Letters of Franz Liszt, Volume 1, From Paris to Rome:
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Franz Liszt; Letters assembled by La Mara and translated >> Letters of Franz Liszt, Volume 1, From Paris to Rome:
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Yours in all friendship,
F. Liszt
176. To Joachim Raff
[February 1857]
You may rest assured, dear friend, that it was very much against
the grain to me that I could not accept the kind invitation of
the Wiesbaden Concert Committee, for which I have to thank your
intervention; and your letter, in which you explain to me some
other circumstances, increases my sincere regret. But for this
winter it is, frankly, impossible for me to accept any
invitations of that kind, and I think I have told you before now
that I have had to excuse myself in several cities (Vienna,
Rotterdam, etc.). Even for Leipzig, which is so near me (although
I might appear somewhat far-fetched to many a one there!), it was
difficult to find a day that would suit me. On the 26th of this
month the "Preludes" and "Mazeppa" are to be given in the
Gewandhaus under my direction (for the Orchestral Pension Fund
Concert). Perhaps this performance will serve as a definite
warning for other concert-conducting, which might have been
thought of, to question my "incapability as a composer," so often
demonstrated (see the proof number of the "Illustrirte
Monatsheft" of Westermann, Brunswick, the National Zeitung, and
the "thousand and one" competent judges who have long since been
quite clear on the matter!).
How far are you in your Opera? When will one be able to see and
hear something of it? As far as I have heard, you intend to
perform "Samson" first in Darmstadt. If this does not happen at
too awkward a time for me I shall come.
After having twice renounced the honor of conducting the
approaching Musical Festival of the Lower-Rhine (to be held this
year at Aix-la-Chapelle) a deputation of the Committee arrived
here yesterday. In consideration of their courtesy I shall
therefore go to Aix-la-Chapelle at Whitsuntide, and perhaps you
will let yourself be beguiled into visiting me there. By that
time also the Mass [The Gran Festival Mass] will probably have
already come out, and you must have a copy of it at once. By the
many performances, which have been of great use to me in this
work, many additions, enlargements, and details of performance
have occurred to me, which will enhance the effect of the whole,
and will make some things easier in performance. An entirely new
concluding fugue of the "Gloria," with this motive:--
[Here, Liszt illustrates with a vocal score musical excerpt at
the point where the singer sings "Cum sanc-to spi-ri-tu, in
Gloria."]
may not be displeasing to you.
Very shortly I will send you also the three numbers still wanting
(1, 8, and 9) of the Symphonic Poems, so that you may again have
some (for you) light reading as a rest from your work. The "Berg"
Symphony was given, in its present form, a short time ago at
Bronsart's farewell concert. Bronsart played the same evening a
Trio of his own composition in four movements, which I esteem as
a successful and very respectable work.
Once more best thanks for the fresh proof of your friendly
attachment which your letter gives me, and don't let too long a
time elapse without sending good news to
Yours most sincerely,
F. Liszt
177. To Concertmeister Ferdinand David in Leipzig
[Printed in Eckardt's "F. David and the Mendelssohn Family,"
Leipzig, Dunker & Humblot, 1888.]
Leipzig, February 26th, 1857, 10 o'clock
[Preceding the body of the letter, Liszt illustrates with a vocal
score musical excerpt with the words "Away! Away!" written in
English by Liszt. It is a quotation from Liszt's Symphonic Poem
"Mazeppa," which he had conducted in the Leipzig Gewandhaus on
the same day as the "Preludes," and with which he had had ill-
success. David, who was present as leader of the orchestra,
"disapproved"--according to Eckardt--of Liszt's composing
tendency, but continued, till his life's end, "filled with
admiration for the incomparable artist and genial man," in the
friendliest relations with Liszt.]
Before I go to bed let me give you my most sincere and heartfelt
thanks, my very dear friend, which I owe you for this evening.
You have proved yourself anew such a thorough gentleman
[Gentleman, put in English by Liszt] and high-standing artist at
this evening's concert.
That is nothing new in you, but it gives me pleasure, as your old
friend, to repeat old things to you, and to remain ever yours
most gratefully,
Franz Liszt
178. To Wladimir Stassoff in St. Petersburg
[A Russian writer, a musical and art critic, at present director
of the Imperial Public Library at St. Petersburg.]
An illness, not in the least dangerous, but very inconvenient,
since it obliges me to keep my bed rather often (as at this
moment), has deprived me of the pleasure of replying sooner to
your very kind letter, firstly to thank you for it, and also to
tell you how delighted I shall be to make acquaintance with Mr.
Scroff's manuscripts, which you kindly introduce to me in so
persuasive a manner. Many people who have the advantage of
knowing Mr. Seroff, among others Mr. de Lenz and Prince Eugene
Wittgenstein, have spoken of him to me with great praise, as an
artist who unites to real talent a most conscientious
intelligence. It will be of great interest to me to estimate the
work to which he has devoted himself with such praiseworthy
perseverance, and thus to avail myself of the opportunity offered
to me of hearing those sublime works of the LAST PERIOD (I
purposely put aside
the inappropriate word MANNER, and even the term STYLE) of
Beethoven--works which, whatever Mr. Oulibicheff and other
learned men may say who succeed more easily in POURING FORTH in
these matters than in being well versed [A play on words--verser
and verse.] in them, will remain the crowning point of
Beethoven's greatness.
