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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The sentence in the letter of the Committee, in which the hope is
cherished and expressed that "the celebrated Frau Lind-
Goldschmidt may be engaged," leads me to an almost more serious
consideration.--

Do not be alarmed, dear sir, and do not be in the least afraid
that I am going to struggle, in the usual style of our
unchivalrous Don Quixote of musical criticism, with the windmill
of virtuosity. You could not fairly expect this of me either, for
I have never concealed that, since the grapes of virtuosity could
not be made sour for me, I should take no pleasure whatever in
finding them sour in somebody else's mouth.

Frau Land-Goldschmidt stands as incomparable in her glittering
renown as a singer as Handel in his as a composer, with the
difference--which is in Frau Lind's favor to boot--that Handel's
works weary many people and do not always succeed in filling the
coffers, whereas the mere appearance of Frau Lind secures the
utmost rapture of the public, as well as that of the cashier. If,
therefore, we place the affairs of the Musical Festival simply on
the satisfying and commercial debit and credit basis, certainly
no artist, and still less any work of Art, could venture to
compete with, and to offer an equal attraction to, the high and
highly celebrated name of Frau Lind. Without raising the
slightest objection to this, I must express my common-sense
opinion that with this magnet all others would be quite
superfluous, which, however, cannot be quite so indifferent to
me; for, as Louis XIV. represented the State, so Frau Lind would
constitute the Musical Festival proper. This avowal (for which I
deserve, at the very least, stoning with the usual ingredients of
operations of that kind in our civilized age, if I did not happen
to implore grace of the divine Diva herself)--this avowal I
already made last year, on occasion of the Dusseldorf Musical
Festival, to my esteemed friend of many years, Ferdinand Hiller.
What is the use of orchestra and singers, rehearsals and
preparations, pieces and programmes, when the public only want to
hear the Lind, and then hear her again--or, more correctly
speaking, when they must be able to say they leave heard her, in
order to be able to wallow at ease in their enthusiasm for Art?
What I foresaw then was also confirmed to a hair, for it proved,
as everybody knows, that all the sympathy of the public went in
favor of whatever Frau Lind did, so that the so-called Artist-
concert on the third day was the most fully attended, because in
it there were an aria from "Beatrice di Tenda" and Swedish songs
as special attraction--for which marvels the very simplest
pianoforte accompaniment was no doubt sufficient.--Should the
Committee of Aix-la-Chapelle be minded to take to heart the motto
of Hiller's Symphony, "Es muss doch Fruhling werden," ["The
spring will surely come."] in all its artistic endeavour, and, as
you write, to steer clear towards the goal of a "fresher
rekindling of the Musical Festival," we shall be obliged, alas!
to do without the Swedish Nightingale and Europe's Queen of Song.

In short, the point of the matter of this year's Musical Festival
at Aix-la-Chapelle is, as concerns myself, as follows:-

If they decide on having the "Messiah," I must beg to be pardoned
for having to excuse myself from coming. [Liszt finally dropped
his objection to the "Messiah." He had it performed at the
Musical Festival, conducted by him.]

If the Committee accepts the programme I have drawn (Schubert
Symphony, etc., including the last numbers) for the second day,
then it will be a pleasing duty to me to accept the honor of the
invitation, always supposing that the means for a brilliant
performance of the Beethoven Mass and the other works are
forthcoming, as one cannot doubt will be the case in Aix-la-
Chapelle--if my share in the Festival does not in any way give
offence to the neighboring towns, in which case I should of
course gladly and quietly retire, in order not to occasion any
disturbance, or unsatisfactorily prepared discord in the customs
of the musical Rhine-lands. I think there is no need for me to
accentuate the fact that a musical conductor cannot blindly
subscribe to just every programme that is put before him, and I
hope that the honorable Committee will not consider that there is
any assumption in my proposition to place the Aix-la-Chapelle
programme more in accord with my own collective endeavors.

I am writing a few lines of thanks by the next post to President
Herr Van Houten for the distinction shown to me about the
consideration contained in this letter, which I beg that you will
communicate to him verbally.

Awaiting further communications from the Committee, I remain,
dear Herr Capellmeister, with warm acknowledgements and high
esteem,

Yours very truly,

F. Liszt

171. To J. W. von Wasielewski in Dresden

Dear Friend,

Your letter reached me, after some delay, in Zurich, where I had
to keep my bed for several weeks--and today I write to you still
from my bed, and sulking because the geographical change which I
have made has not brought about any improvement in my
pathological condition (which, by the way, is quite without
danger).

