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VOL.1. 


/-I     i  I'. i.    Letters   of,    Collected    and 
1   •'    by    La    Mara,    I  ranslated    by   0. 

n.    2   vols,    thick   cr.    8vo, 

1894 


LETTERS   OF   FRANZ   LISZT. 

VOL.    I. 


' 


LETTERS 


OF 


FRANZ    LISZT 


COLLECTED  AND  EDITED 

BY 

LA     MARA. 

TRANSLATED   BY 

CONSTANCE    BACHE 
Wl\x.\)   a  Portrait. 


VOL.  I. 

FROM   PARIS  TO   ROME. 

YEARS    OF   TRAVEL   AS    VIRTUOSO. 


LONDON : 

H.    GREVEL    &    CO., 
33,   KING   STREET,    COVENT   GARDEN,   W.C 

1894. 


1941 


^O^a-t 


PRINTED    BY 

IIAZELL,    WATSON,    AND   VINEY,    LD. 

LONDON   AND  AYLESBURY. 


ML 


XZo  tbe  /iftemon?  of 

MY    BROTHER    WALTER, 

AND  TO  OUR 
DEAR  AND  HONOURED  FRIEND 

A.     J.     HIP  KINS,     ESQ., 

I    DEDICATE   THIS   TRANSLATION. 

C.  B. 


PREFACE    TO   THE    ENGLISH 
EDITION. 


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  rever- 
ence I  have  endeavoured,  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  trans- 
lation of  various  titles,  names  of  Societies  or  news- 
papers, 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 


viii  PREFACE. 

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  Gliick 
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)  ?  * 

The  English  edition  is  increased  by  four  letters : 
one  to  Peter  Cornelius,  No.  256A  in  Vol.  L,  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  37013)  ;  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 

*  Another  volume  of  Liszt's  letters,  of  a  still  more  intimate 
character,  addressed  to  a  lady  friend,   will   be   published  later  on. 


PREFACE.  ix 

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  1 886,  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  colours,  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. 


CONTENTS 


i.  To  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.  ,,  AbbedeLamennais,  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.  ,,  AbbedeLamennais.     December  1 8th,  1837 

12.  ,,  Breitkopf  and  Hartel  in  Leipzig.     April  5th,  1838 

13.  ,,  Robert  Schumann  in  Leipzig.     Ma}',  1838. 
14.'  ,,  the    "  Gesellschaft   der    Musikfreunde "    in   Vienna 

June  1st,  1838 

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,  1839    . 

20.  ,,  Breitkopf  and  Hartel.     June,  1839 

21.  ,,  the  Beethoven  Committee  at  Bonn.    October  3rd,  1839     38 

22.  ,,  Count  Leo  Festetics  in  Pest.     November  24th,  1839      39 

23.  ,,  Clara  Wieck.     December  25th,  1839.         .         .         .40 

24.  ,,  Robert  Schumann.     March  27th,  1840       .         .         .     41 


3 
5 
6 

7 

7 

10 

13 
16 
16 

17 
20 
22 
23 

26 
26 
28 
29 
30 
33 
36 


XIV 


CONTENTS. 


LETTER 

PAGE 

96. 

To  Frau  Dr.  Lidy  Steche  in  Leipzig.     February 

14th 

1353 

158 

97- 

„    Gustav  Schmidt.     February  27th,  1853     . 

159 

93. 

,,    Heinrich  Brockhaus  in  Leipzig.     March  22nd, 

1853 

l62 

99- 

,,    Dr.  Franz  Brendel  in  Leipzig.     April  3rd,  1 S52 

164 

100. 

„    the  same.     April  30th,  1853 

166 

IOI. 

,,    Louis  Kohler.     May  6th,  1853. 

169 

102. 

„    the  same.     May  24th,  1853 

I70 

103. 

„    the  same.     August  1st,  1853     . 

171 

104. 

,,    Richard  Pohl  in  Dresden.     November  5th,  185 

3 

173 

105. 

,,    Wilhelm  Fischer.     January  4th,  1854 

177 

106. 

„    Escudier  in  Paris.     January  21st,  1854     . 

179 

107. 

„    the  same.     January  28th,  1854  . 

ISO 

108. 

,,    Dr.  Franz  Brendel.     February  20th,  1854 

l8l 

109. 

,,    Louis  Kohler.     March  2nd,  1854 

133 

no. 

,,    Dr.  Franz  Brendel.     March  1 8th,  1854      . 

I85 

11 1. 

,,    Louis  Kohler.     April  or  May,  1854  . 

186 

112. 

,,    Dr.  Franz  Brendel.     April  26th,  1854 

188 

113- 

,,    Louis  Kohler.     June  8th,  1854  . 

189 

114. 

,,    Dr.  Franz  Brendel.     June  12th,  1854 

I9I 

115. 

,,    Carl  Klindworth  in  London.     July  2nd,  1854 

192 

116. 

,,    Dr.  Franz  Brendel.     July  7th,  1854  . 

I96 

117. 

,,    Anton  Rubinstein.     July  31st,  1854. 

197 

118. 

,,    Dr.  Franz  Brendel.     August  12th,  1854    . 

199 

119. 

,,    Anton  Rubinstein.     August,  1854     . 

202 

120. 

„    Alexander  Ritter  in  Dresden.     September  6th, 

1854 

.   204 

121. 

,,    Bernhard  Cossmann.     September  8th,  1854 

205 

122. 

„    Gaetano  Belloni.     September  9th,  1854   . 

208 

123. 

,,    Dr.  Eduard  Liszt.     October  10th,  1854     . 

209 

124. 

,,    Anton  Rubinstein.     October  19th,  1854    . 

2IO 

125. 

,,    Dr.  Franz  Brendel.     Beginning  of  November, 

rS54 

212 

126. 

,,    Anton  Rubinstein.     November  19th,  1854 

■    215 

127. 

,,    Dr.  Franz  Brendel.     December  1st,  1854. 

217 

128. 

,,   J.  W.  von  Wasielewski  in  Bonn.     December 

14th 

1354 

221 

129. 

,,    William   Mason   in    New    York.     December 

14th 

1854 

224 

130. 

,,    Rosalie  Spohr.     January  4th,  1855   . 

227 

CONTENTS. 

LETTER 

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-  t,    Dr.  Eduard  Liszt.     December  3rd,  1855  . 

146.  ,,    Frau  Meyerbeer  in  Berlin.     December  14th,  1855 

I47-  1.    Dr.  Ritter  von  Seiler  in  Vienna.     December  26th 

1355 

148.  ,,    Dr.  Eduard  Liszt.     February  9th,  1856     . 

149.  ,,    Dr.  von  Seiler.     February  10th,  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  iSth,  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,  1856 

166.  ,,    Louis  Kohler.     November  21st,  1856 

167.  „    Dr.  Eduard  Liszt.     November  24th,  1856 


xv 

PAGE 
229 
232 
233 
234 


•  238 
.  241 
.  242 

•  245 
.  247 

248 
251 

253 
254 
256 
256 

257 

259 
263 
264 
265 
268 
269 
272 
274 
276 

279 
28l 
283 
285 
287 
288 
289 
291 

293 
294 

295 


12 


JL3 


xvi  CONTENTS. 

LETTER  PAGE 

1 68.  To  Alexander  Ritter  in  Stettin.  December  4th,  1856  .  296 
,  L.  A.  Zellner  in  Vienna.  January  2nd,  1857  .  .  299 
,  Von  Turanyi  in  Aix-la-Chapelle.  January  3rd,  1857  300 
,  J.  W.  von  Wasielewski.  January  9th,  1857  .  .  305 
,    Alexis  von  Lvvoff  in  St.  Petersburg.     January  10th, 

1857 

,  Johannvon  Herbeck  in  Vienna.     January  12th,  1S57 

,  Franz'Gotze  in  Leipzig.     February  1st,  1857    . 

,  Dionys  Pruckner.     February  nth,  1857  . 

,  Joachim  Raff.     February,  1857 

,  Ferdinand  David.     February  26th,  1857 

,  Wladimir  Stassoff  in  St.  Petersburg.     March  17th, 

1857 

,    Wilhelm  von  Lenz  in  St.  Petersburg.     March  24th 

1857 

,  Dr.  Eduard  Liszt.     March  26th,  1857 

,  Georg  Schariezer  in  Pressburg.     April  25th,  1857 

,  Dr.  Eduard  Liszt.     April  27th,  1857 

,  Frau  von  Kaulbach.     May  1st,  1857 

,  Fedor  von  Milde  in  Weimar.     June  3rd,  1857  . 

,  Johann  von  Herbeck.     June  12th,  1857    . 

,  Countess  Rosalie  Sauerma.     June  22nd,  1857  . 

,  Ludmilla  Schestakoff  in  St.  Petersburg.     October 

7th.  1857 

,  Carl  Haslinger.     December  5th,  1857 

,  Stein  in  Sondershausen.     December  6th,  1857 

,  Alexander  Ritter.     December  7th,  1857    . 

,  Max  Seifriz  in  Lovvenberg.     December  24th,  1857 

,  Alexander  Seroff.     January  8th,  1858 

,  Basil  von  Engelhardt.     January  8th,  1858 

,  Felix  Draseke.     January  10th,  1858  . 

,  Louis  Kohler.     February  1st,  1858  . 

,  L.  A.  Zellner.     February  8th,  1858  . 

,  Peter  Cornelius.     February  19th,  1858     . 

,  Dionys  Pruckner.     March  9th,  1858 

,  Dr.  Eduard  Liszt.     March  10th,  1858 

,  Frau  Dr.  Steche.     March  20th,  1858 

,  L.  A.  Zellner.     April  6th,  1858 


1 

316 
317 
319 
321 


324 

326 

334 
335 
338 
34o 
34i 
343 

344 
345 
347 
348 
349 
35o 
352 
354 
356 
358 

359 
362 

364 
365 
366 


CONTEXTS. 


XV11 


LETTER 

202.  To 

203.  „ 

204.  ,, 

205.  „ 

206.  ,, 

207.  „ 

208.  „ 

209.  „ 

210.  „ 

211.  „ 

212.  ,, 

213-     „ 

214. 
215. 
2l6. 
217. 
218. 
219. 
220. 
221. 


224. 
225. 
226. 
227. 
228. 
229. 
230. 
231. 
232. 
233- 
234. 

235- 
236. 
237. 
238. 


Dr.  Eduard  Liszt.     April  7th,  1858  . 

Adolf  Reubke  in  Hausneinsdorf.     June  10th,  1858 

Prince    Constantin   von    Hohenzollern-Hechingen 

August  18th,  1S58 

Frau  Rosa  von  Milde.     August  25th,  1858 
Dr.  Franz  Brendel.     November  2nd,  1858 
Johann  von  Herbeck.     November  22nd,  185E 
Felix  Draseke.     January  12th,  1859 
Heinrich  Porges.     March  10th,  1859 
Max  Seifriz.     March  22nd,  1859 
Dr.  Eduard  Liszt.     April  5th,  1859   • 
Music-Director  N.  N.     April  17th,  1859    . 
Peter  Cornelius.     May  23rd,  1859     . 
Dr.  Franz  Brendel.     May  23rd,  1859 
Felix  Draseke.     July  19th,  1859 
Peter  Cornelius.     August  23rd,  1859 
Dr.  Franz  Brendel.     September  2nd,  1859 
Louis  Kohler.     September  3rd,  1859 
Dr.  Franz  Brendel.     September  8th,  1859 
Johann  von  Herbeck.     October  nth,  1859 
Felix  Draseke.     October  20th,  1859 
Heinrich  Porges.     October  30th,  1859 
Ingeborg  Stark.     November  2nd,  1859 
Johann  von  Herbeck.     November  18th,  1859 
Dr.  Franz  Brendel.     December  1st,  1859 
Anton  Rubinstein.     December  3rd,  1859  . 
Dr.  Franz  Brendel.     December  6th,  1859 
Dr.  Eduard  Liszt.     December  28th,  1859. 
Josef  Dessauer.     December  30th,  1859     . 
Wilkoszewski  in  Munich.     January  15th,  i860 
Johann  von  Herbeck.     January  26th,  i860 
Dr.  Franz  Brendel.     January  25th,  i860 
Friedrich  Hebbel.     February  5th,  i860 
Dr.  Franz  Brendel.     February,  i860 
the  same.     March  or  April,  i860 
Louis  Kohler.     July  5th,  i860  . 
Dr.  Eduard  Liszt.     July  9th,  1S60     . 
Ingeborg  Stark.     Summer,  i860 


368 
369 


37o 
372 
374 
376 
378 
379 


382 
383 
384 

385 
387 
388 

392 
396 
399 
399 
402 
404 

405 
408 
409 
411 

4i3 
416 
418 
418 
419 
421 
425 
427 
429 
43i 
432 
435 


XV111  CONTENTS. 

LETTER  PAGE 

239.  To  Dr.  Franz  Brendel.     August  9th,  i860      .         .         .  438 

240.  „    Princess  C.  Sayn-Wittgenstein.     September  14th, 

i860 439 

241.  ,,    Dr.  Franz  Brendel.     September  20th,  i860       .         .  443 

242.  „    Dr.  Eduard  Liszt.     September  20th,  i860         .         .  445 

243.  ,,    Hoffmann  von  Fallersleben.     October  30th,  i860     .  449 

244.  ,,    Franz  Gotze.     November  4th,  i860  ....  450 

245.  ,,   Dr.  Franz  Brendel.     November  16th,  i860        .         .451 

246.  „    the  same.     December  2nd,  i860        ....  452 

247.  ,,    C.  F.  Kahnt  in  Leipzig.     December  2nd,  i860.         .  454 

248.  „    the  same.     December  19th,  i860      ....  456 

249.  „    Dr.  Franz  Brendel.     December  19th,  i860        .         .  458 

250.  ,,    Felix  Draseke.     December  30th,  i860      .         .         .  460 

251.  ,,    Dr.  Franz  Brendel.     Beginning  of  January,  1861      .  462 

252.  ,,    the  same.     January  20th,  1861  ....  466 

253.  ,,   the  same.     March  4th,  1861 467 

254.  ,,   Peter  Cornelius.     April  18th,  1861    .         .         .         .  469 

255.  ,,    Hoffmann  von  Fallersleben.     April  18th,  1861  .  472 

256.  „    Peter  Cornelius.     July  12th,  1861      ....  473 
256A.  ,,    the  same.     July  14th,  1861 474 

257.  „    Alfred  Dorffel.     July  18th,  1861         .         .         .         .  474 

258.  „    Edmund  Singer  in  Stuttgart.     August  17th,  1861      .  475 

259.  ,,    C.  F.  Kahnt.     August  27th,  1861       .         .         .         .  476 

260.  „    Dr.  Franz  Brendel.     September  i6th,  1861       .         .  478 


YEARS    OF    TRAVEL    AS    VIRTUOSO. 


VOL.    I. 


i.    To  Carl  Czerny  in  Vienna.* 

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  benefac- 
tor, 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, 

*  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). 


4  TO    CARL    CZERNY. 

and  all  the  glory  ought  to  be  given  to  you.  I  intended 
to  have  played  your  variations  on  the  Pirate  the  day 
after  to-morrow  at  a  -very  brilliant  concert  that  I  was 
to  have  given  at  the  theatre  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 i  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 

1  A  notable  pianist  (1788 — 1874) — lived  a  long  time  in  Paris. 


TO    CARL    CZERNY.  5 

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  2yd,  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.* 

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  l  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. 

*  Autograph  in  the  possession  of  M.  Etienne  Charavay  in  Paris. 
Carl  Ebner,  a  Hungarian,  a  talented  violinist  (1812  — 1836). 


6  TO    CARL    CZERNY. 

3.  To  Carl  Czerny.* 

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  satis- 
fied 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.  /  therefore 
commend  him  in  all  confidence  to  your  goodness,  until 
the  time  when  I  am  so  happy  as  to  embrace  you  myself 

*  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. 


TO    CARL    CZERNY.  J 

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.* 

(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 
to-morrow,  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  Hugo1  and 
Edgard  Quinet2  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  to-morrow  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.! 

Nous  disons  :  "  II  est  temps.     Executons,  c'est  1'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, 

*  Autograph  in  the  possession  of  M.  Etienne  Charavay  in  Paris. 

1  The  poet. 

-  French  writer  and  philosopher. 

j  Autograph  in  the  possession  of  M.  Gaston  Calmann-Levy  in  Paris. 


8  TO    MONSIEUR    PIERRE    WOLFF    (JUNIOR). 

Toi,  Sicile,  que  ronge  un  volcan  souterrain, 
Grece  qu'on  connait  trop,  Sardaigne  qu'on  ignore, 
Cites  de  l'Aquilon,  du  Couchant,  de  1'Aurore, 
Pyramides  du  Nil,  Cathedrales  du  Rhin  ! 
Qui  sait  ? — jamais  peut-etre !  * 

Earthly  life  is  but  a  malady  of  the  soul,  an  excite- 
ment 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 
practise  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, 

*  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  ! 


TO    MONSIEUR    PIERRE    WOLFF    (JUNIOR).  9 

what  a  violin,  what  an  artist !  Heavens  !  what 
sufferings,  what  misery,  what  tortures  in  those  four 
strings  ! 

Here  are  a  few  of  his  characteristics  : — 


t*-*-»-*^— S»H »-ti — S*--1 S-l »-l !»— P>£r-^-£-^-l ^-1 1 

F-! — F-l— ><>-! — »-h-5»^— .«*— -ss-  ^-a-^-n*2*-^-*-^-*-^  -^ 


i- 


i — i — i — i — h 


8va.. 


PL*  :£:*!>*  ktbrn-m    etc 


£    :? 


ft*    -* 


-f-*- 


-^— -i h 


Z-—CMZ- 


:^:F 


"Isd—p- 


I 


■to!  I     I 


Sff    :P 


a».|^:t — :pf-^- 


"ft    ff 


^eifCI-slsi--:§£^-iig 


■*•* i  ts^- ^s 


tEEp 


As  to  his  expression,  his  manner  of  phrasing,  his 
very  soul  in  fact ! 


10       TO    MONSIEUR    PIERRE    WOLFF    (JUNIOR). 

May  Sth  [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. 
To-day  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  extin- 
guished, 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  1 
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   is   the   twentieth   time,    at   least,    that   we 
have  tried  to  meet,  first  at  my  house,  then  here,  with 

*  This  letter,  published  by  F.  Niecks  ("F.  Chopin,  Man  and 
Musician."  Vol.  I.  German  by  Langhans.  Leipzig,  Leuekart, 
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  a  straight  parenthesis. — Addressed 
to  the  well-known  composer  and  author,  afterwards  Director  of  the 
Conservatorium  and  Concert  Society  at  Cologne  (1S11 — 1885). 


TO    FERDINAND    HILLER.  I  I 

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  sympathised  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.1 

[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  Leo2  family,  and  all  that  follows. 
There  have  been  evenings  at  certain  ambassadresses' 
houses,  and  there  was  not  a  single  one  at  which  some- 
body living  at  Frankfort  was  not  mentioned.  Madame 
Eichthal  sends  you  many  kind  messages — Plater,3  the 
whole  family  were  very  sorry  for  your  departure,  and 
begged  me  to  give  you  their  condolences.]     Madame 

1  Hiller  had  lost  his  father. 

-  August  Leo,  banker  in  Paris. 

3  Count  Plater,  Chopin's  countryman,  and  a  friend  also  of  Liszt. 


12  TO    FERDINAND    IIILLER. 

d'Apponyi1  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*  to  let  us  know  the  day ;  we  have 
determined  to  give  you  a  serenade  (or  charivari^).  The 
company  of  the  most  distinguished  artists  of  the 
capital  =  M.  Franchomme  (present),  Madame  Petzold, 
and  the  Abbe  Bardin,2  the  leaders  of  the  Rue 
d'Amboise  (and  my  neighbours),  Maurice  Schlesinger, 3 
uncles,  aunts,  nephews,  nieces,  brothers-in-law,  sisters- 
in-law,  and — and  \_il  en  plan  du  troisieme,"  ctc^\.%  The 
responsible  editors, 

F.  Liszt. 
[F.  Chopin.]         (Aug.  Franchomme.) 

[By-the-bye,  I  met  Heine  yesterday,  who  begged 
me  to  grussen  you  herzlich  unci  herzlich.\ — 

1  Apponyi,  the  Austrian  ambassador  in  Paris. 
*  Tach]ez. 

f  Mock  serenade. 

2  A  passionate  lover  of  music,  who  had  a  great  many  artists  to  see 
him.  3  Music  publisher. 

J  In  the  third  row — i.e.,  less  important  people  (?). 

§  To  send  you  his  warmest  and  most  heartfelt  greetings. 


TO    FERDINAND    HILLER.  I  3 

By-the-bye,  also,  please  excuse  all  the  "  you's  "  *— 
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  1  lodging 
— 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  pcre  Baillot,  he  is  in  Switzerland,  at  Geneva. 
So  now  you  can  guess  that  I  can't  send  you  the  Bach 
concerto. 

June  20th,  1S33.] 

7.  To  Abbe  F.  de  Lamennais.| 

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, 

*  Instead  of  the  more  familiar  "thee  "  and  "  thou." 
\  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." 

f  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'lndifference 
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. 


14  TO    ABBE    F.    DE    LAMENNAIS. 

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  confiden- 
tially 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  honour  of  sending 
you  a  little  work,  to  which  I  have  had  the  audacity  to 


TO    ABBE    F.    DE    LAMENNAIS.  15 

tack  a  great  name— yours.— It  is  an  instrumental  De 
profundi's.  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  some- 
times 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. 

J  an  umy  14th,  1835. 

To-morrow  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. 


1 6  TO    HIS    MOTHER. 

8.  To  his  Mother* 

[183-] 
Dear  Mother, 

Please  send  me  at  once,  without  any  delay,  the 

Pianist's  Glossary,  which  you  will  get  at  Lemonier's, 

Rue  de  TEchelle. 

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,1  Grande  Rue,  No.  8. 
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.| 

[Paris,  May  28t/i,  1836.'-] 

Dear  and  venerable  Father, 

I  shall  expect  you.     Whatever  sorrow  there  is 

*  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. 

:  A  frequently  mentioned  pupil  and  favourite  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  Vo3*ageur  ")  ; 
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  187 1,  whither  he  had  gone  with 
French  prisoners. 

t  Autograph  in  the  possession  of  Mr.  Marshall  in  London. 

-  According  to  the  stamp  of  the  post  office. 


TO    THE    ABBE    F.    DE    LAMENNAIS.  1 7 

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 ! — 

An  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. 

io.  To  Mademoiselle  Lydie  Pavy,  of  La  Glaciere, 
Lyons.* 

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  enor- 
mous parenthesis  ?),  somewhat  like  (by  way  of  a  new 

*  Autograph  in  the  possession  of  M.  Etienne  Charavay  in  Paris. 
VOL.    I.  2 


1 8  TO    MADEMOISELLE    LYDIE    PAVY. 

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  traveller), 
and  that  it  is  M.  Pavy  who  is  to  be  my  financial  Pro- 
vidence, considering  that  it  is  to  him  that  my  mother 
has  confided  my  little  quarterly  income  of  a  thousand 
francs. 


TO    MADEMOISELLE    LYDIE    PAW.  1 9 

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  con- 
fidants, 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  authorised  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  pro- 
found 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  honours, 
and  Mademoiselle  Merienne  also  .  .  .  but  don't  let 
us  speak  any  more  of  Mademoiselle  Merienne  (who, 
be  it  observed  in  parenthesis,  must  have  already  ap- 
peared a  dozen  times  in  this  letter),  for  fear  of  again 
falling  into  inextricable  parentheses. 

An  revoir  then  ;  in  five  weeks  at  latest  I  shall  come 
and  warm  myself  at  your  "  glacier." 

F.  Liszt. 


20  TO    ABBE    DE    LAMENNAIS. 


ii.  To  Abbe  de  Lamexxais.* 

My  friend  Louis  de  Ronchaud  writes  me  word 
that  he  has  had  the  honour  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  neighbourhood  (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  satis- 
faction to  me  to  learn  through  him  how  good  and 
indulgent  you  have  been  towards  me  on  several  occa- 
sions, even  so  far  as  to  contradict  and  defend  me 
warmly    against    him    and    against   others    who    knew 

*  Autograph  in  the  possession  of  M.  Alfred  Bovet  at  Valentigney. 


TO    ABBE    DE    LAMENNAIS.  2  1 

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  "appar- 
ently "  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.  How- 
ever 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  obser- 
vations ! — It  is  always  the  same  statu  quo,  the  excellent 
and  perfectly  happy  government  that  you  know. — I  am 
hoping  and  longing  ardently  for  your  next  book,1  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. 

Co.mo,  December  18th,  1837. 

1  Probably  "  Le  Livre  du  Peuple  "  :  Paris,  1837. 


2  2  TO    BREITKOPF    AND    HARTEL. 

12.  To  Breitkopf  and  H artel  in  Leipzig.* 

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  im- 
portant 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.  Ray- 
mond 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. 

*  Autograph  in  the  possession  of  Herr  Hermann  Scholtz,  Kammer- 
virtuoso  in  Dresden. 


TO    BREITKOPF    AND    HARTEL.  23 

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  to-morrow  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.* 

[Without  a  date;  received  by  R.  S.  May  $th,  1838.] 

My  dear  Monsieur  Schumann, 

I  shall  not  attempt  to  tell  you  how  grateful 
and  touched  I  am  by  your  friendly  letter.  Mademoi- 
selle 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 

*  Addressed  to  the  celebrated  German  Tone-poet  (1810 — 1856). 
Liszt  had  spoken  of  Schumann's  Op.  5,  II,  and  14  in  the  Gazette 
Musicale,  1837,  with  equal  enthusiasm  and  understanding,  which  soon 
brought  the  two  together. 


.24  TO    ROBERT    SCHUMANN. 

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.  To-day,  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  Fantasiestilcke  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  honour  of  being  mentioned 
...  at  least,  with  a  few  exceptions, — to  be  conciliatory, 
like  Euscbius. 

In  six  weeks  to  two  months  I  shall  send  you  my 
twelve  Studies  and  a  half-dozen  of  Fantasiestilcke 
("  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 


TO    ROBERT    SCHUMANN.  25 

whether  H.  is  anything  but  a  distinguished  mediocrity.1 
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,  1  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  honour  of  making  them 
known  to  the  public. 

1  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,  18S3. 


2  6  TO    ROBERT    SCHUMANN. 

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.! 
Gentlemen, 

I  am  extremely  grateful  for  the  honour  you 
have  done  me  in  admitting  me  among  you  as  a  member 
of  the  Vienna  Musik-Vercin.%  I  cannot,  unfortunately, 
flatter  myself  that  I  have  as  yet  deserved  this  distinc- 
tion, 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  honour  to  be,  gentlemen, 

Yours  faithfully, 

F.  Liszt. 

Venice,  June  1st,  1838. 

15.  To  Simon  Lowy  in  Vienna. § 

I  am  very  sensible,  my  dear  sir,  of  your  friendly 
remembrance.     Your  kind  letter  found  me  in  the  midst 

*  Society  of  Musical  Dilettanti,  or  Amateur  Musical  Society. 

f  Autograph  in  the  Archives  of  the  Society  in  Vienna. 

%  Musical  Union. 

§  Autograph  in  the  possession  of  Herr  O.  A.  Schulz,  booksellei 
in  Leipzig. — Addressed  to  a  Vienna  banker,  an  intimate  friend  of 
Liszt.  The  "Soirees  de  Vienne,"  composed  on  Schubert  Valses,  are 
dedicated  to  him. 


TO    SIMON    LOWV.  27 

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  experi- 
ences 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  wTill  con- 
tinue till  then  the  affectionate  feelings  you  so  kindly 
entertain  towards  me.  Receive  in  return  my  assur- 
ances of  consideration  and  affectionate  devotion. 

F.  Liszt. 

Milan,  September  22nd,  1S38. 


2  8  TO    SIMON    LOWY. 

Will  you  be  so  good  as  to  give  the  enclosed  note  to 
the  charming  woman  who  is  good  enough  to  remember 
me  so  kindly  ? 

1 6.  To  M.  Pacini,  Music  Publisher  in  Paris.* 

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.1  Mr.  Hugot 
has  kindly  undertaken  to  bring  it  to  you. 

As  the  title  implies,  it  is  an  Etude  (di  Bravura) 
after  Paganini.'2  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  facilitc'e,  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 

*  Autograph  in  the  possession  of  M.  Alfred  Bovet  at  Valentigney. 

1  A  collective  work  with  contributions  by  the  celebrities  of  the 
day. 

-  Bravura  Studies  on  Paganini's  Capricci,  arranged  for  the  piano- 
forte, 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. 


TO    M.    PACINI.  29 

Haslinger,    musical    editor  to   the    Court,    at    Graben, 
Vienna. 

/  must  have  at  least  two  corrected  proofs.  Prego  ! 
Prego ! !  *  leave  only  such  mistakes  as  are  absolutely 
necessary  in  order  that  an  edition  may  be  supposed  to 
be  correct. 

Padua,  September  30//?,  183S. 


17.  To  Breitkopf  and  H Artel  in  Leipzig.! 

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  honour 
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.1  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),  tzvo  proofs  to  Rome,  where  I  shall  be   in 

*  I  beg  ! 

f  This  is  the  first  of  the  Liszt  letters  extant  in  the  archives  of  the 
firm. 

1  Pianoforte  scores  of  the  C  minor  and  Pastoral  Symphonies  of 
Beethoven. 


30  TO    I3REITK0PF    AND    H ARTEL. 

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  tran- 
scribe 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  yd,  1S39. 

