Letters of Franz Liszt, Volume 1, From Paris to Rome:

F >> Franz Liszt; Letters assembled by La Mara and translated >> Letters of Franz Liszt, Volume 1, From Paris to Rome:

Pages:
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | 29

"Inciter et initier,"

as best summing up, according to my ideas, the aim that you
fulfill by your twofold talent of distinguished writer and
musician ex professo. It is really curious to observe how the
well-known saying, "It is from the north that light comes to us
today," has been verified lately with regard to musical
literature. After Mr. Oulibicheff had endowed us with a Mozart,
here come you with a Beethoven. Without attempting to compare two
works which are in so many respects as different and separate as
the two heroes chosen by their respective historiographers, it is
nevertheless natural that your name should be frequently
associated with that of Mr. Oulibicheff--for each is an honor to
Art and to his country. This circumstance, however, does not do
away with your right to lecture Mr. Oulibicheff very wittily, and
with a thorough knowledge of the subject, for having made of
Mozart a sort of Dalai-Lama, [The head of the temporal and
spiritual power in Thibet (Translator's note)] beyond which there
is nothing. In all this polemical part (pp. 26, 27, etc.), as in
many other cases, I am entirely of your opinion, with all due
justice to the talents and merits of your compatriot. From a
reading of the two works, Mozart and Beethoven, it is evident
that, if the studies, predilections, and habits of mind of Mr.
Oulibicheff have perfectly predisposed him to accomplish an
excellent work in its entirety, yours, my dear Lenz, have led you
to a sort of intimacy, the familiarity of which nourished a sort
of religious exaltation, with the genius of Beethoven. Mr.
Oulibicheff in his method proceeds more as proprietor and
professor; you more as poet and lawyer. But, whatever may be said
about this or that hiatus in your work, the plan of which has
confined you disadvantageously to the analysis of the piano
sonatas, and however much people may think themselves justified
in cavilling at you about the distribution of your materials, the
chief merit, which none could refuse you without injustice, is
that you have really understood Beethoven, and have succeeded in
making your imagination adequate to his by your intuitive
penetration into the secrets of his genius.

For us musicians, Beethoven's work is like the pillar of cloud
and fire which guided the Israelites through the desert--a pillar
of cloud to guide us by day, a pillar of fire to guide us by
night, "so that we may progress both day and night." His
obscurity and his light trace for us equally the path we have to
follow; they are each of them a perpetual commandment, an
infallible revelation. Were it my place to categorize the
different periods of the great master's thoughts, as manifested
in his Sonatas, Symphonies, and Quartets, I should certainly not
fix the division into three styles, which is now pretty generally
adopted and which you have followed; but, simply recording the
questions which have been raised hitherto, I should frankly weigh
the great question which is the axis of criticism and of musical
aestheticism at the point to which Beethoven has led us--namely,
in how far is traditional or recognized form a necessary
determinant for the organism of thought?--

The solution of this question, evolved from the works of
Beethoven himself, would lead me to divide this work, not into
three styles or periods,--the words "style" and "period" being
here only corollary subordinate terms, of a vague and equivocal
meaning,--but quite logically into two categories: the first,
that in which traditional and recognized form contains and
governs the thought of the master; and the second, that in which
the thought stretches, breaks, recreates, and fashions the form
and style according to its needs and inspirations. Doubtless in
proceeding thus we arrive in a direct line at those incessant
problems of "authority" and "liberty." But why should they alarm
us? In the region of liberal arts they do not, happily, bring in
any of the dangers and disasters which their oscillations
occasion in the political and social world; for, in the domain of
the Beautiful, Genius alone is the authority, and hence, Dualism
disappearing, the notions of authority and liberty are brought
back to their original identity.--Manzoni, in defining genius as
"a stronger imprint of Divinity," has eloquently expressed this
very truth.--

