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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Will you let me know by a few lines what your plans are for the
end of the summer and autumn? Shall you return to Leipzig? Will
it suit you to try your Oratorio first at Weymar? In this latter
case, which you may be sure will be the most agreeable to me, I
will try to facilitate the arrangements that have to be made as
regards copies, and to save you the expense of copying. Toward
the end of October, at latest, I shall be back here; and, if we
do not meet before, I count on your not letting this year elapse
without coming again for a few days to your room at the
Altenburg, where you are certain of being always most cordially
welcome, for we shall make no changes.

If you have a quarter of an hour to spare do write a piece of a
few pages for Hallberger, without making him wait any longer, for
I especially want one of your loose works to appear in the first
copy of the "Pianoforte."

The Princess bids me give you her best compliments, to which I
add the expression of frank and cordial friendship of your very
devoted

F. Liszt

August 6th, 1856.

Have you received my things in score? Continue to address me at
Weymar.

160. To Joachim Raff

You would be making a great mistake if you put any mistrust in my
conduct, and I can assure you with a perfectly good conscience
that to me there is nothing more agreeable and more to be desired
than to rely entirely on one's friends. With regard to the
Wiesbaden affair, I must necessarily await a definite invitation
from the concert directors before I can give a definite answer. I
think I have too often shown that I am ready and willing, for it
to be necessary for me to say more on that point. I was again at
Sondershausen last Sunday, and promised to go there again in the
course of next winter. The orchestra there, under its conductor
Stein (whose acquaintance I had not made until now), has
performed two of my Symphonic Poems--"Les Preludes" and
"Mazeppa"--with really uncommon spirit and excellence. Should
there be a similar willingness in Wiesbaden, it will of course be
a pleasure to me to accept the invitation of the concert
directors; so also I am greatly obliged to you for being so
helpful toward the spread and sympathetic understanding of my
works. But from your letter I see that you will not be staying
much longer in Wiesbaden, and as I am not acquainted with the
present circumstances there I cannot reckon beforehand on the
friendly reception without which public performances always prove
very unfruitful for composers. According, therefore, to whether
these circumstances show themselves favorable or unfavorable to
my honest endeavors, I will come, or I will remain at home.

I give you my heartiest good wishes for the performance of your
"King Alfred" [an opera of Raff's]. Your two "Tanz-Capricen"
(bolero and valse) have been sent me by Hallberger, and I have
already recommended a speedy edition of both.

This afternoon I start for Gran. In the middle of September I
shall get to Stuttgart and go to Zurich. Letters can be always
addressed to me at Weymar, and before the end of October I shall
be back here again.

With best greetings and thanks, yours very truly,

F. Liszt

Weymar, August 7th, 1856

161. To Anton Rubinstein

I much regret, dear Rubinstein, to have missed your visit to
Weymar, and, while thanking you most sincerely for your kind
intention, I am going to beg you to grant me full reparation by a
second visit when I return.

By the news which reaches me from the Altenburg I learn that you
think of spending part of the winter in Berlin, and will there
give your "Paradise Lost," which will doubtless be a piece well
found, and from which you will derive benefit. Please do not fail
to let me know in good time which day it is to be performed, for
I am set upon being present at this first performance, and shall
certainly come to Berlin unless anything absolutely unavoidable
prevents me.

I expect to be back at Weymar towards the end of October, and to
set seriously to work again, a thing which is not possible
elsewhere. The rehearsals of my Mass are going on here admirably,
and I expect we shall have a very fine performance at Gran on the
31st, where, moreover, there will be so many other things and
people of quite a different importance to be seen and heard, that
they will scarcely hear three bars of my Mass. Happily my work
has the good luck to have two general preliminary rehearsals,
public ones, at Pest next week, and a final rehearsal at Gran
itself. Zellner will probably be there, and you will hear about
it from him. Possibly also the same Mass will be given on the
28th September (the day of St. Wenceslas, the patron saint of
Bohemia) at Prague, whence they have just written to me to that
effect. You will give me great pleasure, my dear Rubinstein, if
you will write me something about your autumn and winter plans;
and if by chance I can be of use to you in any way show me the
friendship of disposing entirely of me, as of one who is your
very sincerely affectionate and devoted

F. Liszt Pest, August 21st, 1856

Address always to Weymar.

I am still expecting to go by Stuttgart to Zurich towards the
middle of September, but it is possible that Prague may occasion
me a fortnight's delay.