18.  To  Princess  Christine  Belgiojoso  in  Paris.* 

It  would  be  self-conceit  in  me,  Princess,  to  com- 
plain of  your  silence.  Your  letters  have  always  been 
for  me  a  favour,  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 

*  Autograph  in  the  possession  of  M.  Alfred  Bovet  at  Valcntigney. 
— Addressed  to  the  celebrated  writer  and  patriot.  In  1837  a  charity 
concert  took  place  in  her  salons,  at  which  Liszt  and  Thalberg  both 
played. 


TO    PRINCESS    CHRISTINE    BELGIOJOSO.  3 1 

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  honour  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  curio- 
sity 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  com- 
posed 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. 


32  TO    PRINCESS    CHRISTINE    BELGIOJOSO. 

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  honour  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  ? x  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  postc  restantc, 
Florence,  will  reach  me  till  the  ist  of  next  September. 

I  beg  you,  Madame  la  Princesse,  to  accept  the  expres- 
sion of  my  profound  and  most  devoted  respect. 

F.  Liszt. 

Albano,  June  4th,   1839. 

Will  you  be  good  enough  to  remember  me  affection- 
ately to  (Madame)  your  sister  and  to  Mr.  d'Aragon  ? 

1  Here  the  Princess  lived. 


TO    ROBERT    SCHUMANN.  33 

19.  To  Robert  Schumann.* 

Albano,  June  $th,   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  1 
am  really  proud  of  the  honour  you  have  done  me  in 
dedicating  to  me  so  grand  a  composition.1  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.\  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 

*  From  a  copy  from  the  Royal  Library  in  Berlin. 
1  Op.  17,  C  dur.     With  the  motto  :— 

"  Durch  alle  Tone  tonet  ("  Through  all  the  sounds  of  nature, 
Im  bunten  Erdentraum  In  earth's  fair  dream  of  joy, 

Ein  leiser  Ton  gezogen  An  under-current  soundeth 

Fur  den,  der  heimlich  lauschet."  For  him  whose  ears  can  hear.") 

f  Pet  name;  literally,  "little  fly." 

VOL.    I.  3 


34  TO    ROBERT    SCHUMANN. 

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  Camaval, 
and  some  of  the  Davidsbiindlertanze  and  of  the  Kinder- 
scenen. 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. 


TO    ROBERT    SCHUMANN.  3  5 

Pianoforte  Sonata,  dedicated  to  Clara. 

Concerto  without  orchestra. 

Etudes  Symphoniques :  Davidsbiindlertanze ;  Kreis- 
leriana. 

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  micch,  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,1  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  ! 

1  Dr.  Hermann  Frank  edited  Brockhaus'  Allgemeine  Zeitung  for  a 
year. 


36  TO    ROBERT    SCHUMANN. 

Adieu,  my  dear  Monsieur  Schumann  ;  write  soon 
(address  care  of  Ricordi,  Florence :  I  shall  be  in  the 
neighbourhood  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.] 

Gentlemen, 

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 


TO    BREITKOPF    AND    HARTEL.  37 

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  honour  to  dedicate  to  me, 
and  the  Kinder scenen.  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  composi- 
tions of  my  respected  colleagues,  with  some  exceptions. 
I  beg  to  remain,  Gentlemen, 

Yours  most  sincerely, 

F.  Liszt. 


$S  TO    BREITKOPF    AND    HARTEL. 

Address  the  Symphonies  to  Mr.  Ricordi,  Florence. 
From  the  15th  of  June  till  the  1st  of  September  I  shall 
be  in  the  neighbourhood  of  Lucca.  Ricordi's  address 
is  the  safest. 


21.  To  the  Beethoven  Committee  at  Bonn.* 

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.1 

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 

*   Printed  in  L.  Ramann's  Biography  of  Liszt,  vol.  i. 

1  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. 


TO    THE    BEETHOVEN    COMMITTEE    AT    BONN.       39 

be  finished  in  two  years,  and  he  is  ready  to  begin  the 
work  at  once.     I  have  the  honour  to  be,  etc., 

Franz  Liszt. 

Pisa,  October  yd,  1839. 


22.  To  Count  Leo  Festetics  in  Pest.* 

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  iSth  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  mysell 
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 

*  Printed  in  F.  von  Schober's  "Letters  about  Liszt's  Sojourn  in 
Hungary." 


40  TO    COUNT   LEO    FESTETICS. 

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.  To-day  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  2\th,  1839,  in  bed. 


23.  To  Clara  Wieck.1 

Pest,  December  25/A,  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. 

1  The  great  pianist,  afterwards  Schumann's  wife. 


TO    CLARA    WIECK.  4! 

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.* 

[Dresden,  March  2Jt/i,   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.1 

Best  remembrances  to  Mendelssohn  and  Hiller ;  and 
believe  me  yours  ever, 

F.  Liszt. 

I    shall    certainly  return    Monday  morning,    for   on 

*  Autograph  in  the  Royal  Library  in  Berlin. 

1  Refers  to  Liszt's  third  concert  in  Leipzig,  on  March  30th,  1840, 
for  the  benefit  of  the  Orchestral  Pension  Fund. 


42  TO    ROBERT    SCHUMANN. 

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.1 

25.    To  Franz  von  Schober  in  Vienna.* 

Metz,  April  yd,  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.2  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 

1  Together  with  this  letter  a  friend,  Carl  K[ragen  ?],  writes  to 
Schumann :  "  He  [Liszt]  has  played  me  the  glorious  Mendelssohn 
Concerto.  It  was  divine !  To-morrow  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  Mendels- 
sohn and  his  wife  to  come  too !  " 

*  The  autographs  of  all  the  letters  in  this  collection  to  Schober 
are  in  the  possession  of  Frau  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. 

2  In  answer  to  the  distorted  reports  in  various  newspapers  of  Liszt's 
visit  to  Hungary  (January,  1840),  Schober,  who  had  been  an  eye- 
witness, 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). 


TO    FRANZ    VON    SCHOIJER.  43 

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  manage- 
ment 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  honour,  without  which  a  man  is  not  a  man  as 
/  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? 


44  TO    FRANZ    VON    SCHOBER. 

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 1  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  Kriehuber2  and  Lowy.  Why 
does  not  the  latter  write  to  me  ? 

26.  To  Maurice  Schlesinger, 
Editor  of  the  Gazette  Musicale  in  Paris.* 

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  Honour,"  etc. 

1  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. 

1  Music  publisher  in  Vienna. 

2  A  well-known  Vienna  painter  and  lithographer,  from  whom  a 
number  of  Liszt  portraits  have  come. 

*  Given  by  L.  Ramann,  "Franz  Liszt,"  vol.  ii.,  I. 


TO    MAURICE    SCHLESINGER.  45 

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  14//',  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.  1  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 — 


4.6  TO    FRANZ   VON    SCIIOBER. 

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  to-day,  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  re- 
newed, 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. 


TO    FRANZ    VON    SCHOBER.  47 

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  Pagan ini, 
and  to  get  it  put  into  the  T heater- 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. 


48  TO    FRANZ    VON    SCHOBER. 

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  conse- 
quence. 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  organise  in  1842  for 
the  inauguration  of  the  Statue  at  Bonn. 

Yours  ever  most  affectionately, 

F.  Liszt. 

29.  To  Buloz,* 
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.1 

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. 

*  Published  in  Ramann's  "Franz  Liszt,"  vol.  ii.,  1. 

1  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 
of  honour  had  been  turned  into  special  ridicule.  Liszt  repelled  this 
with  justifiable  pride. 


TO    BULOZ.  49 

In  Hungary,  sir,  in  that  country  of  antique  and 
chivalrous  manners,  the  sabre  has  a  patriotic  significa- 
tion. 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  authori- 
ties 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 
rewTard  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/row  whom  she  expects  artistic  illustrious- 
ness,  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  demonstra- 
tions of  an  audience  of  amateurs. 

In  placing  these  two  things  side  by  side  it  seems  to 

VOL.   I.  4 


50  TO    BULOZ. 

me  there  is  something  which  must  wound  a  just  national 
pride  and  sympathies  by  which  I  am  honoured. 

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. 

.  —  .1  have  to-day  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. 


TO    FRANZ    VON    SCHOBER.  5  I 

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  1  is,  I  think, 
the  only  one  who  gets  German  letters  from  me. 

Man-chester.  December  $tk,  1840. 

31.  To  Breitkopf  and  Hartel. 

London,  May  Jtli,   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    an 

1  Tobias  Haslinger,  the  Vienna  music  publisher. 


5  2  TO    BREITKOPF    AND    HARTEL. 

entire  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  favourite 
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. 


TO    SIMON    LOWY.  53 

32.  To  Simon  Lowy  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,  ^"iooo  sterling  net,  on 
^"1500  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  reason- 
ably, 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 1 ! 

My  two  concerts  alone,  and  especially  the  third,  at 
the  Conservatoire,  for  the  Beethoven  Monument,  are 
concerts  out  of  the  ordinary  run,  such  as  /  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  pro- 
duced by  an  instrumentalist  in   Paris. 

A  propos  of  newspapers,  I  am  sending  you,  following 
this,  the  article  which  Fetis  (formerly  my  most  re- 
doubtable antagonist)  has  just  published  in  the  Gazette 
Musicale.     It  is  written  very  cleverly,  and  summarises 

*  Autograph  in  the  possession  of  Madame  Emilie  Dore  in  Vienna. 
1  The  "fifth  "  is  the  highest  in  this  game,  so  Liszt  means  that  he 

won. 


54  TO    SIMON    LOWY. 

the  question  well.  If  Fischhof1  translated  it  for 
Bauerle  2  it  would  make  a  good  effect,  I  fancy.  How- 
ever, do  what  you  like  with  it. 

I  shall  certainly  be  on  the  Rhine  towards  the  end 
of  July,  and  shall  remain  in  that  neighbourhood  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 

1  A  musician,  a  Professor  at  the  Vienna  Conservatorium. 
-  Editor  of  the  Theater-Zeitung  (Theatrical  Times). 


TO    SIMON    LOWY.  5  5 

in  Vienna,  and  however  tired  they  may  be  chere  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 l  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  any- 
thing 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.  To-morrow,  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 

1  Caroline  Ungher,  afterwards  Ungher-Sabatier  a  celebrated 
singer. 


56  TO    FRANZ    VON    SCHOBER. 

into  details.     I  still  hope   to  meet  you   next   autumn, 
either  in  Florence  or  on  the  Rhine. 

Leo *  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,2  and  don't  quarrel 
with  him  about  me.  To  Caroline  always  the  same 
friendship  and  devotion. 

Berlin,  March  $rd,   1842. 


34.  To  the  Faculty  of  Philosophy  at  the 
University  of  Konigsberg.* 

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  honour. 

1  Count  Festetics. 

2  The  husband  of  Caroline  Ungher,  the  celebrated  singer  previously 
mentioned. 

*  Printed  in  L.  Ramann's  "Franz  Liszt,"  vol.  ii.,  1. 


TO    THE    FACULTY    OF    PHILOSOPHY.  57 

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  honourable  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  fulfilment  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 l  and  the 
Divine 

In  the  constant  fulfilment  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 2  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  iSt/i,  1842. 

1  "The  beautiful  is  the  glory  of  the  true, 

Art  is  the  radiancy  of  thought."     (Author's  note.) 

2  Professors  Rosen kranz  and  Jacobi  invested  Liszt  with  the 
Doctor's  Diploma. 


58  TO    FREIHERR    VON    SPIEGEL. 

35.    To    Court-Marshal    Freiherr    vox    Spiegel 
at  Weimar.* 
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,  1842.  •   -Liszt- 

36.  To  Carl  Filitsck.j 

Compiegne,  Wednesday  Morning  [1842  or  1843]. 

Dearly  beloved  Conjurer, 

How  sorry  I  am  to  disappoint^  you  of  our 
usual   lesson   to-morrow  !     Your  "  false   skips  "  would 

*  Given  by  L.  Ramann,  "  Franz  Liszt/'  vol.  ii.,  I. 

f  Autograph  in  the  possession  of  Count  Albert  Amadei  in  Vienna. 
— Addressed  to  the  talented  3Toung  pianist,  born  at  Hermannstadt  in 
the  Siebenbiirgen  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 ! " 

%  Literally,  "to  make  a  false  skip,''  a  play  of  words  with  the  next 
sentence. 


TO    CARL    FILITSCH.  59 

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  to-morrow  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  Fraxz  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.  Villers1  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] 

1  Alexander  von  Villers,  a  friend  of  Liszt's,  attache  of  the  Saxon 
Embassy  in  Vienna. 


60  TO    FRANZ  VON    SCHOBER. 

G[rand]  D[uke]  and  Eckermann.1  Our  business  seems 
to  me  to  stand  on  a  firm  footing.  Next  autumn  the 
knots  will  be  ready  to  tie.2 

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. 

3S.  To  Franz  Kroll.3 

My  dear  good  Kroll, 

What  a  flrstrate  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  Copen- 
hagen. 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 

1  The  editor  of  Goethe's  "  Gesprachen." 

-  Refers  probably  to  Schober's  subsequent  appointment  at  Weimar. 

3  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." 


TO  FRANZ  KROLL.  6 1 

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  begin- 
ning 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.  Conradi1  is  also  to  come.  I  don't  require  the 
Huguenot  Fantasia  at  present.  He  will  have  time 
enough  for  it  in  Weymar.  En  attendant;'  Schlesinger 
will  give  him  a  modest  payment  for  the  work  he  has 
begun. 

1  Musician  and  friend  in  Berlin. 

*  A  German  letter,  so  Liszt's  own  French  expression  is  kept. 


62  TO    FRANZ    KROLL. 

Please  kindly  see  about  the  enclosed  letters  lor 
Freund  as  soon  as  possible. 

With  all  good  wishes,  I  am,  dear  Kroll, 

Yours  most  sincerely, 

F.  Liszt. 

Port  Marly,  June  wth,  1844. 

39.  To  Freund.* 

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  Lowe,  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,1  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 

*  Autograph  in  the  possession  of  Professor  Hermann  Scholtz  in 
Dresden. 

1  Friends  of  Liszt's. 


TO    FREUND.  6$ 

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  Frerntd* 
Yours  most  sincerely  and  affectionately, 

F.  Liszt. 

Port  Marly,  June  nth,  1S44. 

40.  To  Franz  von  Schober. 

Gibraltar,  March  2>rd,  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.1  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 ; 2  but  still  I  don't  feel  the  slightest  obligation 

*  A  play  on  his  name  Freund,  which  means  friend. 

1  As  Councillor  of  Legation  there. 

2  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. 


64  TO    FRANZ    VON    SCHOBER. 

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  dis- 
suade 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.1  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. 

1  Professor  Wolff,  editor  of  "  Der  poetische  Hausschatz." 


TO    FRANZ    KROLL.  65 

41.  To  Franz  Kroll  at  Glogau. 

Weymar,  March  26'th,  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  Lupus1  and  Farfa-Magne-quint- 
quatorze ! 2  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  fur- 
nished 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 3  has  just  been  spending  a  week  here,  during 
which  he   has  played   some  hundred  rubbers  of  whist 

1  Presumably  Liszt's  friend,  Professor  Wolff  (1791 — 1851). 

2  For  whom  this  name  was  intended  is  not  clear. 
8  The  celebrated  violinist  (1814-65). 

VOL.    I.  5 


66  TO    FRANZ    KROLL. 

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  humour,  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  some- 
times. Thus,  when  wTe  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  ex- 
pects 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. 


TO    FRANZ    KROLL.  67 

As  M.  de  Zigesar1  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  Tom]  oder  die  Vergeltung*  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.| 

Permit  me,  illustrious  and  venerable  friend,  to 
recall  myself  to  your  remembrance  through  M.  Ciabatta, 
who  has  already  had  the  honour  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 

1  The  Intendant  at  Weimar. 

*    Toni,  or  the  Requital. 

f  Autograph  in  the  possession  of  M.  Alfred  Bovet  at  Valentigney. 


68  TO    ABBE    DE    LAMENNAIS. 

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  favourable  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  favour. 
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  unrealised. 

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  inaugura- 


TO    ABBE    DE    LAMENNAIS.  69 

tion  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  honour  to  be,  sir,  yours  very  gratefully, 

F.  Liszt. 

Marseilles,  April  2Sth,  1845. 

43.    To  Frederic  Chopin.'1 

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  cir- 
cumstances you  will  have  every  reason  to  be  satisfied 
with  his  activity  and  with  whatever  he  does.     Mendels- 

*  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. 


JO  TO    FREDERIC    CHOPIN. 

sohn,  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  2 1st,  1845. 

44.    To  George  Sand.* 

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 

*  Autograph  in  the  possession  of  M.  Alfred  Bovct  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. 


TO    GEORGE    SAND.  7  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  any- 
thing 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  honour  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, 


72  TO    GEORGE    SAND. 

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  honours  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  honours 
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  humour,  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. 


TO    GEORGE    SAND.  73 

In  every  way,  count  upon  my  profound  friendship 
and  most  respectful  devotion  always  and  everywhere. 
Lyons,  May  2 1st,  1845.  *'    Liszt. 

45.  To  Abbe  de  Lamennais.* 

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  kind- 
ness, 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  is/,  1845.  F'    LlSZT' 

46.  To  Gaetano  Belloni  in  Paris.! 

Dear  and  most  excellent  Belloni, 

Everything  is  moving  on,  and  shall  not  stop 
either.     Bonn  is  in   a  flutter  since   I  arrived,1  and   I 

*  Autograph  in  the  possession  of  M.  Alfred  Bovet  at  Valentigney. 

f  Autograph  in  the  possession  of  M.  Etienne  Charavay  in  Paris. — 
Addressed  to  Liszt's  valued  secretary  during  his  concert  tours  in 
Europe  from   1841-47. 

1  It  referred  to  the  Festival  in  Bonn,  of  several  days'  duration,  for 
the  unveiling  of  the   Beethoven   Monument   (by  Hahnel),   in  which 


74  TO    GAETANO    BELLONI. 

shall  easily  put  an  end  to  the  paltry,  underhand 
opposition  which  had  been  formed  against  me. 

By  the  time  you  arrive  I  shall  have  well  and  duly 
conquered  my  true  position. 

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, 

July  23rd,  1845.  F'  LISZT• 

Kindest  regards  to  Madame  Belloni. — I  enclose  a 
few  lines  for  Benacci,  which  you  will  kindly  give  him. 


47.  To  Madame  Rondonneau  at  Sedan.* 

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 

Liszt,    the   generous  joint-founder  of  the   monument,    took    part  as 
pianist,  composer,  and  conductor. 

*  Autograph  in  the  possession  of  M.  Etiennc  Charavay  in  Paris. 


TO    MADAME    RONDONNEAU.  7  5 

I  could  not  confide  my  cause  (bad  as  it  may  be)  to 
more  delicate  hands  and  to  a  more  persuasive  elo- 
quence, 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  criticise  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  respect- 
ful and  devoted  homage  ? 

F.  Liszt. 

Frankfort,  February  nth,  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. 


76  TO    GRILLPAKZER. 


48.  To  Monsieur  Grillparzer.* 

Will  you  do  me  the  favour,  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,  Councillor  of 
Legation  in  Weimar. 

[Prague,  April  nth,  1846.1] 

Dear  Friend, 

Your  commissions  have  been  attended  to.  The 
Wartburg  has  been  sent  through  Bauernfeld  to  the 
Allgemciue,  and  will,  I  trust,  not  have  to  warten  f  2  too 
long.  I  have  sent  a  second  copy  of  this  article  to  Paris, 
where  it  is    to    appear  in    French    garb.     The    report 

*  Original,  without  date,  in  the  possession  of  the  Baroness  Mayrhofer- 
Griinbuhel  at  Klagenfurt.  It  might  belong  to  the  year  1846,  daring 
which  Liszt  arranged  ten  concerts  in  Vienna,  from  March  1st  to  May 
1 7th,  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. 

1  According  to  the  postal  stamp. 

f  Wait;  a  play  on  the  words  1 Vart burg  and  warten. 

-  A  treatise  on  the  proposed  completion  of  the  Wartburg. 


TO    FRANZ    VON    SCHOBER.  J  J 

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, 
wThich  is  at  any  rate  an  honest  and  proper  one,  with 
the  German  Frankfurtes  Journal,  or  the  Oberpostamts- 
Zeitung,  and  even  with  the  Didaskalid). 

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 x  (Italian)  will  most  probably  be  produced 
next  season  (May)  in  Vienna. 

My  stay  in  Weimar  this  summer  .   .  .  ?  ? 2 

1  An  opera  planned  by  Liszt. 

2  The  continuation  of  the  letter  is  missing. 


?$  TO    FRANZ    VON    SCIIOBER. 


50.  To  Franz  vox  Schober,  Councillor  of 
Legation  in  Weimar. 

Castle  Gratz  (at  Prince  Lichnowsky's),  May  2Sth,  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  suit- 
able 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  de- 
scription 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. 


TO    FRANZ    VON    SCHOBER.  79 

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)  x  stood  in  my  room  for  a  week, 
and  we  stood  there  not  knowing  what  to  make  of  it. 
But  never  and  nohow  could  we  bring  that  good  Schwab 
to  try  to  make  us  see  an}7  bast's  or  proof  of  his  calcula- 
tion. 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  recog- 
nising it — and  to  send  it  me  to  Haslinger's  address, 
Graben,  Vienna. 

About  my  law-suit  more  anon  in  Weimar.  Mean- 
while thank  my  excellent  advocate  (does  he  take  snuff?) 
warmly,  and  beg  him  to  continue  to  keep  me  in  his  good 
graces. 

1  It  was  a  Tellurium. 


80  TO    FRANZ   VON    SCHOBER. 

If  I  know  that  it  will  be  agreeable  to  his  Grace  !  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  favour 
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  meet- 
ing with  you.  /  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.- 

I  am  most  grateful,  my  dear  sir,  for  the  kind 
remembrance  you  keep  of  me  since  Petersburg,3  and  I 
beg  you  to  excuse  me  a  thousand  times  for  not  having 
replied  sooner  to  your  most  charming  and  interesting 

1  The  former  Hereditary  Grand  Duke  and  present  Grand  Duke  of 
Saxony. 

2  Russian  musical  critic  and  composer  (1820-71). 

3  Seroff  was  at  that  time  in  the  Crimea. 


TO    ALEXANDER    SEROFF.  8  I 

letter.  As  the  musical  opinions  on  which  you  are  kind 
enough  to  enlarge  have  for  long  years  past  been  com- 
pletely my  own,  it  is  needless  for  me  to  discuss  them 
to-day  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  master- 
pieces sui generis,  on  a  solid  foundation,  without  antece- 
dent 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 
honour  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 x  (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  ! 

1  Prince   Argontinski-Dolgorouki,    a    devoted   lover  of   music.      A 
friend  of  Liszt's  :  had  rich  property  in  the  Crimea. 

VOL.    I.  6 


82  TO    ALEXANDER    SEROFF. 

Accept  once  more,  my  dear  sir,  my  most  affectionate 
regards. 

F.  Liszt. 

Elisabethgrad,  September  iqtJi,   1847. 

52.  To  Carl  Haslinger  in  Vienna.* 

Woronino,  December  19//7,   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  commis- 
sion 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, 

*  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. 


TO    CARL    HASLINGER.  83 

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  ...  1  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. 

1   Impossible  to  decipher  this  word  in  Liszt's  original  letter. 


WEIMAR. 


S5 


53-    To    THE    HOCHWOHLGEBOREN    PlERR    BaRON 

von  Dornis,  Jena.* 

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, 

Weyxar,  March  6th,  1848.  F.    LlSZT. 

54.   To  Franz  von  Schober,  Councillor  of 
Legation  at  Weimar. 

Castle  Gratz,  April  2.2nd,  1848. 

My  dear  and  honoured  Friend, 

Your  dear  letter  has  brought  me  still  nearer 
to    you  in    the  crisis   of   the    estro  poetico,  which    the 

*  Autograph  in  the  possession  of  Herr  C.  Geibel,  bookseller  in 
Leipzig. — The  addressee  was  a  sculptor. 

87 


5  5  TO    FRANZ    VON    SCHOBER. 

"  Hungaria"  ]  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  honour  and  that  of  "  Weimar's  dead."  2 

Regardless  of  the  blocking  of  the  Russian  frontier 
the  P[rincess]  Wpttgenstein]  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 
i  oth  and  15  th  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  un- 
commonly 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  ?  .   .  . 

1  One  of  Liszt's  symphonic  poems. 

-  Refers  to  a  poem  entitled  "Weimar's  Todten.*' 


TO    FRANZ    VON    SCHOBER.  89 

You,  my  dear,  honoured  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  con- 
tinue to  love  me,  as  I  love  and  honour  you. 

F.  Liszt. 

55.  To  Bernhard  Cossmann  in  Baden-Baden.1 

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  con- 
tinuing free,  not  only  from  the  real  cholera,  but  also 
from  the  slighter,  but  somewhat  disagreeable,  periodical 
political  cholerinci,  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 
wTish,  then  the  Weymar  band  would  consider  it  an 
honour  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  iSth,  1848. 

1  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. 


90  TO    CARL    REINECKE. 

56.  To  Carl  Reinecke.1 

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  25//?,  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  (?)/•• 

I  have  to  give  you  threefold  thanks,  dear  Count, 
and  I  feel  that  I  can  undisguisedly  do  so  !    Your  verses, 

1  The  present  conductor  of  the  Gevvandhaus  Concerts  in  Leipzig 
(born  1824),  and  celebrated  as  composer,  pianist,  and  conductor. 

*  The  original  (without  address)  in  the  possession  of  Count  Albert 
Amadei   in    Vienna. — The   recipient   of  this   letter  was  presumably 


TO  COUNT  SANDOR  TELEKV.         9 1 

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  15  th  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  Fantaisie  of 
leisure  on  the  Traum-Lied  (dream  song)  of  Tony,1  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  neighbour  *  of  the  Erbprinz,  and  accept  once 
more  my  most  cordial  expressions  for  yourself? 

F.  Liszt, 

Weymar,  May  5th,  1849. 

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. 

1  No  doubt  meaning  Baron  Augusz,  Liszt's  intimate  friend  at 
Szegzard,  who  died  in   1878. 

*  Nachbarin,  feminine. 


92  TO    BELLONI. 

58.  To  Belloni(?).* 

Weimar,  May  14///,  1849. 
Dear  B., 

Richard  Wagner,  a  Dresden  conductor,  has 
been  here  since  yesterday.  That  is  a  man  of  wonder- 
ful 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  realised.  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.1  Perhaps  this  could  be  done  in 
London  ?  Chorley,2  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  theatre  (for  the  Italian 

*  The  letter  written  apparently  to  Belloni  (who  has  already  been 
mentioned)  was,  like  the  present  one,  published  b}T  Wilhelm  Tappert, 
in  a  German  translation  and  in  an  incomplete  form,  in  the  Nrur 
Mitsik-Zcituug  (Cologne,  Tonger)  of  October  1st,  1SS1.  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. 

1  Lohengrin. 

-  Chorley  (1808-72)  had  considerable  influence  in  London  as  author, 
critic,  and  writer  in  the  Atlicnmim. 


TO    BELLONI.  93 

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.1  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  fulfilment  of  which 
everything  must  tend. 

59.  To  Carl  Reinecke. 

Weymar,  May  $oth,  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 

1  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  acquaint- 
ance 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,  1S61. 


94  TO    CARL    REINECKE. 

the  performance  of  Tannhduser,  which  prevented  him 
from  being  present.  By  this  time  he  must  have 
arrived  in  Paris,  where  he  will  assuredly  find  a  more 
favourable  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  per- 
formed here,  either  at  the  Court  or  at  the  theatre.  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,  favouring  those  whom  inspiration 
has  disdained,  in  order  to  push  its  elect  into  the  shade. 


TO    CARL    REINECKE.  95 

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  tran- 
scriptions 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.* 

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  honours  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 

*  Original  in  the  Royal  Library  in  Berlin. 


96  TO    ROIiERT    SCHUMANN. 

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  cer- 
tainly 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* 
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  Wa/d?~\  The 
neighbourhood   is    charming,    and    it   would   give   me 

*  Album  for  the  Young.  f  The  Thuringian  Forest. 


TO    ROBERT    SCHUMANN.  97 

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  * 

Your  unalterably  faithful  friend, 

F.  Liszt. 
Weymar,  June  $tJi,  1849. 

61.  To  Robert  Schumann.! 

Best  thanks,  dear  friend,  for  your  kind  infor- 
mation about  the  performance  of  your  Faust  on  the 
28th  of  August. 

To  draw  "  das  Ewig-Weibliche  "  i  rightly  upwards 
by  rehearsing  the  chorus  and  orchestra  would  have 
afforded  me  great  pleasure — and  would  probably 
have  succeeded.  §  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. 

*  Clapper  (to  applaud). 
7  Original  in  the  Royal  Library  in  Berlin. 

%  "  Das  Ewig.-Weibliche  zicht  uns  hinan  "  ("  The  Eternal-Womanly 
draws  us  upwards  "). — Goethe's  Faust. 

§  "Gelangen  ""  and  "gelingen  " — untranslatable  little  pun. 

VOL.    I.  7 


98  TO    ROBERT    SCHUMANN. 

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,"  *  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. f 

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 

*  What  is  put  off  is  not  given  up. 

f  Autograph  in  the  Royal  Library  in  Berlin. 


TO    ROBERT    SCHUMANN.  99 

studied  with  the  utmost  sympathy  and  accuracy  by  the 
orchestra  and  chorus. — Herr  Montag,  the  conductor  of 
the  Musik-Verein,*  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  "Jth,  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  honourably 
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 

*  Musical  Union. 


100  TO    CARL    REINECKE. 

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  u  Bluettes," 
— a  rather  ill-chosen  title  to  my  idea, — but,  notwith- 
standing 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. 


