppose that Lobe is in agreement with the opponents of
the enharmonic system, whose theory would make us have to do
musical penance.

In the two other essays with the mottoes "Our eyes see, but they
require the light to do so," and "Look, this is what man has
done!" there is much that is true and worthy of consideration
(especially in the former), which might be made prominent after
reading through all the essays sent in.

Come to an understanding next with Lobe about the final business
of the causes for the award of the prize, and let me have a draft
of it. It cannot be otherwise than profitable if the affair is
treated somewhat exhaustively and thoroughly, which you, dear
friend, in conjunction with Lobe and Weitzmann, are much better
able to do than my humble self, since I, as Hauptmann justly
observes, should appear to be too much prejudiced by my own
practice. In matters of harmony, as in other greater matters, I
believe also that Nature is in everlasting union with Genius.

"What one promises, the other surely performs." And Beethoven was
quite right to assert his right to allow that which was forbidden
by Kirnberger, Marpurg, Albrechtsberger, etc.!--Science must only
investigate more and more the nature of things and the freedom of
genius, and become experienced in their further development.-----
-----

Ever faithfully yours,

F. Liszt

[Weimar,] December 1st, 1859

I quite agree with your project of giving two prizes. The first
prize will be awarded to the above-mentioned treatise, unless,
which I doubt, a still more successful one should be sent in.



226. To Anton Rubenstein

Certainly, my very honored friend, I shall not leave off taking a
very sincere and loyal part in the unfolding of the career that
you are pursuing with such rare prowess, and all that you can
tell me of your doings in composition and musical conducting will
always find in me a lively interest. Thank you, therefore, for
your nice letter, which contains also a promise which I shall be
very much pleased to see you fulfill--namely, that of your visit
next spring, in company with your Opera in four acts--and
probably also with your "Song of Songs," which you do not mention
to me, but which I am none the less desirous, on that account, of
knowing.

Have you thought well to give your "Paradise Lost" at St.
Petersburg? I urged you strongly to do so, for it is a capital
work, which does you great honor, and the place of which seems
fixed in your concerts. And on this subject allow me to
compliment you very sincerely upon the idea (all the less
frequent as it is just) which has been uppermost in the
distribution of the programme of these concerts. If it continues
to predominate, and if in effect they take it into their heads at
St. Petersburg to do justice (as you tell me) "to all the masters
of all schools and of all times" (not excepting our own!), the
famous verse

"'Tis from the North that light comes to us today"

will be justified, and even by Music! In France and Germany we
are far from this--and classical Pharisaism swells its voice
there to make a diversion to Mercantilism, that rich disgraceful
one, who succeeds perfectly well in making the principal papers
and their numerous readers dance to the sounds of his harsh
flute, whilst his antagonist (Pharisaism) only ends in
"Improperias" and "Jeremiads"...not composed by Palestrina!

Your choice of the introduction to the second act of the
Fliegender Hollander seems to me an excellent one, and I shall
get the score (of this scene) copied for you, as it is very
difficult to get a complete score of the Opera, and as I only
possess the autograph, with which it would be a matter of
conscience to me to part. In about a fortnight I will send you
what you want for your programme.

Princess Marie Hohenlohe is at the present time at St.
Petersburg, and will be much delighted to see you again. Her
husband does a good deal in the way of music, and plays several
"Lieder ohne Worte" of his own composition very nicely. He and
his wife will assuredly have pleasure in being amongst the first
to applaud at the time of the performances of your Opera in
Vienna.

A revoir then, my dear Rubinstein, in the spring--and ever yours
in sincere esteem and affection,

F. Liszt

Weymar, December 3rd, 1859

P.S.--When you see Mademoiselle Ingeborg Stark, please give her
my very affectionate remembrances. If her journey from Paris
should bring her back by Weymar she would be sure to find me
there; for, in spite of what the papers say, which, among other
fancies, have taken it into their heads to make me travel hither
and thither, I shall not stir from here for several months, but
continue to work my best--if only to prove to the "kindly critic"
and the idlers that it is very much to be regretted that I should
have taken it into my head to turn composer!--This recalls the
proverb, "On devient cuisinier, mais on nait rotisseur!"

[There does not seem to be any equivalent to this proverb in
English: the nearest approach to it is, perhaps, "A poet is born,
not made."]



227. To Dr. Franz Brendel

Dear Friend,

It is of great consequence to me not to delay any longer the
publication of my "Gesammelte Lieder." Forgive me, therefore, if
today I am somewhat troublesome to your friendship..--.

It seems to me that the best plan would be if, before you confer
with Herr Schulze, you would first have a consultation with
Klemm, and come to a thorough understanding on the matter with
him. [Liszt evidently wished to have the songs engraved first at
his own cost, and to let Klemm undertake the sale on commission.]
Beg him also, in my name, to show a friendly sympathy to the
work. The songs can hold their ground in their present form
(regardless of the criticism of our choking and quarrelling
opponents which will infallibly follow!); and if a few singers
could be found, not of the raw and superficial kind, who would
boldly venture to sing songs by the notorious non-composer, Franz
Liszt, they would probably find a public for them.

I think I told you that a couple of them made a furore in certain
salons which are very much set against me, as posthumous songs of
Schubert, and were encored!--Of course I have begged the singer
to carry the joke on further.

Klemm need not therefore be in the least ashamed of undertaking
the publication of the work in a friendly spirit.

Best thanks beforehand for your kind trouble in this matter--and
ever faithfully yours,

F. Liszt

Weymar, December 6th, 1859

P.S.--I have just received your letter. The two K.'s--Kompel and
Kahnt--shall be made most welcome. Pohl had already told me of
Kahnt's coming; it will be a pleasure to me not to verlangweilen
[To make the time hang heavily] his visit here (if that word is
not quite German, still I consider it is comprehensible!). Julius
Schuberth had also the intention of rescuing something [Namely,
Liszt's composition] from Kuehn. [Music publisher] Your idea of
giving Bronsart the conductorship of the Euterpe Concerts is a
most excellent one. I suppose the letter which I wrote about this
to P. Fischer (to your address) came to hand (?). The day before
yesterday I also let Bronsart know that possibly some favorable
openings might occur for him in Leipzig, and recommended him not
to neglect them. Bronsart would be just in his right post in
Leipzig, and I do not doubt that he would in every respect
maintain it in the most honorable manner. In addition to this, it
would be especially agreeable to me to begin constant intercourse
with him as my next neighbor. He is now working at his Opera, and
sent me a little while ago the libretto which he has himself
composed to it, and which seems to me very successful in the most
important scenes, as well as in the dialogue. [It was afterwards
composed by his wife ("King Hiarne").]

Address your letters to "Herr von Bronsart, c/o Herr General von
Bronsart, Commandant of Dantzig, Dantzig."

In consequence of the performance of my Mass in Munich (on the
King's birthday, at the end of November), which, as I am told on
many sides, was well given and--which seems wonderful--was
acknowledged by many musicians there to be a work of importance--
so that even Lachner spoke favorably of it--the "Allgemezne"
Zeftung again breathes forth poison and gall (supplement of 3rd
December), without forgetting therewith the "Neue Zeitschrift fur
Musik." I should like to take the opportunity of making this pack
of critics, such as W., B., G., B., and whatever all the
assistants' assistants are called, understand the following
thoughts as Xenie:--[Epigram]

"Ye break your staff over me, but your staff has indeed long
since become rotten from all the dust and dirt that stick to it,
and it scarcely serves any longer to cut the air!"

Tell this idea to Lohmann--perhaps he may be inspired with a
happy rhyme for it.

I cannot say anything better to you about Pohl than what you tell
me.--

Herewith, for your private delectation, is a copy of some lines
from my letter to Herr Gustav Eggers (in Berlin), brother of the
well-known Art-journal Eggers, now very much concerned in the
Prussian paper. Gustav E. was here at the September Festival
(1857), when he heard the Faust Symphony, and sent me lately a
very pretty book of songs, begging me to recommend them to
Hartel.--Send me the little paper back soon.



228. To Eduard Liszt

By the loving friendship which you have shown me, especially
during the last decade in which so many trials have been laid on
me, our close relationship in heart and character has been for
ever firmly sealed, dearest Eduard. You are, and will ever be to
me, a support and a courage-giving comforter in the battles and
straits of my life. God grant me grace to go through them without
wavering, as a faithful servant of the truth in Christ!

You have decided upon just what is most right and suitable in the
arrangement of the funeral ceremony of my son. [He died in
Vienna, where he was studying law.] The selection of Terziani's
Requiem was a very suitable one under the existing conditions. I
thank you for everything from the depths of my soul!

I shall write a couple of lines to Herbeck tomorrow, and send him
at the same time the score and parts of the "Prometheus," as well
as two Marches of Schubert which I have instrumented for him. The
sending off of this parcel has been delayed by the circumstance
that it was necessary to have the whole score of the "Prometheus"
written out afresh, and to make some alterations in the parts.
The earlier score was indeed sufficient for me--but any strange
conductor would scarcely find his way through it. I hope Herbeck
will be pleased with the instrumentation of the Schubert Marches.
I fancy I have been successful in this little work, and I shall
continue it further, as it offers much attraction to me. The four
other Marches will follow shortly, which should make the half-
dozen complete.

Cornelius arrived here the day before yesterday. His friendly
attachment to you is a very warm and sincerely devoted one. On me
Cornelius's pure mind and thoroughly honorable disposition always
have the most beneficial effect; but it is especially welcome to
me just now to hear more of you from him, and thus to be more
with you.

Be as good to me as you are dear to my heart!

F. Liszt

Weymar, December 28th, 1859



229. To Josef Dessauer

[Autograph in the possession of Herr Von Hannen, painter in
Venice.--The addressee ("Maitre Favilla," as George Sand named
her friend) was known as the composer of refined songs (1798-
1876). Three of these Liszt transcribed (1847, Berlin,
Schlesinger).]

Dear honored Friend,

It is possible that the delicacy of your perception may have
brought you much trouble, but it assures you a soft place in the
better region of the heart of your friends. This I again felt in
reading your dear letter.

Accept, therefore, the heartfelt thanks of your old friend, whose
"manly formed nature" must further prove itself; he has still
many duties to fulfill and more than one battle to fight. May the
Cross remain his support, his strength, and his shield!

Whatever fatality also may hang over me, be assured of the
faithful attachment of your

F. Liszt

Weymar, December 30th, 1859

The crucifix from you (after the Gran Mass) has grown still
dearer to me!--

When I have finished with some works which cannot be postponed
any longer, Daniel shall receive his Requiena.



230. To Wilkoszewshi, Secretary of the Concerts of the
"Hofcapelle" in Munich.

[From a copy in Liszt's own handwriting (amongst the letters to
Brendel)]

Dear Sir,

The performance of new works on the part of so renowned an
orchestra as that of Munich must ever remain a mark of special
attention for the composers. But I must rate it still higher
that, in face of the strong prejudice against my name, one of my
ill-famed Symphonic Poems should have been included in the
programme of the concerts of the Munich Hofcapelle.

It is ill preaching to deaf ears, and it is well known that there
is no worse deafness than that of people who will not hear. Hence
it is that the Festklange, as well as the Mass and everything
that I and others better than my humble self have been able to
compose, is prejudiced. But the more unseemly and malicious
factiousness may show itself against new works, the more am I
laid under a grateful obligation to those who do not accept as
their artistic criterion the injustice inflicted on me.

Time levels all things, and I can quietly wait until people are
more occupied in learning to know and to hear my scores than in
condemning and hissing them. Mean-spirited, blackguard tricks,
even when played in concert-rooms and newspaper reports, are no
arguments worthy of a lasting import.