162. To Eduard Liszt

[Pest,] Friday, September 5th, 1856

Dearest Eduard,

Yesterday's performance of my Mass was quite according to my
intentions, and was more successful and effective by far than all
the preceding ones. Without exaggeration and with all Christian
modesty I can assure you that many tears were shed, and that the
very numerous audience (the church of the Stadtpfarrei [I.e., the
parish church] was thronged), as well as the performers, had
raised themselves, body and soul, into my contemplation of the
sacred mysteries of the Mass...and everything was but a humble
prayer to the Almighty and to the Redeemer!--I thought of you in
my heart of hearts, and sought for you--for you are indeed so
very near and dear to me in spirit!--Next Monday, the 8th
September, at the consecration of the Hermine-Kapelle (which the
Cardinal Prince Primate of Hungary will consecrate), my Mass for
four men's voices will be sung. Winterberger will accompany it on
a Physharmonica of the organ genus. On the same evening (Monday)
the concert for the benefit of the Pension Fund will take place
at the theater: Singer and Pruckner will play at it, and two of
my Symphonic Poems--"Les Preludes" and "Hungaria" (Nos. 3 and 9)-
-will be given.

On the 14th September at latest I shall get to Vienna, and I will
write to Haslinger more definitely about it. Meanwhile will you
please tell Haslinger, as I cannot write to him until the concert
in the Hungarian theater is over.

.--. I expect to leave here before the end of next week.

God be with you and with your

F. L.

At the rehearsal this morning I was told that you have got such
an excellent article on the Mass in the Wanderer. I suppose you
sent the number to Weymar? If possible let me have one here also.

163. To Louis Kohler

Bravo, dear friend, for the three very graceful and charmingly
conceived melody-dialogues! I have pleasure in them, and am
certain of the success of this charming selam. [Meaning a musical
bouquet.] As an old laborant [Worker in a laboratory] at piano
music allow me merely to lay before you a slight alteration in
the two bars before the return of the motive (No. I). According
to my conception one bar more would have a beneficial effect
there, thus:--

[Here Liszt writes out a 5-measure excerpt of piano music]

If you agree with this version, write me simply Yes to the
address of Richard Wagner, Zeltweg, Zurich. I shall get there
next Sunday, and stay some days with our great friend. At the
beginning of November I shall be back in Weymar.

Hearty greetings from yours in all friendship,

F. Liszt

Stuttgart, October 8th, 1856.

In No. 3 (in the first two bars) the F seems to me the right
sound in the bass, and that was what you had first written:--

[Here, Liszt illustrates with a musical score excerpt]

instead of:--

[Here, Liszt illustrates with another musical score excerpt]

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

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

[An ardent friend of Liszt's, a promoter of musical endeavors, a
co-founder and member of the Committee (General Secretary) of the
Allgemeine Deutsche Musikverein, is at the head of the Liszt
Museum in Weimar, and lives in Jena, where he is Prince's Council
and Councillor of Justice.]

Zurich, November 14th, 1856

My very dear Friend,

I am heartily rejoiced at the honorable proof of the sympathy and
attachment of our Circulus harmonicus Academiae Jenensis, which
was prepared for me for the 22nd October by your kindness, and I
give you my warmest thanks for it, begging you to be so good as
to pass them on also to our friends Stade and Herr Schafer, whose
names strengthen the diploma.

It touches me deeply that you join the Gran Basilica and my
"Missa Solemnis" in this diploma. You may be sure, dear friend,
that I did not compose my work as one might put on a church
vestment instead of a paletot, but that it has sprung from the
truly fervent faith of my heart, such as I have felt it since my
childhood. "Genitum, non factum"--and therefore I can truly say
that my Mass has been more prayed than composed. By Easter the
work will be published by the Royal State Printing Office at the
cost of the Government, thanks to the kind instructions of His
Excellency Minister von Bach, and I am looking forward to the
pleasure of presenting one of the first copies to the Circulus
harmonicus. The Mass has been given a second time at Prague since
I left, and, as Capellmeister Skraup writes, "with increasing
interest"; a couple more performances, in Vienna, etc., are
pending.