TO    CARL    REINECKE.  IOI 

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  neighbourly 
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 


102  TO    BREITKOPF    AND    HARTEL. 

this  or  that ;  henceforth  I  shall  be  delighted  to  be  able 
to  do  the  honours  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-Cyclns  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  to-morrow's  post  I  shall  have  the  honour  of 
returning  you  the  proofs  of  the  Lteder-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. 


TO    BREITKOPF    AND    HARTEL.  103 

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  ! "  *  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- 1 OO  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  publi- 
cation 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 

*  The  "quart  d'heure  de  Rabelais  "  refers  to  an  incident  in  his 
life,  and  means,  in  round  terms,  the  moment  of  paying — *.*.,  any- 
disagreeable  moment. 


104  T0    UREITKOPF    AND    HARTEL. 

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  per- 
formance of  the  Prophete  draws  you  to  Dresden,  I 
shall  certainly  have  the  pleasure  of  seeing  you  there, 
for  I  have  just  begged  Mr.  de  Lt'ittichau  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, 

Weymar,  January  14///.  1S50.  -T  •  LlSZT. 

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,  *  a  recent 
experience  has   entirely  confirmed  me  in  the  opinion 

1  Alfonso  and  Estrclla.  It  was  given  for  the  first  time  on 
June  24th,  1854,  the  birthday  of  the  Grand  Duke  (but  not  without 
some  necessary  cuts). 


TO    BREITKOPF    AND    HARTEL.  105 

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  rnise-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  (185 1)  ;  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 


106  TO    BREITKOPF    AND    HARTEL. 

of  Schubert's  Symphony.  That  of  the  Prophctc  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}  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  " ;  *  and  in  order  to  justify  this  title  our  amiable 
Intendant  proposes  to  regale  the  whole  theatre  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.! 

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  Com- 
position." 2 

1  By  Rossini. 

*  "Champagne  Opera." 

f  Autograph  in  the  possession  of  M.  Alfred  Bovct  at  Valentigney. 
— The  addressee  (1797 — 1S81),  a  writer  on  music  (former^  Court 
Musician  at  Weimar),  lived  from  1846  in  Leipzig. 

'-'  Published  in  1 850. 


TO    PROFESSOR    J.    C.    LOBE.  107 

Our  gracious  protector  *  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  25  th),  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.! 

Esteemed  Sir, 

It  will  be  a  real  pleasure  to  me  to  welcome  you 
here,  and  your  daughter,1  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  de- 
sirable that  you  should  wait  until  the  return  of  H.R.H. 

*  Feminine. 

f  Published  in  the  Neue  Musik-Zeitung  in   1 888. — The  addressee 
was  the  well-known  pianoforte  master,  the  father  of  Clara  Schumann 

(1785-1873). 
1  Marie  Wieck,  Hohenzollern  Court  Pianist  in  Dresden. 


108  TO    FRIEDRICH    WIECK. 

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. 

Weyjiar,  August  4th,  1850. 

68.  To  Simon  Lowy  in  Vienna.* 

Weymar,  August  $th}   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  neighbourhood  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  Intro- 
duction 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 

*  Autograph  in  the  Royal  Library  in  Vienna.  Printed  in  a 
German  translation,  La  Mara,  "  Letters  of  Musicians  during  Five  Cen- 
turies," vol.  ii. 


TO    SIMON    LOWY.  109 

remarkably  successful  Prologue  made,  ad  hoc,  for  that 
day  by  Dingelstedt,  followed  by  the  first  performance 
of  Wagner's  Lohengrin.  This  work,  which  you  cer- 
tainly will  not  have  the  opportunity  of  hearing  so  soon 
anywhere  else,  on  account  of  the  special  position  of  the 
composer,  and  the  man)7  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  enter- 
tained the  theatres  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, 
\txy  much  pre-dccupied,  and  oftentimes  very  absorbed 

friend>  F.  Liszt. 

69.  To  Mathilde  Graumann * 

Mademoiselle, 

Here  is  the  letter  for  the  Grand  Master  de 
Ltittichau,  which  M.  de  Ziegesar  has  just  written  in 
your  honour  and  glory,  with  all  the  good  grace  and 
obligingness  which  he  keeps  for  you. 

As  regards  introductions  to  Berlin  there  is  a  provok- 
ing 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 

*  Given  by  the  addressee,  subsequently  celebrated  as  Mathilde 
Marchesi,  teacher  of  singing,  in  "  Aus  meinem  Leben "  (Bagel, 
Diisseldorf). 


110  TO    MATHILDE    GRAUMANN. 

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;  conse- 
quently 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  authorise  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  Semiramide  with  Milde  or  Mademoiselle 
Aghte,  next  Saturday;  and  in  order  not  to  put  any- 
body 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, 

Friday,  October  nth,  1850.  F.    LlSZT. 


TO    MATHILDE    GRAUMANN.  I  I  1 

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.* 

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 

*  Literal  translation,  on  account  of  play  on  words. 


112  TO    CARL    REINECKE. 

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  conse- 
quence. 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  inop- 
portune 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  know- 
ledge 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, 

January  1st,  1851.  f.    LlSZT. 


TO    CARL    REINECKE.  I  I  3 

My  return  to  Weymar' is  unfortunately  again  post- 
poned for  twenty  days,  by  the  doctor's  orders,  to 
which  I  submit,  although  not  personal  to  myself.1 


71.  To  Leon  Escudier,  Music  Publisher  in  Paris.*" 

Weymar,  February  4th,   1851. 

My  dear  Sir, 

The  proofs  of  the  two  first  articles  of  ray 
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  fulfil  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 

1  They  referred  to  Princess  Wittgenstein,  who  was  ill. 

*  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,  185 1). 

VOL.    I.  8 


114  T0    LEON    ESCUDIER. 

so  good  as  to  beg  M.  Chavee  !  (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.2  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.  y.  Liszt. 

1  An  eminent  Belgian  linguist,  at  that  time  a  collaborator  on  the 
France  Musicale. 

2  Alfonso  and  Estrclla,  which  Liszt  produced  at  Weimar  in  1854. 


TO    LEON    ESCUDIER.  I  I  5 

The  proofs  of  the  third  and  fourth  articles  on  Chopin 
will  be  posted  to  you  to-morrow. 

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.1 


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.2  Who  knows  ?  Perhaps  later  on  these 
girls  will  do  you  honour  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 

1  Presumably  Ferdinand  David's  "  Bunte  Reihe,"  Op.  30,  which 
Liszt  transcribed  for  piano  alone. 

2  Liszt's  daughters.  Blandine  (died  1872)  became  afterwards  the 
wife  of  Emile  Ollivier  ;  Cosima  is  the  widow  of  Wagner. 


I  I  6  TO    CARL    REINECKE. 

a  coadjutor  at  the  Rhenish  Conservator -iitm,  which  seems 
to  be  taking  a  turn  not  to  be  leaky  everywhere. 
Cologne  has  much  good,  notwithstanding  its  objection- 
able 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  recognise  the  vital  energy, 
the  wealth  of  vigour,  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,1  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,  com- 
pletely 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  per- 
haps 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  igt/i,  1 85 1. 

1  Namely,  a  position  as  Professor  at  the  Conservatorium  of  Cologne, 
which  Reinecke  occupied  from  185 1  to  1854. 


TO    DR.    EDUARD    LISZT.  I  I  J 

71.  To  Dr.  Eduard  Liszt  in  Vienna.* 

[Weimar,   1S51.] 

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  honour  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  intelli- 
gent 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  convic- 
tion, to  the  precepts  of  the  Catholic  religion  ;  these 
twenty    years,    in    fine,    that    you    have    passed    and 

*  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 
ardour,  as  his  dearest  relation  and  friend,  and  in  March,  1867,  made 
over  to  him  the  hereditary  knighthood. 


I  I  8  TO    DR.    EDUARD    LISZT. 

employed  so  honourably, — 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  1  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  your- 
self ! "  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  cir- 
cumstances 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 

1  He  had  been  made  Assistant  Public  Prosecutor  in  1850. 


TO    DR.    EDUARD    LISZT.  II9 

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  dip- 
lomatic genius  very  favourable  to  the  Vienna  Cabinet, 
and  that,  in  consequence  of  this  close  alliance,  the 
monarchical  static  quo  will  be  consolidated  in  Europe, 
notwithstanding  all  the  democratic  ferments  and  dissolv- 
ing elements  which  are  evidently,  whatever  people  may 
say,  at  their  period  of  ebb.  I  do  not  precisely  believe 
in  a  state  of  tranquillity  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 


120  TO    DR.    EDUARD    LISZT. 

sort  of  despairing  fear  comes  over  me  at  the  thought  of 
the  task  I  should  like  to  fulfil,  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.* 

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 

*  Autograph  (without  address)  in  the  possession  of  Hcrr  Albert 
Cohn,  bookseller  in  Berlin.  —  The  addressee  was  presumably  Count 
Esterhazy,  whose  guest  Liszt  was  in  Presburg  in  1840. 


TO    COUNT    CASIMIR    ESTERHAZY.  I  2  I 

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. 

Eilsex,  June  6th,  1 851. 


75.  To  Theodor  Uhlig,  Chamber  Musician  in 
Dresden.* 

The  perusal  of  your  most  kind  and  judicious 
article  in  Brendel's  Musical  Gazette  on  the  "  Goethe 
Foundation  " x  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 

*  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. 

1  By  Liszt,  1850.     See  "Gesammelte  Schriften,"  vol.  v. 


122  TO    THEODOR    UHLIG. 

language  becomes  more  and  more  familiar  and  easy  to 
me,  whereas  I  am  obliged  to  make  an  effort  to  patch  up 
more  or  less  unskilfully  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  satisfac- 
tion, 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  honour  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.  Unfortu- 
nately 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 


TO    THEODOR    UHLIG.  I  23 

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  25///,  1851. 

76.  To  Rosalie  Spohr  in  Brunswick.* 

After  your  amiable  authorisation  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 
Badegciste  [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, 

*  Niece  of  Louis  Spohr,  and  an  incomparable  harpist,— "  The  most 
ideal  representative  of  her  beautiful  instrument,"  according  to 
Billow  ;  after  her  marriage  with  Count  Sauerma  she  retired  from 
public  life  and  now  lives  in  Berlin. 


124  T0    ROSALIE    SPOHR. 

Parish  Alvars'  Fantaisie  on  motives  from  Obcron  and 
the  Danse  des  Fees. 

A  distinguished  amateur,  Monsieur  Lindemann  of 
Hanover,  has  promised  me  to  play  one  or  two  violon- 
cello 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  1 1  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  yd,  1S5 1. 

I  beg  you  once  more  not  to  be  later  than  next 
Monday,  July  7th,  in  coming  to  Eilsen. 

yy.  To  Rosalie  Spohr. 

I  am  deeply  sensible  of  your  charming  lines, 
Mademoiselle,  the  impression  of  which  is  the  com- 
pletion for  me  of  the  harmonious  vibrations  of  your 
beautiful  talent, — vibrations  which  are  still  resounding 


TO    ROSALIE    SPOHR. 


^5 


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  honour  to  the  savoury 
product  of  Brunswick  industry.  The  Biickeburg  in- 
dustry 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  to-morrow's  post. 
The  chocolate,  in  its  quality  of  a  sedative  tonic,  will, 
moreover,  not  come  amiss  in  the  intervals  of  }^our 
stud}\ 

May  I  beg  you,  Mademoiselle,  to  give  my  affection- 
ate compliments  to  your  parents  as  well  as  to  the 
clever  drawing-historiographer l  whom  you  know  ?  and 
receive  once  more  the  best  wishes  of  yours  most  truly, 

F.  Liszt. 

Eilsen,  July  22nd,  1S51. 


8.  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 

1  The  younger  sister  of  the  addressee,  Ida  Spohr,  at  that  thru 
sixteen  years  old,  who  was  a  most  gifted  creature,  both  in  poetn, , 
painting,  and  music.     She  died  young,  at  the  age  of  twenty-four. 


126  TO    BREITKOPF    AND    II ARTEL. 

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  \st,  1 85 1. 

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.1  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. 

1  It  was  published  in  that  form  by  Breitkopf  and  Hartel. 


TO    LOUIS    KOHLER.  \2J 

79.  To  Louis  Kohler  in  Konigsberg.1 

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  favourable  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  Volks- 
lieder*  For  several  years  past  I  have  been  occupied 
with  a  similar  work,  and  next  winter  I  think  of  publish- 
ing 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. 

Senff2  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 

1  An  important  piano  teacher  and  writer  on  music,  and  composer 
of  valuable  instructive  works  (1S20-S6). 

*  Folk  Songs. 

2  The  well-known  Leipzig  music  publisher. 


128  TO    LOUIS    KOHLER. 

work,  the  exact  title  of  which  I  do  not  remember,  but 
it  is  somewhat  as  follows,  "  Opern  am  Clavier"*  or 
"  Opern  fur  Clavierspieler  "f  (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  \6th,  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  touch- 
ing 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  Poctiques  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. 
*  Operas  at  the  Piano.  f  Operas  for  Pianoforte  Players. 


TO    CARL    REINECKE.  I  29 

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  to-morrow  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,  1S52. 

81.  To  Carl  Czerny.* 

My  dearest  and  most  honoured  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 

*  Autograph  in  the  archives  of  the  Musik-Verein  in  Vienna. 
VOL.    I.  9 


130  TO    CARL    CZERNY. 

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.* 

Or  if  the  title  be  in  German  : — 

Componirt  und  I.  kais.  kon.  Hoheit  der  Frau  Gross- 
herzogin  zu  Sachsen-Weimar-Eisenach  Marie  Pau- 
lowna, 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  acknow- 
ledgment 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  remodelled  entirely  several  of  my 
old  works  (amongst  others  the  Studies  which  are  dedi- 
cated 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  cor- 
rected, 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 

*  Composed  and  most  respectfully  dedicated  to  Her  Royal  and 
Imperial  Highness  Marie  Paulowna,  Grand  Duchess  of  Saxe-Weimar- 
Eisenach   by  Ch.  Czerny. 


TO    CARL    CZERNY.  I  3  I 

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  theatre  owes  its 
new  renown  —  Tannhciuser,  Lohengrin,  Benvennto 
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  histige  Rath*  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 

*  The  Merry  Councillor  (or  counsel). 


132  TO    CARL    CZERNY. 

this  work,  which  contains  many  fine  details,  should 
have  been  played  for  the  first  time  in  the  Salle  de 
Rcdontc,  so  "  redoutable"  and  ungrateful  a  room  for 
the  piano  in  general ;  in  a  less  vast  space,  such  as  the 
sallc  of  the  Musik-Vereiny  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  honoured  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  Frank- 
fort-on-the-Maine.* 

Dear  Friend, 

.  — .  The  idea  of  a  Congress  of  Capellmeisters  is 
indeed  a  very  judicious  one,    and  from  a  satisfactory 

*  Autograph  (without  address)  in  the  possession  of  M.  Alfred 
Bovet  at  Valcntigney. — The  addressee  was,  in  any  case,  the  above- 
mentioned  (1816-82),  finally  Court-Capellmeister  (conductor)  at 
Darmstadt,  the  composer  offthe  operas  Prim  Eitgcn,  Die  J  J 'cider  von 
Weinsberg.  and  others. 


TO    GUSTAV    SCHMIDT.  I  33 

realisation  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  paralysing 
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  behoves  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  honour  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 
Tannhduser  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.  1 
shall  gladly  take  part  in  the  matter,  and  will  make 
it  my  business  to  do  my  share  towards  bringing  about 
the  desired  results. 

Tannhduser  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 ; 


I  34  TO    GUSTAV    SCHMIDT. 

remember    me    kindly   to    your   wife,   and    believe    me 
ever 

Yours  most  sincerely, 


F.  Liszt. 


Weymar,  May  iSt/i,  1852. 


83.  To  Robert  Schumann.* 

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.1  I  hope  that,  at  this  time  of  year,  your  Diisseldorf 
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,  Jnne  8///,  1852. 

*  Autograph  in  the  Royal  Library  in  Berlin. 

1  Manfred  was  put  on  the  stage  for  the  first  time  by  Liszt. 


TO    ROBERT    SCHUMANN.  I  35 


84.  To  Robert  Schumann.* 

My  very  dear  Friend, 

I  regret  extremely  that  you  could  not  come  to 
the  second  performance x  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  introduc- 
tion 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 

*  Autograph  in  the  Royal  Library  in  Berlin. 

1  This  might  perhaps  also  be  read  "  first  performance." 


136  TO    ROBERT    SCHUMANN. 

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  26///,  1852. 


85.  To  Peter  Cornelius.1 

Weymar,  September  4th,  1S52. 
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  valour  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 

1  The  exquisite  poet-composer  of  the  operas  The  Barber  0/ Bagdad, 
The  Ctd,  and  Gunlod,  which   have  at   last  attained  due  recognition 

(1824-74)- 


TO    PETER    CORNELIUS.  137 

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  realise 
it  under  outer  conditions  favourable  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  Billow  occupies 
is  entirely  at  your  service,  and  it  will  be  a  pleasure  to 
me  if  you  will  settle  yourself  there  without  any  cere- 
mony, 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. 


138  TO    CLARA    SCHUMANN. 

S6.  To  Clara  Schumann. 

Weymar,  September  iitJi,  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  theatre 
possesses  an  exact  copy,  which  will  serve  us  for  subse- 
quent 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  honour  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  Dt'isseldorf,  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. — 


TO    CLARA    SCHUMANN.  I  39 

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  I  add  my  most  sincere  wishes 
for  the  speedy  restoration  of  our  friend,  and  cordial 
assurances  of  my  constant  friendship.  y    j 

Sy.  To  Carl  Czerny.* 

[September  or  October,    1852.] 

My  dear,  honoured  Master  and  Friend, 

Permit  me  to  recommend  particularly  to  you 
Professor  Jahn,1  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  honour 
of  the  great  man  whom  you  have  had  the  merit  of  com- 
prehending 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. 

*  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. 

1  The  afterwards  celebrated  biographer  of  Mozart. 


140  TO    CARL    CZERNY. 

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. 

S8.  To  Breitkopf  and  H artel.* 

Weymar,  October  30///,  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 

Prophcte    (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. 

*  Autograph  in  the  possession  of  M.  Alfred  Bovet  at  Valentigney. 


TO    BREITKOPF    AND    HARTEL.  J41 

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  how- 
ever 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  circum- 
stances may  render  more  delicate  and  complicated. 
Allow  me  then  at  last,  my  dear  Mr.  Hartel,  to  pro- 
pose 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  Kieseweiter  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  1 8th  and  20th  November,  and  on  the  21st  the  Sym- 
phonies 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  2 1  st  I  am  certain  that  it  would  be  a  great  interest 
to  you  to  hear  these  exceptional  works,  of  which  it  is 


142  TO    BREITKOPF    AND    HARTEL. 

a  duty  and  an  honour  to  me  not  to  let  Weymar  be  in 
ignorance. 

Will  you,  my  dear  Mr.  Hartel,  accept  this  infor- 
mation 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,  more- 
over, 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  ; 


TO    BREITKOPF    AND    HARTEL.  1 43 

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.* 

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  theatre 
management  (such  as  Athalie,  the  piano  scores  of  Lohen- 
grin, 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  theatre  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  Nosier 
and  of  the  Ave  Maria,  please  do  it  entirely  to  your  own 

*  Autograph  in  the  possession  of  M.  J.  Crepieux-Jamin  at  Rouen. 


144  TO    BREITKOPF    AND    HARTEL. 

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  proprie- 
tors of  our  repertoire  have  fixed  the  ijth  November 
(instead  of  the  1 8th)  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.1 

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  10th,  1852. 

1  The  German  translation  of  the  work  was  not  done  until  it 
appeared,  by  La  Mara,  in  1880,  after  the  publication  of  a  second 
edition. 


TO    PROFESSOR    JULIUS    STERX.  14  5 

90.  To  Professor  Julius  Stern  in  Berlin.1 

November  2\th,  1852. 

My  dear  Mr.  Stern, 

I  hope  you  will  excuse  my  delay  in  replying  to 
your  friendly  lines,  for  which  I  thank  you  very  affec- 
tionately. 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  an  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  proposi- 

1  1S20-83;  founder  of  the  Stern  Vocal  Union  (which  he  con- 
ducted from  1847-74),  and  of  the  Stern  Conservatorium  (1850),  which 
he  directed,  firstly  with  Marx  and  Kullak,  and  since  1S57  alone. 

VOL.    I.  IO 


146  TO    PROFESSOR   JULIUS    STERN. 

tion  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  propor- 
tion, 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 


TO    PROFESSOR    JULIUS    STERN.  1 47 

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    WlLHELM    VON    LENZ   IN    St.    PETERSBURG.1 

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,2  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 

1  A  well-known  writer  on  music  and  especially  on  Beethoven  ; 
Imperial  Russian  Councillor  of  State  (1809-83). 

-  "Beethoven  and  his  Three  Styles"  (St.  Petersburg,  1852). 


I48  TO    WILHELM    VON    LENZ. 

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  semiquavers, — 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  testi- 
mony 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. 


TO    WILHELM    VON    LENZ.  1 49 

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  characterise  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  manoeuvres  and  your 
airy   flights   you    constantly   preserve,    as   your    own 


150  TO    WILIIELM    VON    LENZ. 

inalienable  property,  so  much  wit  and  knowledge,  good 
sense  and  free  fanc}^.  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  fulfil  by  your  twofold  talent  of  distinguished 
writer  and  musician  ex  professo.  It  is  really  curious  to 
observe  how  the  well-known  saying,  u  It  is  from  the 
north  that  light  comes  to  us  to-day,"  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  com- 
pare 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  honour  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  know- 
ledge of  the  subject,  for  having  made  of  Mozart  a  sort 
of  Dalai-Lama*  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,  predilec- 
tions, and  habits  of  mind  of  Mr.  Oulibicheff  have  per- 
fectly predisposed  him  to  accomplish  an  excellent  work 

*  The  head  of  the  temporal  and  spiritual  power  in  Thibet.    (Trans- 
lator's note.) 


TO    WILHELM    VOX    LEXZ.  I  5  I 

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  pro- 
prietor 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  caviliing  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  imagi- 
nation 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  categorise 
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  sestheticism  at  the  point  to  which  Beethoven 
has  led  us — namely,  in  how  far  is  traditional  or  recog- 


152  TO    WILHELM    VON    LENZ. 

nised  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  recognised  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 


TO    WILHELM    VON    LENZ.  I  53 

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  mali- 
ciously 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  valour  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  expres- 
sions 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.* 

Best  thanks,  dear  Radecke,  for  your  letter  and 
the  approved  good  intention. 

*  Printed  in  the  Nene  Berliner  Musik-Zcitiing,  November  20th, 
1890. — The  addressee,  afterwards  Conductor  of  the  Royal  Opera,  and 


154  TO    ROBERT    RADECKE. 

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 
Egyptei  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.1  Joachim  goes  the  day  after  to- 
morrow to  Berlin  ;  Cossmann  is  in  Paris;  and  Nabich- 
is  performing  in  London,  Liverpool,  and  Manchester. 
None  the  less  we  are  giving  Tannhduser  next  Sunday 
(12th)  (with  subscriptions  suspended!),    and   for  this 

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  Theatre. 

1  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  Ducrc,  the  organist  of  the  Sainte  Chapelle  in  Paris  in 
the  year  1 679. 

2  The  first  trombone  player  of  the  Weimar  orchestra,  and  a  most 
admirable  performer  on  his  instrument. 


TO    ROBERT    RADECKE.  I  5  5 

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  gt/i,  1S52. 

93.  To  Bernhard  Cossmann. 

[Weimar,  December,  1852.1] 
Thanks,  dear  friend,  for  your  kind  few  lines, 
which  have  given  me  sincere  pleasure.  Joachim  is  not 
yet  back  from  Berlin,  and  Beck'2  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?  we  shall  unfortunately  have  to  wait 
until  Dr.  Lieber,  the  new  tenor  engaged  for  next 
season,  at  present  at  the  Cologne  theatre,  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 

1  The  date  and  ending  of  the  letter  are  wanting,  but  from  its 
contents  it  may  be  ascribed  to  this  date. 

2  The  chief  tenor  (hero-tenor)  at  the  Court  Opera. 

3  Berlioz's  opera. 


156  TO    BERNHARD    COSSMANN. 

raised  fifty  crowns,  to  make  the  round  sum  of  four 
hundred. — Laub 1  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.* 

Dear  Sir, 

By  to-day'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  1849)  I  could  not  suppose 
that  Uhlig  could  expect  it  back  from  me  as  a  theatre 
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.2 

Allow  me  to  beg  you  kindly  to  make  my  excuses  to 
Herr  Heine 3  that  I  do  not  answer  his  letter  just  now. 
His  indulgent  opinion  of  our  Lohengrin  performance 
is  very  flattering  to  me ;  I  hope  that  by  degrees  we 
shall  deserve  still  better  the  praise  which  comes  to  us 

'  Ferdinand  Lanb,  a  noteworthy  violinist,  was  engaged  for  the 
1st  of  January,  1853,  as  Joachim's  successor  as  Concertmeister  at 
Weimar. 

*  Autograph  in  the  possession  of  Herr  Otto  Lessmann  at  Charlotten- 
burg. — The  addressee  was  an  intimate  friend  of  Wagner's  ("fetters 
to  Uhlig,  Fischer,  and  Heine" — Leipzig,  Breitkopf  and  Hartel,  1889). 

2  For  fuller  particulars  about  this  see  the  "  Wagner-Liszt  Corre- 
spondence," vol.  i.,  pp.  207-9. 

3  Ferdinand  Heine,  Court  actor  and  costumier,  famous  through 
Wagner's  letters  to  him. 


TO    WILHELM    FISCHER.  I  5  7 

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.1 

Dear  Sir, 

I  thank  you  much  for  your  friendly  letter,  and 
commission  Herr  Gleichauf  (in  whom  you  will  recognise 
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  vir- 
tuosity and  bravura,  so  that  we  have  all  become  quite 
warm  about  it. 

Come,  then,  as  soon  as  you  have  a  couple  of  spare 

1  Formerly  Concertmeister  at  Weimar ;  at  present  Court  Concert- 
meister  and  Professor  at  the  Stuttsrart  Conservatorium. 


158  TO    EDMUND    SINGER. 

days,  and  be  assured  beforehand  of  the  most  friendly 
reception. 

With  my  very  best  regards, 

Yours  truly, 

F.  Liszt. 

Saturday,  January  15//?,  1S53. 

96.  To  Frau  Dr.  Lidy  Steche  in  Leipzig.* 

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  i6thf  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  $th  (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 

*  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  after- 
wards at  the  Minerva  "lodge,"  that  Hoplit,  in  his  account  of  stage 
performances  (Neue  Zeitschrift  fur  Mnsik),  spoke  of  the  Steche  under- 
taking as  a  "  model  performance."  This  was  before  the  performance 
of  Lohengrin  at  the  Leipzig  theatre  in  January  1854. 


TO    FRAU    DR.    LIDY    STECHE.  I  59 

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  per- 
formance 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  Theatre  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  14th,  1853. 

97.  To  Gustav  Schmidt,  Capellmeister  at 
Frankfort-on-the-Maine.* 

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 

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


l60  TO    GUSTAV    SCHMIDT. 

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  Sym- 
phonies, several  Overtures,  the  5th  May,  the  Requiem, 
etc.)  to  make  it  unnecessary  to  seek  for  others.  If  I 
made  an  exception  for  you,"  %  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  Symphonic  Fantastique — the  March  of  the  Pilgrims 

*  "Pour  toi."  Showing  that  Liszt  and  Berlioz  employed  the 
"  tutoyer  "  towards  one  another. 


TO    GUSTAV    SCHMIDT.  l6l 

and  the  Marchc  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 
theatre  and  concert  maker,  because  they  require  a  higher 
artistic  standpoint  from  the  musician's  side. 

I  looked  through  Kittl's  x  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.* 

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 
unskilful  soprano  singer.  Altogether  the  opera  appears 
to  me  to  be  written  in  a  charming  style,  not  too  super- 
ficially conservative,  and  to  be  one  of  the  best  among  the 
new  operas  mezzo-car attere.  In  case  you  still  have 
time  and  are  not  indisposed  to  give  the  opera  in  Frank- 

1    1809-68.     Director  of  the  Prague  Conscrvatorium. 
*  Steckt   doch  in  Raff  ein  ganz  anderer  musikalischer  Kern  und 
Kerl  :  untranslatable  play  on  words. 

VOL.    I.  I  I 


1 62  TO     GUSTAV     SCHMIDT. 

fort,  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  firstrate  man.1  There 
are  not  too  many  such  ! 

Yours  in  all  friendship, 

F.   Liszt. 

Weimar,  February  2"]th,  1853. 

98.  To  Heinrich  Brockhaus,  Bookseller  in 
Leipzig.* 

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.  Con- 
sequently 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  honour  of  belonging  to  the 
association,  or,  to  put  it  better,  to  the  religious  and 

1  Vesque  von  Puttlingen  (pseudonym,  Hoven),  1803-83,  Coun- 
cillor of  the  Austrian  Foreign  Ministry,  composer  of  songs  and 
operas. 

*  Published  in  a  German  translation  :  La  Mara,  "  Letters  of  Musi- 
cians during  Five  Centuries,''  vol.  ii.,  1887. 


TO    HEINRICH    BROCKHAUS.  1 63 

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, 
Borne,  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 * ;  and,  as  I 
have  mentioned  Heine,  I  ought  to  add  that  my  fervour 
was  far  short  of  his,  for  I  never  thought  of  wishing  to 
"  Commune  through  space  with  the  Child-like  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  honour  to  belong,  excep- 
tionally, to  the  class  of  Doctors  in  Philosophy,  an  honour 
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 

1  The  dress  of  the  St.  Simonists. 


164  TO    HEINRICH    BROCKHAUS. 

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  Lcxikon  I  may  have  a  place  more 
in  accordance  with  my  aims.1 

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.* 

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- 

1  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. 