How are you, dear Wasielewski? Have you settled yourself
pleasantly in Dresden? Are you working at music industriously and
methodically?--How far have you got in your biography of R.
Schumann? With regard to this work, the publication of which I am
awaiting with great interest, I am sorry to be unable to follow
the wish you so kindly express. Many letters addressed to me by
Schumann in earlier years are lost, and since my residence in
Weymar (from the year 1848) we certainly wrote to one another
from time to time, but only when theater or concert performances
of his works gave a sort of business occasion for it. Weymar does
not deserve the reproach of having kept itself too much in the
background in this respect. At the Goethe Festival in 1849 I had
the great closing scene to the second part of "Faust" given,
which was, later on, repeated; at the beginning of 1852 the music
to Byron's "Manfred," with a stage performance of the drama such
as he desired, was given several times, and, as far as I know, up
to now no other theater has made this attempt. [Liszt was
actually the first.] The Weymar theater is likewise the only one
which contains in its repertoire Schumann's "Genoveva" (which was
indeed given here for the first time in April 1855). It goes
without saying that, during the years of my work here, most of
his chamber music--Quartets, Trios, Sonatas--as well as his
Symphonies, Overtures, and Songs, have been cherished with
particular preference and love, and have been frequently heard in
various concerts, with the exception of one of the most
important; but the very slight amount of public activity of our
Vocal Union has prevented, as yet, any performance of the "Peri,"
which, however, has already been partly studied, and will ere
long be given at last.

As a contribution to your biographical studies, dear Wasielewski,
I should like to tell you truly with what sincere, heartfelt, and
complete reverence I have followed Schumann's genius during
twenty years and faithfully adhered to it. Although I am sure
that you, and all who know me more intimately, have no doubt
about this, yet at this moment the feeling comes over me--a
feeling which I cannot resist--to tell you more fully about my
relations with R. Schumann, which date from the year 1836, and to
give them you here plainly in extenso. Have a little patience,
therefore, in reading this letter, which I have not time to make
shorter.

After the buzz and hubbub called forth by my article in the Paris
Gazette Musicale on Thalberg (the meaning of which, be it said in
passing, has been quite distorted), which was re-echoed in German
papers and salons, Maurice Schlesinger, the then proprietor of
the Gazette Musicale, took the opportunity of asking me to insert
in his paper a very eulogistic article on anything new that came
out in the world of Art. For months Schlesinger sent me with this
object all sorts of novelties, among which, however, I could not
find anything that seemed to me deserving of praise, until at
last, when I was at the Lake of Como, Schumann's "Impromptu" in C
major (properly variations), the "Etudes symphoniques," and the
"Concert sans orchestre" [Concerto without orchestra] (published
later, in the second edition, under the more suitable title
Sonata in F minor) came into my hands. In playing these pieces
through, I felt at once what musical mettle was in them; and,
without having previously heard anything of Schumann, without
knowing how or where he lived (for I had not at that time been to
Germany, and he had no name in France and Italy), I wrote the
critique which was published in the Gazette Musicale towards the
end of 1837, and which became known to Schumann.

Soon afterwards, when I was giving my first concerts in Vienna
(April to May 1838), he wrote to me and sent me a manuscript
entitled "Gruss an Franz Liszt in Deutschland" ["Greeting to
Franz Liszt in Germany"]. I forget at this moment under what
title it was afterwards published; the opening bars are as
follows:--

[Here, Liszt hand-writes the score for the opening bars. It is
the beginning of the second Novelette Op. 21, but not quite
correctly quoted by Liszt]

At about the same time followed the publishing of the great
"Fantasia" (C major) in three movements, which he dedicated to
me; my dedication to him in return for this glorious and noble
work was only made three years ago in my "Sonata" in B minor.

