St. George Mivart - "On the Genesis of Species"

G. A. Henty - "Under Wellington's Command"

Edmond About - "The Man With The Broken Ear"

Alice B. Emerson - "Ruth Fielding at the War Front"

Annual Bibliography of Commonwealth Literature 2007
This paper argues that discourses of love in Ghanaian market literature for youth offer a view into complex negotiations of agency and empowerment. Drawing on Deborah Durham's notion of youth as "social `shifters'" and Francis Nyamnjoh's conception of the "interconnectedness" of agency, I take Ghanaian market literature as one specific case of how African literature for youth foregrounds questions of continuity and change as African societies enter into increasingly complex global relations. In this literature for youth, received notions of love, often constructed out of impressions from American pop and hip hop music, carry new notions of agency that compete with existing "domesticated" forms. Authors like Ike Tandoh and Evelyn Tay employ discourses of love to offer youth alternative avenues for empowerment in a context of socio-economic disenfranchizement. In a creative process of "straddling", this writing both reveals and reproduces the contradictions that obtain in youth configurations of agency.

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:




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

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

Yours truly,

F. Liszt

Weymar, April 3rd, 1853



100. To Dr. Franz Brendel

Dear Friend,

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

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

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

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

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

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

Yours very truly,

F. Liszt

April 30th, 1853.



101. To Louis Kohler

Dear Friend,

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

F. Liszt

Weymar, May 6th, 1853



102. To Louis Kohler

Dear Friend,

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

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

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

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

Yours in all friendship,

F. Liszt

Weymar, May 24th, 1853

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

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

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



103. To Louis Kohler

"Kiraschio! Plimaschio!"

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

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

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

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

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

Yours sincerely and with many thanks,

F. Liszt

Carlsbad, August 1st, 1853

Address to me always at Weymar.



104. To Richard Pohl in Dresden

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

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

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

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

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

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

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

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

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

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

F. Liszt

Weymar, November 5th, 1853



105. To Wilhelm Fischer, Chorus Director at Dresden

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

Dear Sir and Friend,

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

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

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

Yours very truly,

F. Liszt

Weymar, January 4th 1841



106. To M. Escudier, Music Publisher in Paris

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

My dear Sir,

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

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

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

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

F. Liszt

Weymar, January 21st, 1854



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

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

My Dear Sir,

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

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

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

F. Liszt

Weymar, January 28th, 1854



108. To Dr. Franz Brendel

Dear Friend,

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

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

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

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

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

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