*  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  Nene  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. 


TO    DR.    FRANZ    BRENDEL.  1 65 

operators,  and  to  give  due  weight  to  the  whole  under- 
taking. 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  Tubingen  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  Unterhaltungen 
am  hduslichen  Herd*  or  the  Fliegende  Blatter  fur 
Musik.\  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. 

Wrhether  also  the  title  Kunstwerk  der  Zukunft\ 
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  dis- 
cussion 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  agree- 
able 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. 

Forster's  exact  address  I  will  send  you  very  soon, 
although  I  conclude  that  letters  addressed  Herr  Hofrath 

*  "  Entertainments  at  Home." 
f  "  Fly-leaves  for  Music." 
t   "  Art  Work  of  the  Future." 


I  66  TO    DR.    FRANZ    BRENDEL. 

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  con- 
versation 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  yd,   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 


TO    DR.    FRANZ    BRENDEL.  1 67 

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  1  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  un- 
fortunately 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,  be- 
fore 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 

1  Arnold  Schlonbach,  journalist,  died  long  ago. 


1 68  TO    DR.    FRANZ    BRENDEL. 

you.  Let  me  only  beg  you  not  to  give  too  much  weight 
to  passing  and  local  influences,  and  only  to  come  for- 
ward when  you  can  hold  your  ground  with  quiet,  de- 
liberate 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  favourable,  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  /  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,  Seriora  Pepita  Oliva 
is  doing  her  favourite  tricks  at  the  theatre,  which  are 
more  prized  and  rated  higher  than  they  deserve,  so  I 


TO    DR.    FRANZ    BRENDEL.  169 

am  assured.  "  J'aime  mieux  y  croire  qu'y  aller  voir."  * 
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  20th,  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  perform- 
ance 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  per- 
formances.    Joachim  is  also  coming  at  the  same  time, 
and  there  will  be  no  dearth  of  entertainment  for  us. 

*  I  would  rather  take  it  for  granted  than  go  and  see  it. 


I/O  TO    LOUIS    KOHLER. 

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,  1S53. 

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  wTorking-out  section 
(pages  19,  20,  21)  will  perhaps  amuse  you. 

I  am  writing  to  Wagner  to-day  that  he  should  him- 
self offer  you  a  copy  of  the  Nibelungcn.  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  Nibelungcn  ? 
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 


TO    LOUIS    KOHLER.  171 

pupil  Winterberger l  (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 


103.  To  Louis  Kohler. 

"  Kiraschio  !  Plimaschio  !  " 2  Dear  friend  !  Your 
work3  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  com- 
forting May  drink, — and  I  thank  you  warmly  for  the 
lively,  pleasant  hours  I  have  passed  with  you  in  read- 
ing 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  ! — 

1  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. 

2  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.*' 

8  The  same  work,  "  The  Melody  of  Speech  "  (Leipzig,  J.  J.  Weber, 
1853)- 


\J2  TO    LOUIS    KOHLER. 

Specially  do  I  give  you  my  best  thanks  for  the  "  VVey- 
marische  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  remodelled 
edition  of  these  earlier  songs.  There  must,  in  par- 
ticular, be  some  simplifications  in  the  accompaniment. 
But  that  you  have  thought  favourably  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  con- 
cluding 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  Piitzer  and 
Heimann,  which  is  too  formal.  At  the  beginning  of 
July  I  enjoyed  several  IValhalla-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 
Poe'tiques  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 


TO    LOUIS    KOHLER.  173 

couple  more  copies  in  your  honour.  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  ist,  1853. 

Address  to  me  always  at  Weymar. 

104.  To  Richard  Pohl  in  Dresden." 

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  insuffi- 
ciency 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  asser- 
tion 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, 

*  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. 


174  TO    RICHARD    TOIIL. 

that  the  proportion  and  sonority  of  the  instruments, 
combined  with  a  view  to  the  locale  chosen,  were  satis- 
factory 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 


TO    RICHARD    POHL.  1 75 

the  matter  one  can  justly  accuse  me  of  being  an  insuffi- 
cient conductor,  inexperienced,  uncertain,  etc.  :  without 
endeavouring  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  "  *)  have  honoured 
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  deaf- 
ness 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  realised  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  |  I,  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 

*  Qualified  conductors. 


176  TO    RICHARD    POIIL. 

subscribe,  however  specious  in  their   hypocritical  im- 
partiality 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  accommo- 
date myself  to  the  role  of  a  "  Profoss  "  *  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  recognise 
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.  1 
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 
*  Overseer  or  gaoler. 


TO    RICHARD    POHL.  I  77 

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  to-day.  I  will  therefore  continue,  with- 
out 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.  _    T 

F.  Liszt. 

Weymar,  November  $t/i,  1853. 

105.  To  Wilhelm  Fischer,  Chorus  Director  at 
Dresden.* 
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  Fiera- 

*  Autograph  in  the  possession  of  Herr  Otto  Lessmann,  writer  at 
Charlottenburg.  (Printed  in  his  Allgemeine  Mustk-Zcitiing,  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 


178  TO    WILHELM    FISCHER. 

mosca  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  im- 
portant, 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  theatre  there.  It  would  be  splendid  if  you  should 
succeed  in  your  endeavours  to  make  Herr  von  Lutti- 
chau  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.1 

Meanwhile,  dear  friend,  accept  my  best  thanks  once 

more  for  this  project,  and  for  all  that  you  will  do  to 

realise  it  successfully,  and  receive  the  assurance  of  the 

high  esteem  of  ,r  , 

Yours  very  truly,  ~    T 

J         J}         F.   Liszt. 

Weymar,  January  ^th  [1854]. 

1  Dresden  did  not  hear  Cellini  till  thirty-four  years  later. 


TO    M.    ESCUDIER.  1 79 

106.  To  M.  Escudier,  Music  Publisher  in  Paris.* 

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  perform- 
ance of  which  will  take  place  to-morrow,  and  also  by  a 
heap  of  small  and  great  local  obligations  which  accu- 
mulate 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.1  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  honour  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  pre- 
liminary and  very  important  observation  to  make  to 
you — namely,  that  the  rights  of  the  score  of  Alfonso 
and  Estrclla,  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. 

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

1  A  "giant  grand  piano  :'  with  three  keyboards  and  pedals  and 
registers,  made  according  to  Liszt's  own  directions. 


180  TO    M.    ESCUDIER. 

Therefore,  before  taking  any  other  steps,  it  is  indis- 
pensable that  you  should  apply  to  Messrs.  Hartel  to 
obtain  their  authorisation,  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. 

HartePs  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  Dic- 
tionary 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  2\st,  1854. 

107.  To  Monsieur  Marie  Escudier,  Music  Publisher 

in  Paris.* 
My  dear  Sir, 

Mr.  Franck1  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 

*  Autograph  in  the  possession  of  M.  Alfred  Bovet  at  Valentigney. 

1  Cesar  Aug.  Franck,  born  at  Liege  in  1822,  composer  and  professor 
at  the  Paris  Conservatoire,  teacher  of  Faure,  Chabrie,  and  d'Indy, 
the  chiei  representatives  of  the  new  French  school  of  music. 


TO    M.    ESCUDIER.  I  8  I 

many  years  past  I  have  had  a  favourable  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  Theatre  answers  to  these  antecedents  and 
to  what  I  expect  of  Mr.  Franck,  the  Lyric  Theatre 
could  only  congratulate  itself  on  its  choice,  and  the 
best  chance  of  success  would  be  assured.  Being  un- 
able 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  affec- 
tionately 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  to-day  the  score  and  pianoforte  edition 
of  my  "  Kiinstler-Chor."  By  next  autumn  I  hope  that 
half  a  dozen  other  (longer)  scores  will  be  in  print. 
u  Ha,  der  Verruchte  ! "  *  we  can  then  say,  as  in 
Tannhciuser.     Happily,  however,  no  journey  to  Rome 

*  "Ah,  the  wretch!" 


1 82  TO    DR.    FRANZ    BRENDEL. 

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  itnd  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  20tli,  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. 


TO    LOUIS    KOHLER.  1 83 

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"  *  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  H artel,  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  "  |)  will  come  out.  Mean- 
while 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 
criticised  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 

*  "  To  the  artists."  f  Symphonic  Poems. 


I  84  TO    LOUIS    KOHLER. 

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  N/ghfs  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. — 

Raff  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  and  Estrclla,  if  those  same  theatre  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  ! — 


TO    LOUIS    KOHLER.  I  85 

Farewell,  dear  friend,  and  send  speedy  tidings  of 
yourself  to 

Yours  most  sincerely, 

F.  Liszt. 

Weymar,  March  2nd,  1854. 

1 10.  To  Dr.   Franz  Brendel. 

Dear  Friend, 

Herewith  an  article  which  I  send  you  for  your 
paper.  Euryanthe,  which  I  conduct  here  to-morrow, 
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.1  I  flatter  myself  that  our 
ideas  will  meet  and  harmonise  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  to-morrow 
till  the  first  performance  I  shall  be  quartered  at  Gotha. 
In  consequence  of  this  I  must  unfortunately  give  up 
my  excursion  to  Leipzig/or  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  Gotze  (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 

1  "Gesammelte  Schriften,"  vol.  iii.,  I. 


1 86  TO    DR.    FRANZ    BRENDEL. 

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  to-day  which  do  not  put  one 
in  the  mood  for  correspondence. 

Yours  in  friendship, 

F.  Liszt. 

Saturday,  March  iSth  [1854]. 

in.  To  Louis  Kohler. 

[Weimar,  April  or  May,  1854.] 

My  very  dear  Friend, 

I  am  extremely  glad  that  you  liked  my  article 
on  Earyanthe  and  theatre  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 


TO    LOUIS    KOHLER.  187 

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.  Hero'ide  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  Fruhlingsboten  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 


I  88  TO    LOUIS    KOHLER. 

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*  I  have  been  obliged  to  keep  my  bed, 
owing  to  a  slight  indisposition.  The  reading  of  your 
article  in  theJahrbiicJicrn^  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 

*  Uncontrolledly  ;  a  pun  on  the  words  Rand  and  Band  (edge  of  the 
paper  and  volume),  Brendel  being  editor  of  a  paper, 
f  Year-books. 


TO    DR.    FRANZ    BRENDEL.  189 

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.1 

There  are  several  points  in  your  writing  that  we 
will  soon  talk  over  viva  voce.  I  am  still  really  very  weak 
to-day,  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  to-day's  post  you  will  receive  Richard  Wagner's 
medallion.  A  friend  of  mine,  Prince  Eugene  Sayn- 
Wittgenstein,  modelled  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 ! 
1  "  Gesammelte  Schrifteh,"  vol.  iii.,  1. 


190  TO    LOUIS    KOHLER. 

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  DJ7  will  amuse  you.  The  thing  ought 
properly  to  be  played  in  an  American  rocking-chair 
with  a  Nargileh  for  accompaniment,  in  tempo  comodissimo 
con  scntimcnto,  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 
Bb  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 — 

in  contrast  with  the  previous  hammer-blows — 

-^55^ 

perhaps  led  me  to  it. 

Farewell,  my  dear  friend,  and  remain  good  to  your 

Weymar,  June  Sth,  1854.  F.    LlSZT. 


TO    DR.    FRANZ    BRENDEL.  191 

114.  To   Dr.  Fraxz  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  * 
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,  Anf  Wiedersehen  [Au  revoir]  ! 

Yours  in  friendship, 

F.  Liszt. 

June  \2th,  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  wTere,  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 

*  Singing  Societies. 


I92  TO    DR.    FRANZ    BRENDEL. 

as  to  revise  the  whole  thing  accurately  yourself.  When 
the  article  has  appeared,  please  send  me  to-day's  proofs 
back.1 

115.  To  Carl  Klindworth  in  London.'2 

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  M  ur l-connection  and  Murl-wander- 
ings  3  with  Remenyi 4  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 ! "  * — 

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  1 6th)  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 

1  "  Gesammelte  Schriften,"  vol.  iii.,  I. 

-  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. 

:i  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,  Biilow,  Cornelius, 
Pruckner,  Remenyi,  Laub,  Cossmann,  etc.,  etc.,  were  Murls. 

4  A  celebrated  Hungarian  violinist. 

*  Liszt  writes  "for  ever  hoch  leben  lasscn." 


TO    CARL    KLINDWORTH.  193 

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 1  could  come  ;  in  that  case  you  would  have 
to  start  at  once,  for  on  the  13th  it  begins,  and  on  the 
1 6th  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  honourable 
colleagues  and  companions  in  Art).  .  .  .  So,  if  you 
possibly  can,  come.  We  will  then  have  a  Murl-Miisical 
Festival  in  my  room.  (N.B. — I  shall  be  staying  with 
Mr.  Hope,  the  banker.) 

One  has  to  get  accustomed  to  the  London  atmo- 
sphere, 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  !  How- 
ever things  may  be,  never  make  capitulation  with  what 

1  Theodor  Hagen,  a  writer,  known  as  a  witty  critic  of  his  time 
under  the  name  of  "  Bit  iter b  rod"  [bread  and  butter]  in  the  Signale ; 
died  subsequently  in  America. 

VOL.    I.  13 


194  T0    CARL    KLINDWORTII. 

is  idle,  cowardly,  or  false — however  high  your  position 
may  become — and  preserve,  under  all  circumstances, 
your  Murldom  ! — 

The  two  pieces  from  Raff's  Alfred1  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  econo- 
mical manner — together  with  the  Sonata.2  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  <souple  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.3 

'  Arranged  by  Liszt  for  the  piano. 

2  It  bore  the  title,  in  Liszt's  handwriting,  "  Fur  die  Murlbibliothek  " 
(for  the  Murl  Library). 

3  The  arrangement  for  two  pianos  of  the  C  major  Symphony  was 
brought  out  by  them. 


TO    CARL    KLINDWORTH.  1 95 

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.1  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. 

1   Liszt's  home. 


196  TO    CARL    KLINDWORTH. 

N.B. — Remenyi  gives  me  no  reply  about  the  manu- 
script 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.1  Be  so  good  as  to  see 
that  Pohl  gets  the  manuscript  as  soon  as  possible,  as 
he  is  probably  in  Leipzig  now. 

To-night  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*  and  Alfonso  and  Estrella.  As  soon  as  the 
Montecchi  and  the  Favorita  appear  you  shall  receive 
them.2     The  Fliegender  Hollander  is  also   ready,  but 

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

*  The  White  Lady. 

2  The  complete  "  Gesammelte  Schriften,"  vol.  iii.,  I. 


TO    DR.    FRANZ    BRENDEL.  I  97 

must  be  copied.1     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, 

Weymar,  July  7 th,  1854.  F-    LlSZT. 

117.  To  Anton  Rubinstein.2 

What  are  you  doing  with  yourself,  my  dear 
Van  II.?3  Are  you  settled  according  to  your  liking 
at  Bieberich,  and  do  you  feel  in  a  fine  vein  of  good- 
humour  and  work,  or  are  you  cultivating  the  Murrendo 4 
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 

1   " Gesammelte  Schriften,"  vol.  iii.,  2. 

-  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. 

3  From  Rubinstein's  likeness  to  Beethoven  Liszt  jokingly  called 
him  Van  II.  (that  is,  Van  Beethoven). 

1  This  must  refer  to  some  witty  joke. 


198  TO    ANTON    RUBINSTEIN. 

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  "  [home- 
sickness] ! 

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  Jahrbiicher  [Weimar  Year-books], 
the  first  number  of  which  is  half  printed  and  will  de- 
finitely 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  excep- 
tional circumstance  in  these  matters),  your  work  shall 
be  given  next  November.1  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, 

Wevmar,  July  31st,  1854.  F.    LlSZT. 

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

1  The  opera  The  Siberian  Hunters  was,  in  point  of  fact,  given  at 
Weimar  through  Liszt's  instrumentality. 


TO    DR.    FRANZ    BRENDEL.  I  99 

1 1 8.    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  con- 
sider 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  book- 
seller'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 


200  TO    DR.    FRANZ    BRENDEL. 

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. 

Raffs  book  "  Die  Wagnerfrage  "  [The  Wagner  Ques- 
tion] has  arrived  here  to-day,  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 


TO    DR.    FRANZ    BRENDEL.  201 

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  con- 
tain no  other  substance  than  their  own  harsh  termin- 
ology. 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  greet- 
ings to  your  wife  from 

Yours  most  sincerely, 

F.  Liszt. 

August  1 2th,  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. 


202  TO    DR.    FRANZ    BRENDEL. 

Send  me  at  once  the  proofs  of  the  Weisse  Dame,  and 
in  September  bring  the  Fliegender  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  determina- 
tions 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  ville- 
giatura  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 piit  andrai,  farfalone"  etc} 

We  have  to  hunt  the  Siberian  bear ; 2  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 

1  Aria  from  Mozart's  Figaro. 

-  The  Hunters  of  Siberia,  an  opera  of  Rubinstein's. 


TO    ANTON    RUBINSTEIN.  203 

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  trans- 
lator with  pleasure,  and  will  fulfil  it  promptly,  and, 
I  am  persuaded,  to  your  satisfaction.  The  only  thing 
wanting  is  for  you  to  come  at  once,  and  spend  a  fort- 
night 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  *  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  \st  to  yd  September,  for 
your  score  must  be  given  to  be  copied  by  the  15  th  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  wTeek's  time. 
Yours  ever  in  friendship, 

F.  Liszt. 

*  La  Mara  thinks  there  was  a  joke  in  connection  with  this  ;  I 
cannot  help  thinking  it  is  a  corruption  of  morcndo,  and  that  perhaps 
Rubinstein  joked  about  cultivating  a  particular  touch  or  nuance. 
—Translators  note. 


2  04  T0    ANTON    RUBINSTEIN. 

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  instru- 
ment 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.1 

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  any- 
body. 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  Theatre,  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. 

1  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. 


TO    ALEXANDER    RITTER.  205 

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  15  th  of  September  (on 
which  date  the  theatre  here  reopens).  I  wrote  yester- 
day to  Brendel,  in  order  to  get  Pohl's  exact  present 
address.  I  expect  the  answer  to-morrow,  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*  of  gaping 
chanceusement  f  to  the  crows  of  Weymar,  where  we  have 
certainly  no  Chanceaux,  but  pretty  well  of  gens  sots !  J 
im  Loch\  (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 
tempcrc  of  J.  S.  Bach,"  for  example,  or  to  some  "Beau 

*  Silly  opportunity,    j  Doubtfully.    J  Stupid  people.    §  In  this  hole. 
All  plays  upon  words,  and  given  therefore  in  the  original. 


206  TO    BERNHARD    COSSMANN. 

lieu  "  with  or  without  marque  an  nez  (Mar  con  nay).1  (I 
implore  you  to  keep  this  execrable  improvisation  to 
yourself,  for,  in  my  position  as  Maltre  de  Chapelle,  I 
should  run  the  risk  of  being  fined  by  the  "Hofamt"  * 
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  Billow'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 
1 2th  of  this  month  (the  sister  of  Johanna),  who  has 
played  in  comedy  at  the  Breslau  theatre,  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  theatre  will  reopen  the  15  th  September.  The 
1 6th  Ernani  will  be  given.     In  the  course  of  October 

1  A  play  on  words.     The  name  of  the  Intcndant  of  the  Weimar 
Court  Theatre  was  Beaulieu-Marconnay. 
*  Office  in  the  royal  household. 


TO    BERNHARD    COSSMANN.  207 

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  Loreley  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  vindi- 
cate 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. 


2  08  TO    GAETANO    BELLONI. 

122.  To  Gaetano  Belloni  in  Paris.* 

[September  gth,  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  goe.s  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,1  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 

*  Autograph  in  the  possession  of  M.  Etienne  Charavay  in  Paris. 
1  A  Belgian  writer  ;  translated  the  Duke's  opera. 


TO    GAETANO    BELLOXI.  209 

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  Sympho- 
niques. 

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  ! x  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,  sympathising  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  ! 

1  Eduard  Liszt,  then  member  of  the  provincial  Court  of  Justice  in 
the  Civil  Senate,  had  lost  his  wife  from  cholera. 

VOL.    I.  14 


2  10  TO    ANTON    RUBINSTEIN 


124.  To  Anton  Rubinstein. 

Weimar,  October  igi/i,  1854. 

Schott  makes  me  ashamed,  my  dear  Rubinstein. 
Here  come  the  new  proofs  of  the  "  Kamcno'i-Ostroiv"  x 
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 
theatre),  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  re- 
hearsals. 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 

1  Rubinstein  had  written  a  number  of  short  pianoforte  pieces 
named  after  the  Emperor's  summer  residence  near  St.  Petersburg. 


TO    ANTON    RUBINSTEIN.  2  I  I 

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  con- 
tinuation 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  to-morrow, 
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  theatre  in  her 
honour. 

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 
beaax-esprits  differ  whilst  meeting  on  common  ground  ! 
Your  murrendos  at  Leipzig  will  have  proved  favourable 
to  your  conversations  with  the  Muse,  and  I  look 
forward  to  a  fine  Symphony. 


212  TO    ANTON    RUBINSTEIN. 

A  revoir  then,  dear  friend;  on  the  4th  November, 
or  the  5  th  at  latest,  we  have  the  first  performance  of  an 
unpublished  tragedy,  Bcrnhard  von  Wcymar,  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  Sprilche,  etc.  (Songs 
and  Sayings),  appears  to  me  to  be  of  general  interest 
to  the  public — therefore  I  begged  you  to  putit  in  your 
paper. 

Touching  what  you  have  reserved  of  Raffs,  I  am 
quite  of  opinion  that  you  should  also  make  room  for 
him  in  his  Critical  Examinations  of  the  Minnesingers* 
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  Minnegcsang 
(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  honour  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, 

*  The  German  poet-singers  of  the  Middle  Ages. 


TO    DR.    FRANZ    BRENDEL.  213 

will  not  suffer.  Therefore  set  to  work  and  go  through 
with  it ! 

In  Bussenius1  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 
favourably  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.2 

Will  you,  dear  friend,  be  so  good  as  to  give  my 
special  thanks  to  Herr  Klitzsch  for  his  article  in  to-day's 
number  ?  By  the  favourable  manner  in  which  he  enters 
into  the  intentions  of  my  Mass,  and  the  artistic  sym- 
pathy 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, 

1  Bussenius,  under  the  pseudonym  W.  Neumann,  published  the 
set  of  biographies  "  The  Composers  of  Recent  Times "  (Balde, 
Cassel). 

-  Peter  Cornelius  translated  the  articles  written  in  French  by  Liszt 
— with  the  collaboration  of  the  Princess  Wittgenstein — for  the  Nene 
Zeitschrift ;  those  which  are  published  in  vols.  iii.  to  v.  of  the 
"Gesammelte  Schriften." 


2  14  T0    DR-    FRANZ    BRENDEL. 

however,  occupy  myself  with  this ;  but  aufgeschoben 
soil  nicht  aufgehoben  heissen* 

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-Sinfonie)  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  LitolfFs  appearance  here. 

Rubinstein  left  for  Leipzig  at  midday  to-day.  The 
performance  of  his  Symphony1  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  Tannhduser  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 

*  A  German  proverb — "  Put  off  is  not  given  up." 
1  Ocean;   given  for  the  first   time,    November    16th,   1854,   at  the 
Gewandhaits  Concert  for  the  Poor. 


TO    DR.    FRANZ    BRENDEL.  2  1  5 

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  apropos  of  your  Ocean 
is  a  little  chef-d'ceuvre,  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,1 
the  Deus  ex  machina,  may  have  come  to  put  you  out 
of  the  uncomfortable  state  of  suspense  in  which  the 
Gewandhaus  public  did  you  the  honour  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 

1  Principal  of  the  music  firm  F.  Kistner  in  Leipzig. 


2l6  TO    ANTON    RUBINSTEIN. 

to  appeal  to  a  badly  informed  public  by  a  second  per- 
formance 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  recognise  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  do  Sibe'rie  will  be  given 


TO   ANTON    RUBINSTEIN.  2  17 

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  igth,  1854. 

127.  To  Dr.  Franz  Brendel. 

Dear  Friend, 

Kahnt 1  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  Nene  Zeit- 
schrift — 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  establish- 
ment 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, 

1    The    subsequent     publisher,    for    many    years,    of     the     Neue 
Zeitschrift. 


2  18  TO    DR.    FRANZ    BRENDEL. 

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  favourable  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  belabour  him  with  manuscripts  or  urge  him  to 
untimely  or  useless  sacrifices. ...  (I  need  not  waste  more 
words  over  the  purity  of  my  intentions  !)  But  1  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  under- 
taking. 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 


TO    DR.    FRANZ    BRENDEL.  219 

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  labourers 
are  few  ! "     Therefore  we  are  not  to  make  ourselves 


2  20  TO    DR.    FRANZ    BRENDEL. 

over-anxious — only   to  remain   firm,    again    to   remain 
firm — the  rest  will  come  of  itself! — 

I  will  do  my  utmost  for  Fraulein  Riese,1  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-  Vcrsammlung 
(meeting  of  musicians)  in  Weyrnar  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 2 
sing  that  kind  of  philosophical  fioritures  in  Eisenach ; 
I  have  no  talent  for  it.  None  the  less  we  can  return 
to  the  Nauenburg  proposition  at  a  convenient  oppor- 
tunity, 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, 

December  is/,  1854.  *■    LlSZT. 

1  Pianoforte  teacher  in  Leipzig,  who  for  years  went  every  Sunday 
to  Weimar  to  study  with  Liszt ;  died  i860. 

-  Professor   at   a  school,   and    Music    Director   at  Eisenach ;  died 

1858. 


TO    J.    W.    VON    WASIELEWSKI.  22  1 

128.  To  J.  W.  von  Wasielewski  in  Bonn.1 

Dear  Friend, 

Owing  to  the  somewhat  long  detour  of  the 
Pesther  Lloyd,  in  which  the  friendly  lines  of  remem- 
brance have  been  reprinted  which  you  dedicated  to  the 
Altenburg  in  the  Cologne  paper,  I  only  heard  of  these  a 
few  days  ago.2  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  con- 
dition, owing  to  various  local  circumstances,  will  take  a 
more  settled  turn  ;  I  will  send  you  the  complete  pro- 
gramme shortly.  By  to-day'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  wTould  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 

1  Formerly  Conductor  of  the  Town  Vocal-Union  at  Bonn  (born 
1S22),  afterwards  at  Dresden;  then  again  in  Bonn  as  Music  Director, 
and  living  since  1S84  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. 

2  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. 


22  2  TO    J.    W.    VON    WASIELEWSKI. 

public  favourably  disposed  towards  the  work  by  a  few 
lines  in  the  Cologne  paper. 

How  is  Hiller  ?  Has  his  Advocate 1  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  LEnfance  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 

1  An  opera,  The  Advocate  It  had  no  success,  and  was  publicly 
ridiculed  at  the  Cologne  Carnival. 


TO    J.    W.    VON    WASIELEWSKI.  223 

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  pro- 
grammes. 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  realising  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, 

Weymar,  December  14M,  1854.  F.    LlSZT. 


2  24  TO    WILLIAM    MASON. 

129.  To  William  Mason  in  New  York.1 

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  satisfac- 
tion, 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  conscien- 
tiously 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 

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


TO    WILLIAM    MASON.  22  5 

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  honour  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  LEnfance 
du  Christ*  of  which  you  already  know  La  Fnite  en 
Egypte,\  to  which  he  has  added  two  other  little  Oratorios 
called  Le  Songe  d 'Her ode  \  and  LArrivee  a  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  (Nene 
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  remark- 
able composition,  and  he  played  it  in  such  a  masterly 
manner,  with  so  much  verve,  such  boldness  and  cer- 
tainty, that  it  gave  me  very  great  pleasure.  If  there 
is  something  of  the  quadruped  in  Dreyschock's  mar- 
vellous 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 

*  The  Childhood  of  Christ.  \  Herod*s  Dream. 

f  The  Flight  into  Egypt.  §  The  Arrival  at  Sai's. 

VOL.    I.  15 


2  26  TO    WILLIAM    MASON. 

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  f,  -J,  J,  alternate  with  C  and  f. — 

In  virtue  of  which  I  conclude  that  you  ought  to 
limit  yourself  to  |ths  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  realised  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. 


TO    WILLIAM    MASON.  227 

You  did  not  know  Rubinstein  at  Weymar.1  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.* 

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.2  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 

1  Liszt  was  mistaken  about  this.  Mason  had  even  done  the 
principal  honours  to  Rubinstein  at  his  first  visit  to  Weimar,  in  the 
absence  of  the  Master. 

*  Written  thus  in  English  by  Liszt. 

2  To  Count  Sauerma. 


228  TO    ROSALIE    SPOHR. 

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  neighbourhood,  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  friendy  greetings 
and  wishes,  to  which  I  add  once  more  the  expression 
of  my  friendly  devotion. 

A  thousand  respects  and  homage. 

F.  Liszt. 

January  ^.t/i,  1 85  5. 


TO    ALFRED    DQRFFEL.  229 


131.  To  Alfred  Dorffel  in  Leipzig.1 

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.2  I  am 
really  quite  astonished  at  the  exactitude  of  your  re- 
searches, 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  to-day  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 

1  Writer  on  music,  born  1 82 1  ;  custodian  of  the  musical  section  of 
the  town  library  of  Leipzig :  the  University  there  gave  him  the 
degree  of  Dr.  phil.  honoris  causa. 

-  "Thematic  Catalogue  of  Liszt's  Compositions."' 


23O  TO    ALFRED    DORFFEL. 