I beg you, dear sir, to convey to General Music-Director Lachner
my best thanks for his well-meant sentiments towards me, and I
remain, with high esteem, yours very sincerely,

F. Liszt

Weymar, January 15th, 1860.



231. To Johann von Herbeck.

[Received, according to him, on January 26th, 1860]

Dear Friend,

On getting back from Berlin yesterday evening I find your letter,
which has given me especial pleasure by the assurance that the
"Prometheus" choruses and, the instrumentation of the "Schubert
Marches" fulfill your expectations. You shall very shortly
receive two more "Schubert Marches" (the "Funeral March" in E
flat minor, and the "Hungarian March" in C minor out of the
"Hungarian Divertissement". [Op. 40, No. 5, and "Marcia" from Op.
54] They could be played one immediately after the other.

The "Prometheus" choruses, together with the "Symphonic Poem"
which goes before them (and which has been published by Hartel as
No. 5), were composed in July 1850 for the Herder Festival, and
were performed in the theater here on the eve of that festival.
My pulses were then all beating feverishly, and the thrice-
repeated cry of woe of the Oceanides, the Dryads, and the
Infernals echoed in my ears from all the trees and lakes of our
park.

In my work I strove after an ideal of the antique, which should
be represented, not as an ancient skeleton, but as a living and
moving form. A beautiful stanza of Andre Chenier,

"Sur des pensers nouveaux faisons des vers antiques," ["On modern
thoughts let us fashion verses antique."]

served me for precept, and showed me the way to musical plastic
art and symmetry.

The favorable opinion you have formed of the work in reading it
through is a token to me that I have not altogether failed--I
hope that the performance will not spoil your sympathy for it. I
leave the direction, with the utmost confidence, entirely in your
hands.--You always hit on the right thing, and navigate
satisfactorily with your entire forces the occasional
difficulties of the dissonant entries, and of the pathetic
delivery which is absolutely essential in several places. It
would certainly be a great pleasure to me, dear friend, if I
could be present at the performance in Vienna on the 26th
February, to enjoy your intelligent and inspired performance, but
I am prevented from doing this by various circumstances (an
explanation of which would lead me too far).

I beg you therefore not to induce the directors to invite me,
because I might not be in a position to make my excuses. So
please do you undertake the office of unchaining Prometheus in
Vienna; this labour of Hercules will become you well [Footnote
below]. There are certainly no powerful eagles to hack and rend
in pieces the Titan's liver--but there is a whole host of ravens
and creeping vermin ready to do it.--Once more best thanks and
greetings from your most highly esteeming and very devoted

F. Liszt

[It took place on the 26th February, 1860. Herbeck notes as
follows about it in his diary: "Prometheus, Symphonic Poem,
pleased fairly. Chorus of Tritons pleased extremely. The
Vintagers' and Reapers' choruses and concluding chorus pleased,
but of course there was a formally organized opposition hissing.
They had sworn	the overthrow of this music, without even
knowing a note of it."]



232. To Dr. Franz Brendel.

So then it has happened well that the editor of the Neue
Zeitschrift has also become the editor of my "Gesammelte Lieder."
Best thanks, dear friend, for the means you have taken to promote
this. Kahnt has only to come to an understanding with
Schlesinger; I on my side do not wish to place any limitation on
his rights. Whether a transcription of this or that song may be
made I do not know; if this should be the case I will only beg
Kahnt to let me know of any such chance transcriptions before
allowing them to appear, mainly because it would not be pleasant
to me if any really too stupid arrangements should come out. This
is only a matter of artistic consideration--beyond that I have
neither restriction nor reservation to make to the proposed
edition. As soon as Kahnt is in order with Schlesinger I am
satisfied with everything. This or that song may then appear
singly, or transcribed for guitar or zither; so much the better
if Kahnt can thereby make it pay. N.B.--I should be glad if, in
bringing out the songs singly, the same outside cover could be
employed as in the complete edition, on account of the index.
Probably Kahnt will say nothing against this, as the back of the
cover serves as an advertisement of the entire collection of
songs.

Yesterday evening Fraulein Berghaus (a daughter of the Potsdam
professor) sang two numbers, Freudvoll and leidvoll and Es muss
ein Wunderbares sein (out of the sixth part), at a concert given
by Singer and Cossmann. I had indeed forbidden it, because this
winter I will not have my name put on any concert programme at
all--but her exquisite delivery of these songs, which were also
received with approbation, reconciled me to it.

At the last Court concert in Berlin Fraulein Genast [A highly
gifted singer, afterwards Frau Dr. Merian in Weimar] selected the
"Loreley" as her concluding song, and the Frau Princess Victoria
expressed herself very favorably about it, remarking that a
Schubert spirit breathed in the composition. One of these days
Fraulein Genast is again singing the "Loreley" at the
Philharmonic Concert in Hamburg. Otten has specially begged her
to do so. The same gentleman wrote about eighteen months ago to
Frau von Milde that he must beg to remark "that in regard to the
choice of compositions to be performed Robert Schumann is the
extreme limit to whom his programme could extend!"

I cannot quite remember whether I sent Gotze a copy of my songs.
Please ask him, and if I have not yet done so let me know. Gotze
has a special claim to them, for in earlier years he had the
courage to sing several of my nonentities--and I will see that he
has a copy at once. At the same time ask Fraulein Gotze also
whether she has received the copy of the Ballade Leonore. [Liszt
had composed this melodrama for Auguste Gotze, and frequently
performed it, as well as his later melodramas, with her.] From
several places (and quite lately from Carlsruhe and Brunswick)
orders for this Ballade have come to me, which--between
ourselves--are not convenient to me. My copyist has already had
to make at least nine copies of it, which is a pretty good
expense. Nevertheless a tenth shall willingly be made, if the one
which was intended for Fraulein Gotze did not reach her, of which
I am somewhat in doubt, owing to the many demands which the
Leonore has brought with it, and which have made me somewhat
confused.

It would really be the best for me if Kahnt or Schuberth would
save me the trouble of making further copies by publishing the
"Leonore". But I should not wish in any way to incommode the
publisher, and certainly not to offer anything without knowing
that it would be welcome. Under present circumstances a very
pronounced reserve has become my rule. My business is simply to
continue working unremittingly, and quietly to await the rest.

Accordingly I submit myself without difficulty to your experience
as editor in regard to my Munich letter [To Wilkoszewski]--
although I could maintain good grounds for	publishing it.
Certainly it is always the gentlemanly thing entirely to ignore
certain things and people. You may therefore be quite right in
putting aside all other considerations; and as I am convinced of
your most sincere friendship I willingly leave you to decide
whether my coming forward in such matters is of use or not. In
case you had thought it advisable for my letter to be printed in
the "Neue Zeitschrift" (which I left to your judgment), it would
have had of necessity to be printed without the slightest
alteration, because I have purposely written it thus clearly to
Herr W., and any alteration in it might be taken as cowardice
(which is far from me). But probably it is better to abandon the
matter for a while, and to be somewhat more severe on another
occasion. The pack of ragamuffins has richly deserved to be
treated as ragamuffins!

This evening is Wagner's first concert in Paris. I expect little
good to him from it, and consider such a step on Wagner's part as
a mistake. In consequence of this opinion our correspondence is
for the time suspended. More about this viva voce--as well as
about "Tristan and Isolde." A performance of the Opera was
desired--that is to say, commanded for the 8th April (the
birthday of the Grand Duchess). But Frau von Milde cannot
undertake the chief part--and on that account the parts and score
sent to us from Carlsruhe will be sent back again at once!

Has Wagner given his opinion more decidedly about a "Tristan"
performance in Leipzig? Can you let me know the contents of his
letter?

With heartfelt greetings, your

F. Liszt

Weymar, January 25th, 1860

If you should see Schuberth, tell him that I have something to
communicate to him that would perhaps repay him for the trouble
of coming to see me here for a couple of hours. I have no
intention of coming to Leipzig for the present. Tell him that
delays of this kind make me "nervos" [nervous] (He knows what the
word "nervos" means with me.)



233. To Friedrich Hebbel

[Communicated by Dr. Felix Bamberg, from the original]

The words which you write to me bear the two-fold eloquence of
the praiseworthy man in the fore-rank of Art, and of the friend
dearly loved and highly respected by me. Accept my warmest thanks
for it, and please excuse me for not having told you sooner what
a strengthening and healing effect your letter made on me. Work
of all sorts and a long absence from here occasioned this delay.
In the interim I was often with you in thought; only the day
before yesterday I read to the Princess your two glorious Sonnets
an den Kunstler ["To the Artist"], "Ob Du auch bilden magst, was
unverganglich"--"Und ob mich diese Zweifel brennen
müssen?"["Whether thou canst form what is imperishable": "And
whether these doubts must burn me."]--

From Weymar I have nothing interesting nor especially agreeable
to tell you. This winter will pass away pretty quietly and
insignificantly at the theater, with repertoire works and pieces
that will bring in money, and in society with the customary
pleasures. A new drama by Rost, "Ludwig der Eiserne," made some
sensation, as is peculiar to the very popular productions of this
author, who has achieved a public-house notoriety here. The
nobles ought to have appeared in it yoked to the plough, but on
Dingelstedt's advice Rost toned down that scene!--A translation
by Frau Schuselka (who has performed here sometimes) of the "Pere
prodigue" of Dumas fils was to have come on the boards; but it
appears that there are scruples about making such very ominous
demands on the customary powers of digestion of our un-lavish
fathers of families! Amongst other inconveniences the piece also
contains logarithms, to which the respectable German Philistine
cannot attain.

As regards myself, I am quietly waiting for the spring, when I
shall in all probability move on further--of course not to renew
my occupation of conducting, as it is said I shall do in Munich,
Berlin, or elsewhere--an occupation I have gladly given up;--but
in order to be able to pursue my work further than I am able to
do in Weymar, which to me is a more important matter.

Remember me most kindly to your wife, and be assured that I
remain ever in truest devotion yours most faithfully,

F. Liszt

Weymar, February 5th, 1860.



234. To Dr. Franz Brendel

[February 1860]

Dear Friend,

Although as a general rule I consider that it is not the business
of the Neue Zeitschrift to go in for polemics, yet it seems to me
that the little notice that Hanslick has put in No. 49 of the
Vienna Presse, Saturday, the 18th February, is of such a kind
that one must not ignore it.

The Presse is a paper with a tremendous circulation in the
monarchy, and Hanslick counts among the leaders of our opponents;
it would therefore be worth while to make an exception by coming
forward on this occasion, unless (which I cannot as yet believe)
your Vienna correspondent has been guilty of the mischievous
conduct which Hanslick so severely reports. This point must first
be made clear--whether in the third (or possibly an earlier)
concert of Herr Boskowitz an exchange of a Schumann for a Liszt
piece occurred. [Instead of the Liszt piece "Au bord d'une
source," which stood on the programme, Boskowitz had played the
"Jagdlied" from Schumann's "Waldscenen," which did not prevent a
correspondent (namely, the correspondent of the Deutsche
Musikzeitung, as the Neue Zeitschrift of 24th February, 1860,
gave out) from loudly carping at the supposed Liszt composition.]
Possibly also your correspondent made use of the expression "The
Vienna Press" in general, and did not refer specially to the
paper Die Presse, [This was actually the case] or was referring
to other remarks of Hanslick's...