This is indeed a long letter, my dear Lenz, and as yet I am only
at the preliminaries. Let us then pass on to the Deluge,--and
come and see me at Weymar, where we can chat as long and fully as
we like of these things in the shade of our fine park. If a
thrush chances to come and sing I shall take advantage of the
circumstance to make, en passant, some groundless quarrels with
you on some inappropriate terms which one meets with here and
there in your book,--as, for example, the employment of the word
"scale" (ut, fa, la, etc.) instead of arpeggio chord; or, again,
on your inexcusable want of gallantry which leads you maliciously
to bracket the title of "Mamselle" (!) on to such and such a
Diva, a proceeding which will draw down upon you the wrath of
these divinities and of their numerous admirers. But I can assure
you beforehand that there are far more nightingales than thrushes
in our park; and, similarly, in your book the greater number of
pages, judiciously thought out and brilliantly written, carry the
day so well in worth and valor over any thinly scattered
inattentions or negligences, that I join with my whole heart in
the concert of praise to which you have a right.

Pray accept, my dear Lenz, the most sincere expressions of
feeling and best thanks of

Your very affectionate and obliged

F. Liszt

Weymar, December 2nd, 1852

As Madame Bettina d'Arnim has been passing some weeks at Weymar,
I let her know about your book. Feeling sure that the good
impression it has made on her would be a pleasure to you to hear,
I begged her to confirm it by a few lines, which I enclose
herewith.--

92. To Robert Radecke in Leipzig

[Printed in the Neue Berliner Musik-Zeitung, November 20th,
1890.--The addressee, afterwards Conductor of the Royal Opera,
and present Director of the Royal Academical Institute for Church
Music in Berlin, was formerly Vice-director of the Leipzig
"Singacademie" with Ferdinand David, and, intoxicated with the
first performance of Berlioz's Faust at Weimar, he had determined
to give such another in the Vocal Union of which he was Co-
director. With this object he begged Liszt for the score. But the
plan was not carried out, as Radecke exchanged his post at New
Year, 1853, for that of a Music Director at the Leipzig Town
theater.]

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

The "Faust" score will be at your service with great pleasure as
soon as I have got it back from Berlioz. It is probable that the
copy which Berlioz will see about for me in Paris will be ready
by Christmas, so that I shall be able to send it you soon after
New Year.

In the course of the winter I intend also to give a performance
of the little oratorio "La Fuite en Egypte," attributed to the
imaginary Maitre de Chapelle Pierre Ducre. This graceful and
interesting work should meet with approbation in Leipzig, and
offers no difficulty either for voice or orchestra. If you keep
the secret, and let your Gesangverein [Vocal Union] study it
under the name of Pierre Ducre, a composer of the sixteenth
century, I am convinced that it will not fail to make an effect.

[Liszt's playful suggestion about the Flight into Egypt was based
upon the fact that Berlioz, on its first performance, had
mystified the Paris public and brought forward the work under the
feigned name of Pierre Ducre, the organist of the Sainte Chapelle
in Paris in the year 1679.]

Joachim goes the day after tomorrow to Berlin; Cossmann is in
Paris; and Nabich [The first trombone player of the Weimar
orchestra, and a most admirable performer on his instrument.] is
performing in London, Liverpool, and Manchester. None the less we
are giving "Tannhauser" next Sunday (12th) (with subscriptions
suspended!), and for this occasion the entire Finale of the
second act and the new ending of the third will be studied.

Now farewell, and be active and cheerful, is the wish of yours
most sincerely,

F. Liszt

December 9th, 1852

93. To Bernhard Cossmann

[Weimar, December, 1852.]

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

Thanks, dear friend, for your kind few lines, which have given me
sincere pleasure. Joachim is not yet back from Berlin, and Beck
[The chief tenor (hero-tenor) at the Court Opera] has again got
his old attack of the throat, and I fear rather seriously, from
which these six years of cures, it appears, have not succeeded in
curing him radically. In consequence of this dearth of tenors,
the performances of Wagner's and Berlioz's operas are going to be
put off till February, when I hope that Tichatschek will be able
to come from Dresden and sing "Tannhauser," "Lohengrin," and the
"Flying Dutchman."