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  Has- 
linger  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  trans- 
formed), and  begged  Messrs.  Hartel  to  publish  it  with 
the  note  "  seule  edition  authentique,  revue  par  Vauteur, 
etc."  which  they  did.  Consequently  I  recognise  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 


TO    ALFRED    DORFFEL.  23  I 

more  in  possession  both  of  the  copyright  and  the  entire 
engraving  plates. 

These  circumstances  will  explain  to  you  the  re- 
appearance (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  com- 
mon 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  con- 
sider 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  "Anneesde  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 


232  TO    ALFRED    DORFFEL. 

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."  * 

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  suffi- 
cient for  me). 

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

Yours  most  truly, 

January  17th,  1855.  *■    J--ISZT- 

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 

*   "Thematic  Catalogue." 


TO    ANTON    RUBINSTEIN.  233 

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  Egvpte  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 

Weymar,  February  2\st,  1855.  *•  LlSZT. 

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"  *     To  this  title,  which  was  very  flattering 

*  "The  fellow  is  a  bravo.'" 


234  TO    LOUIS    KOHLER. 

to  me,  Hans  von  Billow  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  \6th,  1855. 

The  engraving  of  my  Symphonic  Poems  is  in  pro- 
gress, 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  18///,  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  " 1 — the 
words  must  be  written  under  the  notes  both  in  French 

1  Song,  by  Berlioz,  for  alto  voice  with  orchestra  or  piano. 


TO    DR.    FRANZ    BRENDEL.  235 

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  *  letter,  in  your  last  number, 
must  be  regarded  as  a  mystification.  In  the  first  few 
lines  a  glaring  falsehood,  founded  on  facts,  is  con- 
spicuous, for  the  Societe  de  Ste.  Cecile  has  been  in 
existence  for  years,  and  was  formerly2  conducted  by 
Seghers3 — not  to  mention  that  Berlioz  conducted  the 
Socictc  Philharmonique,  where  "  many  Symphonies  were 
performed,"  for  at  least  a  season  (of  something  like 
four  years) — and  then  as  regards  Scudo,4  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  honour  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 

1  A  well-known  teacher  of  singing  and  writer  on  music  (1S07-88); 
collaborator  of  the  Ncuc  Zeitschrift. 

2  1848-54. 

3  Pupil  of  Baillot  (1S01-S1). 

1  Musical  critic  and  journalist  in  Paris  (1806-64). 


236  TO    DR.    FRANZ    BRENDEL. 

against  the  dome's  attacks  which  they  have  to  bear- 
yet  /  think  it  is  advisable  not  to  discuss  Marx's  book  ] 
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.2  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 3  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.4 
Should  he  be  disposed  to  publish  several  of  my  articles 
in  the  same  paper,  I  am  perfectly  ready  to  let  him  have 

1  "The  Music  of  the  Nineteenth  Century,"  1855. 

-  Liszt's  article  on  Robert  Schumann,  "  Gesammelte  Schriftcn," 
vol.  iv. 

;t  Count  Tyszkiewicz,  writer  on  music,  collaborator  of  the  Ncne 
Zeitschrift. 

1  By  Liszt,  "Gesammelte  Schriften,"  vol.  iii.,  I. 


TO    DR.    FRANZ    BRENDEL.  237 

the  French  originals,1  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. 

1  Liszt's  articles  were,  as  already  mentioned,  written  in  French  and 
translated  into  German  by  Cornelius. 


238  TO    DR.    FRANZ    BRENDEL. 

Fraulein  Riese  will  tell  you  about  the  Transfiguration 
of  the  Lord}  Of  this  kind  there  should  certainly  be  no 
more  [oratorios2]  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  fiir  Mnsik  which  has 
come  to  me  I  have  read  with  great  pleasure  and  satis- 
faction Zellner's  article  on  your  first  concert  in  Vienna. 
It  is  not  only  very  well  written  but  thoroughly  well  con- 
ceived, 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  ZeitscJirift 
(No.  II.)  on  Robert  Schumann,  in  which  I  probed 
rather  deeply  into  the  question   of  criticism.     If  you 

1  Oratorio  by  Kuhmstedt. 

2  The  word  is  missing  in  the  original,  as  the  corner  of  the  letter 
is  cut  off. 


TO    ANTON    RUBINSTEIN.  239 

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 
defence  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  Ktihmstedt's  oratorio  The  Trans- 
figuration of  the  Lord  will  be  given  at  the  theatre, 
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  counter- 
point— the  old  unsalted,  unpeppered  sausage, 


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  1 
am  working  heart  and  soul  (the  Kyrie  and  Gloria  are 


240  TO    ANTON    RUBINSTEIN. 

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  yd,  1 855. 

When  you  write  to  me,  please  add  your  address. 
I  beg  you  will  also  return  my  best  compliments  to 
Lewy.1 

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

1  Pianist  in  St.  Petersburg  ;  a  friend  of  Rubinstein's. 


TO    FREIHERR    BEAULIEU^MARCONNAY.        241 

137.  To  Freiherr  Beaulieu-Marconxay,  Intendant 
of  the  Court  Theatre  at  Weimar.* 

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  fulfil  at  least  all 
my  duties.  If,  then,  one  of  Beethoven's  Symphonies 
does  not  figure  in  to-day'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 
honour  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 — 

*  Autograph  in  the  possession  of  Herr  Hermann  Scholtz,  Kammer- 
virtuoso  in  Dresden.     The  addressee  died  in  Dresden. 

VOL.    I.  16 


242        TO    FREIIIERR    BEAULIEU-MARCONNAV. 

1  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  centre  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  magnificient  trio  (in  Bb — dedicated  to  the 
Archduke  Rudolph),  as  No.  3  in  the  programme. 

A  thousand  affectionate  compliments,  and 

Yours  ever, 

F.  Liszt. 

Monday,  May  2\st,  1855. 

138.  To  Anton  Rubinstein. 

My  dear  Rubinstein, 

On  my  return  from  the  Musical  Festival  at  Dussel- 
dorf,  where  I  hoped  to  meet  you,  I  found  the  parcel  of 
auvres  choisies  and  the  portrait,  which  is  very  successful, 
of  Van   II.     I   hasten  to   give   you   my   best   thanks 


TO    ANTON    RUBINSTEIN.  243 

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  com- 
missions 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  hery  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  furore  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  u  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 


244  T0    ANTON    RUBINSTEIN. 

for  the  day  after  to-morrow  ;  and  if,  as  is  probable, 
they  treat  her  to  a  little  concert,  I  shall  take  advan- 
tage 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  in- 
terested 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  ; 
1  have  sketched  a  plan  of  it  (a  Symphony  in  three 
parts :  the  two  first,  "  Hell "  and  "  Purgatory,"  ex- 
clusively instrumental  ;  the  third,  "  Paradise,"  with 
chorus)  :  but  I  cannot  set  myself  entirely  to  this  work 


TO    ANTON    RUBINSTEIN.  245 

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, 

June  yd,  1855.  F-    LJSZT. 

139.  To  Dr.  Franz  Brendel. 

[Weimar,  June  1855.] 

Dear  Friend, 

Best  thanks  for  your  munificence.  The  weed1 
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 
Diisseldorf  Musical  Festival  (not  by  me),  the  author- 
ship of  which  I  beg  you  to  keep  strictly  anonymous. 
Probably  he  will  be  piquant  and  forcible.  On  the 
whole,  and  also  in  detail,  the  Diisseldorf  Musical 
Festival  can  only  be  described  as  a  great  success,  and 

1   Cigars. 


246  TO    DR.    FRANZ    BRENDEL. 

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  some- 
thing 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  wTork  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,1  and  one  cannot  get  clear  about  the  entire 
theatre-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 

1  At  the  Weimar  Court  Theatre. 


TO    DR.    FRANZ    BRENDEL.  247 

don't  need  to  trouble  myself.  Last  Sunday  we  held  a 
satisfactory  performance  of  Tannhauser  in  honour  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.1 

140.  To  Dr.  Franz  Brendel.* 

Evers'2  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  under- 
stand that  they  are  uselessly  going  round  and  round  in 
what  is  hollow,  dry,  and  used  up.  That  good  Flugel3 
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  Diisseldorf 
Musical  Festival  is  again  a  little  bit  of  Barenzucker  \ 
(reglisse  in  French),   and   W.'s   article    in    comparison 

1  The  Mass  for  male  voices  was  performed  there  in  the  latter  half 
of  June. 

*  The  first  sheet  of  the  original  is  missing. 

z  Doubtless  Carl  Evers  (1819-75),  composed  Sonatas,  Salon  pieces, 

etc. 

3  Music  writer  and  composer ;  at  that  time  teacher  in  a  school  at 
Neuwied  ;  now  organist  at  the  Castle  at  Stettin. 

j  Liquorice. 


24§  TO    DR.    FRANZ    BRENDEL. 

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  \6fh,   1S55. 

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  *    EDMUND    SlNGER. 

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  Ncu-Weymar-Vercin  [New  Weymar  Union]  is 
absent— Hoffmann  in  Holland,  Preller  in  the  Olden- 
burg 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 

::   Leader  of  orchestra. 


TO    EDMUND    SINGER.  249 

several  weeks.  Cornelius  is  working  at  a  Mass  for  men's 
voices — on  the  15  th  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  excep- 
tionally agreeable  surprise  to  me  was  Hans  von  Billow, 
who  spent  a  couple  of  days  here,  and  brought  with  him 
some  new  compositions,  amongst  which  I  was  particu- 
larly 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  neigh- 
bourhood, 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. %  This  satis- 
faction is  not  so  easily  attainable  for  me  elsewhere. 

I  envy  you  immensely  about  Patikarius 1  and  Ket- 
skemety.2  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  to 

*  Probably  a  play  on  the  words  Thiergarlen  (beast-garden)   and 
Bestialitiitcn 

1  -  Hungarian  gipsy  orchestras. 


2  50  TO    EDMUND    SINGER. 

me,  as  it  is  impossible  for  me  to  start  a  detailed  corre- 
spondence 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 l  will 
not  take  up  an  excessively  long  time,  either  in  perform- 
ance 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  baldigcs  Wiedersehen  "  ["  May  we  soon 
meet  again  ! "]. 

Yours  ever, 

August  ist,  1 85 5.  F.  Liszt. 

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. 
1  Liszt's  Graner  Mcssc. 


TO    BERNHARD    COSSMANN.  25  I 

142.  To  Bernhard  Cossmann  in  Baden-Baden. 

Wilhelmsthal,  August  i$ih,   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.  To-morrow  morning  I  return  to  Weymar, 
where  I  have  promised  to  meet  my  two  daughters,  as 
well  as  Mr.  Daniel,1  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  Biilow  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  Wpttgenstein] 
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  colours,  but 
with  this  difference,  that  at  Wilhelmsthal  we  are  very 
much  favoured  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  travellers  only  the   trenches  and   practical  circum- 

1  Liszt's  son. 


252  TO    BERNHARD    COSSMANN. 

vallations  in  honour  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 
I  Oth  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)  lt  Ce  qu'on  entend  dans  la  vatte'e  "  !  *  Preller1  has 
found  beautiful  trees  in  the  Duchy  of  Oldenburg  which 
serve  him  as  a  recovery  of  the  "  Recovery  "  ;  t  Martha 
Sabinin  2  is  haunting  the  "Venusberg"  in  the  neigh- 
bourhood of  Eisenach  in  company  with  Mademoiselle 
de  Hopfgarten  ;  Bronsart 3  is  gone  to  a  sort  of  family 
congress  at  Konigsberg ;  and  Hoffman 4  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. 

*  "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    ). 

1  Friedrich  Preller,  the  celebrated  painter  of  the  Odyssey  pictures. 

f  Or  a  "recreation  of  the  Recreation."  1  do  not  know  which 
is  meant.  The  original  is  "  qui  lui  servent  d'Erholung  von  der 
'  Erholung.'  " — Translator's  note. 

-  A  pupil  of  Liszt's,  a  Russian. 

:J  Hans  von  Bronsart,  Liszt's  pupil,  now  Gcneral-lntcndant  at 
Weimar. 

1  Hoffmann  von  Fallersleben,  the  well-known  poet. 


TO    BERNHARD    COSSMANN.  253 

Don't  altogether  forget  me,  my  dear  Cossmann,  in 
the  midst  of  your  solemnities — 1 

143.    To  August  Kiel,  Court  Conductor  in 
Detmold.* 

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  favourably 
in  the  Journal  des  Debate.  Unfortunately  it  did  not 
appear  in  print,  and  up  to  the  present  time  no  other 
theatre  has  performed  it,  although  it  made  a  sensation 
in  Paris  and  ensured  a  first-rate  position  to  the  com- 
poser. 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 

'  The  end  of  the  letter  was  lost. 

*  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). 


2  54  TO    AUGUST    KIEL. 

of  the  sympathy  and  care  which  you  bestow  in  Detmold 
upon  the  works  of  Wagner  and  Berlioz.  Regardless 
of  the  many  difficulties,  opposition,  and  misunderstand- 
ings 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. 

Wey.aiar,  September  8th,  1855. 

Enclosed  are   Berlioz'  letter  and   the  manuscript  of 
Sappho. 

144.   To  Moritz  Hauptmann.1 

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 

1  The  celebrated  theorist  and  cantor  of  the  Thornaskirche  in  Leipzig 
(1 792- 1 868). 


TO    MORITZ    HAUPTMANN.  255 

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" — * 

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.1  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  advan- 
tage 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  28//1,  1S55. 


*   "  It  is  as  great  as  the  world.*' 

1  Joseph,  an  oratorio  by  the  Roman  composer,  consisting  of  three 
parts,  which  was  given  with  great  success  in  the  Teatro  Argentina  in 
Rome  in  1S52. 


256  TO    EDUARD    LISZT. 

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  "  con- 
cord, harmony,  and  artistic  enthusiasm  of  the  combined 
Art-fellowships  of  Vienna."  1 

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  favourable  news  from  Berlin. 

146.  To  Frau  Meyerbeer  in  Berlin.2 

Madame, 

Your  gracious  lines  only  reached  me  at  the 
moment  of  my  leaving  Berlin,  so  that  it  was  no  longer 

1  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. 

2  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. 


TO    FRAU    MEYERBEER.  257 

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  require- 
ments of  my  instructions  and  of  my  artistic  experi- 
ments), 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  honour  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.* 

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  De- 
cember (which  I  only  received  yesterday,  owing  to  the 
delay  from  its  having  gone  to  Berlin),  a  duty,  which  it 

*  Autograph  in  the  possession  of  M.  Alfred  Bovet,  of  Valentigney. 
VOL.    I.  17 


258  TO    DR.    RITTER    VON    SEILER. 

is  equally  my  honour  and  pleasure  to  fulfil.  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  under- 
takings 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  honour- 
able 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  fulfil  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  admir- 
able 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  honour  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  perform- 
ance, I  am  pleased  with  the  prospect  before  us,  that 
the  glories  which  Mozart  unfolds  in  the  different 
domains  of  Art — Symphony,  Opera,  Church,  and  Con- 


TO    DR.    RITTER    VON    SEILER.  259 

cert  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  con- 
siderations 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  honour  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  l  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 

*   From  the  Mozart  Festival  at  Vienna. 


2  60  TO    EDUARD    LISZT. 

the  evening  (in  honour  of  H.R.H.  the  Prince  Regent 
of  Baden)  ;  so  that  this  morning  is  the  first  lesiure 
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  con- 
sidered— 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  Bcich-Gesellschaft*  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 
realisation. 

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  favours  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  ap- 
pointed for  it,  a  universally  useful,  lasting,  and  living 

*  Bach  Society. 


TO    EDUARD    LISZT.  20  1 

monument  to  the  glorious  Master  will  be  formed,  which 
will  bring  honour  and  even  material  gain  to  all 
Austrian  lovers  of  music  and  to  the  city  of  Vienna 
itself.  Without  doubt,  if  the  matter  is  rightly  con- 
ducted, 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  ex- 
planations, 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  pro- 
pagation 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 


262  TO    EDUARD    LISZT. 

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-Verein  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  send- 
ing 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 


TO    EDUARD    LISZT.  263 

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  gfh,  1856.  F.  LlSZT. 

149.  To  Dr.  von  Seiler,  Mayor  of  Vienna* 

Dear  Sir, 

As  it  was  not  permitted  me  to  see  Your  Wor- 
ship 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. 

*  Autograph  in  the  possession  of  M.  Alfred  Bovet,  of  Valentigney. 


264  TO    DR.    VON    SEILER. 

Accept,  dear  sir,  the  assurance  of  high  esteem  with 
which  I  have  the  honour  to  remain 

Your  most  obliged 

Weymar,  February  1 0.7/,  1856.  *'  LlSZT. 

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 


TO    DR.    FRANZ    ERENDEL.  265 

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  igth,  1 856. 

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.1 

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 

1  Liszt's  pupil ;  has  been  a  professor  at  the  Stuttgart  Conserva- 
torium  since  1858. 


266  TO    DIONYS    PRUCKNER. 

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  even- 
ing v.  Dingelstedt  gave  me  also  full  details  of  your 
concert  ravages  in  Munich.  All  this  plainly  shows  dass 
man  Bock-Bier  trinken  kann,  oJiue  deswegen  Bo'ckc  zu 
schiessen  !  * 

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  understand- 
ing 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^  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 

*  A  play  on  words:  that  one  ma)-  drink  "Bock"  beer,  without 
thereby  making  blunders. 


TO    DIONYS    PRUCKNER.  267 

injurious  kind,  and  Czerny  did  not  possess  the  neces- 
sary 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  worth- 
less 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 


268  TO    DIONYS    PRUCKNER. 

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 
Fantasia1  (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  17 1//,  1856. 


152.  To  Breitkopf  &  Hartel. 

Dear  Sir, 

Whatever  fate  may  be  in  store  for  my  Sym- 
phonic 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 

1  Fantasia  in  C  major,  on  the.  Wanderer. 


TO    BREITKOPF    &    H ARTEL.  269 

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

In  the  matter  of  the  Handel-Gesellschaft*  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  -  Gesellsch  aft. 

With  warm  thanks  and  esteem, 

Yours  very  truly, 

F.  Liszt. 

Weymar,  May  l$th,  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   Mc'thodc,1   I 

*   Handel  Society. 

1  Systematic  method  of  teaching  for  pianoforte  playing  and  music, 
1857  and  1858. 


270  TO    LOUIS    KOHLER. 

delayed  writing  to  you,  because  the  result  (favourable, 
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.  Billow,  Bronsart, 
Pruckner,  etc.,  have  played  it  several  times,  and  you 
will  assuredly  find  in  Konigsberg  a  partner  (masculine 
or  feminine)  who  will  beguile  ycu  into  it.  I  shall  be 
very  glad  if  the  things  please  you  somewhat.  I  have 
laboured  too  much  in  order  to  realise  the  requisite  pro- 
portion and  harmony,  for  them  to  be  able  to  give  me  any 


TO    LOUIS    KOHLER.  271 

other  pleasure  if  some  sympathy,  and  also  some  under- 
standing 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  com- 
pliments, 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  *  to  the  Faust  and  Dante  Symphonies. 
The  former  is  already  settled  and  finished,  and  the 
second  more  than  half  written  out.  "Away,  away/'f 
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  Mcthodc  (I 
forget  the  exact  title)  through  H artel.  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  LitohT  cudgel-smashing  newspaper 
rubbish,  Carl  Formes  and  Johanna  Wagner  have  been 
playing  here  ;  the  latter  with  well-deserved  and  extra- 
ordinary success  in  Gluck's  Orpheus  and  Iphigenia 
in  Aulis  (in  Wagner's  translation  and  arrangement). 
This   evening  the  Sleeping  Beauty  (a  fairy-tale  epic), 

*  Prologue,  preface.  f  Written  in  English. 


272  TO    LOUIS    KOHLER. 

by  Joachim  Rafif,  will  be  given.  According  to  my 
opinion,  this  is  Raff's  most  successful  and  grateful 
work. 

Farewell,  dear  friend,  and  bear  in  friendly  remem- 
brance 

Your  very  sincere  and  obliged 


F.  Liszt. 


Weymar,  May  24/7/,  1S56. 


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  to-day, 
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  con- 
nection with  them,  and  of  letting  it  precede  them,  as 
an  interpretation,  as  it  were,  of  the  intention  of  the 
songs. 


TO    LOUIS    KOHLER.  273 

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  deface- 
ment by  the  working  into  and  through  one  another 
of  the  four-hand  parts,  and  submitted  to  doing  without 
tone  and  colour  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  experi- 
ences, 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  per- 
mission 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 

VOL.   I.  18 


274  T0    LOUIS    KOHLER. 

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, 
Weymar, /w/y  9//?,  1856.  F.  Liszt. 

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

155.  To  Hoffmann  von  Fallersleben.1 

Dear  Friend, 

In  your  *  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 

]  The  well-known  poet  (1798- 1 874),  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,  actors, 
authors,  and  painters  of  Weimar. 

*  The  second  person  singular  is  employed  in  this  letter. 


TO    HOFFMANN    VON    FALLERSLEBEN.         275 

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;  Soupper1  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 2  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  to-day  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  und  driiber  her — 
Ich  bleibe  fortan  oben  " —  * 

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 

1  Eugen  v.  Soupper,  concert  singer,  a  countryman  of  Liszt's,  was  in 
Weimar  in  1855-56. 

-  Music  director  in  Weimar  ;  died  1889. 

*  "  Here  firm  I  sit,  a  rock  sea-girt, 

On  which  the  waves  are  dashing, 
But  I  remain  above,  unhurt, 
Nor  heed  the  waters'  lashing." 


2'/6         TO    HOFFMANN    VON    FALLERSLEBEN. 

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  translat- 
ing 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  Horce  bclg.  and  the 
Weymar  Year-Book  be  proved  as  inferring  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, 
Weymar,  July  14th,  1856.  F.   LlSZT. 

I56.       To       WlLHELM       WlEPRECHT,       GENERAL       MUSIC 

Director  of  the  Military  Corps  of  the  State 
of  Prussia.* 

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"f 

*  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. 

f  "  From  the  Rock  to  the  Ocean." 


TO    WILHELM    WIEPRECHT.  277 

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  fulfilment  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  instrumenta- 
tion accordingly.  Allow  me  to-day  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. 


*-*-* 


(Last  bar  of  page  5.) 

Lento  assai. 


\ 


^S  ^Lf  ^rrMfr 


r*^    p*>i      1  ~  -Zr     -Z^  etc 


— I 1-  1   1 h-^- 


^^         J    J      l=^= 


Ar? 9- 

=1== 


(Second  bar  ot  page  47.) 


278  TO    WILHELM    WIEPRECHT. 

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 


~c: 


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)  : — 

(N.B — It  must  begin  with  the  %  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  fulfilment  of  your 


TO    WTLHELM    WIEPRECHT.  279 

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  iSth,  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  before- 
hand for  your  kindness. 

157.   to  concertmeister  edmund  slnger. 

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.1  I 
shall  therefore  get  to  Pest  by  the  nth  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  to-morrow  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 

1  Of  the  Cathedral  of  Gran. 


2 80  TO    EDMUND    SINGER. 

Vermeulen  (General  Secretary  of  the  "  Maatschappy  "  *) 
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 
fulfil  through  Rosavogly,2  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  fulfil 
the  required  dimensions,  and  yesterday  I  hunted  out 
a  couple  of  li  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 ! — 

1  "  Maatschappy  tot  bevordering  dcr  toonkunst." 

2  Music  publisher  in  Budapest. 


TO    EDMUND    SINGER.  28 1 

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  irrcf rag- 
ably  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" '*  dear  friend — I  leave 
here  by  the  9th  August  at  latest.  Meanwhile  best 
thanks  for  your  letter, — and 

Ever  yours, 
July  28th,  1856.  F.   Liszt. 

158.  To  Joachim  Raff.1 

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  un- 
equivocally 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 

*  "  To  a  speedy  meeting." 

1  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. 


282  TO   JOACHIM    RAFF. 

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  endeavours  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,*  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."  x 

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  rrry  orchestral  compositions  in  the  con- 
cert 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  celebra- 
tion of  the  consecration  of  the  Basilica). 

*  The  man  without  a  shadow — German  fable. 

1  Neuc  Zcitschrift fur  Musik.    Later  "  Gesammelte  Schriften,"  vol  v. 


TO    JOACHIM    RAFF.  283 

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  Billow  has  been  with  me  a  couple  of  days, 
and  goes  to  Baden-Baden  the  day  after  to-morrow. 
Winterberger  is  scoring  an  extraordinary  triumph  by 
his  organ-playing  in  Holland,  and  played  the  Prophete 
and  BACH  Fugue  *  before  an  audience  of  two  thousand 
people  with  immense  success. 

Do  not  forget  to  give  my  friendly  greetings  to 
Genast *  and  my  homage  to  Mademoiselle  Doris.2 

159.  To  Anton  Rubinstein. 

It  is  a  very  great  regret  to  me,  my  dear  Rubin- 
stein, to  have  to  miss  your  visit  the  day  after  to- 
morrow, 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 

*  Fugue  on  the  name  of  Bach. 

1  The  celebrated  Weimar  actor,  afterwards  Raffs  father-in-law. 

-  Afterwards  Raff's  wife,  an  excellent  actress. 


284  TO    ANTON    RUBINSTEIN. 

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  to-morrow  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  eome  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 


TO    ANTON    RUBINSTEIN.  285 

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  Piano- 
forte. 

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  Wies- 
baden 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 


2  86  TO    JOACHIM    RAFF. 

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  un- 
common 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  under- 
standing 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  circum- 
stances there  I  cannot  reckon  beforehand  on  the  friendly 
reception  without  which  public  performances  always 
prove  very  unfruitful  for  composers.  According,  there- 
fore, to  whether  these  circumstances  show  themselves 
favourable  or  unfavourable  to  my  honest  endeavours,  I 
will  come,  or  I  will  remain  at  home. 

I  give  you  my  heartiest  good  wishes  for  the 
performance  of  your  King  Alfred}  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, 

Weymar,  August  *]th,  1856.  F.    LlSZT. 

1  An  opera  of  Raff's. 


TO    ANTON    RUBINSTEIN.  287 

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. 


2  88  TO    ANTON    RUBINSTEIN. 

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  $th,  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*  was  thronged),  as  well  as  the  performers, 
had  raised  themselves,  body  and  soul,  into  my  con- 
templation 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  !  — 

*  I.e.,  the  parish  church. 


TO    EDUARD    LISZT.  289 

Next  Monday,  the  8th  September,  at  the  conse- 
cration of  the  Hermine-Kcipelle  (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 
theatre :  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  theatre  is  over. 

.  —  .1  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 
Weymarl     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*     As  an  old  laborant  f  at  piano  music 

*  Meaning  a  musical  bouquet.  f  Worker  in  a  laboratory 

VOL.    I.  19 


290 


TO    LOUIS    KOHLER. 


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  : — 


|gEfe^^&tfe^ 


i&=*} 


IT""  •-1HCZZ2 g#=^=| 


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  Sth,  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  : — 


TO    LOUIS    KOHLER. 


2QI 


■&■ 


P-r- 


I 


ra  JTi     r-' 


r 


instead  of: — 


~»~»- 


j— *1 — 


S 


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


164.  To  Dr.  Gille,  Councillor  of  Justice  at  Jena.1 

Zurich.  November  14th,  1856. 

My  very  dear  Friend, 

I  am  heartily  rejoiced  at  the  honourable  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 

1  An  ardent  friend  of  Liszt's,  a  promoter  of  musical  endeavours,  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. 


292  TO    DR.    GILLE. 

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.  "  Gentium,  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  medio- 
crity should  prove  inadequate  to  it ! — 

Friendly  greetings,  and  faithfully  your 

F.  Liszt. 


TO    DR.    ADOLF    STERN.  293 


165.  To  Dr.  Adolf  Stern  in  Dresden.1 

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  Sym- 
phonic 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 
N'ibelungen  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  theatre  built 

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


2  94  T0    DR-    ADOLF    STERN. 

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  to-day  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  to-morrow  to  St.  Gall,  there  to  conduct  a 
couple  of  my  Symphonic  Poems  with  a  very  respect- 
able 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,   1S56. 


TO    EDUARD    LISZT.  295 


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  honour  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. 


WJ-jC 


^m^m^^m) 


et   u-namsanctamcatho-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  wrhich  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. 


296  TO    ALEXANDER    RITTER. 

168.  To  Alexander  Ritter,  Music  Director  in 
Stettin. 

Munich,  December  4th,  1S56. 

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  u  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 
Festkldnge  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 


TO    ALEXANDER    RITTER.  297 

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  con- 
ducting my  Symphonic  Poems,  rather  give  lectures  at 
home  of  the  safe  passport  of  Riehl's  "  Haus-Musik," 
and  take  well  to  heart  the  warning, 

" Riickkehr  zum  Mass."* 

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 

*  "A  returning  within  bounds."  A  footnote  by  Liszt  follows: 
"Dabei  wird  natiirlich  das  Mass  der  Mittelmiissigkeit  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. 


298  TO    ALEXANDER    RITTER. 

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  Rhc  in- 
gold  and  the  Walkure  are  incredibly  wonderful  works. 

To  my  great  sorrow,  I  only  saw  your  brother  Carl l 
a  couple  of  times  in  the  early  days  of  my  stay  in 
Zurich.  I  will  tell  you  viva  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  *  in  the  Bernhard 's-Hiitte.  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. 

1  A  musician,  a  friend  of  Wagner's. 

*  This  would  be  the  Barber  of  Bagdad. — Translator's  note. 


TO    PROFESSOR    L.    A.    ZELLNER.  299 

169.  To  Professor  L.  A.  Zellner  in  Vienna.1 

To  my  letter  of  yesterday  I  have  still  to  add  a 
postscript,  my  dear  friend,  concerning  the  information 
in  your  new  Abonnement?  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?  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 

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

-  The  Blatter  fur  Milstk,  Theater,  und  Kunst  ("Pages  of  Music, 
Theatre,  and  Art  "),  edited  by  Z. 