Pray excuse me, dear friend, for not having sent you my thanks
sooner. Your letter found me in bed, to which I am still confined
by a somewhat protracted illness, which will delay my return to
Weymar some weeks. Next week I am to begin to get out into the
air again, and I hope to be able to get away in about ten days.
At the beginning of December I shall be at Weymar, and shall then
soon come to you at Jena.--

I shall have a great deal to tell you verbally about Wagner. Of
course we see each other every day, and are together the livelong
day. His "Nibelungen" are an entirely new and glorious world,
towards which I have often yearned, and for which the most
thoughtful people will still be enthusiastic, even if the measure
of mediocrity should prove inadequate to it!--

Friendly greetings, and faithfully your

F. Liszt

165. To Dr. Adolf Stern in Dresden

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

Very Dear Sir and Friend,

A long and protracted illness has kept me in bed for a fortnight
past--and I owe you many apologies for my delay in sending you my
warmest thanks for the very kind remembrance with which you
adorned the 22nd of October. The beautiful poem, so full of
meaning, and soaring aloft with its delicately powerful flight,
goes deeply to my heart, and my dreams hear the charm of your
poetry through Lehel's magic horn tones! Perhaps I shall be able
shortly to tell you what I have heard, when the disjointed sounds
have united in shaping themselves harmoniously into an artistic
whole, from which a second part of my Symphonic Poem "Hungaria"
might well be formed.

Meanwhile I have ventured to send your poem to a couple of my
friends in Pest, who will delight in it like myself.

In spite of my illness I am spending glorious days here with
Wagner, and am satiating myself with his Nibelungen world, of
which our business musicians and chaff-threshing critics have as
yet no suspicion. It is to be hoped that this tremendous work may
succeed in being performed in the year 1859, and I, on my side,
will not neglect anything to forward this performance as soon as
possible--a performance which certainly implies many difficulties
and exertions. Wagner requires for the purpose a special theater
built for himself, and a not ordinary acting and orchestral
staff. It goes without saying that the work can only appear
before the world under his own conducting; and if, as is much to
be wished, this should take place in Germany, his pardon must be
obtained before everything.--I comfort myself with the saying,
"What must be will be!" And thus I expect to be also standing on
my legs again soon, and to be back in Weymar in the early days of
December. It will be very kind of you if you will not let too
long a time elapse without coming to see me. For today accept
once more my heartfelt thanks, and the assurance of sincere
friendship of your

F. Liszt

Zurich, November 14th, 1856

166. To Louis Kohler

Enclosed, dear friend, is a rough copy of the Prelude to
"Rheingold," which Wagner has handed me for you, and which will
be sure to give you great pleasure.

After having been obliged to keep my bed for a couple of weeks,
which has lengthened out my stay here, I am now making ready to
go with Wagner the day after tomorrow to St. Gall, there to
conduct a couple of my Symphonic Poems with a very respectable
orchestra (twenty violins, six double basses, etc.). Toward the
middle of December I shall be back in Weymar, and shall continue
to write my stuff!--

A thousand friendly greetings.

F. Liszt

Zurich, November 21st, 1856

167. To Eduard Liszt

St. Gall, November 24th, 1856

.--. A really significant concert took place yesterday at St.
Gall. Wagner conducted the Eroica Symphony, and I conducted in
his honor two of my Symphonic Poems. The latter were excellently
given--and received. The St. Gall paper has several articles on
the subject, which I am sending you.

By Christmas I will send you the new copies of my Mass (which I
think I have considerably improved in the last revision,
especially by the concluding Fugue of the Gloria and a
heavenward-soaring climax of the subject.

[Here, Liszt illustrates with a vocal score excerpt at the point
where the singer sings: "et u-nam sanctam catho-li-camet a-po -
sto - - - - li-cam"]

Probably the work will be ready to appear by Easter. If you write
by return of post, you can send the ministerial answer to my
letter to Bach to me here. The contents, of which you have told
me, please me much, and I reckon with confidence that the
publishing of the score will fix the sense and meaning of my work
in public opinion. The work is truly "of pure musical water (not
in the sense of the ordinary diluted Church style, but like
diamond water) and living Catholic wine."