This is only the second time for many years past, dear friend,
that I have drawn your attention to notices in the paper. On the
first occasion, when the Augsburger Allgemeine gave that infamous
correspondence about the venality of the Neue Zeitschrift, your
striking answer gave the most convincing proof of what part the
opponents were studying to play!--I hope it will be possible to
despatch Hanslick's notice (which I enclose) in a similar
fashion. But it is necessary to get at the exact truth before
inveighing against them--for Hanslick is no easy opponent, and if
one once attacks him it must be with suitable weapons and without
giving quarter. The words "denunciation proceedings," "Gessler
caps of the party of the future," and especially the concluding
sentence, "As long as Herr Brendel," etc., are a challenge, which
deserves more than a faint-hearted reproof! I would also advise
you to send a duplicate of your reply to the Presse in Vienna, at
the same time as it is published in the Zeitschrift. The editors
of the Presse will be certain to reject it, according to the
usual method of the clique impartiality of those gentlemen. But
the scandalous examples of the latter will be thus increased by
one more.

It is easy also to see beforehand that Hanslick will not let the
matter rest at this first notice, and will continue the
discussion.

Hearty greetings.

F.L.P.S.--In case your Vienna correspondent should be quite in
the wrong, it would be better simply to be silent and wait for a
better opportunity.



235. To Dr. Franz Brendel

[March or April 1860]

Dear Friend,

Do not blame me if this time I follow Pohl's example and keep you
waiting for the promised article. I have been working at it
pretty continuously during the past week, and the sketch of it is
quite ready; but I am not quite satisfied with it, and about
Berlioz and Wagner I must say the right thing in the right
manner. [No article of the kind by Liszt is contained in the Neue
Zeitschrift for the year in question; probably it was
unfinished.] This duty requires me to spend more time on it, and
unfortunately I have so much on hand this week that it is hardly
possible for me to busy myself with polemics. Tomorrow is again a
grand Court concert; Bronsart and Fraulein Stark arrived
yesterday; Frau von Bulow comes today, and I expect Hans on
Saturday. Besides this, there is still more important work for
me, which will take up my time entirely till the end of this
month.

Well, I will see to it that, if possible, Berlioz and Wagner do
not remain forgotten!--

Let me first of all answer your questions.

Whether it would be desirable to hold the second Tonkunstler-
Versammlung this year, I already left it to you, at our last
meeting, to decide. In my opinion we might wait till next year
without injury to the affair. [This was done.] As long as I
myself have not made a secure and firm footing in Weymar, I
cannot invite you to convene the meeting here. If you hold to the
dates of the 17th, 18th, and 19th June, we are bound to Leipzig,
where I can then tell you with certainty whether Weymar will suit
for the next meeting.

It goes without saying that you, dear friend, must arrange about
everything that I can undertake and do for the Tonkunstler-
Versammlung. Only my personal help as conductor must be excepted.
At our next consultation we shall easily come to an understanding
as to the desirability of one conductor or several.

I would indicate and emphasize, as absolutely necessary, the
performance of new works by Bulow, Draseke, Bronsart, Singer,
Seifriz, etc. I think I understand and can manage the art of
programme-making in a masterly manner. When once matters have got
so far, I will fix with you the programme of the three
performances.

I agree with the choice of the "Prometheus," and at the religious
performance, if the latter is not filled up with one single great
work, I would suggest perhaps the "Beatitudes," or the 13th Psalm
(the former last about ten minutes, the latter twenty-five).

Will you therefore decide definitely where the Tonkunstler-
Versammlung shall be held this year and the date of it, about
which I have nothing further to say? We will then discuss and
settle the rest together.

You will find my remarks as to the statute scheme on the last
page of it.

With hearty greetings, your

F. Liszt

P.S.--

A. The revising of the "Leonore" shall be attended to
immediately.

B. I shall welcome Fraulein Brauer most cordially.

C. I recommend to you again the manuscripts of Pasque and
Councillor Muller. Have you replied to Muller?

Herewith is a letter from Weitzmann (14th June, 1859), in which
you will find much worthy of consideration and use.

Important! N.B.--When you convene the Tonkunstler-Versammlung,
add to it at once the following: "For the foundation of the
German Universal Musical Society." This is the principal aim,
toward the accomplishment of which we have to work.

[Liszt was, as Princess Wittgenstein distinctly told the editor,
the actual founder of the "German Universal Musical Society." He
conceived the idea and plan of it, and it was only at his wish
that Brendel gave his name to it, and undertook to be president,
etc.]



236. To Louis Kohler.

My dear, excellent friend,

You have given me a rare pleasure. Your articles on my
"Gesammelte Lieder" are a reproduction, replete with spirit and
mind, of what I, alas! must feel and bear much more than I can
venture to write down! Reviews such as these are not matters of
every-day reviewers--nor must one shame you with such a title.

Accept my warmest thanks for them, and allow me to present to you
herewith a couple of little singable things in manuscript. They
were jotted down after reading your articles, and, if I mistake
not, they spring from the melody of speech. In any case, dear
friend, you have a special right to them--as well as to the
sincere esteem and faithful attachment with which I remain your

F. Liszt

Weymar, July 5th, 1860

Towards the end of October the two Symphonic Poems, Nos. 10 and
11, which have still to be published--"Hamlet" and the
"Hunnenschlacht" [The Battle of the Huns]--will appear at
Hartel's; and when these are out all the twelve monsters will
have appeared. Shortly afterwards will follow Faust, the choruses
to Prometheus, a couple of Psalms, and a new number of songs. I
will send you the whole lot. But if possible arrange so that we
may soon meet again--at the latest at the next Tonkunstler-
Versammlung next year, at which we cannot possibly do without
you.



237. To Eduard Liszt

Dearest Eduard,

You remain perpetually in the home of my heart, not at all in
countless company, but all the more in picked company. When I
think I have done anything pretty good I think of you and rejoice
that what I have done will be a pleasure to you--and in the hours
when sadness and sorrow take hold of me you are again my comfort
and strength by your loving insight into my innermost wishes and
yearnings! My thanks, my warmest and truest thanks, to you for
all the sustaining and soothing friendship that you show to me.
It is to me a special token of Heaven's favor to me, and I pray
to God that He may unite us for ever in Himself!--

Cornelius writes me word that you will probably come to Weymar
towards the end of the summer. That will be a great pleasure to
me; I often feel as if I must have a talk with you out of the
depths of my heart--for with writing, as you know, I don't
exactly get on. I expect the Princess towards the middle of
August. Meanwhile I receive good and satisfactory tidings from
Rome. I hope all will turn out for the best.

In these latter weeks I have been completely absorbed in my
composing. If I mistake not, my power of production has
materially increased, while some things in me are made clear and
others are more concentrated. By the end of October the last two
of the Symphonic Poems will be out ("Hamlet" and the
"Hunnenschlacht"). Then come the Psalms, which you do not yet
know, and which I much want you to know-and also a new number of
songs which will please you. I shall then work at the Oratorio
St. Elizabeth, exclusive of all else, and get it completely
finished before the end of the year. May God in His grace accept
my endeavors!--

I must express myself not entirely in accord beforehand with your
plan for your son, although I consider your way of looking at the
present state of things by no means a wrong one. I am also
convinced that, when it comes to settling definitely, the talents
and capabilities, as well as the bent of mind, of your child will
be satisfactory to you. If the young one has a mind for a
uniform--well, let it be so. To cut one's way through life with a
sabre is indeed for the most part pleasanter than any other
mode...The business paper for the Princess I will keep till her
return, unless you write to me to forward it to her in Rome.

May I bother you with a commission for provisions? Forgive me for
the way in which I am always making use of you, but I do so want
to make a little joke for Bulow, and I have no one now in Vienna
who could help me in it except just you. It is about sending a
pretty considerable amount of Hungarian Paprika [Hungarian,
Turkish, or Spanish pepper from Hungary] and a little barrel of
Pfefferoni (little green Hungarian pepper-plants preserved in
vinegar). Please ask Capellmeister Doppler where these things are
to be procured genuine, and send them me as soon as possible to
Weymar. I won't hide from you that I intend to go shares with
Bulow, as I am particularly fond of Paprika and Pfefferoni. So
take care that there is enough sent, and that it arrives in good
condition.--And as this will give you occasion to see Doppler,
give him my warm thanks for the instrumentation of the Pester
Carnaval (in which musical Paprika and Pfefferoni are not
wanting). He has again been most successful in it, and I intend
to push on in the autumn the publication of the six Rhapsodies
for orchestra, for which indeed I shall have to obtain the
permission or consent of three separate publishers (Schott,
Senff, Haslinger)--a circumstance which may of itself occasion
some delay, especially if the gentlemen behave in regard to my
wish as Spina did in so unpleasantly surprising a manner in
regard to the instrumentation of the Schubert Marches. To tell
you this incident briefly: I wrote to Dachs and asked him to
request Spina in my name either to publish the three Marches
himself in score--without any remuneration for me!--or else to
give me permission to bring them out through another publisher.
Spina's answer, as Dachs gave me to understand, was that he could
not consent to either the one or the other of my proposals (which
were certainly reasonable enough)! And thus I must wait until
Spina can hit on a better plan! When I have an opportunity, I
shall venture to apply to him direct.

For the present, in consideration of the fact that Paprika and
Pfefferoni make one very thirsty, a barrel of Gumpoldskirchner
(with a slightly sharp, flowery after-taste) would be very
welcome to me, if by chance you are able to find a good kind and
cheap.--Forgive me for all these Lucullian extravagances!--

I will write soon to Cornelius. Give him my heartfelt greetings.
Also please remember me kindly to Dr. Kulke. I will give him my
thanks by letter on the first opportunity for his Prometheus
articles, as I would have already done through Cornelius, had he
not started so suddenly.--

Now farewell, dearest Eduard. Spare yourself and take care of
your health. Assure your dear wife of my heartfelt attachment,
and kiss your children for your faithful

F. Liszt

Weymar, July 9th, 1860



238. To Ingeborg Stark

[Summer, 1860]

If a sort of idiosyncrasy against letters did not hold me back I
should have told you long ago what pleasure your charming letter
from Paris gave me, and what a sincere part I have taken in your
late successes, dear enchantress. But you must know all that far
better than I could succeed in writing it.

So let us talk of something else--for instance, Baron
Vietinghoff's [He took the noun de plume Boris Scheel, and in
1885 he performed his opera "Der Daemon" in St. Petersburg, which
originated twenty years before that of Rubinstein.] Overture,
which you were so kind as to send me, and which I have run
through with B[ronsart] during his short stay at Weymar--too
short to please me, but doubtless much too long for you!--The
Overture in question is not wanting either in imagination or
spirit. It is the work of a man musically much gifted, but who
has not yet sufficiently handled his subject. When you have an
opportunity, will you give my best compliments to the author, and
give him also the little scale of chords that I add? It is
nothing but a very simple development of the scale, terrifying
for all the long and protruding ears, [Figure demonstrating a
descending whole-tone scale] that Mr. de Vietinghoff employs in
the final presto of his overture (page 66 of the score).

Tausig makes a pretty fair use of it in his Geisterschaff; and in
the classes of the Conservatoire, in which the high art of the
mad dog is duly taught, the existing elementary exercises of the
piano methods, [Figure: Musical example; a five-finger exercise]
which are of a sonorousness as disagreeable as they are
incomplete, ought to be replaced by this one, which will thus
form the unique basis of the method of harmony--all the other
chords, in use or not, being unable to be employed except by the
arbitrary curtailment of such and such an interval.

In fact it will soon be necessary to complete the system by the
admission of quarter and half-quarter tones until something
better turns up!--

Behold the abyss of progress into which the abominable "Musicians
of the Future" precipitate us!

Take care that you do not let yourself be contaminated by this
pest of Art!