3  He  did  not  die  till  1876. 


300  TO    PROFESSOR    L.    A.    ZELLNER. 

commented  on,   and  inquired    into,    this   matter   many 
times.  .  — . 

In  your  number  of  to-day  I  read  an  extract  from 
my  letter  to  Erkel, *  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    T 

January  2nd,  1857.  r"   *~" 

170.  To  Herr  von  Turanyi,  Musical  Conductor 
of  the  Town  of  Aix-la-Chapelle.2 

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  endeavours  in  the  cause  of 
Art  in  a  better  light  than  I  could  otherwise  have  ex- 
pected in  your  neighbourhood. 

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  in- 
debted to  you  for  having  brought  about  this  result,  I 

1  A  well-known  Hungarian  composer  ("  Hunyadi  Laszlo  "). 

2  Published  in  the  Allgemeine  Musikzciiiing,  July  nth,  1890. 


TO  HERR  VON  TURANYL         301 

would  express  to  you  at  the  same  time  the  fact  of  my 
readiness  to  answer  }'our  very  flattering  wishes  to 
the  best  of  my  powers,  and  to  put  aside  any  hindrances 
that  may  be  in  the  way,  in  order  to  fulfil  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  to-day;  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 


302  TO    HERR    VON    TURANYI. 

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  fulness  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  per- 
formances. I,  for  my  part,  chose  the  Messiah  for 
performance  again  in  Weymar  (in  August  1850) — partly 
because  Herder  had  interested  himself  in  the  prepara- 
tion 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  judicious- 
ness 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  l  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 


TO    HERR    VON    TURANYI.  303 

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  what- 
ever in  finding  them  sour  in  somebody  else's  mouth. 

Frau  Lind-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  favour  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  com- 
pete 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,  how- 
ever, cannot  be  quite  so  indifferent  to  me ;  for,  as 
Louis  XIV.  represented  the  State,  so  Frau  Lind  would 
constitute  the  Musical  Festival  proper.  This  avowTal 
(for  which  I  deserve,  at  the  very  least,  stoning  with 
the  usual  ingredients  of  operations  of  that  kind  in 
our  civilised  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  Hillcr.  What  is  the  use  of  orchestra  and 
singers,  rehearsals  and  preparations,    pieces  and  pro- 


304  TO    HERR    VON    TURANYI. 

grammes,  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  have  heard  her, 
in  order  to  be  able  to  wallow  at  ease  in  their  enthu- 
siasm for  Art  ?  What  I  foresaw  then  was  also  con- 
firmed to  a  hair,  for  it  proved,  as  everybody  knows, 
that  all  the  sympathy  of  the  public  went  in  favour  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  accom- 
paniment was  no  doubt  sufficient. — Should  the  Com- 
mittee of  Aix-la-Chapelle  be  minded  to  take  to  heart 
the  motto  of  Hiller's  Symphony,  "  Es  muss  doch 
Fruhling  werden,"  *  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.1 

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   honour  of  the  invitation, 

*  "The  spring  will  surely  come." 

1  Liszt  finally  dropped  his  objection  to  the  Messiah.  He  had  it 
performed  at  the  Musical  Festival,  conducted  by  him. 


TO    HERR    VON    TURANYI.  305 

always  supposing  that  the  means  for  a  brilliant  per- 
formance 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  neighbouring  towns, 
in  which  case  I  should  of  course  gladly  and  quietly 
retire,  in  order  not  to  occasion  any  disturbance,  or  un- 
satisfactorily 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  honourable  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  endeavours. 

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  acknow- 
ments  and  high  esteem, 

Yours  very  truly, 

F.  Liszt. 

171.  To  J.  W.  vox  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  to-day  I  write  to   you  still  from  my  bed,    and 
VOL.   I.  20 


306  TO    J.    W.    VON    WASIELEWSKT. 

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  theatre  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,  re- 
peated; at  the  beginning  of  1852  the  music  to  Byron's 
Man/red,  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  theatre  has  made  this  attempt.1 
The  Weymar  theatre  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 

1  Liszt  was  actually  the  first. 


TO    J.    W.    VON    WASIELEWSKI.  307 

and  love,  and  have  been  frequently  heard  in  various 
concerts,  with  the  exception  of  one  of  the  most  im- 
portant ;  but  the  very  slight  amount  of  public  activity 
of  our  Vocal  Union  has  prevented,  as  yet,  any  perform- 
ance of  the  Pert,  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  fol- 
lowed 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 


308  TO    J.    W.    VON    WASIELEWSKI. 

symphoniques,  and  the  Concert  sans  orckestre*  (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  pre- 
viously 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,  an^  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."  t  I  forget  at  this  moment  under  what 
title  it  was  afterwards  published  ;  the  opening  bars  are 
as  follows  : —  l 


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  1 840  I  travelled 
from  Vienna  back  to  Paris  by  way  of  Prague,  Dresden, 

*  Concerto  without  orchestra. 
+  "Greeting  to  Franz  Liszt  in  Germany." 

1  It  is  the  beginning  of  the  second  Novelette  Op.  21,  but  not  quite 
correctly  quoted  above  by  Liszt. 


TO    J.    W.    VON    WASIELEWSKI.  309 

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  1) — 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, 

1  Barefooted  Carmelite. 


3  I O  TO    J.    W,    VON    WASIELEWSKI. 

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  com- 
prehend 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  Schu- 
mann'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 "  *  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  humours 

*  "Splendour  period." 


TO    J.    W.    VON    WASIELEWSKI.  311 

—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  com- 
positions 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  encourage- 
ment and  applause  of  the  multitude  for  the  mainten- 
ance 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,  dis- 
tracted, 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  com- 
panions   in  Art    in   all  lands  could  bear  witness    that 


312  TO   J.   W.   VON    WASIELEWSKI. 

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  Schu- 
mann, up  to  my  last  meeting  with  him  at  Dusseldorf 
(in  1 851).     Friendly  greetings 

From  yours  most  sincerely, 

F.  Liszt. 
Weymar,  January  gth,  1S57. 

172.  To  General  Alexis  von  Lwoff  in 
St.  Petersburg.1 

Your  Excellency  and  my  Honoured  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  re- 
commend 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, 

1  J799-I877;  in  addition  to  his  military  position,  he  was  a  cele- 
brated violinist,  and  conductor  of  the  Imperial  Court-Singers  at 
St.  Petersburg. 


TO    GENERAL    ALEXIS    VON    LWOFF.  3  I  3 

secondly,  as  a  clever  woman  and  excellent  musician  and 
pianist,  who,  after  having  gone  through  the  most  con- 
scientious 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  honoured  friend, 
Your  Excellency's  very  obedient  servant, 
Weymar,  January  lofh,  1857.  F.    LlSZT. 

173.    To    JOHANN    VON    HeRBECK    IN    VlENNA.1 

[Received  January  12th,  1857.] 

Dear  Sir, 

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

1  Hofcapellmeister  [Court  conductor],  and  an  excellent  conductor 
(1831-1S77). — The  above  letter,  as  well  as  a  later  one  addressed  to 
the  same  musician,  was  published  in  "  Johann  Hei  beck.  Ein  Lebens- 
bild  von  seinem  Sohne  Ludwig."  Vienna,  Gutmann,  1885. — Date  in 
Herbeck's  handwriting. 


3U 


TO    JOHANN    VON    HERBECK 


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.1 
This  light  little  piece  has  been  pretty  successfully 
given  several  times  by  M T tinner gesangvereinen*  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  to-day,  when  my  expe- 
rience has  taught  me  better,  I  should  probably  write 
the  somewhat  steep  and  slippery  passage  as  follows : — 


i 


Die  Ko-chin  hat 


w 


ihr 

4 


-rw-r 


Gift  gestellt, 


da 


s£ 


1 


§Si 


^  »•  » *  I,  *  i 

~1     ~i  Die  Ko-chin  hat  ihr  Gift  ge  -  stellt, 


y 

da 


» 
— I 


Die  Kb- chin  hat  ihr  Gift       ge 


stellt, 


da  ward  zu 


-N—I- 


3= 


-p. — *- 

y-    V 


V      i/      r     r 
ward  zu     eng    ihr     in     der   Welt,  etc. 

JS IS >S 5s JS !Sn — 1 1 i-I — P— ,T 


— £ — fc—* — i —     *  \- 


:1a   ward  zu 


eng  ihr     in  der  Welt 

Probably  this  version  would  also  be  more  effective — 

1  It  was  the  first  choral  composition  which  was  conducted  by 
Liszt  in  Vienna,  and  with  the  very  same  Mannergesangverein  which 
Herbeck  conducted. 

*  Vocal  societies  of  male  voices. 


TO    JOHANN    VOX    HERBECK.  3  I  5 

with    the    alteration    in   the  last  verse   (in    honour    of 
prosody  !)  : — 

ha,    sie   pfeift  auf  dem    letz-ten  Loch. 


_IS — ps — I -N     N,^1 k- 


/  I 1 H^ H^ 1 — 1^ ^  I   li.W !-" 1 

\  bzrz: — rftnp — y=z? g=g=±ffp — nzfb: 

J  ^y     y     \  y    y    V    y 


-4JrJs_JS-1_r_j N— N — V— IS — l 


i^-*^- 


ha,  sie       pfeift  auf  dem  letz-ten    Loch,  sie     pfeift 

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,1 
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  practising  the  parts  singly 
(especially  the  middle  parts,  second  tenor  and  first 
bass) — and  then,  above  all,  religious  absorption,  medita- 
tion, 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 

'  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." 


3  16  TO    JOHANN    VON    HERBECK. 

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  apologise  for  repeating  it  to  you.  If  the  extent 
of  the  chorus  allows  of  it,  it  might  perhaps  be  desir- 
able 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.1  You 
shall  have  the  vocal  parts  from  Jena  immediately. 
For  to-day  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.'-* 

Dear  Friend, 

In  consequence  of  an  invitation  of  the  directors, 
I  shall  have  the  honour  of  having  several  of  my  works 

1  Herbeck  himself  undertook,  at  Liszt's  desire  (which,  as  he 
wrote,  fdled  him  with  joy  and  pride),  to  write  the  instrumental 
accompaniment  to  the  Mass. 

2  The  celebrated  singer  in  Leipzig  (1814-88);  was  a  pupiA  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. 


TO  PROFESSOR  FRANZ  GOTZE.      3 17 

performed  at  the  concert  on  the  26th  February  for  the 
Orchestral  Pension  Fund  in  Leipzig,  and  very  much  ivish 
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, 
Weymar,  February  1st,   1857.  F.    LlSZT. 

175.  To  Dionys  Pruckner  in  Vienna. 

Weymar,  February  nth,   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  circum- 
stances !  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 


3  I  8  TO    DIONYS    PRUCKNER. 

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  "  MenschJicits-Wiirde"* 
as  Schiller  says.  Let  us  not  err  through  false  modesty, 
and  let  us  hold  fast  to  the  true,  which  is  much  more 
difficult  to  practise  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  con- 
ductorship  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  under- 
take 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  honour  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  theatre,  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.  Biilow  is  playing  in  Rostock,  Bremen,  and 
Hamburg.     The  Aix-la-Chapelle  Committee  have  also 

*   Manhood's  dignity. 


TO    DIONYS    PRUCKNER.  319 

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  Gewand- 
haus  (directed  by  myself).  I  yesterday  finished  the  score 
of  another  new  one,  Die  Hunnenschlacht,*  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  interven- 
tion ;  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  Illnstrirte 

*   The  Battle  of  the  Huns. 


320 


TO    JOACHIM    RAFF. 


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  honour  of  con- 
ducting 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  1  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 : — 


mm 


*^=i=F=F=F- 


~w~r>- 


* 


t=t 


m 


^gfcijr 


Cum  sane  -  to      spi  -   ri  -  tu 


cum  sane  -  to 


rae 


z 


*     4    J     4..  4*-+~&i 


m 


spi  -  ri  -  tu in       Glo     - 

may  not  be  displeasing  to  you. 

1  The  Gran  Festival  Mass. 


TO    JOACHIM    RAFF.  32  I 

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. 

I//.    To    CONCERTMEISTER    FERDINAND    DAVID    IN 

Leipzig.* 

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


m^ 


Away  !  T 

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

1  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. 

f  Written  in  English  by  Liszt. 

VOL.    I.  2  1 


322  TO    FERDINAND    DAVID. 

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  *  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.1 

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. 
SerofFs  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  intel- 
ligence. 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 

*  Gentleman,  put  in  English  by  Liszt. 

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


TO    WLADIMIR    STASSOFF.  323 

the  inappropriate  word  manner,  and  even  the  term 
style)  of  Beethoven — works  which,  whatever  Mr.  Ouli- 
bicheff  and  other  learned  men  may  say  who  succeed 
more  easily  in  pouring  forth  in  these  matters  than  in 
being  well  versed*  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,  as  they  have  so 
peremptorily  been  pointed  out  to  be  !  And,  more  than 
this,  ycu  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  favour  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  some- 
times 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  l"J/h,  1S57. 

*  A  play  on  words — verser  and  verse. 


324  TO    WLADIMIR    STASSOFF. 

I  am  awaiting  with  impatience  the  parcel  you  pro- 
mise 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    WlLHELM    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 
^////-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*  pastorally  perched  on 
your  book — what  shall  I  say  then  of  the  croaking  of 
that  host  of  ravens  and  of  obliques  hiboux^  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  any- 
thing but  to  do  wThat  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 

*  Merle  ;  means  also  a  whistling  or  hissing  fellow. 

f  Oblique  owls;  the  term  is  repeated  afterwards,  and  evidently 
refers  to  some  joke,  or  else  to  some  remark  of  Lenz's. — Translator's 
note. 


TO    WILHELM    VON    LENZ.  325 

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  pre- 
sume he  will  have  the  spirit  to  free  himself  satisfactorily. 
A  propos  of  Beethoven,  here  is  Oulibichefif,  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, 
1  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  wrork  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.  SerofFs  work 
answers  to  the  eulogies  you  pronounce  on  it,  I  shall 


326  TO    WILHELM    VON    LENZ. 

try  to  find  him  a  publisher,  and  ask  you  only  to  get 
Mr.  Serofif  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 
familiarising  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,  parti}'  owing   to   the  excess  of 


TO    EDUARD    LISZT.  327 

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  st}des,  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  b}^  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.1 

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  hap- 
hazard 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  fulfilment  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  dis- 
cussions in  the  Vienna  papers,  to  which  the  per- 
formance of  the  Preludes  and  the  concert  gave  rise.  As 
I  had  previously  said  to  you,  the  doctrinaire  Hanslick 
could  not  be  favourable  to  me  ;  his  article  is  perfidious, 

1  The  Gran  Mass. 


328  TO    EDUARD    LISZT. 

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  narrow- 
ness 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  unfavourable  to  the  musi- 
cian 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 


TO    EDUARD    LISZT.  329 

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    honourably    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,  Mendels- 
sohn, 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. 


o  y 


TO    EDUARD    LISZT. 


1  have,  as  usual,  thought  over  your  musical  remarks 
and  reflections.  The  fourth  movement  of  the  Concerto,1 
from  the  Allegro  marziale, 


TV 


V<zr 


_Q 


corresponds  with  the  second  movement,  Adagio  :- 


-#-  •       -*2- 


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 


rfov  l      j     _ T  ,i   f       — — Ef    .    .peqcfa: 


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


Celli. 


1  No.  I,  in  E7  major. 


TO    EDUARD    LISZT. 


331 


The  pianoforte  figure  which  follows 

%-m — » — ,-it — S-#--*— T-  — v.* 


4r  r  iir^r^^^^fe^ 


t-4t 


it- 


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

Flute. 


i 


f  *Ft-r 


:z. 


«-      -*- 


:^ 


;-*-«—« — - 


(Pianoforte  shake  on  G.) 

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


until  finally  the  first  motive 


^ 


«v  — *-—. — j0 * & ' — * — w—^rj —  ■  — 


on  the  dominant  pedal  B  ?f  with  a  shake  accompaniment, 

m     .    .    >*  m  «    U         L  etc- 


comes  in  and  concludes  the  whole. 

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


_*. 


332  TO    EDUARD    LISZT. 

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  in- 
struments 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 


TO    EDUARD    LISZT.  33  3 

they  are  selling  a  little  pamphlet  for  a  sou  entitled 
"  Le  seul  moyen  de  ne  pas  mourir  le  13  Juin  a 
l'apparition  de  la  Comete."  *  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 x  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  261/1,  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. 

*   "The  only  means  how  not  to  die  on  the   13th  of  June  at  the 
appearance  of  the  comet."' 
1  Liszt's  son. 


334  T0    GEORG    SCHARIEZER. 

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

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  Honour 
my  special  thanks  for  the  kind  letter  with  which  you 
have  honoured  me  in  the  name  of  the  Kirchenmusik- 
verein. 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 

*  From  a  copy  of  Herr  Stadthauptmann  Johann  Batka  in  Press- 
burg.— The'  Church  Musical  Societj^  which  has  been  in  existence 
since  1833,  and  which  undertakes  the  performance  of  classical  in- 
strumental 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  1S72. 


TO    GEORG    SCHARIEZER.  335 

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  ardour 
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  Honour  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  2$th,  1857. 

182.  To  Eduard  Liszt. 

Dearest  Eduard, 

I  have  been  thinking  over  the  matter  of  support- 
ing 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. 
1  ought  properly  to  hear  the  Vienna  chorus  in  order 
to    hit    the    right   proportion,   which    is    very   various, 


336  TO    EDUARD    LISZT. 

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, 
Walbrtihl)  for  a  performance. 

By  to-day'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 


TO    EDUARD    LISZT  337 

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  skilfully  compiled  after  Herder  and 
iEschylus,1  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  15  th  May  I  shall  be  going  to  Aix-la- 
Chapelle,  to  conduct  the  Musical  Festival  there  at  Whit- 
suntide. 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  realised  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  Biilow  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, 

[Weimar,    April 27th,  1857.  F.    LlSZT. 

1  By  Richard  Pohl. 

VOL.    I.  2  2 


338  TO    FRAU    VON    KAULBACH. 


183.  To  Frau  von  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 
favour  to  accept  this  work  as  a  token  of  my  great 
reverence  and    most   devoted  friendship   towards   the 

*  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,  1 89 1.  It  is  well  known 
that  Liszt  derived  his  inspiration  to  write  the  Hunnenschlacht 
[Battle  of  the  Huns]  from  Kaulbach's  celebrated  picture  on  the  stair- 
case 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  representa- 
tion 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  there- 
fore 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." 


TO    FRAU    VOX    KAULBACH. 


339 


Master  of  masters.     Perhaps  there  may  be  an  oppor- 
tunity 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  Chris- 
tianity,   personified    in    the    Catholic    chorale    "  Crux 
fidelis,"  than   appears   to   be  the   case  in   the  glorious 
painting,  in  order  thereby  to  win  and  pregnantly  re- 
present  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  ven- 
turesome 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. 


340  TO    FRAU    VON    KAULBACH. 

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  honoured  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  *   IN 
Weimar.1 

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.2  Cologne,  Diisseldorf,  Bonn,  Elberfeld,  and  the 
entire  neighbourhood  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  strength- 
ening 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-Chapelle,   Wednesday,  June  yd,   1857. 

*  A  singer  in  the  service  of  a  prince. 

1  An  excellent  Wagner  singer.     The  first  Tclramund  in  Lohengrin. 

2  Rosa,  ne'e  Agthe,  trained  by  Franz  Gotze. 


TO    JOHANN    VON    HERBECK.  34 1 

I85.    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  instrumen- 
tation 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  depre- 
cationem,  Crucifixus,  and  others  besides, 

Clarinette. 


Clarinette. 
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  before- 
hand 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 


342  TO    JOIIANN    VON    1IERBECK. 

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  5  th  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  Kunstler."*  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.1 

May  I  also  beg  you  to  send  me,  when  you  have  an 
opportunity,  and  if  possible  very  soon,  the  parts  of 
your  Quartet,2  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  per- 
formance. Unfortunately  Cossmann's  illness  has  pre- 
vented 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 

*  "To  Artists." 

1  Herbeck  accepted  the  invitation. 

2  D  minor,  unpublished. 


TO  JOHANN  VON  HERBECK.        343 

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. 


i  86.  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  honour  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  neighbourhood  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  inaugu- 
rated 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 


344  TO    COUNTESS    SAUERMA. 

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 
arpcggi.  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. 

i87.  to  ludmilla  schestakoff,  m'c  glinka,  in 
St.  Petersburg.1 

Madame, 

I  wish  I  were  able  to  tell  you  how  much  I  have 
been  touched  by  the  letter  you  have  done  me  the 
honour  to  address  to  me.  Thank  you  for  having 
thought  of  me  as  one  of  the  most  sincere  and  zealous 

1  Sister  of  the  celebrated  Russian  composer  Glinka. 


TO    LUDMILLA    SCHESTAKOFF.  345 

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  honour  me,  and  it  will  be  at  once  my 
pleasure  and  duty  to  do  my  best  towards  the  propa- 
gation 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, 
Weymar,  October  ytk,  1857.  F.    LlSZT. 

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.* 

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  fulfil  my 
obligations,  it  is  nevertheless  impossible  for  me,  owing 
to  the  countless  claims  that  are  made  on  me,  to  find 

*  Autograph  without  address  in  the  possession  of  M.  Alfred  Bovet 
in  Valentigney. — The  above  was  presumably  the  addressee. 


346  TO    CARL    HASLINGER. 

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  dis- 
agreeables in  connection  therewith,  which  are  insepar- 
able 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  begin- 
ning of  January,  will  probably  come  with  me.  There  is 
again  a  real  "  bravo,"  *  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, 

Weymar,  December  5///,  1857.  ?  •  LlSZT. 

*  Litcralty,  iron-cater. 


TO    HOFCAPELLMEISTER    STEIN.  347 

I89.    To   HOFCAPELLMEISTER   STEIN    IN   SoNDERSHAUSEN.* 

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  plea- 
santly 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 "  1  to  the  impressive  understanding  of  the 
ears  in  the  valley  (if  not  indeed  under  the  water  and 
worse  still),  strengthens  me  in  my  higher  endeavours, 
— 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  "  fathom- 
less "  things. 

Singer2  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  favourable 
light. 

If  it  is  possible  for  you  to  take  an  opportunity  of 
bringing  out  my  dear  and  extraordinary  budding  genius 
Carl  Tausig3  at  the  Court,  I  promise  you  that  he  will 
do  honour  to  your  recommendation. 

In  all  esteem  and  devotion,  yours  ever, 

Weymar,  December  6lh,  1857.  F.  LlSZT. 

*  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. 

'  Liszt's  Mountain  Symphony. 

'-'  A  letter  from  this  first-rate  violinist  is  on  the  same  sheet  with  Liszt's. 

3  "  The  last  of  the  virtuosi,"  as  Weitzmann  called  him  ;  born  at 
Warsaw  1841 ;  died  at  Leipzig  1871. 


348  TO    ALEXANDER    RITTER. 

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 x 

J^  $Tj+t  JJ^ 


=5^  es^y 

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's2  Sonatas,  which  I  have   read  with    much 

1  Beginning  of  the  Symphonic  Poem  Festklange. 
Carl  Ritter. 


TO    ALEXANDER    RITTER.  349 

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.1  Lassen,  who  is 
getting  on  splendidly  with  his  ("  Frauenlob  "),  has  com- 
posed several  exquisite  songs  between  whiles.  Land- 
graf  Ludwig's  Brautfahrt  *  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  yth,  1857. 

191.  to  capellmeister  maxvseifriz  at  lowenberg.f 

Dear  Herr  Capellmeister, 

With  my  very  best  thanks  for  your  friendly 
letter  I  send  you,  according. Lo  your  wish,  the  score  of 
the  Prometheus  choruses.  For  the  present  I  am  not 
requiring  it,  and  send  it  you  with  great  pleasure,  so 

1  Doubtless  Der  Barbiev  von  Bagdad. 

*  Landgrave  Lndwigs  Bridal  Journey,  an  unpublished  opera  of 
Lassen's. 

f  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. 


350  TO    MAX    SEIFRIZ. 

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  Breitkoff  &  Hartel  (score  and  parts),  and 
has  been  pretty  favourably  received  at  various  per- 
formances of  it. 

I  wrote  yesterday  to  His  Royal  Highness,  and 
expressed  my  special  thanks  for  the  kind  attention 
in  inviting  Herr  von  Billow  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  filr 
Musik, l   on    New    Year's    Day,    of    your    remarkable 

'   1858,  No.  1,  in  the  article  "  Oulibicheff  und  Seroff." 


TO    ALEXANDER    SEROFF.  35  I 

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  dis- 
figuring anything. 

In  this  latter  task  there  are  without  doubt  some 
impossibilities  which  one  cannot  fail  to  recognise,  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  colouring,  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  recognise  that  your 
work  identifies  itself  as  far  as  possible  with  the  senti- 
ment 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    de- 


352  TO    ALEXANDER    SEROFF. 

termination  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  inter- 
esting 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  to-day  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.1 

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 

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


TO    BASIL    VOX    ENGELHARDT.  353. 

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  colouring 
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  honour  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 


>-&  \  i^ppspfepp 


String-  / 
Quartett.  \ 


3=^= 


££535 


etc. 

1     r    "1     1      1 


1    1 


that  would  be  enough  to  make  ample  amends  for  them. 
VOL.   I.  23 


354  T0    BASIL    VON    ENGELHARDT. 

I  beg  you,  sir,  to  accept  the  assurance  of  my  sincere 
regard. 

F.  Liszt. 

Weymar,  January  Stk,   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.1 

Your  articles,2  which  were  so  universally  sug- 
gestive, 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  Ideate  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  realise  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 

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

2  Published  in  the  paper  started  by  Brendel,  Hints  [or  Suggestions]. 


TO    FELIX    DRASEKE.  35  5 

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  Reubke1  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  con- 
cert 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 

1  A  pupil  of  Liszt's. 


356  TO    FELIX    DRASEKE. 

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  Billow'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  per- 
haps 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  !  "  *  What 
an  immeasurably  large  public  for  such  a  "  Rondo"! 
If  only  half  of  them  would  become  subscribers  to  the 
Anregnngen  {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  !f  Yours  ever, 

F.  Liszt. 

[Weimar,]  Sunday,  January  lol/i,  1858. 

195.  To  Louis  Kohler. 

My  very  dear  Friend, 

A  few  days  ago  I  received  a  letter  from  Konigs- 
berg,  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 

*   "Rondo  of  Idiots." 

f  An  untranslatable  pun  on  the  words  "  bescheiden"  and  " Bescheiden- 
heit." 


TO    LOUIS    KOHLER.  3  57 

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  /  shall  be  answer- 
able 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 


358  TO    LOUIS    KOHLER. 

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  \st,  1S5S. 

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  1  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 

1  The  Gran  Festival  Mass. 


TO    PROFESSOR    ZELLNER.  359 

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, 

Weymar,  February  St/i,  1858.  F.    LlSZT. 

197.  To  Peter  Cornelius  in  Mainz. 

[Weimar,]  February  igth,  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  Opera1  completely,  yet 
1'  am  dreadfully  sorry  to  be  without  you  for  so  many 
months.  I  did  hope  that  you  would  be  with  us  on  the  1 8th 
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  Lowenberg  (in  Silesia)  to  my  noble  and  most 
amiable  patron  Prince  Hohenzollern-Hechingen,  who, 

1  Dcr  Barbie  r  von  Bagdad. 


360  TO    TETER    CORNELIUS. 

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  Kiinstler- 
Chor  (with  some  important  simplifications  and  im- 
provements), and  shortly  after  that  the  volume  of  my 
"  Gessammelte  Lieder  "  *  (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 
Marief)  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 

See 


Kampf  und  Lust 


-m-  -m-    -m-    * 


the  A  b  is  to  -  _^S 
me  more  ^-g— j-g. 
agreeable  — -L-l  ' 
than  G.  ~0' 


^m 


*  "  Collected  Songs." 

f  Princess  Wittgenstein,  now  Princess  Hohenlohe  in  Vienna. 


TO    PETER    CORNELIUS.  36 1 

The  carrying  out  of  the  motive  in  the  second  song 


etc. 


^^4-1— H^Iggp 


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


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,1 
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  !  "  i 

Well  and  good,  dearest  Cornelius,  and  now  some 
more  soon,  let  me  beg  of  you  !  Don't  make  too  long 
pauses  «s  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  Pclerin- 
age,  together  with  the  manuscript  of  Seroff's  arrange- 

1  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. 

*  "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!" 


362  TO    PETER    CORNELIUS. 

ment  for  two  pianofortes  of  Beethoven's  C  ~  minor 
Quartet.  Will  you  be  so  good  as  to  get  Schott  to  let 
me  know  the  fate  of  the  C  £  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.1 
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  wish  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  "  *  (in  answer  to  the  "  Musikal- 
ische  Leiden,"  f  etc.).  The  A\llgemeine]  Z[eitung]  only 
made  a  couple  of  extracts  from  it  in  its  columns,  and 

1  Namely  after  the  first  performance  of  Lohengrin  in  Munich,  on 
February  28th,  1858. 

*  "  Musical  Duties."     Leipzig,  Matthes,  I S58. 

t  "  Musical  Sufferings."  In  Nos.  353-55  of  the  supplement  to  the 
Augsburg  AUgemeine  Zcitimg,  1857. 


TO    DIONYS    PRUCKNER.  363 

from  these  the  point  was  missing.  Bronsart  exquisitely 
accuses  our  opponents  of  ill-will,  unfairness,  and  calum- 
niation. 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  con- 
tinually being  directed  against  us. 