At the beginning of the winter of 1840 I traveled from Vienna
back to Paris by way of Prague, Dresden, and Leipzig. Schumann
paid me the friendly attention of welcoming me immediately on my
arrival in Dresden, and we then travelled together to Leipzig.
Wieck, afterwards Schumann's father-in-law, had at that time a
lawsuit against him to prevent his marriage with Clara. I had
known Wieck and his daughter from Vienna days, and was friendly
with both. None the less I refused to see Wieck again in Dresden,
as he had made himself so unfriendly to Schumann; and, breaking
off all further intercourse with him, I took Schumann's side
entirely, as seemed to me only right and natural. Wieck without
delay richly requited me for this after my first appearance in
Leipzig, where he aired his bitter feelings against me in several
papers. One of my earlier pupils, by name Hermann Cohen--a native
of Hamburg, who in later years aroused much attention in France,
and who, as a monk, had taken the name of Frere Augustin (Carme
dechausse [Barefooted Carmelite])--was the scapegoat in Leipzig
for Wieck's publicly inflamed scandal, so that Cohen was obliged
to bring an action for damage by libel against Wieck, which
action Hermann won with the assistance of Dr. Friederici,
barrister-at-law.

In Leipzig Schumann and I were together every day and all day
long--and my comprehension of his works became thereby more
familiar and intimate. Since my first acquaintance with his
compositions, I have played many of them in private circles in
Milan, Vienna, etc., but without being able to win over my
hearers to them. They lay, happily, much too far removed from the
insipid taste, which at that time absolutely dominated, for it to
be possible for any one to thrust them into the commonplace
circle of approbation. The public did not care for them, and the
majority of pianists did not understand them. In Leipzig even,
where I played the "Carneval" at my second concert in the
Gewandhaus, I did not succeed in obtaining my usual applause. The
musicians, together with those who were supposed to understand
music, had (with few exceptions) their ears still too tightly
stopped up to be able to comprehend this charming, tasteful
"Carneval," the various numbers of which are harmoniously
combined in such artistic fancy. I do not doubt that, later on,
this work will maintain its natural place in universal
recognition by the side of the "Thirty-three Variations on a
Waltz of Diabelli" by Beethoven (to which, in my opinion, it is
superior even in melodic invention and importance). The frequent
ill-success of my performances of Schumann's compositions, both
in private circles and in public, discouraged me from including
and keeping them in the programmes of my concerts which followed
so rapidly on one another--programmes which, partly from want of
time and partly from carelessness and satiety of the "Glanz-
Periode" ["Splendor period"] of my pianoforte-playing, I seldom,
except in the rarest cases, planned myself, but gave them now
into this one's hands, and now that one, to choose what they
liked. That was a mistake, as I discovered later and deeply
regretted, when I had learned to understand that for the artist
who wishes to be worthy of the name of artist the danger of not
pleasing the public is a far less one than that of allowing
oneself to be decided by its humors

--and to this danger every executive artist is especially
exposed, if he does not take courage resolutely and on principle
to stand earnestly and consistently by his conviction, and to
produce those works which he knows to be the best, whether people
like them or not.

It is of no consequence, then, in how far my faint-heartedness in
regard to Schumann's pianoforte compositions might possibly be
excused by the all-ruling taste of the day, but I did without
thinking of it thereby set a bad example, for which I can hardly
make amends again. The stream of custom and the slavery of the
artist, who is directed to the encouragement and applause of the
multitude for the maintenance and improvement of his existence
and his renown, is such a pull-back, that, even to the better-
minded and more courageous ones, among whom I am proud to reckon
myself, it is intensely difficult to preserve their better ego in
the face of all the covetous, distracted, and--despite their
large number--backward-in-paying We.

There is in Art a pernicious offence, of which most of us are
guilty through carelessness and fickleness; I might call it the
Pilate offence. Classical doing, and classical playing, which
have become the fashion of late years, and which may be regarded
as an improvement, on the whole, in our musical state of things,
hide in many a one this fault, without eradicating it:--I might
say more on this point, but it would lead me too far.

For my part I need not, at least, reproach myself with having
ever denied my sympathy and reverence for Schumann; and a hundred
of the younger companions in Art in all lands could bear witness
that I have always expressly directed them to a thorough study of
his works, and have strengthened and refreshed myself by them.

If these particulars have not wearied you, dear Wasielewski, I
will gladly continue them, and tell you about everything from my
second visit to Leipzig (at the end of 1841) which was brought
about by Schumann, up to my last meeting with him at Dusseldorf
(in 1851). Friendly greetings

From yours most sincerely,

F. Liszt

Weymar, January 9th, 1857.

172. To General Alexis von Lwoff in St. Petersburg

[1799-1877; in addition to his military position, he was a
celebrated violinist, and conductor of the Imperial Court-Singers
at St. Petersburg.]