For a week past it has done nothing but rain here, and I have
been obliged to have fires and stoves lighted in the house. If by
chance you are favored with such a temperature at Schwalbach, I
invite you to profit by it to make some new Fugues, and to make
up, by plenty of work for the pedals, for the pedestrian exercise
of which you would be necessarily deprived.

B., to whom I beg you to give my cordial and kind remembrances,
led me to hope that you will stay a couple of days at Weymar
after your cure. If this could be so arranged I for my part
should be delighted, and should pick a quarrel with you (even if
it were a German quarrel!) if you were not completely persuaded
of it!

Remember me most affectionately to la Sagesse, and do me the
kindness to count, under all circumstances, on

Your very sincerely devoted

F. Liszt



239. To Dr. Franz Brendel

Dear Friend,

Your last proposition is the best. Come quite simply to me at
Weymar. As I am now quite alone at home we can hold our
conference and arrange matters most conveniently at the
Altenburg. I am writing at the same time to Bulow at Wiesbaden
(where he is giving a concert tomorrow, Friday), to beg him to
arrange with you about the day on which the meeting shall be held
here. You two have to decide this. Of course you will stay with
me. There shall also be a room in readiness for Kahnt.

With regard to Wagner's pardon [Wagner had been exiled from
Germany for political reasons.] I am expecting reliable
information shortly. It seems strange that the Dresden papers
should not have been the first to give the official announcement,
and that an act of pardon of H.M. the King of Saxony should be
made known through the "Bohemia" (in Prague). Wagner has not yet
written to me.

To our speedy meeting. Heartily your

F. Liszt

August 9th, 1860



240. To Princess Caroline Sayn-Wittgenstein.

[Portions of the above were published in the Neue Zeitschrift fur
Musik of 4th May, 1887.]

Weymar, September 14th, 1860

I am writing this down on the 14th September, the day on which
the Church celebrates the Festival of the Holy Cross. The
denomination of this festival is also that of the glowing and
mysterious feeling which has pierced my entire life as with a
sacred wound.

Yes, "Jesus Christ on the Cross," a yearning longing after the
Cross and the raising of the Cross,--this was ever my true inner
calling; I have felt it in my innermost heart ever since my
seventeenth year, in which I implored with humility and tears
that I might be permitted to enter the Paris Seminary; at that
time I hoped it would be granted to me to live the life of the
saints and perhaps even to die a martyr's death. This, alas! has
not happened--yet, in spite of the transgressions and errors
which I have committed, and for which I feel sincere repentance
and contrition, the holy light of the Cross has never been
entirely withdrawn from me. At times, indeed, the refulgence of
this Divine light has overflowed my entire soul.--I thank God for
this, and shall die with my soul fixed upon the Cross, our
redemption, our highest bliss; and, in acknowledgment of my
belief, I wish before my death to receive the holy sacraments of
the Catholic, Apostolic, and Romish Church, and thereby to attain
the forgiveness and remission of all my sins. Amen.

I thank my mother with reverence and tender love  for her
continual proofs of goodness and love. In my youth people called
me a good son; it was certainly no special merit on my part, for
how would it have been possible not to be a good son with so
faithfully self-sacrificing a mother?--Should I die before her,
her blessing will follow me into the grave.

I owe it to my cousin Eduard Liszt (Dr. and Royal County
Councillor of Justice in Vienna) to repeat here my warm and
grateful affection for him, and to thank him for his faithfulness
and staunch friendship. By his worth, his talents, and his
character he does honor to the name I bear, and I pray God for
His blessings on him, his wife, and his children.

Among our Art-comrades of the day there is one name which has
already become glorious, and which will become so ever more and
more--Richard Wagner. His genius has been to me a light which I
have followed--and my friendship for Wagner has always been of
the character of a noble passion. At a certain period (about ten
years ago) I had visions of a new Art-period for Weymar, similar
to that of Carl August, in which Wagner and I should have been
the leading spirits, as Goethe and Schiller were formerly,--but
unfavorable circumstances have brought this dream to nothing.

To my daughter Cosima I bequeath the sketch of Steinle
representing St. Francois de Paul, my patron saint; he is walking
on the waves, his mantle spread beneath his feet, holding in one
hand a red-hot coal, the other raised, either to allay the
tempest or to bless the menaced boatmen, his look turned to
heaven, where, in a glory, shines the redeeming word "Caritas."--
This sketch has always stood on my writing-table. Near it there
is an ancient hour-glass in carved wood with four glasses, which
is also for my daughter Cosima. Two other things which have
belonged to me are to be given as a remembrance to my cousin
Eduard Liszt and to my much-loved and brave son-in-law Hans von
Bulow.

Some of the members of our Union of the "New German School"--to
whom I remain deeply attached--must also receive some remembrance
of me; Hans von Bronsart, Peter Cornelius (in Vienna), E. Lassen
(in Weymar), Dr. Franz Brendel (in Leipzig), Richard Pohl (in
Weymar), Alex. Ritter (in Dresden), Felix Draseke (in Dresden),
Professor Weitzmann (in Berlin), Carl Tausig (from Warsaw)--
either a ring with my sign-manual, a portrait, or coat-of-arms.--
May they continue the work that we have begun--the honor of Art
and the inner worth of the artist constrains them to do so. Our
cause cannot fail, though it have for the present but few
supporters.--

One of my jewels set as a ring is to be sent to Madame Caroline
d'Artigaux, nee Countess de St. Cricq (at Pau, France). To the
Princess Constantin Hohenlohe (nee Princess Marie Wittgenstein) I
bequeath the ivory crucifix (cinque-cento) which was given to me
by my kind patron the Prince of Hohenzollern-Hechingen--also a
pair of studs with five different stones, which form the five
initials of my name.

And now I kneel down once more to pray "Thy kingdom come; Thy
will be done on earth as it is in heaven; forgive us our
trespasses as we forgive them that trespass against us; and
deliver us from evil. Amen."

F. Liszt

Written the 14th September, 1860, on the Festival of the raising
of the Holy Cross.

SUPPLEMENT:

To Herr Gross, a member of the Weymar Grand Ducal Royal Orchestra
(trombone and double-bass player), who has for a number of years
looked after the copying of my works and the arranging of the
orchestral and voice parts of them in the library of the
Altenburg, I bequeath a present of one hundred thalers for the
faithful, devoted service he has rendered me.

To the names of my friends of the New German School is to be
added one more, or rather I ought to have mentioned it first; it
is that of Mr. Gaetano Belloni (in Paris).--He was my Secretary
during the period of my concert tours in Europe, from 1841 to
1847, and was always my faithful and devoted servant and friend.
He must not be forgotten. Moreover, whether he will or no, he
belongs to the New German School, by his attachment to me, and
also by the part he took later on in the Berlioz and Wagner
concerts. I wish to be buried simply, without pomp, and if
possible at night.--May light everlasting illumine my soul!



241. To Dr. Franz Brendel

September 20th, 1860

Dear Friend,

I send you by my friend Lassen [Born 1830, became Court music-
director 1858, and Court conductor in Weimar after Liszt's
withdrawal (1861); celebrated as a composer of songs] a little
parcel of songs (eight numbers), which I beg you to give to
Kahnt. Of several of them I have kept no copy--and I therefore
beg Kahnt not to lose them. As regards the numbering of them (the
order of succession), they are to be kept as I noted down some
time ago (on a bit of paper which I gave Kahnt when he was here).

I also add a Quartet for men's voices. It is the Verein song
"Frisch auf zu neuem Leben," ["Uprouse to newer life."] written
for the New Weymar Verein by Hoffmann von Fallersleben. The
passage "von Philister Geschrei;" ["Of Philistine cry."] will
probably amuse you, and the whole thing is kept rather popular
and easy to be performed. If it does not make a bother let it be
tried in Leipzig when you have an opportunity.

N.B.--If you think the designation on the title-page "Written and
composed for the New Weymar Verein" will give offence, it can be
left out, and the title can run simply, "Vereins Lied," by
Hoffmann von Fallersleben, composed for male chorus by F. L. In
any case I shall be glad if Kahnt can bring the little thing out
soon, and will give some sort of illustrated title-page,
expressive of the sense of the poem.

The remarks which I have added in pencil are to be engraved with
it. I hope the printer will be able to read my bad writing--if
not will you be so kind as to make it clear to him?

I am writing to Vienna today. The "Prometheus" parts and score
will be sent to you immediately.

I expect Bronsart here at the end of this month..--.

Your statute-sketch is in all essential points as judicious as it
is practical. It offers a sure basis of operations for the next
Tonkunstler-Versammlung, where assuredly the great majority of
the members will agree with your proposals. Then the point will
be to work on vigorously towards the accomplishment, and to put
aside the much that is "rotten in the State of Denmark."

Before the Euterpe concerts begin I shall in any case see you.
Next Sunday I go to Sondershausen, where Berlioz' "Harold," a new
Oboe Concerto by Stein, Schumann's "Genoveva" Overture, the
Introduction to "Tristan and Isolde," and my "Mazeppa" will be
given. The latter piece is popular to wit...in Sondershausen!--

Very sonderhauslich, [A play on the words Sondershausen and
sonderbar = strange] isn't it?

Hearty greetings to your wife from your

F. Liszt

P.S.--The ninth song by Cornelius is still wanting. [The song
"Wieder mocht' ich Dir begegnen" ("Once again I fain would meet
thee")] But in the meantime the printing can be going on. The
nine numbers form the seventh part of the "Gesammelte Lieder." If
Kahnt wishes, each song can be published separately, especially
the Zigeuner; Nonnenwerth, etc.

Draseke has been with me a couple of days, and is coming shortly
to you. His works captivate me in a special degree, and
personally I am very fond of him, which indeed I also was
formerly, but this time still more. Capacity and character are
there in abundance.



242. To Eduard Liszt

Weymar, September 20th, 1860

The true and loving character of your whole being, as well as of
your letter, dearest Eduard, touches me always with joy, and
fortifies me; but with your letter of today is mingled also
somewhat of sadness. It is conceivable that the ebb of the
Milanese and Hungarian Civil Service employes, with its effect on
Vienna, has acted as a check upon your very justifiable and well-
founded prospects of promotion. This is all the more to be
regretted as, years ago, I was assured many times from a
trustworthy official source that your suitability and deserts
were far above the official position that you hold. Without
wanting to preach to you unseasonably, let me assure you of my
sincere sympathy in the disappointments you have so undeservedly
to bear, and remind you also how things	generally go badly in
this world with the better and best sort of men. One must not let
oneself be embittered by bitter experiences, and one must bear
all sorts of mortifications without mortification.

I will also repeat for your amusement a droll saying of General
Wrangel's: "A man should never vex himself;--if there must be
vexation anywhere, let him rather vex somebody else!"--The best
way, in case of extreme necessity to vex others, is to bear
imperturbably many an injury and unpleasantness--without
prejudice to any defense or help that may offer, when opportunity
occurs--for we were not born to sleep our lives away!--

Under the given circumstances one cannot do otherwise than agree
with your resolution to let your son go into the Military Academy
when he is eleven years old. May this young Franz bring you all
the happiness that your older Franziskus wishes you from his
innermost heart.--[He did not become a soldier, but the renowned
Professor of Law now teaching at the University of Halle.]

In the expectation of this we will comfort ourselves by
swallowing Pfefferoni and Paprika together with Gumpoldskirchner.
Have I ever told you how excellent the latter, which you had
chosen just right, tasted?