But  enough  of  that.  Let  us  continue  to  go  on  our 
own  way  simply  and  honourably,  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 *  on  the  22nd  and  23rd. 
Next  Thursday  the  Dante  Symphony  and  the  Ideale 
will  be  given  here — and  on  Sunday   Tasso  (in  a  Con- 

*  Ball-room. 


364  TO    UIONYS    PRUCKNER. 

servatorium  Concert).     Tausig  and  Pflughaupt  l  play  my 
two  Concertos. 

In  the  E?  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, 

Prague,  March  9th,  1858.  F.    LlSZT. 

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 

1   A  pupil  of  Henselt  and  Liszt  (1833-71). 


TO    EDUARD    LISZT.  365 

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  to- 
morrow'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  even- 
ing, or  else  on  Tuesday  early.  Will  you  be  so  good 
as  to  order  me  rooms,  as  before,  in  the  Kaiserin  von 
Oesterreich  *  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 

*  Empress  of  Austria. 


366  TO    FRAU    DR.    STECIIE. 

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  hetero- 
geneousness  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  per- 
formed now  in  Leipzig;1  but  I  thank  you  none  the  less 
warmly  for  the  kind  interest  you  take  in  my  com- 
positions— 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 


3EEEE 


we  will 


Cre  -  do 
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 

1  As  there  had  already  been  a  performance  of  this  on  the  26th  of 
February,  1 857,  this  can  only  refer  to  a  performance  in  the  "  Euterpe  " 
Conceits. 


TO    PROFESSOR    L.    A.    ZELLNER.  367 

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  pos- 
sibly 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,1  I  must  in  any  case  stay  here 
a  couple  of  months — 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  Conserva- 
torium)   and   on   Sunday  in   the   Parish   Church.     On 

1  This  must  be  Sardaiiapahts. 


368  TO    PROFESSOR    L.    A.    ZELLNER. 

Monday  evening  I  shall  be  in  Vienna.  1  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  realise 
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  wras 
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 


TO    EDUARD    LISZT.  369 

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  Jth,   1858. 

'  203.  To  Adolf  Reubke,  Organ-Builder  at 
Hausneinsdorf  in  the  Harz.1 

Dear  Sir, 

Allow  me  to  add  these  few  lines  of  deepest 
sympathy  to  the  poem  by  Cornelius,2  which  lends  such 
fitting  words  to  our  feelings  of  sorrow.     Truly  no  one 

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

2  "  Bein  Tode  von  Julius  Reubke"  ("On  the  Death  of  Julius 
Reubke'").     Cornelius,  Poems.     Leipzig,   1890. 

VOL.    I.  24 


370  TO    ADOLF    REUBKE. 

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  loth,   1858. 

204.  To  Prince  Constantin  von  Hohenzollern- 
Hechingen.* 

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  filr  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 

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


TO    PRINCE    CONSTANTIN.  37 1 

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 
honour  of  submitting  any  proposition  to  you,  I  could 
follow  no  other  influences,  no  other  counsels,  than 
those  of  a  scrupulous  conscience.  Putting  aside  all  con- 
siderations 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  pro- 
ductive 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  fulfil  its  task  of  progress,  the  Ncue 
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  adver- 
saries lose  no  opportunity  of  raising  difficulties  for 
it.  Our  opinions  and  sympathies  will  be  sustained, 
I  doubt  not,  by  their  worth  and  conviction  ;  but  if  Your 


372  TO    PRINCE    CONSTANTIN. 

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  honour 
and  gratitude  which  your  munificence  deserves  will 
spring  from  it — as  is  the  earnest  desire  of  him  who  has 
the  honour  to  be,  Monseigneur,  Your  Highness's  most 
devoted  and  humble  servant, 

F.  Liszt. 

Weymar,  August  i8/h,  1858. 

205.  To  Frau  Rosa  von  Milde.1 

Weymar,  August  25///,  185s. 

My  honoured  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  har- 
monious intimacy  must  ever  remain  a  free  gift. 

The  "  wanton,  ragged  garments  of  the  Muse,"  which 
you  abandon  with  strict  generosity,  make  a  show  and 

1  Court  opcra-singcr  in  Weimar,  ne'e  Agthe ;  the  first  Elsa  in 
Lohengrin  ;  a  refined  and  poetical  artist. 


TO  FRAU  ROSA  VON  MILDE.        373 

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  endeavours  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,  Cams, 
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  practise  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  to-morrow  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  Septem- 
ber. Will  you  allow  me  to  conduct  Alceste  on  the  2nd 
of  October  ? — Sobolewski's    Comala*   is   fixed  for  the 

*  Opera  by  Sobolewski. 


374       TO  FRAU  ROSA  VON  MILDE. 

1 2th.  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  indis- 
pensable 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  honoured  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  ct  approuve*  (a  per- 
fectly correct  formula  in  French).  The  Prince's  address 
is  as  follows  : — 

To  His  Highness  Prince  Constantin  Hohenzollern- 
Hechingen,  Lowenberg,  Silesia. 

*  Seen  and  approved. 


TO    DR.    FRANZ    BRENDEL.  375 

I  should  not  be  able  for  the  present  to  find  you 
a  Paris  correspondent.  But,  as  I  understand,  Biilow 
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  theatre  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.1 

Sobolewski  (who  has  been  detained  this  time  by  his 
theatre  work  in  Bremen)  will  come  here  for  the  second 
performance  of  Coma/a.     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,*  the  second  per- 

1  The  Dresden  theatre  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." 

*  "Das  GastspieV '—the  playing  as  guests  at  a  theatre — is  an 
expression  used  when  actors  or  singers  other  than  those  attached 
to  the  theatre  of  the  place  come  to  act  or  sing  there  for  a  time. 


376  TO    DR.    FRANZ    BRENDEL. 

formance  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, 

November  2nd,   1858.  F.    LlSZT. 

207.  to  johann  von  herbeck. 

Dear  Friend, 

Your  three  splendid  fellows,  my  high-minded 
and  honourable  gipsies,1  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"*  is,  for  ordi- 

1  "  Die  drei  Zigeuncr  "  ("  The  Three  Gipsies  "),  by  Lenau,  for  voice 
with  pianoforte  accompaniment. 

:  "  The  bee  must  " — referring  to  a  joke  in  the  German  Punch 
(  Kladderada  fsc/i). 


TO  JOHANN  VON  HERBECK.        377 

nary  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  perform- 
ance 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  con- 
templatively on  our  way  !  Once  more  best  thanks  and 
greetings  from  yours  in  all  friendship, 

F.  Liszt. 

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


378  T0    FELIX    DRASEKE. 


208.  To  Felix  Draseke. 

My  very  dear   Friend, 

Herewith  the  piano  edition  of  the  two  first  acts 
of  Sigurd.1 — 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 
theatre,  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  Bagdad \  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  regime,  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 

1  Opera   by  Draseke. 


TO    FELIX    DRASEKE.  379 

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  favourable  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,"*  as  Michael  Angelo  says. — 

Friendly  greetings  from  your  faithful  and  devoted 

January  \2th,  1859.  *  *  LlSZT. 

Will  you  give  the  enclosed  letter  to  Bronsart  ? 

209.  To  Heinrich  Porges  in  Prague.1 

Dear  Sir  and  Friend, 

Owing  to  your  affectionate  understanding  of 
what  I  have  striven  after  in  the  Danie  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 

*   "  Whilst  prejudice  and  shame  last." 

1  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. 


380  TO    IIEINRICH    PORGES. 

I  keep  of  the  Prague  performance.1  Taking  your  kind- 
ness 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  favourable  results.  My  valiant  son-in-law, 
H.  von  Billow,  cannot  fail  to  be  recognised  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  Billow  this  opportunity 
of  doing  something  in  Prague. — There  is  no  doubt  that 
he  will  fulfil  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  entend  sur  la  Montague  "■ — the  chorus 
"An  die  Kiinstkr"  and  the  Faust  Symphony'? — The 
respected  medical  men  would  thus  take  the  initiative 
in  the  new  musical  pathology  ! — 

For  the  Tonkilnstlcr-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, 

Weymar,  March  loth,  1S59.  F*    LlSZT. 

1  At  Porges'  initiative  the  medical  students  had  invited  Liszt,  in 
1858,  to  a  concert,  at  which  his  Dante  Symphony  and  the  Ideale 
were  given.    In  1859  Billow  was  also  invited  at  Porges'  inducement. 


TO    MAX    SEIFRIZ. 


210.  To  Capellmeister  Max  Seifriz  in  Lowenberg.* 

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  da}rs 
with  you  ;  but  I  for  my  part,  if  I  am  assured  that  my 
visit  will  not  come  inopportunely,  should  like  to  pro- 
long 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  to-day's  post  I  send  you  the  scores  of  the  Dante 
Symphony,  the  "Ideale,"  and  the  Goethe  March,  which 

*  Autograph  in  the  possession  of  Herr  Alexander  Meyer  Cohn  in 
Berlin. 


382  TO    MAX    SEIFRIZ. 

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  altera- 
tions 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  to-day.1 

Herewith  my  letter  of  thanks  to  S.  E.  von  Bach.2 
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  to-morrow  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  (Silesia),  and   shall   then 

1  This  would  be  the  bestowing  of  the  title  of  nobility  on  Liszt, 
who,  however,  as  is  well  known,  never  used  it. 

2  Austrian  Minister  of  the  Interior. 


TO    EDUARD    LISZT.  3S3 

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 

[Weimar,]  April  $th,   1859.  F.    LlSZT. 

212.  To  N.  N.,  Music-Director  at  Weimar.* 

Dear  Herr  Music-Director, 

I  learn  to-day  by  chance  of  the  measures  which 
have  been  taken  a  posteriori  against  the  concert  con- 
ducted and  arranged  by  Herr  Gbtze,1  and  sincerely 
regret  that  a  Weymar  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, 
April  ijtii,  1S59.  F.  Liszt. 

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

1  Carl  Gotze,  chorister,  afterwards  music-director. 


384  TO    PETER    CORNELIUS. 

213.  To  Peter  Cornelius  in  Vienna. 

Weymar,  May  2yd,  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  advan- 
tageous— 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} 
Although  he  lives  somewhat  a  pari,  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  to-day  I  must  beg  you  also  to  get  the  Prologue 
for  the  Leipzig  days  2  ready  as  quickly  as  possible.  I 
shall  settle  down  at  the  end  of  this  week  (Saturday) 
in    Leipzig — Hotel  de   Polognc.       It    would    be    very 

1  Cornelius'  Opera. 

-  The  Leipzig  Tonkunstler-Versammlung  [Meeting  of  Musicians], 
from  which  the  Allgemeine  Deutsche  Miisikvercin  [Universal  German 
Musical  Society]  sprang. 


TO    PETER    CORNELIUS.  385 

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]- 
Dprector]  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,  Billow,  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.* 

Herewith   is   an  answer  to    the  nine  points  of 
your  letter  of  to-day,  my  dear  friend.1 

I.  The  Mildes  have  got  leave  of  absence  from  Monday, 

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

1  Referring  to  the  Tonkunstler  Versammlung  in  Leipzig,  in  June 
1859. 

VOL.    I.  2  5 


$S6  TO    DR.    FRANZ    BRENDEL. 

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 
to-morrow.  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  Corsair1 
(and  would  not  recommend  it  for  performance),  and 
the  Prelude  to  Tristan  Billow  will  see  after. 

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

5.  I  am  writing  to-day  to  Cornelius  about  the 
Prologue    affair. 

6.  Herewith  is  the  German  text  of  the  Mass,2  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.  /  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. 

1  By  Berlioz.  -  Lisat's  Gran  Festival  Mass. 


TO    DR.    FRANZ    BRENDEL.  387 

I  am  coming  to  you  on  Saturday  afternoon,  21st 
May,1  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  dis- 
agreeable to  me. 

Good-bye  till  Saturday.     Your 

F.  Liszt. 

Monday,  May  2yd,  1859. 

P.S. — The  performance  of  Judas  Maccabceus  (for  the 
Handel  Festival)  is'announced  here  for  next  Wednesday, 
25th  May.  To-morrow,  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  ! — 

1  Must  be  28th  May,  as  the  letter  is  dated  the  23rd. 


388  TO    FELIX    DRASEKE. 

Herewith  are  a  few  lines  for  Wagner,  which  how- 
ever 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.1 — 

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 

[Weimar,]  July  19th,   1859.  F.    LlSZT. 

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  realisation  of  your  intention 

1  Liszt  subsequently  formed  out  of  Draseke's  song  the  melodrama 
of  the  same  name. 


TO    PETER    CORNELIUS.  389 

as  well  as  of  my  silence  until  it  is  quite  a  settled  thing. 
If  Bronsart  could  decide  on  going  to  Vienna,  his  co- 
operation 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  odour — 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. 


390  TO    PETER    CORNELIUS. 

I  have  not  the  slightest  doubt  as  to  the  success 
of  your  lectures,  in  conjunction  with  the  musical  per- 
formance 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 
wohltemperirte  Clavier),  the  Ninth  Symphony,'the  grand 
Masses  of  Beethoven  and  Bach,  which  you  have  so 
closely  studied,  etc.1 

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 

-e>-      -<s>-        T-^     '     -*-        -*-     -#-    L_ 


n 


must  begin,  and  the  Salamaleikum  end  it.     If  possible, 
bring  in  the  two  motives  together  a  little  {at  the  end). 

1  The  proposed  lectures  did  not  come  off. 


TO    PETER    CORNELIUS.  39 1 

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  !  * 
— 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  x  .  .  . 

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  Pro- 
logue disturbances  at  the  Leipzig  Tonkunstler  Ver- 
sammlung.  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  success- 
ful and  made  a  good  effect.  But  oblige  me  by  not 
bearing  any  grudge  against  Brendel,  and  let  us  always 
highly  respect  the  author  of  i(  Liszt  as  a  Symphonic 
Writer  "  !— 

A  thousand  heartfelt  greetings  from  your  faithful 

Weymar,  August  2yd,  1859.  F.    LlSZT. 

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,  w7as  especially  successful.     The  Quartet 

"  Elfen,  die  kleinen, 
Wollen   dich  grussen, 

*  Untranslatable  pla}T  on  the  words  Wcile  and  Laugeweile. 
1  Rosa  von  Milde,  the  artist  and  friend  of  Cornelius,  who  wrote 
poetry  upon  her. 


392  TO    PETER    CORNELIUS. 

Wollen  erscheinen 
Zu  deinen  Fussen  "  * 

(composed  by  Lassen),  and 

"Wandelnde  Blume,   athmender  Stern, 
Duftende   Bliithe   am  Baum   des    Lebens"t 

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

217.  To  Dr.  Franz  Brendel. 

Dear  Friend, 

The    sketch   for   your  programme l  is  excellent, 
and    if  I  have  some  doubts  as   to   the  entire  project, 

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

f  "  Swift -changing  flowers,  pulsating  star, 

Sweet-scented  blossoms  on  life's  living  tree." 

1  Referring  to  some  theatre  concerts,  which  were  to  be  arranged 
according  to  Brendel's  design.     The  sketch  was  as  follows  : — 

"  1st      Concert.     Paradise  and  the  Peri. 
2nd  „  Eroica.      Prometheus. 

3rd  ,,  Overture   of  Wagner.     Solo  (Bronsart).     Over- 

ture of  Beethoven. 
2nd  part :  L'enfance  du  Christ  of  Berlioz. 
4th  „  Festival  Song  of  Liszt.     Solo.     Draseke.     Chorus 

for  men's  voices  from  his  Opera. 
2nd  part  :  Walpurgisnacht  of  Mendelssohn. 
5th  „  Overture  of  Berlioz,  Wagner,  or  Beethoven. 

Solo.     Preludes. 
2nd  part  :   Manfred. 
6th  „  Overture.     Solo.     Tasso. 

2nd  part  :  B:;  major  Symphony.'' 

To  this  Liszt  adds,  besides  some  remarks  about  getting  the  parts 
for  No.  5:  "An  orchestral  work  of  Hans  von  Billow  (possibly  the 


TO    DR.    FRANZ    BRENDEL.  393 

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  theatre  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 

Caesar  Overture)  would  be  suitable  for  this  concert.  I  would  also 
recommend  that  Bronsart's  Friihlings-Phantaste  [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 
Toukitiistlcr-Vcrsaiuiiilimg.  It  is  a  very  important  and  effective 
piece." 


394  TO    DR.    FRANZ    BRENDEL. 

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  !  Bulow  must  now  often  mount  the  conductor's 
desk.  He  has  the  mind,  liking,  talent,  and  vocation 
for  this.  If  the  theatre  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*  to  be  their  solid  representative. 

I  have  just  written  to  Klitzsch  x  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  to-day, 
dear  friend.  P.  Lohmann 2  was  so  kind  as  to  send  me 
his  drama  some  weeks  ago.  I  have  read  The  Victory 
oj  Love  with  much  interest,  but  I  have  not  yet  been 
able  to  get  so  far  as  the  other,  and  as  little  have  I  been 

*  Employed  in  French  by  Liszt. 

1  Music-conductor  at  Zwickau. 

2  A  colleague  of  the  Ncuc  Zcitschrift  fi'ir  Musik,  living  in  Leipzig. 


TO    DR.    FRANZ    BRENDEL.  395 

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 
soap,  tooth-brush,  and  nail-brush  might  also  be  recom- 
mended 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 !  "  *— 

.  —  .1  have  had  so  much  of  notes  [musical]  to  write 

*  The  nearest  English  equivalent  seems  to  be  "  Look  before  you 
leap." 


396  TO    DR.    FRANZ    BRENDEL. 

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  Kohler. 

Dear  Friend, 

Your  letter  was  a  real  joy  to  me,  for  which  I 
thank  you  heartily.  You  are  far  too  honourable,  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  'Mabel  and  cata- 
logue 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  fructif}'.  I  promise  you  also  that  I 
am  not  wanting  in  pains  and  labour  in  honour  of  my 
friends.  But  I  certainly  cannot  recognise  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  H  artel  to  send  you   the 

arrangements  for    two    pianofortes   of  the   Symphonic 

Poems  that  you  wished  for.     But  there  is  a  better  way 

or    the    scores    than    that    of  a   bookseller.     Fraulein 

Ingeborg  Stark  is  going  to  St.  Petersburg  on  the  20th 


TO    LOUIS    KOHLER.  397 

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  Konigs- 
berg 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*  spoken  of  with  enthusiasm).  Madame  Viardot 
sang  a  grand  sccna  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  repre- 
sented 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 

*   The  Trojans. 


39§  to  louis  kOhler. 

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  Draseke's — "  Konig  Helge  " — has  just 
appeared,  which  pleases  me  extremely.  You  must 
look  closely  into  this  wonderful  Opus   I. 

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  yd,   1859. 

If  the  Konigsberg  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 


TO    LOUIS    KOHLER.  399 

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  wTait  and 
see  what  comes.  You  very  justly  remark  that  it  hinges 
now  upon  enharmony. 

It  is  a  pity  that  you  do  not  bring  something.  Per- 
haps 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 

Weymar,  September  St/i,    1859.  F.    LlSZT. 

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

220.    To    JOHANN    VON    HeRBECK. 

Dear  Friend, 

Warmest  thanks  for  your  persevering  and  well- 
wishing  sympathy. 


400 


TO    JOIIANN    VON    HERBECK. 


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  espe- 
cially 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  : — 

Lento.  ,. — x    1         .      i^rs 


p^rnm 


&=&&t 


-<s>- 


A 


Xtc^- 


h^ 


izrz^ 


M 


A  -  men. 


Organ. 


\ 


irf=gsl= 


m 

-&. — j 


1 


-*=-&&>'- 


=yqw 


-[>©- 


With  Pedal. 


r-T 


m 

-<5>- 

Mm 


TO    JOHANN    VON    HERBECK.  40 1 

If  you  are  agreed  with  this,  then  let  this  simplifica- 
tion 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  to-day  to 
Herr  von  Billow,  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  Biilow  should  make  his  appear- 
ance at  the  Philharmonic  Concert  he  will,  on  my  advice, 
not  play  my  A  major  Concerto  (nor  any  other  composi- 
tion of  mine),  but  just  simply  one  of  the  Bach  or 
Beethoven  Concertos.  My  intimate  friends  know  per- 
fectly 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  }'ou  can  obtain  the 
rest.     In  conclusion  allow  me  once  more  to  beg  you 

VOL.   I.  26 


402  TO    JOHANN    VON    HERBECK. 

kindly  to  let  me  have  a  couple  of  lines  about  the  per- 
formance 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  nth,  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  15  th  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  conductor- 
ship,  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   nth  the 


TO    FELIX    DRASEKE.  403 

Kiinstler-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  Kiinstler- 
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  *  will 
undertake  two  numbers  of  the  programme,  and  will 
fulfil  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  con- 
sideration, 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 

1  Sasch,  i.e.,  Alexander,  Ritter's  Christian  name. 


404  TO    FELIX    DRASEKE. 

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  percep- 
tion 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  com- 
posed 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 
yon  may  think  best,  and  either  to  promote  the  perform- 


TO    HEINRICH    PORGES.  405 

ance  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.1  Write  and  tell  me  how  the  matter  is 
settled. 

223.  To  Ingeborg  Stark.2 

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  pre- 
liminary 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 

1  The  festival  play  was  given  in  Prague  under  the  theatre  con- 
ductor Thome.  The  music  to  it  was  never  published.  The  Weimar 
archives  probably  possess  the  score. 

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


406  TO    INGEBORG    STARK. 

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*  from  me 
to  Mr.  Martynoff.  As  for  our  dear  Tartar,1  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  con- 
tinue 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. 

*  Written  in  English  by  Liszt. 
1  The  composer  Alexander  Seroft". 


TO    INGEBORG    STARK.  407 

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  theatre,  and  Jena  has  put  on  its 
festival  programme  my  chorus  An  die  Kiinstler,  which 
will  terminate  the  ceremony  of  the  nth  (Friday  next). 

In  addition  you  will  find  in  the  Schiller  number  of 
the  Leipzig  Illustrirte  Zeitung,  which  will  appear  on 
the  1 2th  November,  a  Festival  song  " im  Volkston"  % 
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,  li  ich  habe  der  Dame 
eine  bayrische  Joppe  angezogen  ! "  f 

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.1 

As  I  have  mentioned  this  name  I  will  tell  you  that 


*  In  the  style  of  a  folk-song. 

f  "  I  have  dressed  the  lady  in  a  Bavarian  jacket." 

1  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. 


408  TO    INGEBORG    STARK. 

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  estim- 
able 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 * — 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  fulfil 
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 

1  Liszt's  name  for  the  sister  of  Ingeborg  Stark. 


TO  JOHANN  VON  HERBECK.        409 

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  per- 
formance in  Vienna,  I  shall  be  glad.  If  not,  I  beg 
you  to  tell  me  so  with  perfect  candour,  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"  * 
of  such  ill-odour  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  iSth,  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, 

*    Tonc-daubins:. 


410  TO    DR.    FRANZ    BRENDEL. 

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  in- 
dispensable 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  favour  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  some- 
what 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, 


TO    DR.    FRANZ    BREXDEL.  4II 

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  Rubinstein. 

Certainly,  my  very  honoured  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 
fulfil — namely,  that  of  your  visit  next  spring,  in  com- 
pany 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  honour,  and 
the  place  of  which  seems  fixed  in  your  concerts.  And 
on    this    subject   allow   me    to    compliment    you    very 


412  TO    ANTON    RUBINSTEIN. 

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  to-day" 

will  be  justified,  and  even  by  Music !  In  France  and 
Germany  we  are  far  from  this — and  classical  Phari- 
saism 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 
"  Impropcrias "  and  "  Jeremiads "  .  .  .  .  not  composed 
by  Palestrina  ! 

Your  choice  of  the  introduction  to  the  second  act 
of  the  Fliegendcr  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    ANTON    RUBINSTEIN.  4  I  3 

to   applaud  at   the   time   of  the  performances  of  your 
Opera  in  Vienna. 

A  rcvoir  then,  my  dear  Rubinstein,  in  the  spring — 
and  ever  yours  in  sincere  esteem  and  affection, 

F.  Liszt. 

Weymar,  December  yd,  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 ',  mats  on  nait  rotisseur  /"  * 

227.  To  Dr.   Franz  Brendel. 

Dear  Friend, 

It  is  of  great  consequence  to  me  not  to  dela}r 
any  longer  the  publication  of  my  "  Gesammelte  Lieder." 
Forgive  me,  therefore,  if  to-day  I  am  somewhat  trouble- 
some 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 

*  There  does  not  seem  to  be  an}-  equivalent  to  this  proverb  in 
English  :  the  nearest  approach  to  it  is,  perhaps,  "  A  poet  is  born, 
not  made." 


414  TO    DR.    FRANZ    BRENDEL. 

understanding  on  the  matter  with  him.1  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  quarrel- 
ling opponents  which  will  infallibly  follow !) ;  and  if  a 
few  singers  could  be  found,  not  of  the  raw  and  super- 
ficial 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  6t/i,  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  *  his  visit 
here  (if  that  word  is  not  quite  German,  still  I  consider 
it  is  comprehensible  !).  Julius  Schuberth  had  also  the 
intention  of  rescuing  something2  from  Kuhn.3 

1  Liszt  evidently  wished  to   have  the  songs  engraved  first  at  his 
own  cost,  and  to  let  Klemm  undertake  the  sale  on  commission. 
*  To  make  the  time  hang  heavily. 
-'  Namely,  Liszt's  composition. 
3  Music  publisher. 


TO    DR.    FRANZ    BRENDEL.  415 

Your  idea  of  giving  Bronsart  the  conductorship  of 
the  Euterpe  Concerts  is  a  most  excellent  one.  I  sup- 
pose 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 
favourable  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  honourable  manner.  In  addition  to  this, 
it  would  be  especially  agreeable  to  me  to  be  in  constant 
intercourse  with  him  as  my  next  neighbour.  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.1 

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  favourably  of  it — the  Allgemeine 
Zeitung  again  breathes  forth  poison  and  gall  (supple- 
ment 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' 

1  It  was  afterwards  composed  by  his  wife  ("King  Hiarne  "). 


416  TO    DR.    FRANZ    BRENDEL. 

assistants  are  called,  understand  the  following  thoughts 
as  Xenie  *  : — 

11  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 

*  Epigram. 


TO    EDUARD    LISZT.  417 

suitable  in  the  arrangement  of  the  funeral  ceremony  of 
my  son.1  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  to-morrow, 
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  honourable  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. 

Weyjiar,  December  2St/i,  1859. 

1  He  died  in  Vienna,  where  he  was  studying  law. 
VOL.    I.  27 


41 8  TO    JOSEF    DESSAUER. 

229.  To  Josef  Dessauer.* 

Dear  honoured  Friend, 

It  is  possible  that  the  delicacy  of  your  percep- 
tion 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  u  manly  formed  nature"  must  further 
prove  itself;  he  has  still  many  duties  to  fulfil  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 

Weymar,  December  30th,  1 859.  F.    LlSZT. 

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  Requiem. 

23O.    To    WlLKOSZEWSKI,    SECRETARY    OF   THE    CONCERTS 
OF    THE    "  HOFCAPELLE"    IN    MuNICH.f 

Dear  Sir, 

The  performance  of  new  works  on  the  part  of 
so  renowned  an  orchestra  as  that  of  Munich  must  ever 

*  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). 

f  From  a  copy  in  Liszt's  own  handwriting  (amongst  the  letters  to 
Brendel). 


TO   WILKOSZEWSKT.  419 

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  Hofcapclle. 

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  Festklcinge, 
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, 

WEYMAR,  January  15^,  i860.  F.    LlSZT. 

231.    To    JOHANN    VON    HeRBECK. 

[Received,  according  to  him,  on  January  26th,  i860.] 

Dear  Friend, 

On  getting  back  from  Berlin  yesterday  evening 
I  find  your  letter,  which  has  given  me  especial  pleasure 


42 O  TO    JOHANN    VON    HERBECK. 

by  the  assurance  that  the  Prometheus  choruses  and 
the  instrumentation  of  the  Schubert  Marches  fulfil 
your  expectations.  You  shall  very  shortly  receive  two 
more  Schubert  Marches  (the  Funeral  March  in  Eb 
minor,  and  the  Hungarian  March  in  C  minor  out  of 
the  Hungarian  Divertissement}  They  could  be  played 
one  immediately  after  the  other. 

The  Prometheus  choruses,  together  with  the  Sym- 
phonic Poem  which  goes  before  them  (and  which  has 
been  published  by  H artel  as  No.  5),  were  composed 
in  July  1850  for  the  Herder  Festival,  and  were  per- 
formed in  the  theatre  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,''  * 

served   me    for   precept,    and    showed  me  the  way  to 

musical  plastic  art  and  symmetry. 

The  favourable  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  perform- 
ance 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 

1  Op.  40,  No.  5,  and  Marcia  from  Op.  54. 

*  "  On  modern  thoughts  let  us  fashion  verses  antique." 


TO    JOHANN    VON    HERBECK.  42  I 

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  perform- 
ance in  Vienna  on  the  26th  February,  to  enjoy  your 
intelligent  and  inspired  performance,  but  I  am  pre- 
vented 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.1  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. 

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 

1  It  took  place  on  the  26th  February,  i860.  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  organised  opposition  hissing.  They  had  sworn 
the  overthrow  of  this  music,  without  even  knowing  a  note  of  it." 


