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:

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

F. Liszt

Weymar, February 21st, 1855.

133. To Louis Kohler

My very dear Friend,

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

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

Yours in friendship,

F. Liszt

Weymar, March 16th, 1855

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

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

134. To Dr. Franz Brendel

Sunday, March 18th, 1855

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

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

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

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

Yours ever,

F. Liszt

135. To Dr. Franz Brendel

April 1st, 1855

Dear Friend,

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

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

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

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

Yours in friendship,

F. Liszt

136. To Anton Rubinstein

My dear Rubinstein,

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

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

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

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

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

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

A thousand cordial greetings, and yours ever,

F. Liszt

Weymar, April 3rd, 1855

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

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

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

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

Dear Baron,

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

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

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

A thousand affectionate compliments, and

Yours ever,

F. Liszt

Monday, May 21st, 1855

138. To Anton Rubinstein

My dear Rubinstein,

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

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

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

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

A thousand cordial expressions of friendship, and

Yours ever,

F. Liszt

June 3rd, 1855

139. To Dr. Franz Brendel

[Weimar, June 1855]

Dear Friend,

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

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

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

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

F. Liszt

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

140. To Dr. Franz Brendel.

[The first sheet of the original is missing]

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

With the most friendly greeting, your

F. Liszt

June 16th, 1855.

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

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

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

Dear Singer,

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

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

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

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

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