As for Cellini [Berlioz's opera]; we shall unfortunately have to
wait until Dr. Lieber, the new tenor engaged for next season, at
present at the Cologne theater, has learnt the part. I hear
Lieber's voice highly spoken of, and it seems that he possesses
also a dose of intelligence sufficient to understand how he ought
to behave here.--

In the matter of news I have one small item to give you--namely,
that on your return your salary will be raised fifty crowns, to
make the round sum of four hundred.--Laub [Ferdinand Laub, a
noteworthy violinist, was engaged for the 1st of January, 1853,
as Joachim's successor as Concertmeister at Weimar.] will arrive
very shortly, and accepts the propositions which have been made
to him. He will not be...

94. To Wilhelm Fischer, Chorus Director in Dresden

[Autograph in the possession of Herr Otto Lessmann at
Charlottenburg.--The addressee was an intimate friend of Wagner's
("Letters to Uhlig, Fischer, and Heine"--Leipzig, Breitkopf and
Hartel, 1889).]

Dear Sir,

By today's post I have sent you a minutely corrected copy of the
score of the "Flying Dutchman."

As this copy was my own property (Wagner had left it for me after
his stay here in 1869) I could not suppose that Uhlig could
expect it back from me as a theater score. The last letter from
Wagner to me has made the matter clear, and I place this score
with pleasure at his further disposal. I have replied to Wagner
direct and fully; he is therefore aware that I have sent you my
copy. [For fuller particulars about this see the "Wagner-Liszt
Correspondence," vol. i., pp. 207-9.]

Allow me to beg you kindly to make my excuses to Herr Heine
[Ferdinand Heine, Court actor and costumier, famous through
Wagner's letters to him.] that I do not answer his letter just
now. His indulgent opinion of our Lohengrtn performance is very
flattering to me; I hope that by degrees we shall deserve still
better the praise which comes to us from many sides: meanwhile,
as the occasion of his writing was just the matter of the
"Hollander" score, and as this is now quite satisfactorily
settled, it does not require any further writing.

With best regards, yours truly,

F. Liszt

Weymar, January 13th, 1853

Is Tichatschek coming to our "Lohengrin" performance in February?
Please beg him to try to do so. On Weymar's side nothing will be
neglected, and it will be a real joy to us both.

95. To Edmund Singer

[Formerly Concertmeister at Weimar; at present Court
Concertmeister and Professor at the Stuttgart Conservatorium.]

Dear Sir,

I thank you much for your friendly letter, and commission Herr
Gleichauf (in whom you will recognize an admirable viola
virtuoso) to persuade you not to retract your promised visit to
me at Weymar. It would be very pleasant to me to be able to keep
you here a longer time, yet I doubt whether you would be
satisfied with such a modest post as our administrative
circumstances warrant. When we have an opportunity we will talk
further of this; meanwhile it will be a pleasure to me to see and
hear you again. Laub's acquaintance will also interest you; he
has just been playing some pieces with a really extraordinary
virtuosity and bravura, so that we have all become quite warm
about it.

Come, then, as soon as you have a couple of spare days, and be
assured beforehand of the most friendly reception.

With my very best regards,

Yours truly,

F. Liszt

Saturday, January 15th, 1853

96. To Frau Dr. Lidy Steche in Leipzig

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

My dear Madame,

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

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

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

Yours most truly,

F. Liszt

Weymar, February 4th, 1853

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

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

Dear Friend,

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

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

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

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

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

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

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

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

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

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

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

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

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

Yours in all friendship,

F. Liszt

Weimar, February 27th, 1853

98. To Heinrich Brockhaus, Bookseller in Leipzig

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

My dear Mr. Brockhaus,

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

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

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

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

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

Yours very truly,

F. Liszt

Weymar March 22nd, 1853

99. To Dr. Franz Brendel in Leipzig

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

Dear Friend,

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

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

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

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

Pages:
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | 29