42  2  TO    DR.    FRANZ    BRENDEL. 

has  only  to  come  to  an  understanding  with  Schle- 
singer ;  I  on  my  side  do  not  wish  to  place  any  limita- 
tion 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  allow- 
ing 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.  Pro- 
bably 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,  Frendvoll 
unci  leidvoll  and  Es  muss  em  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 

1  A  highly  gifted  singer,  afterwards  Frau  Dr.  Merian  in  Weimar. 


TO    DR.    FRANZ    BRENDEL.  423 

selected  the  "  Loreley  "  as  her  concluding  song,  and  the 
Frau  Princess  Victoria  expressed  herself  very  favour- 
ably 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  compo- 
sitions 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.1  From  several  places  (and  quite  lately  from 
Carlsruhe  and  Brunswick)  orders  for  this  Ballade  have 
come  to  me,  which — between  ourselves — are  not  con- 
venient 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 

1  Liszt  had  composed  this  melodrama  for  Auguste  Gotze,  and  fre- 
quently performed  it,  as  well  as  his  later  melodramas,  with  her. 


424  TO    DR.    FRANZ    BRENDEL. 

copies  by  publishing  the  Leonorc.  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 
letter1 — 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  Nene  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  sus- 
pended.    More  about  this  viva  voce — as  well  as  about 

1  To  Wilkoszewski. 


TO    DR.    FRANZ    BRENDEL.  425 

Tristan  und  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 

Weymar,  January  2$th,  i860.  F.    LlSZT. 

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"  *  (He  knows  what  the  word 
"  nervos"  means  with  me.) 

233.  To  Friedrich  Hebbel.| 

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  yester- 

*  Nervous. 

f  Communicated  by  Dr.  Felix  Bamberg,  from  the  original. 


426  TO    FRIEDRICH    HEBBEL. 

day  I  read  to  the  Princess  your  two  glorious  Sonnets 
an  den  Kiinstler*  "  Ob  Du  auch  bilden  magst,  was  un- 
vcrganglich  " — "  Unci  ob  mich  diese  Zweifel  brennen 
milssen  ?  "  t  — 

From  Weymar  I  have  nothing  interesting  nor  espe- 
cially agreeable  to  tell  you.  This  winter  will  pass 
away  pretty  quietly  and  insignificantly  at  the  theatre, 
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  Pcre  prodigue  of  Dumas  fds  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  the  Artist. 

j-  "Whether  thou  canst  form  what  is  imperishable  ": 
"And  whether  these  doubts  must  burn  me." 


TO    FRIEDRICH    HEBBEL.  427 

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, 

Weymar,  February  5///,  1S60.  F.  LlSZT. 

234.  To  Dr.  Franz  Brendel. 

[February   i860.] 

Dear  Friend, 

Although  as  a  general  rule  I  consider  that  it  is 
not  the  business  of  the  Nenc  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  iSth  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  mis- 
chievous 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.1 
Possibly    also    your    correspondent    made    use    of  the 

1  Instead  of  the  Liszt  piece  An  bora7  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,  i860,  gave  out)  from  loudly  carping  at  the  supposed 
Liszt  composition. 


428  TO    DR.    FRANZ    BRENDEL. 

expression  "  The  Vienna  Press "  in  general,  and  did 
not  refer  specially  to  the  paper  Die  Pressed  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  Aitgsburger 
Allgcmeine  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  Hans- 
lick  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. 

1  This  was  actually  the  case. 


TO    DR.    FRANZ    BRENDEL.  429 

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  i860.] 

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.1  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.  To-morrow  is  again  a  grand  Court  con- 
cert;  Bronsart  and  Fraulein  Stark  arrived  yesterday; 
Frau  von  Bulow  comes  to-day,  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 
Tonkiinstler-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.2 

1  No  article  of  the  kind  by  Liszt  is  contained  in  the  Neue  Zeitschrift 
for  the  year  in  question;  probably  it  was  unfinished. 
'-'  This  was  done. 


430  TO    DR.    FRANZ    BRENDEL. 

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, 
1 8th,  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  Tonkiinstler-Versam mhing.  Only  my  personal 
help  as  conductor  must  be  excepted.  At  our  next  con- 
sultation we  shall  easily  come  to  an  understanding  as 
to  the  desirability  of  one  conductor  or  several. 

I  would  indicate  and  emphasise,  as  absolutely  neces- 
sary, the  performance  of  new  works  by  Biilow,  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  Ton- 
kiinstler-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. 


TO    DR.    FRANZ    BRENDEL.  43  I 

P.S. — A.  The  revising  of  the  Leonorc  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  Miiller.  Have  you  replied  to 
Miiller  ? 

Herewith  is  a  letter  from  Weitzmann  (14th  June, 
1859),  in  which  you  will  find  much  worthy  of  con- 
sideration and  use. 

Important !  N.B. — When  you  eonvene  the  Tonkiinst- 
ler-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.1 

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  e very-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, 

1  Liszt  was,  as  Princess  Wittgenstein  distinctly  told  the  editor,  the 
actual  founder  of  the  "German  Universal  Musical  Society."  He  con- 
ceived 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. 


432  TO    LOUIS    KOIILER. 

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,  i860. 

Towards  the  end  of  October  the  two  Symphonic 
Poems,  Nos.  10  and  1 1,  which  have  still  to  be  published 
— Hamlet  and  the  Hunnenschlacht* — 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  any- 
thing 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  favour 

*   The  Battle  of  the  Huns. 


TO    EDUARD    LISZT.  433 

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  pro- 
duction 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  Hitnnenschlachf). 
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  endeavours  ! — 

I  must  express  myself  not  entirely  in  accord  before- 
hand 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.  .   .  . 

VOL.   I.  28 


434  T0    EDUARD    LISZT. 

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 
Billow,  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  *  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 
Billow,  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  cir- 
cumstance 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 

*  Hungarian,  Turkish,  or  Spanish  pepper  from  Hungary. 


TO    EDUARD    LISZT.  43  5 

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  heart- 
felt 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  gth,  1S60. 

238.  To  Ingeborg  Stark. 

[Summer,  i860.] 

If  a  sort  of  idiosyncrasy  against  letters  did  not 
hold  me  back  I  should  have  told  you  long  ago  what 


436  TO    INGEBORG    STARK. 

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 
VietinghofFs  1  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  Over- 
ture 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, 


-<s>- 


P-f^- 


^==fefef 


3=t=p; 


f3*= 

that  Mr.  de  Vietinghoft  employs  in  the  final  presto  of 

his  overture  (page  66  of  the  score). 

Tausig  makes  a  pretty  fair  use  of  it  in  his  Geister- 

scJiiff)  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, 

etc. 


1  He  took  the  nom  deplume  Boris  Scheel,  and  in  1885  he  performed 
his  opera  Dcr  Damon  in  St.  Petersburg,  which  originated  twenty 
years  before  that  of  Rubinstein. 


TO    INGEBORG    STARK.  437 

which  are  of  a  sonorousness  as  disagreeable  as  they  are 
incomplete,  ought  to  be  replaced  by  this  one, 


:|«g£g££ 


flS: 


1 '       ;       — ^ tt 


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  curtail- 
ment 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  abomin- 
able Musicians  of  the  Future  precipitate  us  ! 

Take  care  that  you  do  not  let  yourself  be  contami- 
nated 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  favoured  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  exer- 
cise 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 


438  TO    INGEBORG    STARK. 

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  Billow  at  Wiesbaden 
(where  he  is  giving  a  concert  to-morrow,  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  pardon1  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  gth,  i860. 
1  Wagner  had  been  exiled  from  Germany  for  political  reasons. 


TO    PRINCESS    WITTGENSTEIN.  439 

240.   To  Princess  Caroline  Sayn-Wittgenstein.* 

Weymar,  September  l^t/i,  i860. 

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  long- 
ing 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  wTould  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  transgres- 
sions 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  with- 
drawn 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 

*  Portions  of   the  above  were    published   in   the  Nate  Zeitschrift 
fur  Musik  of  4th  May,  1SS7. 


440  TO    PRINCESS    WITTGENSTEIN. 

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  be- 
fore 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  honour 
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 
unfavourable  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 


TO    PRINCESS    WITTGENSTEIN.  44 1 

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  Billow. 

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 
honour  of  Art  and  the  inner  worth  of  the  artist  con- 
strains 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  be- 
queath the  ivory  crucifix  (cinque-cento)  which  was 
given  to  me  by  my  kind  patron  the  Prince  of  Hohen- 
zollern-Hechingen — also     a    pair    of    studs    with    five 


442  TO    PRINCESS    WITTGENSTEIN. 

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,  i860,  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  ren- 
dered me. 

To  the  names  of  my  friends  of  the  New  German 
vSchool  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  1 841  to 
1847,  aRd  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. 


TO    PRINCESS    WITTGENSTEIN.  443 

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,  i860. 

Dear  Friend, 

I  send  you  by  my  friend  Lassen1  a  little  parcel 
of  songs  (eight  numbers),  w7hich  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  wThich  I  gave  Kahnt  when  he  was  here). 

I  also  add  a  Quartet  for  men's  voices.  It  is  the 
Verein  song  "  FriscJi  auf  zu  neuem  Leben"  *  written  for 
the  New  Weymar  Verein  by  Hoffmann  von  Fallersleben. 
The  passage  "  von  Philistcr  GescJirei"  f  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. 

1  Born  1830,  became  Court  music-director  1858,  and  Court  conductor 
in  Weimar  after  Liszt's  withdrawal  (1S61)  ;  celebrated  as  a  composer 
of  songs. 

*   "  Uprousc  to  newer  life." 

f  "  Of  Philistine  cry.*' 


444  TO    DR-    FRANZ    BRENDEL. 

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  to-day.  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-Versanunlung,  where  assuredly 
the  great  majority  of  the  members  will  agree  with  your 
proposals.  Then  the  point  will  be  to  work  on  vigor- 
ously 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, 
wThere  Berlioz'  Harold,  a.  new  Oboe  Concerto  by  Stein, 
Schumann's  Genoveva  Overture,  the  Introduction  to 
Tristan  und  Isolde,  and  my  Mazeppa  will  be  given. 
The  latter  piece  is  popular  to  wit  ...  in  Sonders- 
hausen ! — 

Very  sonderhauslich*  isn't  it  ? 

Hearty  greetings  to  your  wife  from  your 

F.  Liszt. 

P.S. — The  ninth  song  by  Cornelius  is  still  wanting.1 
But  in  the  meantime  the  printing  can  be  going  on.    The 

*  A  play  on  the  words  Sondershausen  and  sonderbar  =  strange. 
1  The  song   "  Wieder  mbchf  ich  Dir  begegnen  "  ("  Once  again  I  fain 
would  meet  thee  ;'). 


TO    DR.    FRANZ    BRENDEL.  445 

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,  i860. 

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  to-day  is  mingled  also  somewhat  of  sadness. 
It  is  conceivable  that  the  ebb  of  the  Milanese  and 
Hungarian  Civil  Service  employe's,  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  unde- 
servedly 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  morti- 
fications without  mortification. 

I  will  also  repeat  for  your  amusement  a  droll  saying 


44-6  TO    EDUARD    LISZT. 

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  defence  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  other- 
wise 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.1 — 

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  Dingel- 
stedt 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  1 
should  be  if  it  happened  so,  for  you  know  that  I 
am  glad  to  show  myself  obliging.     It  is  doubtful  also 

1  He  did  not  become  a  soldier,  but  the  renowned  Professor  of  Law 
now  teaching  at  the  University  of  Halle. 


TO    EDUARD    LISZT.  447 

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  condolcance  (in 
German  Beleidsbezeiigung  /). — 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  any- 
thing. In  spite  of  the  comforting  proverb  "  Geduldige 
Schafc  gehen  viele  in  den  Stall"  *  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  {or  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 

*  The  English  equivalent  seems  to  be  "  Patience  and  application 
will  carry  us  through." 


44 3  TO    EDUARD    LISZT. 

I  have,  alas  !  at  all  times  quite  rightly  acknowledged, 
and,  if  I  do  not  greatly  mistake,  it  must  surely  soon 
perceptibly  modify  in  our  favour.  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.f  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  to-day,  dearest 
Eduard.  Persuade  Herbeck  to  send  the  score  and  the 
chorus  and  orchestral  part  of  my  Prometheus  at  once 


TO    EDUARD    LISZT.  449 

to  C.  F.  Kalint,  the  music  publisher  in  Leipzig.  The 
work  is  fixed  for  performance  at  one  of  the  Euterpe  con- 
certs, 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  p<  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  Hoffmann  von  Fallersleben. 

My  dear,  honoured  Friend, 

The  melancholy  tidings  were  reported  to  me 
by  Grafe  on  Monday  evening  (in  the  New  Weymar 
Verein)}     It  came  upon  us  all  with  a  most  mournful 

1  Hoffmann,  after  he  had  obtained  in  May  i860  the  position  of 
librarian  to  the  Duke  of  Ratibor  at  Schloss  Corvey,  near  Hoxter-on- 
the-Weser,  lost  his  wife. 

VOL.    I.  29 


450         TO    HOFFMANN    VON    FALLERSLEBEN. 

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,  there- 
fore, that  only  from  afar  can  I  tell  you  how  sincerely 
and  truly  I  remain  your  faithfully  attached  friend, 

October  30th,  i860.  F'    LlsZT- 

I  have  sent  your  charming  birthday  gift  for  October 
22nd  (text  and  music)  to  the  Princess. 

244.  To  Professor  Franz  Gotze  in  Leipzig. 

Dear,  honoured  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  ?  '  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 

1  Liszt,  like  others,  was  labouring  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. 


TO  PROFESSOR  FRANZ  GOTZE.       45  I 

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  sup- 
ported 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 

Weymar,  November  tfh,  i860.  *.    LlSZT. 

Send  a  telegram  to  Gille  in  reply — if  possible, 
"Yes,"  as  the  concert  takes  place  next  Sunday. 

245.  To  Dr.  Franz  Brendel. 

Dear  Friend, 

.  —  .1  take  a  sincere  interest  in  the  progress  of 
the  Euterpe  concerts — a  progress  which  up  to  now  has 
been  favourable  on  the  whole ;  you  have  the  chief 
merit  in  this,  just  because  it  rests  with  you  to  neutralise 
difficult  and  opposing  elements. 

I  rejoice  much  that  Bronsart  so  thoroughly  fulfils 
my  expectations.  He  is  a  director-gentleman.*  I 
shall  hear  more  about  the  concerts  through  Weiss- 
heimer,1    who    is    advertised    here    for    the    day    after 

*  "  Gentleman  "  put  in  English  by  Liszt. 

1  A  composer ;  was  for  some  time  second  director  of  the  Euterpe 
concerts. 


452  TO    DR.    FRANZ    BRENDEL. 

to-morrow;   until  now  I  have    only   heard   something 
about  them  from  Fraulein  Hundt 1  yesterday. 
With  best  greetings,  yours  in  all  friendship, 

F.  Liszt. 

Weymar,  November  i6f/i,  i860. 

Will  you  be  so  kind  as  to  send  me  at  once  a  couple 
of  copies  of  Miiller's  new  brochure  ? 

.  — .  If  it  is  possible  to  hurry  the  bringing  out 
of  my  seventh  book  of  songs  I  shall  be  glad.  Also 
the  "  Verems-Lted." 

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  ?  Ricnzi  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 — con- 
sequently Musik-director  Stor  will  conduct  it. 

246.  To  Dr.  Franz  Brendel. 

Dear  Friend, 

Since  I  have  again  had  a  conference  with  re- 
spect to  the  Tonkiinstler-Versammlung  in  Weymar  next 
August,  I   am  happy   to   be  able  to  tell  you  that  not 

1  A  composer,  at  that  time  in  Weimar ;  has  since  died. 


TO    DR.    FRANZ    BRENDEL.  453 

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  Zeit- 
schrift  about  the  To n kilns tier-  Vers amm lung  you  are 
therefore  fully  authorised  to  intimate  the  readiness  of 
the  artists,  both  vocal  and  instrumental,  here  and  in  the 
neighbourhood  (Jena,  Eisenach,  Sondershausen,  etc.), 
as  also  the  favourable  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  Allegcmeine  deutsche  Schiller-Stiftung  *  (the  first 
place  of  which  is  to  be  Weymar  next  year). 

Yours  in  all  friendship, 

December  2nd,  i860.  F.    LlSZT. 

P.S. — With  the  next  Tonkilnstler-Versammlung  I  join 
three  principal  things  : — 

(1)  The  founding  and  establishing  of  the  Tonkilnstler- 
Verein. 

(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.1 

*  The  Universal  German  Schiller  Scholarship. 

1  Liszt  was  endeavouring  at  that  time  to  found  a  music  school  in 
Weimar. 


4  54  TO    C.    F.    KAHNT. 


247.  To  C.  F.  Kahnt,   Music   Publisher  in  Leipzig.1 

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  1 2th  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  1  shall  entitle  them  Aus  dem  Zelt,  or 
Aus  dem  Lager*  three  songs,  etc.).  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 

1  Kahnt  was  the  publisher  of  the  Netie  ZeitscJirift  fur  Mitsik  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 
Allgcmeine  deutsche  Musikvcreins,  and,  after  1873,  Councillor  of  Com- 
mission in  Weimar. 

*  "  From  the  Tent,"  or  "  From  the  Camp."  They  were  eventually 
entitled  "Geharnischtc  Lieder"  ("  Songs  in  Armour  "). 


TO    C.    F.    KAHNT.  45  5 

•  the  Illustrated  in  November  last)  may  soon  be  pub- 
lished, and  also  a  somewhat  repaying  (rather  sweet  !) 
Quartet  for  men's  voices,  with  a  tenor  solo—"  Hiitte- 
lein,  still  und  klein."  *  It  has  been  already  sung  with 
success  by  the  Vienna  Mdnner-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  "  Hiittelein  "  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 

*  "Little  hut,  so  still  and  small." 
1  Singing  societies. 


45^  TO    C.    F.    KAHNT. 

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,  i860. 

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  Mnsik-director  Stor  undertakes  that.1 


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  Bier- 
brudcr*  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 

1  After  the  opposition  of  a  coterie  that  was  inimical  to  Liszt,  to 
which,  as  is  well  known,  Cornelius's  Barber  of  Bagdad  fell  a 
sacrifice,  Liszt  had  finally  resigned  his  post  as  conductor  of  the 
theatre. 

*  "Beer-drinkers,"  "brothers  of  the  glass." 


TO    C.    F.    KAHNT.  457 

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  out- 
lay— 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  un- 
willingly 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  favour  of  you  ?  At  the 
Court  concert  on  the  1st  January  I  should  like  to 
let  the  Retter-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 


45  8  TO    C.    F.    KAHNT. 

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  orches- 
trated songs.  (I  may  mention,  by  the  way,  that  I  have 
orchestrated  six  songs  of  Schubert's — "the  Erlkonig, 
Gretchen,  the  jungc  Nonne,  the  Doppclgcinger,  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  igt/i,   i860. 

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  theatres,  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  u  the 
commonest  "  or  "  the  most  mercantile  speculation,"  etc. 

+  B,  instead  of  opinion,  "the  most  affected  assump- 


TO    DR.    FRANZ    BRENDEL.  459 

tion  "  (?)  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  "  Mcichte"  [forces]  do  not  seem  to  me  quite 
right  here. 

Finally,  +  D,  I  think  it  would  be  advisable  ruth- 
lessly 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  endeavours  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  parentheti- 
cally 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 


460  TO    DR.    FRANZ    BRENDEL. 

tour,  sur  lequel  je  n'avais    pas    compte    le   moins   du 
monde  :  mes  operas  se  repandaient."  * 

Both  on  this  account  and  for  other  reasons  I  think 
this  parenthesis  dangerous,  and  can  in  no  wise  sub- 
scribe to  it  ! 

With  friendliest  greetings,  your  sincere 

F.  Liszt. 

December  lgth,  i860. 

I  have  written  a  long  letter  to  Kahnt  to-day.  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  compre- 
hension of  my  meaning  and  endeavours  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 

*  "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." 


TO    FELIX    DRASEKE.  461 

(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  ex- 
pecting 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 
Tonkilnstler-Versammliing  (in  July — August)  here. 

O.  Singer's  Entschwundenes  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,   i860. 

Towards  the  middle  of  January  I  am  going  to  Paris 
or  a  couple  of  weeks  to  see  my  mother  (who  is  still 
constantly  ill). 


462  TO    DR.    FRANZ    BRENDEL. 

251.  To  Dr.   Franz  Brendel. 

[Beginning  of  January,  1 86 1.] 

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  under- 
taken 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  move- 
ments (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  impos- 
sible, 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 


TO    DR.    FRANZ    BRENDEL.  463 

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  Stingers  Fluch* 
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 

*   The  Singer  s  Curse,  by  Schumann. 


464  TO    DR.    FRANZ    BRENDEL. 

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  slily  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  fulfil  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 
Tonkunstler-Versammlung,  when  Frau  Dr.  Reclam  sang 
Miller's  (somewhat  mediocre)  Psalm,  and  .  .  .  etc. 


TO    DR.    FRANZ    BRENDEL.  465 

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  favouritisms  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.1 

1  The  rest  of  the  letter  is  missing. 
VOL.    I.  3° 


466  TO    DR.    FRANZ    BRENDEL. 

252.  To  Dr.   Franz  Brendel. 

Dear  Friend, 

I  expressly  wish  that  Weisshcimer  should  accom- 
pany 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  KevJaar  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 

January  20th,  1 86 1.  F.    L. 

You  shall  have  the  small  sum  for  X.  in  the  course 
of  the  week. 


TO    DR.    FRANZ    BRENDEL.  467 

253.  To  Dr.  Fraxz  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  Thiimler  the  exact  speed).  Beg  Thiimler  to  send 
me  the  score  back  soon,  as  it  may  possibly  be  wanted 
at  Easter  in  the  theatre. 

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 
Seligkciten  "  ["  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  favourable  manner.  I  have 
written  few  things  that  have  so  welled  up  from  my 
innermost  soul. 

1    think     I    shall    be    ready    with     the    revision    of 


468  TO    DR.    FRANZ    BRENDEL. 

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  PrometJieus  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. 


TO    DR.    FRANZ    BRENDEL.  469 

The  date  of  the  Tonkiinstler-Versammlung  can 
remain  fixed  for  the  15  th  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]  Dprector]  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  Tonkiinstler-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 

Weymar,  March  4  th,  1 86 1.  ^  •    1— 

.     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.1  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 

1  Liszt's  name-day. 


470  TO    PETER    CORNELIUS. 

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  HnnnenschlacJit,  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 
(5  th,  6th,  7th  August),  to  which  I  give  you,  dearest 
Cornelius,  a  special  invitation.  I  hope  that  Eduard,1 
Tausig,  Porges,  Laurencin,2  Kulke,  Doppler,3  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  ab- 
sorbed for  a  time  in  Tristan.  In  that  work  and  the  Ring 
des  Nibelungen  Wagner  has  decidedly  attained  his  zenith  ! 

1  Liszt's  cousin. 

-  Count  Laurencin,  a  writer  on  music  in  Vienna. 

3  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. 


TO    PETER    CORNELIUS.  47  I 

I  hope  you  have  received  the  pianoforte  arrangement 
of  Rhciugold  which  Schott  has  published.  If  not  I  will 
send  it  you.  You  might  render  a  great  service  by  a  dis- 
cussion of  this  wonderful  work.  Allow  me  to  stir  you 
up  to  do  this.  The  summer  days  allow  you  now  more 
working  hours ;  realise  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 
Ergliihen  die  Lande ; 
Es  lachen  die  Haine, 
Die  Felsengesteine 
Im  Strahlengewande 
Am  heimischen  Strande, 
Am  vvogenden  Rheine  !  "  i 

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 

*  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  ! :' 


472  TO    PETER    CORNELIUS. 

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,1  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, 

April  iSth,  1861.  F.  Liszt. 

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 ; 2  but  as 
long  as  the  Princess's  absence  lasts  I  recognise  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. 

April  18///,  1 86 1.  F.    LlSZT. 

P.S. — I  send  you  herewith  the  "  Vercins-Licd" — and 
three  other  of  your  songs. 

1  The  celebrated  painter  was  the  uncle  of  the  addressee. 

2  Hoffmann's  birthday,  and  at  the  same  time  Liszt's  name-day. 


TO    PETER    CORNELIUS.  473 


256.  To  Peter  Cornelius.* 

Dearest  Cornelius, 

Will  you  quickly  sign  the  accompanying  an- 
nouncement to  the  Tonkunstler-Versatnmlung  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  \2tI1,   186 1. 

P.S. — Shortly  after  the  Toukiinstler-Versaimnlung  I 
shall  be  leaving  Weymar  for  a  long  time. — 

*  Autograph  in  the  possession  of  Constance  Bache. 


474  TO    PETER    CORNELIUS. 

256A.  To  Peter  Cornelius.* 

Dearest  Cornelius, 

I  have  just  been  told  that  the  score  of  the 
Barber  of  Bagdad  is  not  in  the  theatre  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  Tonkiinstler-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 
July  14th,  1861.  F.  Liszt. 

257.  To  Alfred  Dorffel. 

My  dear  Sir, 

Whilst  giving  you  my  warmest  thanks  for  the 
great  pains  you  have  taken  with  the  Faust  score l  I 
have,  in  conclusion,  one  more  request  to  make. 

I  wish  to  modify  the  prosody  of  the  passage  in  the 
tenor  solo, 


wig     Weib  -  li  -  che. 


*  Autograph  in  the  possession   of  Constance   Bache.     This  letter 
was  left  out  by  La  Mara,  but  is  inserted  by  the  translator. 
1  As  corrector. 


TO    ALFRED    DORFFEL.  475 

each  time,  just  as  I  have  written  it  on  the  accompany- 
ing note-sheet.  If  I  mistake  not,  it  would  in  this  way 
be  more  singable  and  weiblicher  [more  womanly].* 

Accept,  my  dear  sir,  the  assurance  of  my  highest 
esteem  and  most  friendly  gratitude. 

F.  Liszt. 

Weymar,  July  iSt/i,  1 86 1. 

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   slnger  in 
Stuttgart. 

Dear  Friend, 

The  article  in  the  Allgemeine  Zeitiing  on  the 
Tonkiinstler-Versammlung  (12th  August)  lis  an  event, 
and  I  thank  you  sincerely  for  the  part  you  have  taken 
in  it.1 

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,  "  deve- 
lopment ")  of  musk  not  exclusively  represented  in  the 
Allgemeine  Zeitiing.  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  in- 

*  Referring  to  Goethe's  words  "Das  ewig  weibliche  "  ("  Th'  eternal 
womanly"). 

1   It  was  written  by  Singer. 


4/6  TO    HOFCONCERTMEISTER    SINGER. 

admissible  than  in  other  papers.  The  reporter  of  the 
Tonkiinstler-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,1  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 
to-day  once  more  my  best  thanks,  and  remain 
Yours  in  all  friendship, 
August  17th,  1861.  F.  Liszt. 

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. 

1  Professors  at  the  Stuttgart  Conservatorium.  For  the  great 
Pianoforte  School  edited  by  Lebert  and  Stark,  Liszt  wrote  the 
concert-studies  "  Waldcsrauschen  "  and  "  Gnomenreigen." 


TO    C.    F.    KAHNT.  477 

"  Ich  glaube,  die  Wellen  verschlingen, 
Am  Ende  Schiffer  und  .  .  .   Kahnt !  "  ' 

The  pianoforte  transcription  of  the  "  Loreley  "  has  cost 
me  more  trouble  than  I  expected.  But  I  hope  there- 
fore that  it  has  not  succeeded  badly.  Let  a  clean  and 
correct  copy  be  made  of  it  by  a  reliable  musician 
(Corno  *  perhaps  ?)  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  Biilow — 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 
Lowenberg,  August  2jth,  1S61.  F.    LlSZT. 

*  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). 

'  August  Horn  in  Leipzig,  whom  Liszt  held  up  as  being  "  very 
exact  and  reliable." 


47§  TO    DR.    FRANZ    BRENDEL. 

260.  To  Dr.  Franz  Brendel. 

Dear  Friend, 

A  musical  scribble  that  I  had  promised,  and 
which  I  wished  to  finish  here,  and  various  little  excur- 
sions in  the  neighbourhood,  have  prevented  me  from 
answering  your  letter  sooner. 

The  Prince 1  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  endeavours  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 
Allgemeine  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  in- 
fluence 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 

1  Of  Hohcnzollern-Hechingen. 


TO    DR.    FRANZ    BRENDEL.  479 

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 1  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. 

.  —  .1  shall  be  in  Berlin  by  the  evening  of  the  day 
after  to-morrow,  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  arrange- 
ment of  the  Dance  of  Sylphs  (from  Berlioz'  Faust)? 
1  On  the  Tonkunstler-Versammlung  in  Leipzig  in  1859. 


4 SO  TO    DR.    FRANZ    BRENDEL, 

I  am  now  wanting  this  little  piece,  of  which  I  did  not 
keep  any  copy.  It  is  the  same  with  my  arrangement 
of  the  Tannhduser  Overture,  which  I  left  behind  with 
Pflughaupt.  Get  Pohl  to  send  me  the  Dance  of  Sylphs 
and  the  Tannhduser  Overture  as  soon  as  possible  to 
Billow's  address  in  Berlin.  I  will  then  send  him  my 
thanks  in  writing,  and  will  quietly  wait  for  the  cata- 
logue 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  pre- 
occupied !  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  \6tli,  1861. 

***** 


DEPARTURE    FROM    LOWENBERG.  48 1 

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  vol.   1. 


Printed  by  Hazell,  Watson,  &  Viney,  Ld.,  London  and  Aylesbury. 
VOL.    I.  3  1 


Date  Due 

APR    2  7    1 

*53 

"APR  9-   8   I 

„'J 

"MAY  9     '< 

.:.;,7 

WAY  9  a  197 

Library  Bureau  Cat.  no.  1137 


927.811691 


Hlllillllii! 


3  5002  00165  9981 


Liszt.  Franz 

Letters  of  Franz  Liszt. 


ML    410     .  L7    A31     1 

Liszt,     Franz,     1811-1886 

Letters    of    Franz    Liezt 


&W$Sss