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

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

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

F. Liszt

November 19th, 1854

127. To Dr. Franz Brendel

Dear Friend,

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

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

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

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

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

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

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

Yours ever,

F. Liszt December 1st, 1854

128. To J.W. von Wasielewski in Bonn

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

Dear Friend,

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

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

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

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

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

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

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

Yours in sincere friendship,

F. Liszt

Weymar, December 14th, 1854

129. To William Mason in New York

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

My dear Mason,

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

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

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

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

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

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

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

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

Your very affectionate

F. Liszt

Weymar, December 14th, 1854

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

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

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

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

F. L.

130. To Rosalie Spohr

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

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

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

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

A thousand respects and homage.

F. Liszt

January 4th, 1855

131. To Alfred Dorffel in Leipzig

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

Dear Sir,

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

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

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

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

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

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

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

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

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

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

F. Liszt

"Thematischer Catalog." ["Thematic Catalogue"]

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

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

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

Yours most truly,

F. Liszt

January 17th, 1855.

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

132. To Anton Rubinstein

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

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