Your Excellency and My Honored Friend,

Permit me to think that I am not quite effaced from your
recollection, and to avail myself of the medium of Mdlle. Martha
de Sabinin to recall myself to you more particularly. It being
her wish to find herself in pleasant relations with the chief
representatives of music in St. Petersburg, it was natural that I
should introduce her in the first instance to you, and recommend
her to you first and foremost as the protegee of Her Imperial
Majesty the Grand Duchess Marie Pawlowna, as well as of the
reigning Grand Duchess of Saxe-Weymar (in whose service she has
been for several years as Court Pianist and Professor at the
Institute for Young Ladies of the Nobility),--and, secondly, as a
clever woman and excellent musician and pianist, who, after
having gone through the most conscientious study, is perfectly
fitted to teach others in a most agreeable manner. She
especially excels in her execution of classical music and
ensemble; and, this side of music being, from what I hear, more
and more cultivated at St. Petersburg, especially through your
care, I am pleased to think that Mdlle. de Sabinin will easily
find an opportunity of coming out advantageously in this line. I
much regret that you have, as yet, neglected Weymar since I have
been settled here. It would have been a pleasure to me to place
at your disposal a musical personnel, which has been justly
spoken of with praise, for the performance of your "Stabat Mater"
and other of your compositions, which we should have great
pleasure in applauding. Let me hope that you will not always be
so rigorous towards us, and pray accept the expressions of high
esteem and respect with which I shall always be, dear and honored
friend,

Your Excellency's very obedient servant,

F. Liszt

Weymar, January 10th, 1857

173. To Johann Von Herbeck in Vienna

[Hofcapellmeister (Court conductor), and an excellent conductor
(1831-1877).--The above letter, as well as a later one addressed
to the same musician, was published in "Johann Herbeck. Ein
Lebensbild von seinem Sohne Ludwig." Vienna, Gutmann, 1885.--Date
in Herbeck's handwriting.]

[Received January 12th, 1857]

Dear Sir,

On my somewhat delayed return to Weymar I find your friendly
letter, for which I send you my

sincere and warmest thanks. I am very much pleased to learn from
you that you have succeeded, thanks to your careful and
intelligent preparation, in making such a good effect with the
"Faust" (Student) Chorus. [It was the first choral composition
which was conducted by Liszt in Vienna, and with the very same
Mannergesangverein which Herbeck conducted.] This light little
piece has been pretty successfully given several times by
Mannergesangvereinen [Vocal societies of male voices] in Cologne,
Berlin, etc., and even in Paris. When I published it fifteen
years ago, I did not think much about making allowance for any
possible laxity in the intonation of the singers; but today, when
my experience has taught me better, I should probably write the
somewhat steep and slippery passage as follows:--

[Here, Liszt illustrates with a vocal score musical excerpt at
the point where the singer sings "Die Ko-chin hat ihr Gift
gestellt, da ward zu eng ihr in der Welt, etc."]

Probably this version would also be more effective--with the
alteration in the last verse (in honor of prosody!):--

[Here, Liszt illustrates with a vocal score musical excerpt at
the point where the singer sings "ha, sie pfeift auf dem letzten
Loch."]

I shall venture shortly to send you (by Herr Haslinger), my dear
sir, a couple of other Quartets for male voices to look through.
If, after doing so, you think you may risk a public performance
of them, I leave the matter entirely in your hands.

There is not the slightest hurry about the Mass, [For men's
voices. On the occasion of the Mozart Festival in Vienna in 1856,
conducted by Liszt, he had played portions of this Mass to
Herbeck, and the latter felt himself, as he wrote to Liszt,
"electrified by the spirit of this work and its creator," and set
himself "at the same time the artistic duty of a worthy rendering
of this Song of Praise."] and I fear that the preparation of this
work will cost you and your singers some trouble. Before all else
it requires the utmost certainty in intonation, which can only be
attained by practicing the parts singly (especially the middle
parts, second tenor and first bass)--and then, above all,
religious absorption, meditation, expansion, ecstasy, shadow,
light, soaring--in a word, Catholic devotion and inspiration. The
"Credo," as if built on a rock, should sound as steadfast as the
dogma itself; a mystic and ecstatic joy should pervade the
"Sanctus;" the "Agnus Dei" (as well as the "Miserere" in the
"Gloria") should be accentuated, in a tender and deeply elegiac
manner, by the most fervent sympathy with the Passion of Christ;
and the "Dona nobis pacem," expressive of reconciliation and full
of faith, should float away like sweet-smelling incense. The
Church composer is both preacher and priest, and what the word
fails to bring to our powers of perception the tone makes winged
and clear.