It is almost impossible to further B.'s affairs. You think it
would be right to let his drama be examined by a "competent
authority." Undoubtedly; but that will not help him, so long as
this competent authority, who here could be none other than
Dingelstedt, is not able to help him any further. As far as I
know our Intendant he will NOT condescend to perform King
Alphonso; but none the less I will speak to Dingelstedt about it,
and will prevail on him first of all to write a few lines to B.,
as the rules of courtesy demand. I scarcely hope to effect more
than this, glad as I should be if it happened so, for you know
that I am glad to show myself obliging. It is doubtful also
whether B. will have much better chances with other Intendants--
for, as it seems, the good man has decidedly bad luck. Please
make my excuses to him if I do not answer his letter other than
by a silent condolence (in German Beleidsbezeugung!).--It has
become horribly difficult nowadays to make a footing on the
boards--"which signify the world"--especially for writers of
classic tragic-plays, whose lot is far more a tragic than a
playing one!--Things certainly are not much better with most of
the Opera composers, although that genre is the most thankful one
of all. Without a strong dose of obstinacy and resignation there
is no doing anything. In spite of the comforting proverb
"Geduldige Schafe gehen viele in den Stall," [The English
equivalent seems to be "Patience and application will carry us
through."] there is for the greater number and most patient of
the sheep no more room in the fold, to say nothing of food!--Thus
the problem of the literary and artistic proletariat becomes from
year to year more clamorous.

Your orchestral concert plan has surprised me very much, and I
thank you from my heart for this fresh proof of your energy and
goodwill. Yet for this year I think it would be more judicious to
pause, for several reasons which it would lead me rather too far
to explain, and which, therefore, I prefer to reserve for a viva
voce talk. They relate to (A) my personal position and something
connected with it socially; (B) the position of musical matters
among artists and in the Press, which not only influence but
intimidate the public, disconcert it, and palm off upon it ears,
with which it cannot hear. This temporary very bad state of
things I think I have, alas! at all times quite rightly
acknowledged, and, if I do not greatly mistake, it must surely
soon perceptibly modify in our favor. Our opponents "triumph far
more than they conquer us," as Tacitus says. They will not be
able to hold their narrow, malicious, negative, and unproductive
thesis much longer against our quiet, assured, positive progress
in Art-works. A consoling and significant symptom of this is that
they are no longer able to support their adherents among living
and working composers, but devour them critically while the
public is so indifferent. The resume of the whole criticism of
the opposition may be summed up in the following words: "All the
heroes of Art in past times find, alas! no worthy successors in
our day." But our time will not give up its rights--and the
rightful successors will prove themselves such!

More of this when we have an opportunity. You have doubtless
heard that a similar plan to yours is in progress in Leipzig. My
friend Bronsart undertakes the direction of the Euterpe concerts
for this winter, and there will be some rows about it. We will
await the result; if it should not be satisfactory, yet the
matter is so arranged that it cannot do us any great harm. As
regards Vienna I think it would be wisest to let this winter pass
by without troubling ourselves about it. Messrs. B., V.B., and
their associates may peacefully have Symphonies and other works
performed there and mutually blow each other's trumpets.

I have still a request to make to you today, dearest Eduard.
Persuade Herbeck to send the score and the chorus and orchestral
part of my "Prometheus" at once to C.F. Kahnt, the music
publisher in Leipzig. The work is fixed for performance at one of
the Euterpe concerts, which will take place before Christmas of
this year; so it is necessary that the choruses should be studied
in time. Kahnt has already written to Herbeck and also to Spina--
but as yet he has received neither an answer nor the parts and
score of Prometheus that he wants.

Take the same opportunity of telling Herbeck that I should like
once to hear the four Schubert Marches which I instrumented for
him, and I beg him to send the score of them to me at Weymar.

Forgive me that I always trouble you with all sorts of
commissions--but my Vienna acquaintances are so lazy and
unreliable that I have no other alternative but to set you on
everywhere..--.

Heartfelt greetings to your wife and children from your faithful
and grateful

F. Liszt

P.S.--I have written something to Cornelius about my latest
compositions, which he will tell you.

I expect the Princess here in October only. I will tell you,
later on, much about her stay in Rome, some of which is
agreeable.



243. To Hoffman von Fallersleben

My dear, honored Friend,

The melancholy tidings were reported to me by Grafe on Monday
evening (in the New Weymar Verein). [Hoffmann, after he had
obtained in May, 1860 the position of librarian to the Duke of
Ratibor at Schloss Corvey, near Hoxter-on-the-Weser, lost his
wife.] It came upon us all with a most mournful shock, and truly
it needs no further words to assure you of my heartfelt sympathy
in your grief!--Thank you for having thought of me. The Princess,
who was always so attached to your dear good wife, has not yet
returned from Rome--and I do not expect her till towards the end
of November. Unfortunately I must remain here entirely until
then--otherwise I should assuredly come at once to you...Forgive
me, therefore, that only from afar can I tell you how sincerely
and truly I remain your faithfully attached friend,

F. Liszt

October 30th, 1860

I have sent your charming birthday gift for October 22nd (text
and music) to the Princess.



244. To Professor Franz Gotze in Leipzig

Dear, honored Friend,

Do not think me indiscreet if I say something to you about which
you yourself must know best. The artistic gifts of your daughter
are as rare as they are pronounced. I have heard her sing and
declaim several times in the last few days, and each time with
increasing interest. Will you not give her carte blanche, and
grant your consent to the artistic career which is hers by nature
and which can hardly be put aside? [Liszt, like others, was
laboring under the mistake (for reasons which cannot be discussed
here) that Gotze did not intend his daughter to pursue the career
of an artiste, though he had had her educated both as a singer
and dramatically.] I know that this may not be a very easy
decision for you,--but, much as I usually refrain from giving
advice of this kind, yet I cannot do otherwise than make an
exception in this case, and intercede with you to let your
daughter come out in public--because I am convinced that you will
not regret having supported her with fatherly compliance in this.

Dr. Gille much wishes to gain your daughter for the next concert
in Jena. I think that a debut there would in any case do her no
harm. Later on I shall ask you whether you will allow Auguste
shortly to appear here at a Court concert.

Excuse my interference in so delicate a matter by reason of the
sincere interest I take in your daughter, and the faithful
friendship with which I remain Your unalterably sincerely
attached

F. Liszt

Weymar, November 4, 1860

Send a telegram to Gille in reply--if possible, "Yes," as the
concert takes place next Sunday.



245. To Dr. Franz Brendel

Dear Friend,

.--. I take a sincere interest in the progress of the Euterpe
concerts--a progress which up to now has been favorable on the
whole; you have the chief merit in this, just because it rests
with you to neutralize difficult and opposing elements.

I rejoice much that Bronsart so thoroughly fulfills my
expectations. He is a director-gentleman ["Gentleman" put in
English by Liszt]. I shall hear more about the concerts through
Weissheimer [A composer; was for some time second director of the
Euterpe concerts], who is advertised here for the day after
tomorrow; until now I have only heard something about them from
Fraulein Hundt [A composer, at that time in Weimar; has since
died] yesterday.

With best greetings, yours in all friendship,

F. Liszt

Weymar, November 16th, 1860

Will you be so kind as to send me at once a couple of copies of
Muller's new brochure?

.--. If it is possible to hurry the bringing out of my seventh
book of songs I shall be glad. Also the "Vereins-Lied."

Give my most friendly greetings to Gotze--and at the same time
tell him that his daughter (of whose great artistic powers there
is no doubt) sang and declaimed last Sunday in Jena with the
greatest success. The vocal numbers were "two songs by Schumann,"
one of which was encored--and at the end of the concert she
declaimed the Ballade Leonore (with my melodramatic pianoforte
accompaniment).

Have you heard anything of Wagner? Rienzi is being studied here,
and I have undertaken to conduct the rehearsals. With regard to
the performance I have at once mentioned decidedly that nothing
will induce me to make an exception and conduct it--consequently
Musik-director Stor will conduct it.



246. To Dr. Franz Brendel

Dear Friend,

Since I have again had a conference with respect to the
Tonkunstler-Versammlung in Weymar next August, I am happy to be
able to tell you that not only will there be no obstacle to it,
but that we may expect that much will be done to further the
matter here. In your next announcement in the Neue Zeitschrift
about the Tonkunstler-Versammlung you are therefore fully
authorized to intimate the readiness of the artists, both vocal
and instrumental, here and in the neighborhood (Jena, Eisenach,
Sondershausen, etc.), as also the favorable disposition of H.R.H.
the Grand Duke, for the matter. This latter point must be
mentioned with some formality, so that I can submit your article
to my gracious master.

According to my opinion it would be well if, in this connection,
you were to touch upon the musical antecedents of Weymar
(performances of Wagner, Berlioz, Schumann), also the founding of
the Academy of Painting by the Grand Duke which took place
lately, and also the protectorate which H.R.H. has undertaken of
the Allegemeine deutsche Schiller-Stiftung [The Universal German
Schiller Scholarship] (the first place of which is to be Weymar
next year).

Yours in all friendship,

F. Liszt

December 2nd, 1860

P.S.--With the next Tonkunstler-Versammlung I join three
principal things:--

(1) The founding and establishing of the Tonkunstler-Vierein.

(2) That the States should take part (according to your idea) in
the principal musical interests to be supported.

(3) The introduction and proposal of the projected music school.
[Liszt was endeavoring at that time to found a music school in
Weimar.]



247. To C.F. Kahnt, Music Publisher in Leipzig

[Kahnt was the publisher of the Neue Zeitschrift fur Musik for
more than thirty years (ever since 1855); also the publisher of
several of Liszt's compositions, co-founder and for many years
cashier of the Allgemeine deutsche Musikvereins, and, after 1873,
Councillor of Commission in Weimar.]

Dear Sir,

I send you herewith the proof-sheets of the seventh book of my
songs, and of the "Vereins-Lied" for the chorus of men's voices.
I quite concur in the new title-page, which can also be employed
for each single song. It is better than the former one, only I
shall be glad if there are no other advertisements on the back
side, and it is left bare.

On the 17th of this month the Neu-Weymar-Verein intends to give a
little Beethoven-Festival, and the "Vereins-Lied" is included in
the programme. I beg, therefore, that you will send me some
proof-copies by the 12th December--if it is not possible to get
the edition ready so soon.--.

The three Chansons and arrangement of the three Quartets for
men's voices (published in Basle) are all completed in my head;
you shall have them as a new manuscript at the end of the week.
There is no hurry about the publishing of the Chansons and
Quartets (probably I shall entitle them "Aus dem Zelt," or "Aus
dem Lager," three songs, etc.). ["From the Tent," or "From the
Camp." They were eventually entitled "Geharnischte Lieder"
("Songs in Armour").] But as you are kind enough to place some
reliance on my songs, I should like to commit to you next a
little wish of mine--namely, that my Schiller Song (which
appeared in the Illustrated in November last) may soon be
published, and also a somewhat repaying (rather sweet!) Quartet
for men's voices, with a tenor solo--"Huttelein, still and
klein."  It has been already sung with success by the Vienna
Manner-Gesangverein, and by some Liedertafeln. I add the two
manuscripts to the parcel of proofs--perhaps you will take an
opportunity of trying both the little things in a small circle.
If Herr Professor Gotze would have the kindness to undertake the
solo-part in the "Huttelein" I should be very much obliged to
him. Herr Wallenreiter might make a good thing of the baritone
solo-part in the "Schiller Song."