.--. Farewell, dearest Eduard, and remain true to me in heart and
spirit, as is also to you your

F. Liszt

168. To Alexander Ritter, Music Director in Stettin

Munich, December 4th, 1856

Dear Friend,

I received your letter on a day when I again greatly missed your
presence. We were together with Wagner at St. Gall, and the
Musical Society there had distinguished itself by the production
of an orchestra of ten first, ten second violins, eight violas,
six celli and double basses. Wagner conducted the Eroica, and I
two of my Symphonic Poems--"Orpheus" and "Les Preludes." The
performance and reception of my works were quite to my
satisfaction, and the "Preludes" had to be repeated (as they were
in Pest). Whether such a production would be possible in Stettin
I much doubt, in spite of your friendly advances. The open,
straightforward sense of the public is everywhere kept so much in
check by the oft-repeated rubbish of the men of the "But" and
"Yet," who batten on criticism, and appear to set themselves the
task of crushing to death every living endeavour, in order
thereby to increase their own reputation and importance, that I
must regard the rapid spread of my works almost as an imprudence.
You desire "Orpheus," "Tasso," and "Festklange" from me, dear
friend! But have you considered that "Orpheus" has no proper
working out section, and hovers quite simply between bliss and
woe, breathing out reconciliation in Art? Pray do not forget that
"Tasso" celebrates no psychic triumph, which an ingenious critic
has already denounced (probably mindful of the "inner camel,"
which Heine designates as an indispensable necessity of German
aestheticism!), and the "Festklange" sounded too confusedly noisy
even to our friend Pohl! And then what has all this canaille to
do with instruments of percussion, cymbals, triangle, and drum in
the sacred domain of Symphony? It is, believe me, not only
confusion and derangement of ideas, but also a prostitution of
the species itself!

Should you be of another opinion, allow me at least to keep you
from too greatly compromising yourself, so near to the doors of
the immaculate Berlin critics, and not to drag you with myself
into the corruption of my own juggling tone-poems. Your dear wife
(to whom I beg you to remember me most kindly) might be angry
with me for it, and I would not on any account be put into her
bad books. Instead of conducting my Symphonic Poems, rather give
lectures at home of the safe passport of Riehl's "Haus-Musik,"
and take well to heart the warning,

"Ruckkehr zum Mass." ["A returning within bounds." A footnote by
Liszt follows: "Dabei wird naturlich das Mass der
Mittelmassigkeit als einzig massgebend verstanden." ("By this is
of course understood the bounds of mediocrity as the one
limitation.") A play on the words, "Mass," "Massigkeit," and
"Massgebend."]

On this road alone can you soon attain a conductor's post, and
the "esteem" due to you as a music director, both from musicians
and people of rank.

For the rest you would entirely misconstrue my good advice if you
thought you could see in it only a pretext for not keeping my
former promise of coming to see you at Stettin. I shall most
certainly come to you on the first opportunity, and shall be
delighted to spend a couple of days with such excellent friends.
But first of all I must stop in Weymar for a while, in order to
finish some works begun, and to forget altogether my lengthy
illness in Zurich.

I had some glorious days with Wagner; and "Rheingold" and the
"Walkure" are incredibly wonderful works.

To my great sorrow, I only saw your brother Carl [A musician, a
friend of Wagner's.] a couple of times in the early days of my
stay in Zurich. I will tell you vaud voce how this happened, so
entirely against my wish and expectation, through a provoking
over-sensitiveness on the part of your brother. I am sure you
don't need any assurance that I did not give occasion in any way
to this. But for the future I must quietly wait till Carl thinks
better and more justly of it.

Farewell, dear friend, and let me soon hear from you again.

Yours in all friendship,

F. Liszt

Bronsart is going shortly to Paris, where he will stay some time.
Cornelius is working at a comic opera [This would be the Barber
of Baghdad.--Translator's note.] in the Bernhard's-Hutle. Raff is
to finish his "Samson" for Darmstadt. Tausig is giving concerts
in Warsaw. Pruckner will spend the winter in Vienna and appear at
several concerts. Damrosch composed lately an Overture and Entre-
acte music to the "Maid of Orleans." Stor plunges himself into
the duties of a general music director. Thus much have I learned
of our Neu-Weymar-Verein.