You know all this at least as well as I do, and I must apologize
for repeating it to you. If the extent of the chorus allows of
it, it might perhaps be desirable to add a few more wind
instruments (clarinets, bassoon, horns, indeed even a couple of
trombones) to support the voices more. If you think so too,
please send me a line to say so, and I will at once send you a
small score of the wind instruments. [Herbeck himself undertook,
at Liszt's desire (which, as he wrote, filled him with joy and
pride), to write the instrumental accompaniment to the Mass.] You
shall have the vocal parts from Jena immediately. For today
accept once more my best thanks, together with the assurance of
the highest esteem of

Yours ever,

F. Liszt

174. To Professor Franz Gotze in Leipzig

[The celebrated singer in Leipzig (1814-88); was a pupil of
Spohr's, and was first violinist in the Weimar Hofcapelle, then
went on to the stage, and both as a lyric tenor and as a singer
of Lieder was incomparable. He was the first who publicly went in
for Liszt's songs, in which his pupils imitated him.]

Dear Friend,

In consequence of an invitation of the directors, I shall have
the honor of having several of my works performed at the concert
on the 26th February for the Orchestral Pension Fund in Leipzig,
and very much wish that you would do me the kindness to sing two
of my songs ("Kling leise, mein Lied" and "Englein du mit blondem
Haar"), and to rejoice the public with your ardent and
beautifully artistic rendering of these little things.

Fraulein Riese is so good as to bring you the new edition of my
six first songs (amongst which is the "Englein" in A major)--a
couple more numbers will shortly follow.

Grant me my request, dear friend, and rest assured beforehand of
the best thanks, with which I remain,

Yours in most sincere friendship, F. Liszt

Weymar, February 1st, 1857

175. To Dionys Pruckner in Vienna

Weymar, February 11th, 1857

From all sides, dearest Dionysius, I hear the best and most
brilliant accounts of you. Without being surprised at this I am
extremely pleased about it. To make a firm footing in Vienna as a
pianoforte player is no small task, especially under present
circumstances! If one succeeds in this, one can, with the utmost
confidence, make a name throughout Europe. It is very important
for you, dear friend, to appear often in public, so as to make
yourself feel at home with them. In production the public have
far more to care about the artist than he has to care about them,
or indeed to let himself be embarrassed by them. At home, our
whole life through, we have to study and to devise how to mature
our work and to attain as near as possible to our ideal of Art.
But when we enter the concert-room the feeling ought not to leave
us, that, just by our conscientious and persevering striving, we
stand somewhat higher than the public, and that we have to
represent our portion of "Menschheits-Wurde," [Manhood's dignity]
as Schiller says. Let us not err through false modesty, and let
us hold fast to the true, which is much more difficult to
practice and much more rare to find. The artist--in our sense--
should be neither the servant nor the master of the public. He
remains the bearer of the Beautiful in the inexhaustible variety
which is appointed to human thought and perception--and this
inviolable consciousness alone assures his authority.

Through your father I learn that you are thinking of going to
Munich in the course of the spring. I, on my side, had also the
intention of giving you a rendez-vous there. But yesterday I
definitely accepted the conductorship of the Musical Festival of
the Lower-Rhine, which will take place this year in Aix-la-
Chapelle at Whitsuntide, on the 31st May, and could not undertake
a long journey before then, in order not to break in on my work
too much.

At the beginning of September we shall have grand festivities
here in honor of the centenary of Carl August. Rietschel's
Schiller and Goethe group will then be put up, and there will be
a great deal of music on this occasion at the theater, for which
I must prepare. I hope we shall see each other before then.

Bronsart is in Paris. You shall have his Trio very soon. Bulow is
playing in Rostock, Bremen, and Hamburg. The Aix-la-Chapelle
Committee have also invited him to the Musical Festival. Singer
goes next week to Rotterdam, and on the 26th February a couple of
my Symphonic Poems will be given at the Gewandhaus (directed by
myself). I yesterday finished the score of another new one, Die
Hunnenschlacht, [The Battle of the Huns] which I should like to
bring out in Vienna when there is an opportunity.

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