In case you should be disposed to acquiesce in my wish, and to
undertake the publishing of the two or three men's choruses, I
would propose to you to bring them out as the opening numbers of
a short succession of "Compositions for Male Voices," and also,
as with the Songs, to give them a title page (with a statement of
the different numbers--to which the Basle Quartets might also be
added; thus six numbers up to now). Do not fear, dear sir, an
over-productiveness in this genre on my part! But if by chance
one or other number of these Quartets should have some spread, I
should not dislike to write a couple more, either secular or
sacred. Among the latter I hope that the Psalm "The Heavens
declare," which will be performed next summer at a great Festival
of Song, will produce a good effect.

Pray pardon my verbosity--it is not usually my way to indulge in
unnecessary words; and accept, dear Sir, the assurance of the
well-known sentiments with which I remain,

Yours most truly,

F. Liszt

Weymar, December 2nd, 1860

The first performance of "Rienzi" is announced for the second day
of the Christmas holidays. I have engaged to conduct the
rehearsals, but at the same time have positively refused to
conduct the performances. Herr Musik-director Stor undertakes
that. [After the opposition of a coterie that was inimical to
Liszt, to which, as is well known, Cornelius's "Barber of
Baghdad" fell a sacrifice, Liszt had finally resigned his post as
conductor of the theater.]



248. To the Music Publisher C.F. Kahnt

.--. With regard to the publishing of my Songs for men's voices I
do not wish in the least to hurry you, dear sir--yet I should be
glad if you could advertise the things soon--and possibly on the
back of the title-page of my songs (?), if that does not seem
impracticable to you. The two collections (the songs and the
men's songs) have a certain connection, and that is why I make
this suggestion, about which you must decide. A couple of months
ago Louis Kohler wrote to me in his witty, friendly manner, "You
really owed us some Quartets for men's voices, which Bierbruder
["Beer-drinkers," "brothers of the glass"] metamorphosed into
demi-gods!" and when the songs were published, I was already
intending to let the men's songs follow shortly after. As most of
these latter are tolerably short, I think that the score of the
twelve will not require more than forty, or at the most fifty,
plates (small size). Economy might be employed in publishing the
parts by having them well copied. Of course engraving is always
the best, but I do not want to precipitate you into a too ruinous
outlay--and if the copying is done by an experienced copyist it
looks very well, and is quite easy to read.

I am writing to Schuberth by the next post to tell him (what he
might know without that) how unwillingly and how seldom I meddle
with dedications--especially dedications to people and societies
that I don't at all know, as he would like me to do! In the
somewhat numerous works of mine that have appeared of late years
you will find very few dedications. The twelve Symphonic Poems
have none. The Gran Mass is also without one--and in the Songs I
have left out the earlier dedications. Therefore, before I try in
America a method which I have almost given up in Europe, some
time may yet elapse. Schuberth means thoroughly well by me, for
which I am obliged to him--but he means well in his own way,
which cannot always be mine.

May I beg another little favor of you? At the Court concert on
the 1st January I should like to let the Reiter-Marsch of F.
Schubert (not Julius!), which I instrumented, be performed, and I
have no longer either the score or the parts. You would lay me
under an obligation if you could quickly send them to me. I have
never heard the piece; and as it has already been given with
success in Vienna and Leipzig I may almost venture to expect that
the company here may be bold enough to go half-way in the same
direction!--

Possibly I shall also attempt the Mephisto Waltz the same
evening, as well as a couple of my orchestrated songs. (I may
mention, by the way, that I have orchestrated six songs of
Schubert's--"the Erlkonig, Gretchen, the junge Nonne, the
Doppelganger, Mignon, and Abschied"--and three of my own--
"Loreley, Mignon, and the three Zigeuner." Later on, if a weak
moment should come over you, I should be glad to impose these
three latter upon you in score--but you shall hear them first.)

A thousand apologies for all this random talk about compositions,
and best greetings from yours in all friendliness,

F. Liszt

Weymar, December 19th, 1860



249. To Dr. Franz Brendel

Dear Friend,

Your article "For the New Year" is most capital and worthy of
you. In three places I would merely venture to propose some
slight alterations for your consideration. You will find them
marked + and with the letters A, B, C.

At + A it would suit things better to say as follows: "Concert-
rooms and theaters, the scene of the most palpable speculation,
personal passion, and severing struggles." Or, if you think the
word "most palpable" too strong, let us put another, such as "the
commonest" or "the most mercantile speculation," etc.

+ B, instead of opinion, "the most affected assumption" Here
there is more question of assumption than of opinion. If
angenommen [affected] sounds too much like Anmassung
[assumption], let us put "the widespread assumption."

+ C, instead of "outward forces," I would rather have another
word, such as "powers," "factors," "levers," or any one that is
better. I do not know why the "Machle" [forces] do not seem to me
quite right here.

Finally, + D, I think it would be advisable ruthlessly to strike
out the following short sentence: "Indeed it would not be saying
too much if it were to be asserted that in many circles it takes
the place of religion,"--apart from the consideration of whether
it is accurate or not, because for the most part the men of the
State are sure to take offence at it. "How," they will say, "you
wish us to support a movement that aims at nothing less than the
doing away with religion?"--and, behold, there is a new bugbear
ready, and the most healthy and just endeavors are checked for
many a year!--

I am in perfect agreement with all the rest, with the exception
of the parenthesis marked *--"without thereby, as has often been
the case hitherto, falling into the unpractical mistake of
conceding to the public things which they do not want, and
diminishing the revenues." For, by the way, let me also say
parenthetically that, if I had not done this with most resolute
intention for many years, Wagner could not truly have said in his
letter to Villot (page 40 of the French edition of his
translation of the four Operas): "Tout a coup mes relations avec
le public prirent un autre tour, sur lequel je n'avais pas compte
le moins du monde: mes operas se repandaient." ["All at once my
relations with the public took a fresh turn, on which I had not
calculated the least bit in the world: my operas were becoming
known."

Both on this account and for other reasons I think this
parenthesis dangerous, and can in no wise subscribe to it!

With friendliest greetings, your sincere

F. Liszt

December 19th, 1860

I have written a long letter to Kahnt today. In case he cannot
read my writing, will you be so good as to help him with it?



250. To Felix Draseke

You have again encouraged and rejoiced me, my excellent friend,
by your affectionate comprehension of my meaning and endeavors in
the "Dante" Symphony.

Once more my heartfelt thanks for it. Later on, when "Hamlet" and
the "Hunnenschlacht" are published, please do not refuse me the
special satisfaction of publishing the whole of your articles on
the Symphonic Poems in the form of a pamphlet. We will speak
further of this by word of mouth, and possibly a few musical
examples could be added to the earlier ones.

How far have you got with the "Loreley"?--Only take hold of the
witch with tender force.--Geibel has lately brought out his
opera-text to the "Loreley," and several composers are already
setting to work on it  (or under it). In the present state of
things there is not much to be expected from effusions and feeble
attempts of that kind. On the other hand I am expecting something
great, beautiful, and magical from the Symphonic form into which
you will shape this story--a story which just as easily becomes
dry and tedious as, on the other hand, it can be melting. Take
care that we bring your work to a hearing at the next
Tonkunstler-Versammlung (in July-August) here.

O. Singer's "Entschwandenes Ideal" ["Vanished Ideal"] is full of
music; noble in conception and powerfully worked out. I shall
write to him shortly about it, and send him my seventh book of
songs, as you told me that he rather liked the earlier ones.--

An excellent little work by our friend Weitzmann lies before us
again: "The New Science of Harmony at Variance with the Old." The
"Album Leaves for the Emancipation of Fifths" as a supplement are
stirring; and the "Anthology of Classical Following Fifths," with
quotations from Hiller and Hauptmann,. is especially instructive.
In Harmony, as in other things, it is no longer a question of
reforming what has been laid aside, but rather of the fulfilling
of the law.------

On any day, my dear friend, you will be heartily welcome to

Yours very gratefully,

F. Liszt

December 30th, 1860

Towards the middle of January I am going to Paris or a couple of
weeks to see my mother (who is still constantly ill).



251. To Dr. Franz Brendel.

[Beginning of January, 1861]

Dear Friend,

A thousand thanks for your letter, and still more excuses that I
have delayed so long with my answer. On New Year's Day we had a
grand Court-concert--on the top of which there was a banquet at
the Erbprinz, which lasted till four o'clock in the morning; on
the other days perpetual dinners and suppers, at which I was also
obliged to be present. Besides all this, the final revision of my
second concerto (and a couple of smaller piano pieces) occupied
me much. Schott had undertaken the publication of them, and I did
not wish to annoy him by letting the somewhat numerous
alterations which had to be made in them wait to be corrected
until the proofs were printed, etc., etc.

From all the transitions and connection of the movements (which I
am now most carefully working out in the Concerto), I pass at
once without transition to the answering of your questions.

1. I think Bronsart's engagement for next year at four hundred
thalers is advisable.

2. If Weissheimer has really made himself impossible, Damrosch
should be the next one to be thought of, as a colleague of
Bronsart. There is no hurry about this affair, and we will talk
over it again viva voce.

3. The remaining four hundred thalers for X. I will send you at
the end of this month. If you should require them sooner write me
a couple of lines.

4. The question of leave of absence is not easy to decide, so
long as no definite date is fixed for the concert. Frau Pohl, for
instance, had had leave once already--but then the date of the
concert was altered, and in consequence of her absence it was of
no use. For the rest I don't doubt that Frau Pohl can get leave
of absence once more--I only beg you to let me know definitely
the day, so that I may inform Dingelstedt of it.

5. With regard to the co-operation of Messrs. v. Milde and
Singer, it has its difficulties. They are both not without
scruples in regard to the Euterpe, which, though they do not say
so in so many words, might be summed up as follows: "If we co-
operate in the Euterpe, we shut the golden doors of the
Gewandhaus in our faces, and injure ourselves also in other
towns, in which the rule of the Gewandhaus prevails. Ergo, it is
more desirable, prudent(!), for us to act..." The rest you can
add for yourself. Milde complains of the thanklessness of the
part in the "Sangers Fluch," ["The Singer's Curse," by Schumann]
the awful cold of the winter season, all the disagreeables in
connection with obtaining leave, etc. Singer does not know what
piece to choose, and also the E string of his violin is not quite
safe, and more of that kind.

6. Fraulein Genast is in a still worse position, for she is not
quite independent of the intimidation (on classical grounds) of
her father, and is, moreover, engaged for the next Gewandhaus
concert (for the part of the Rose in Schumann's "Rose's
Pilgrimage"). None the less she said to me from the beginning
that she was perfectly ready to do whatever I thought advisable.
In view of this surmise I must naturally be all the more
cautious. She sings on the 22nd in Zwickau, on the 24th
(probably) at the Gewandhaus, and on the 31st in Aix-la-Chapelle.
I have therefore advised her to come to an understanding with you
herself personally in Leipzig on the 23rd, and to co-operate with
you by preference as a singer of Lieder (with pianoforte
accompaniment) at the soiree of the Euterpe on the 29th.
Yesterday evening I marked the following three songs for her, as
the most suitable for the purpose:--

A. "The Pilgrimage to Kevlaar" (composed for E. Genast lately by
Hiller, and still in manuscript).

B. A song of Rubinstein's: for instance, "Ah! could it remain so
for ever!" (Tender allusion to the Gewandhaus!)

C. The three Zigeuner (by me).

The three songs would make up two numbers of the programme.--

I especially beg of you, dear friend, not to make any protest
against the song of Hiller. The plainly fair and just thing,
which has nothing in common with the "elevated right" which is
bestowed exclusively on Capellmeister Rietz and his associates
(as the Leipzig University expressed it), consists simply in not
shutting the door to publicity in anybody's face, or maliciously
and slyly casting stones and mud at him. Regardless of the fact
that we must not expect that they on their side will deal thus
with us, we must consistently and faithfully carry out and
fulfill this simple justice and fairness, and thus show the
gentlemen how people of a nobler mind and more proper cultivation
behave. You perhaps remember the opinion which I have many times
given and proved by actions--especially at the Versammlung-
Versammlung, when Frau Dr. Reclam sang Hiller's (somewhat
mediocre) Psalm, and...etc. After that I vote especially for the
performance of one of Rubinstein's larger works, such as the
proposed Symphony, and beg you to appoint Bronsart for it.--It
would lead me too far to explain my views in detail; that I have
no concessions or favoritisms in view in this matter goes without
saying.