169. To Professor L. A. Zellner in Vienna

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

To my letter of yesterday I have still to add a postscript, my
dear friend, concerning the information in your new
Abonnement,[The Blatter fur Musik, Theater, and Kunst ("Pages of
Music, theater, and Art"), edited by Z.] in which I was struck
with the name of Bertini among the classics, which does not
seem to me suitable. As far as I know, Bertini is still living,
[He did not die till 1876.] and according to the common idea, to
which one must stick fast, only those who are dead can rank as
classic and be proclaimed as classic. Thus Schumann, the
romanticist, and Beethoven, the glorious, holy, crazy one, have
become classics. Should Bertini have already died, I take back my
remark, although the popularity of his Studies is not, to me, a
satisfactory reason for making his name a classic.--Moscheles'
and Czerny's Studies and "Methods" would have a much more just
claim to such a thing, and your paper has especially to set
itself the task of counteracting, with principle and consistency,
the confusion of ideas from which confusion and ruin of matters
arise. Hold fast then to this principle, both in great and small
things, for the easier understanding with the public, that the
recognition of posterity alone impresses the stamp of "classical"
upon works, in the same way as facts and history are established;
for thus much is certain, that all great classics have been
reviled in their own day as innovators and even romanticists, if
not bunglers and crazy fellows, and you yourself have commented
on, and inquired into, this matter many times..--.

In your number of today I read an extract from my letter to
Erkel, [A well-known Hungarian composer ("Hunyadi Laszlo")] in
which, however, the points are missing. Erkel shall show you the
letter on the first opportunity, for he has not left it lying
idle in his desk. Of course no public use is to be made of it.

Yours ever, F. L.

January 2nd, 1857

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

[Published in the Allgemeine Musikzeitung, July 11th, 1890]

Weymar, January 3rd, 1857

Dear Herr Capellmeister,

Although I am still kept to my bed by a long-continued
indisposition, yet I will not delay giving you my warmest thanks
for the active pains you have so kindly taken to place my
endeavors in the cause of Art in a better light than I could
otherwise have expected in your neighborhood.

The result of the choice of myself as conductor of the Musical
Festival at Aix-la-Chapelle this year--a result which was
notified to me yesterday by the letter of the Committee of the
Lower-Rhine Musical Festival--is a welcome sign to me of the
gradual recognition which an open and honestly expressed,
consistent, and thoroughly disinterested conviction may meet with
in different places. Whilst feeling myself especially indebted to
you for having brought about this result, I would express to you
at the same time the fact of my readiness to answer your very
flattering wishes to the best of my powers, and to put aside any
hindrances that may be in the way, in order to fulfill the task
entrusted to me, if the following remarks are brought to the
attention of the Committee, as I consider them essential to the
success and also to the importance of the Musical Festival.

My conducting in Aix-la-Chapelle can only have such significance
as attaches to the less-known and newer works, and those which
are more nearly allied to the Art-interests of today; its
justification would be strengthened by an excellent performance
of such works. I was on this account completely in accordance
with the programme you so kindly sent me (with the addition of
one or two numbers), as I am unable to be with the other
programme, received in the letter of the Committee yesterday. The
latter is as follows:--

First day: Messiah by Handel.--Second day: Mass (in D major) by
Beethoven.

The former as follows:--

First day: Mass by Beethoven (preceded by one of the shorter
works of Handel--or possibly by a Cantata by Bach [?]).

Second day: Schubert's Symphony (in C); one of the larger choral
works of Schumann (say, perhaps, "The Rose's Pilgrimage"--or one
of the Ballades), and, as I should propose, one of the longer
scenes from Berlioz' "Faust," and one or other of my Symphonic
Poems.

You will not expect of me, dear Herr Capellmeister, that I should
go off into a great panegyric about Handel and, if you caught me
doing it, you might stop me immediately with the words of the
ancient Greek who did not want any more praises of Homer--"You
praise him, but who is thinking of blaming him?" The fullness and
glory of this musical majesty is as uncontested as the pleasant,
emulating, easily attainable performance of the "Messiah," a
chef-d'oeuvre, which has been for years the "daily bread," so to
speak, of great and small vocal societies both in England and
Germany. With the exception of Haydn's "Creation" there is
scarcely a work of that kind existing which could show such
countless performances. I, for my part, chose the "Messiah" for
performance again in Weymar (in August 1850)--partly because
Herder had interested himself in the preparation of the German
text--and in the previous August they celebrated the Middle-Rhine
Musical Festival at Darmstadt with it. This latter circumstance
enhances my general consideration as to the artistic
judiciousness of a repeated performance of the Messiah, up to a
special point in regard to the Aix-la-Chapelle Festival, and
therefore I should like the question put to the Committee
"whether they consider that, in the interests of the 'fresher
life of the Musical Festival there,' it can be advantageous for
the Lower-Rhine to repeat it after the Middle-Rhine."

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