7. The co-operation of the violinist recommended by Schuberth
must be considered, and even qualified, according to his talent.

8. "Tasso" can quite well be performed without the harp. A
pianino will do quite well, and I beg you most earnestly not to
put yourself to any inconvenience for my things. In my orchestral
works I have taken the larger measure of instrumentation (Paris,
Vienna, Berlin, Dresden--or, if you prefer personal names,
Meyerbeer, Mendelssohn, Wagner, Berlioz); but in spite of this
most of them can be performed in smaller proportions, as has been
most strikingly shown, for instance, in Sondershausen. The chief
thing before all else is the conductor; if he be a good and
reliable musician things may then be well managed in a variety of
ways--and in "Tasso" especially the harp is hardly wanted. So
don't bother yourself any more about it, and soothe Bronsart.

If I am not mistaken, I think I have now answered all the
principal questions in your letter. As to what concerns personal
matters we will talk about that shortly. I shall write one of
these next days to Schuberth (as soon as I have finished my
revisions for Schott). He has made me a proposal to which I am
inclined to agree. [The rest of the letter is missing.]



252. To Dr. Franz Brendel

Dear friend,

I expressly wish that Weissheimer should accompany the songs
which Fraulein Genast will sing at the Euterpe soiree. I have
especially commissioned him to make the motive of this wish of
mine, if necessary, still clearer to you. With regard to the
choice of songs you will easily come to an understanding with the
amiable singer. But I, for my part, hold to the opinion that
Hiller's "Wallfahrt nach Kevlaar" is well suited to the
programme.

The "Faust" Symphony must be written out quite fresh once more
before I send it to Schuberth. By the 15th February he will
receive the manuscript, together with a couple of lines for
Dorffel, who is almost indispensable to me as the corrector of
this work. I shall be over head and ears in work the next few
weeks, in order to do all that is necessary before I start on my
journey to Paris, which I shall probably do on the 20th February.

Best thanks for all the information in your last letter. Some
things, indeed most things, are still going very badly--upon
which we cannot and must not make ourselves any illusions;--but
if we are proof against these things we shall come out of them.

Before and after Lowenberg (in the middle of February) I shall
come and see you in Leipzig.

Meanwhile hearty greetings and thanks from your

F. L.

January 20th, 1861

You shall have the small sum for X. in the course of the week.



253. To Dr. Franz Brendel

Dear friend.

By yesterday's post I sent you--

A. The score of the second act of the "Flying Dutchman"--and two
orchestral parts of the duet (these latter in order that the
copyist, in writing it out, may guide himself by these, and may
not add the terzet-ending, as it stands in the score--Weissheimer
will give Thumler the exact speed). Beg Thumler to send me the
score back soon, as it may possibly be wanted at Easter in the
theater.

B. The last part (Mephistopheles and final chorus) of the "Faust"
Symphony in score--and the complete arrangement of this same
Symphony for two pianofortes.

Will you be so good as to give these manuscripts to Schuberth? I
hope he will keep his promise and not delay the publication of
the work. At the end of this week I will send Schuberth the score
and the four-hand piano arrangement of the two Faust-episodes
("Der nachtliche Zug" "The Nocturnal Procession")--and the
"Mephisto-Waltz"). I should be glad if these two things could
come out in the course of this year.

C. For Kahnt, the small score of the chorus "Die Seligkeiten"
["The Beatitudes"], which I also hope may soon be published. It
has been given here a couple of times in the Schloss orchestra
and the parish church, and, as I have been told many times, has
been spoken of in an exceptionally favorable manner. I have
written few things that have so welled up from my innermost soul.

I think I shall be ready with the revision of the "Prometheus"
score by next Saturday. I have already made two arrangements (for
two and four hands, not two pianofortes) of the Reapers' Chorus,
which I give Kahnt gratis. He shall get the whole packet early
next Monday at the latest. Weissheimer tells me that the edition
of the score shall be ready by the middle of July. If Kahnt
prefers to let the Prometheus be copied, I have nothing to say
against it; I only beg that in this case he will employ a very
clever and exact copyist-and, as I have already told him, that he
will preserve the size of the other Symphonic Poems.

N.B.--The division and distribution of the score--so that there
may be as few unnecessary rests as possible, and that, where it
can be done (as, for instance, at the beginning of the Tritons'
Chorus, the Reapers' Chorus, etc), two sets of staves should be
printed on one page--I beg that this may be entrusted to Herr
Dorffel. I also do not wish the work to look like a conductor's
score on the outside!--and, before it is given into the hands of
the engraver or copyist, it is necessary that the parts where two
sets of staves come on to one page should be clearly indicated.
My copyist here has made a very careless scrawl of the
"Prometheus" score, and I have therefore taken other work out of
his hands, and have given him a good scolding. But there is no
time to have a new score written, and therefore Dorffel must
largely help out with the matter.

N.B.--The piano arrangement must be put below the score, as it is
in the manuscript.

Kahnt can publish the arrangement of the Reapers' Chorus sooner
or later, as he likes. The date of the Tonkunstler-Versammlung
can remain fixed for the 15th August. I think it would be
advisable for you to come soon to Weymar (perhaps at Easter), and
to come to a direct understanding with Dingelstedt, M[usic]
D[irector] Montag, and some others among those who are
principally concerned in the matter.

I would propose to you Dr. Gille, in Jena, as a lawyer, and a
zealous co-operator in this affair. He is very ready to help, and
reliable.--

Are you really thinking of still giving the "Prometheus" at the
Tonkunstler-Versammlung? It certainly would not be incompatible
with the "Faust" Symphony (which I wish for in any case)--but I
fear that it will bring in its train too much vexation and
annoyance.

We will speak further about this.

Weissheimer will tell you some things with regard to the
programmes.

Riedel ought to conduct Beethoven's Mass.

With heartfelt greetings, your

F.L.

Weymar March 4th, 1861

P.S.--Advise Schuberth once more to bring out the book of songs
by Lassen immediately--as he promised me.



254. To Peter Cornelius in Vienna

Your letters, dearest friend, are ever a joy to my heart, as also
this time on the 2nd April [Liszt's name-day]. Although on that
day I felt the absence of the Princess the most keenly, and the
Altenburg was for me equally perturbed, yet the loving attachment
of a few friends touched and filled me with comfort. Remain ever
to me, as I remain to you, faithful and steadfast, trusting in
God!--

Unfortunately I have been able to do but very little work this
winter. Revisions and proof-correcting took up almost my whole
time. The two last Symphonic Poems, "Hamlet" and the
"Hunnenschlacht," will come out directly. I will send them to
you, together with a dozen Quartets for men's voices which Kahnt
is publishing. By the end of July the choruses to "Prometheus"
and the "Faust" Symphony will also be out. If we should not see
each other sooner, I count on you, for certain, to be here for
the Tonkunstler-Versammlung (5th, 6th, 7th August), to which I
give you, dearest Cornelius, a special invitation. I hope that
Eduard, [Liszt's cousin] Tausig, Porges, Laurencin, [Count
Laurencin, a writer on music in Vienna] Kulke, Doppler, [Franz
Doppler (1821-83), a flute virtuoso; music-conductor at the Royal
Opera in Vienna. He arranged with Liszt some of the latter's
"Hungarian Rhapsodies" for orchestra.] are coming--and I beg you
to give them a preliminary intimation of my invitation. The next
number of Brendel's paper will give the programme--with the
exception of the third day, which cannot be fixed until later.
Perhaps you will give us a fragment of your "Cid." In any case I
wish your name not to be wanting; and, if you should not have
anything else ready, a couple of numbers from the "Barber Abul
Hassan Ali Eber" shall be given. The charming canon at the
beginning of the second act would be the best.

I am delighted to think that you have been entirely absorbed for
a time in "Tristan." In that work and the "Ring des Nibelungen"
Wagner has decidedly attained his zenith! I hope you have
received the pianoforte arrangement of "Rheingold" which Schott
has published. If not I will send it you. You might render a
great service by a discussion of this wonderful work. Allow me to
stir you up to do this. The summer days allow you now more
working hours; realize some of these with "Rheingold." The task
for you is neither a. difficult nor a thankless one; as soon as
you have seized upon the principal subjects representing the
various personages, and their application and restatement, the
greater part of the work is done. Let us then sing with Peter
Cornelius,--

"O Lust am Rheine, Am heimischen Strande! In sonnigem Scheine
Ergluhen die Lande; Es lachen die Haine, Die Felsengesteine Im
Strahlengewande Am heimischen Strande, Am wogenden Rheine!"

[Free translation,--

"O joy of the Rhine And its homelike shore! Where the bright
sunshine Gilds the landscape o'er; Where the woods are greenest,
The skies serenest, In that home of mine By the friendly shore Of
the billowy Rhine!"]

On the 30th of this month I am going to Paris for a couple of
weeks--and towards the end of May I shall meet my daughter Cosima
in Reichenhall, where she has to go through the whey-cure. Thank
God, she is again on the road to recovery! You can imagine what
grief took possession of me when I saw Cosima last winter
suffering from a similar complaint to Daniel!--

I have satisfactory tidings from the Princess from Rome. The
climate is having a very beneficial effect on her nerves, and she
feels herself, in that respect, far more at home than in
Germany...

She writes wonders to me about the last cartoons of Cornelius,
[The celebrated painter was the uncle of the addressee.] and her
personal relations with the great master have proved most
friendly.

What will become of me in the latter part of the summer does not
yet appear. But let us hold fast to our meeting again here at the
beginning of August.

Yours from my heart,

F. Liszt

April l8th, 1861

A thousand hearty greetings to Tausig.



255. To Hoffmann von Fallersleben

Dear, excellent friend,

I have received the enclosed note for you from the Princess. It
comes to you with my most heartfelt greetings. Please forgive me
for not having this time sent you my good wishes on the 2nd
April; [Hoffmann's birthday, and at the same time Liszt's name-
day] but as long as the Princess's absence lasts I recognize only
sorrowful anniversaries and no festivals of rejoicing. Meanwhile
rest assured that I think of you always with faithful friendship,
and remain ever truly devoted to you.

F. Liszt

April 18th, 1861

P.S.--I send you herewith the "Vereins-Lied"--and three other of
your songs.



256. To Peter Cornelius

[Autograph in the possession of Constance Bache.]

Dearest Cornelius,

Will you quickly sign the accompanying announcement to the
Tonkunstler-Versammlung with your good, beautiful name? You must
not fail me on this occasion in Weymar!

And yet another request, dearest friend. Will you go and see F.
Doppler and tell him that I very much wish he could arrive with
you on the 4th August at latest? I hope he will not refuse me
this pleasure--and if it is not inconvenient to him will he also
bring his flute and undertake the part in Faust?

With regard to the travelling expenses I have already written to
my cousin Eduard; he is to put a couple of hundred florins at
your disposal; for it goes without saying that neither you nor
Doppler will be allowed to spend a groschen out of your own purse
for the journey.

You will meet Eduard here--and also Wagner, Hans, Draseke,
Damrosch, Tausig, Lassen, and my daughter (Madame Ollivier).

To our speedy meeting then, my best Cornelius!

Bring your "Cid" with you as far as it is done, and kindly
dedicate some days to your heartily devoted

F. Liszt

Weymar, July 12th, 1861

P.S.--Shortly after the Tonkunstler-Versammlung I shall be
leaving Weymar for a long time.—-



256A. To Peter Cornelius

[Autograph in the possession of Constance Bache. This letter was
left out by La Mara, but is inserted by the translator.]

Dearest Cornelius,

I have just been told that the score of the "Barber of Baghdad"
is not in the theater library here, as I thought, but that you
have kept it.

I can therefore no longer keep it a secret from you that I am
intending to give the Terzet [Canon] from the beginning of the
second act at the third concert (7th August) of the Tonkunstler-
Versammlung, and I have not the smallest doubt as to the capital
effect that this exquisite piece of music will produce.

But do send me by return of post the score of your "Barber."

The Terzet is a necessary integral part of our programme, which
will consist of the "performance of manuscript works of the
present day."--

With heartfelt greetings, your

F. Liszt

July 14th, 1861



257. To Alfred Dorffel

My dear Sir,

Whilst giving you my warmest thanks for the great pains you have
taken with the "Faust" score [as corrector of the score] I have,
in conclusion, one more request to make.

I wish to modify the prosody of the passage in the tenor solo,

[Here, Liszt writes a 4-measure music score excerpt of the treble
portion of the piece at the point where the words, "das Ewig
Weibliche" are sung.]

each time, just as I have written it on the accompanying note-
sheet. If I mistake not, it would in this way be more singable
and weiblicher [more womanly]. [Referring to Goethe's words "Das
ewig Weibliche" ("The eternal womanly")]

Accept, my dear sir, the assurance of my highest esteem and most
friendly gratitude.

F. Liszt

Weyar, July 18th, 1861

P.S.--The "Faust" Symphony is to be given here on the 6th August.
Perhaps it would be possible to you to be present at that
concert, and to give me the pleasure of a visit from you.



258. To Hofconcertmeister Edmund Singer in Stuttgart

Dear Friend,

The article in the Allgemeine Zeitung on the Tonkunstler-
Versammlung (12th August) is an event, and I thank you sincerely
for the part you have taken in it. [It was written by Singer.]

Although, as you know, I must on principle keep myself
unconcerned as regards criticism, as I cannot allow it the first
word in matters of Art, yet it has long been my wish to see the
"systematic opposition" to the present incontrovertible tendency
(or, better, "development") of music not exclusively represented
in the Allgemeine Zeitung. Just because this paper is not a
merely local, but an European and intellectually historical one,
did the local aversions and the diatribes of the island "Borneo"
appear to me far more inadmissible than in other papers. The
reporter of the Tonkunstler-Versammlung has taken an important
step towards agreement; may he continue to work with us yet
further!

The Altenburg has been closed and locked up since last Sunday--
and in a few hours I am leaving Weymar for a long time. In the
first place I shall spend some weeks with my patron, Prince
Hohenzollern (who is musically very well disposed!), at
Lowenberg. I intend to take up again there and quietly to carry
on my work which has been too long interrupted. My promised
contributions to Herr Stark's Pianoforte School must also soon be
taken in hand. Meanwhile remember me most kindly to Herr Lebert,
[Professors at the Stuttgart Conservatorium. For the great
Pianoforte School edited by Lebert and Stark, Liszt wrote the
concert-studies "Waldesrauschen" and "Gnomenreigen."] and assure
him that I am most anxious to discharge the task allotted to me
in a satisfactory manner.

Pohl has promised me that he will soon send you the "Prometheus"
and "Faust" notices that you want. For the rest you don't require
any further explanation to enable you satisfactorily to instruct
the public in these things. As I am pressed for time I must only
give you for today once more my best thanks, and remain

Yours in all friendship,

F. Liszt

August 17th, 1861

My best greetings to your wife.



259. To the music publisher, C.F. Kahnt

Don't be alarmed, dear sir! Once more a manuscript of mine is
coming to you. "Ich glaube, die Wellen verschlingen, Am Ende
Schiffer und...Kahnt!" [A quotation from Heine's poem "Die
Loreley," set to music by Liszt:

"I fear me the waters engulfing
Are drawing the boatman beneath,--
'Tis Loreley, with voice enchanting,
Who lures him on to death!

Liszt makes a play on the words Kahn (a boat) and Kahnt (the
publisher).]

The pianoforte transcription of the "Loreley" has cost me more
trouble than I expected. But I hope therefore that it has not
succeeded badly. Let a clean and correct copy be made of it by a
reliable musician (Corno perhaps?) [August Horn in Leipzig, whom
Liszt held up as being "very exact and reliable."] before you
give the little piece into the engraver's hands. N.B.--The words
are to be engraved with it, as in the Vienna edition of my
transcription of the Schubert Songs.

As regards the publishing of the scores of my three songs--
"Loreley," "Mignon," and the "Zigeuner"--I leave them entirely to
your pleasure or the reverse, as also the size of the edition
(whether larger or smaller--but in any case, not quite full
size)..--.

I shall be staying at Lowenberg up to the 8th September.

I beg that you will send the final proof of "Loreley" to Herr von
Bulow--and also the second edition of "Mignon" in time, which is
to be engraved from the score left behind by Brendel--for voice
and pianoforte accompaniment (without instrumentation) in the
first place--as you were kind enough to promise me.

With best greetings, your obliged

F. Liszt

Lowenberg, August 27th, 1861



260. To Dr. Franz Brendel

Dear Friend,

A musical scribble that I had promised, and which I wished to
finish here, and various little excursions in the neighborhood,
have prevented me from answering your letter sooner.

The Prince [Of Hohenzollern-Hechingen] continues to show me the
same amiable friendship as ever, so that it is hard to me to
leave Lowenberg. Seifriz will write you word a couple of weeks
beforehand to which concert your coming here would be most
advantageous. The concert season does not begin till November,
and, with the exception of the winter months, when the musical
performances take place, a great proportion of the members of the
orchestra is absent. His Highness adheres always firmly and
faithfully to the endeavors of the "New German School," and is
desirous of supporting it still further. On this account I think
it would be desirable to elect Seifriz as a member of the
Committee of the Allgemeane Deutsche Musikverein. I also vote
especially for Stein (of Sondershausen), Eduard Liszt, Herbeck,
Ambros, David--without a word against the rest of the names which
you have proposed.

As regards the other points of your letter I write as follows:--

1. I believe that N.'s reliability and extensive influence in the
affairs of the Mozart Society are a bit hypothetical. You find
out more exactly what he is likely to accomplish.

2. I will undertake with pleasure the examination of the
manuscripts and the decision as to what works shall be performed
at the general assembly--but please do not give me the title of
President, but simply the name of Reporter or Head of the musical
section.

3. I entirely agree with the intention of distributing Pohl's
["On the Tonkunstler-Versammlung in Leipzig in 1859."] pamphlet
gratis to the members of the Society.

Of course the two speeches by yourself and Draseke must be
included in it. Should it be necessary, I will gladly contribute
a few thalers towards the publication.

4. According to my opinion the Society should not be placed under
the protection of the Grand Duke "until everything is ready."
According to what he has said to me there is no doubt about his
acceptance of it, but still it is indispensable that you should
write to H.R.H. about it. Pohl and Gille will be the best to help
you in composing the letter to the Grand Duke, and perhaps they
will sign their names to it also. Later on we shall have to
discuss in what form and fashion other German Princes are to be
invited to give their countenance to the Society-or not.

5. Wagner's photograph has unfortunately been locked up in the
Altenburg against my wish. I cannot therefore be of any help with
it--and can only advise you to write to Wagner himself, in order
to learn which of his likenesses would be the most suitable for
publication in the Modenzeitung.

.-.I shall be in Berlin by the evening of the day after tomorrow,
and shall probably stay there till the 24th-26th of this month.
May I also beg you to remind Pohl of his promise to send me my
arrangement of the Dance of Sylphs (from Berlioz' "Faust")? I am
now wanting this little piece, of which I did not keep any copy.
It is the same with my arrangement of the "Tannhauser" Overture,
which I left behind with Pflughaupt. Get Pohl to send me the
Dance of Sylphs and the "Tannhauser" Overture as soon as possible
to Bulow's address in Berlin. I will then send him my thanks in
writing, and will quietly wait for the catalogue of music in his
possession out of my library (which he wanted to send me some
days after my departure!).

How is it with regard to Damrosch's leadership of the orchestra
at Weymar? Pohl must tell me all about it.

Has Bronsart's marriage taken place yet?

If it is not giving you too much trouble, I should be glad to
receive the pamphlets, marked with red pencil, by Bronsart,
Laurencin, Wagner, and Ambros, while I am in Berlin. The
publication of Zellner's brochure on "Faust" shall meanwhile be
left to the geniality and munificence of Schuberth. A propos of
Lassen's songs (which Schuberth boasted that he should bring out
so quickly that last evening he was with you!), the first book
only--say three songs!--and not the second, has come out,
although Schuberth presented me with two books, relying on my
being absent-minded and preoccupied! But he has such an
extraordinary talent for tricks of that kind that it would be
almost a pity if he did not exercise it here and there!.-.

With friendliest greetings to your wife,

Most faithfully,

F. Liszt

Lowenberg, September 16th, 1861

[Shortly after this Liszt departed from Lowenberg. He took the
road which the Princess Wittgenstein had gone before him, and
went, by way of Paris, to Rome.]



          END OF LETTERS OF FRANZ LISZT, VOL. I.





INFO ABOUT THIS E-TEXT EDITION

This volume of "Letters of Franz Liszt" is the first volume of a
2-volume set. The letters were selected by La Mara, and
translated into English by Constance Bache. The edition used was
an original 1893 Charles Scribner edition, printed in America.
Each page was cut out of it and fed into an Automatic Document
Scanner to make this e-text; hence, the original book was
fragmented in order to save it.

Some adaptations from the original text were made while
formatting it for an e-text. Italics in the original book were
ignored in making this e-text, unless they referred to proper
nouns, in which case they are put in quotes in the e-text.
Italics are not easily rendered in ASCII text, and in the
original book they generally do not seem to add much to Liszt's
expression.

Also, special German characters like U with an umlaut, and French
characters like a's and e's with various markings above them were
ignored, replaced with their closet single-letter equivalents. U
with an umlaut is U, A with a caret above it is A, and so on.
Words altered include Gotze, Tonkunstler, Gluck, Handel and
Bulow, among others.

In addition, the English spellings of words like "honour,"
"colour," "humour" and "theatre" were changed into American
equivalents like "honor," "color," "humor" and "theater."

This electronic text was prepared by John Mamoun with help from
numerous other proofreaders, including those associated with
Charles Franks' Distributed Proofreaders website.  Special thanks to S.
Morrison, R. Zimmerman, K. McGuire, A. Montague, M. Fong and N. Harris
for proof-reading, and also thanks to B. Schak, D. Maddock, C. Weyant,
M. Taylor, K. Rieff, J. Roberts, K. Peterson and others.

This e-text is public domain, freely copyable and distributable for any
non-commercial purpose, and may be included without royalty or
permission on a mass media storage product, such as a cd-rom, that
contains at least 50 public domain electronic texts, whether offered
for non-commercial or commercial purposes. Any other commercial usage
requires permission. The biographical sketch was prepared for this e-
text and is also not copyright and is public domain.


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