With regard to the edition of these scores of Mr. Seroff's for
two pianos, I will willingly do what you wish, though at the same
time confessing to you that my credit with the editors is not
worth much more than my credit with the above-mentioned learned
men, as these latter do their best to keep all sorts of cock-and-
bull stories going, which prevent the editors from running any
risk in mad enterprises they have so peremptorily been pointed
out to be! And, more than this, you are not ignorant that
arrangements for two pianos--the only ones adapted to show the
design and the grouping of ideas of certain works--are but little
in favor with music-sellers and very unsaleable, as the great
mass of pianists is scarcely capable of PLAYING ON the piano, and
cares very little (except sometimes for form's sake and human
respect) for the interest of intelligence and feeling which might
attach to the promenades of their fingers. In spite of all this,
please rest assured, sir, that I shall neglect nothing that can
justify the confidence you place in me, and pray accept the very
sincere regards of
Yours most truly,
F. Liszt
Weymar, March 17th, 1857
I am awaiting with impatience the parcel you promise me, and beg
you to make it as large as possible, so that I may make a
thorough acquaintance with Mr. Seroff's work. Especially be so
good as not to forget the arrangement of Beethoven's latter
Quartets.
179. To Wilhelm von Lenz in St. Petersburg
For pity's sake, dear friend, don't treat me like Moscheles;
don't think I am dead, although I have given you some little
right to think so by my long silence. But there are so many
"demi"-people, and demi-clever people (who are at least as
dangerous to Art as the demi-monde is to morals, according to
Alexandre Dumas), who say such utter stupidities about me in the
papers and elsewhere, that I really should not like to die yet,
if only not to disturb their beautiful business. You were even
complaining of one single whistling blackbird [Merle; means also
a whistling or hissing fellow.] pastorally perched on your book--
what shall I say then of the croaking of that host of ravens and
of obliques hiboux [Oblique owls; the term is repeated
afterwards, and evidently refers to some joke, or else to some
remark of Lenz's.--Translator's note.] that spreads like an
"epidemic cordon" all the length of the scores of my Symphonic
Poems?--Happily I am not made of such stuff as to let myself be
easily disconcerted by their "concert," and I shall continue
steadfastly on my way to the end, without troubling about
anything but to do what I have to do--which will be done, I can
promise you. The rest of your "Beethoven," of which you speak,
has never reached me, and for six months past I have not had any
news of B., who, I am afraid, finds that he is clashing with some
rather difficult editorial circumstances, but from which I
presume he will have the spirit to free himself satisfactorily. A
propos of Beethoven, here is Oulibicheff, who has just hurled
forth a volume which I might well compare with the dragons and
other sacred monsters in papier-mache, with which the brave
Chinese attempted to frighten the English at the time of the last
war.--The English simply replied by bombs, which was the best
mode of procedure. If I find time in the course of the summer, I
shall answer Oulibicheff very respectfully in a brochure which
may be a pretty big one. For the moment I am still pinned to my
bed by a lot of boils which are flourishing on my legs, and which
I consider as the doors of exodus for the illness which has been
troubling me rather violently since the end of October.
Mr. Stassoff, having written to me about Mr. Seroff, I wrote him
word quite lately that I should have real pleasure in making
acquaintance with the arrangement for two pianos of Beethoven's
later Quartets, etc. As soon as he lets me have them I will
examine them with all the attention that such a work merits, and
will write him my opinion, such as it is, with sincerity. As to
the question of the edition, that is not so easy to solve as you
seem to think. I wrote to Mr. Stassoff that arrangements for two
pianos, which are the only ones that give a suitable idea of
certain works, have very little currency with the public, as it
is very rare to find two instruments with most amateurs. In spite
of this, if, as I am inclined to think, Mr. Seroff's work answers
to the eulogies you pronounce on it, I shall try to find him a
publisher, and ask you only to get Mr. Seroff to let me know what
sum he expects.
Why, dear friend, don't you decide to make a trip to Germany, and
to come and see me at Weymar? I asked you this three years ago,
and I again assure you that such a journey would not be without
use to you. It is in vain for you and Oulibicheff to enumerate
the advantages and improvements of Russia in musical matters;
people who know anything of the matter will beware of taking you
literally. Art at Petersburg can only be an accessory and a
superfluity for a long time to come, in spite of the very real
distinction and, if you will, even the superiority of some
persons who work at it with predilection, and who reside there.
Proofs abound in support of this opinion, and could not be so
soon changed.
Believe me, my dear Lenz, if you wish to get to know the heart of
the musical question, come to Germany and come and see me.
Meanwhile don't trouble yourself any more than I do about either
"merles" or "obliques hiboux"; go on familiarizing yourself with
the smiles and glances of your "chimera," and believe me your
most sincerely affectionate and devoted
F. Liszt
Weymar, March 24th, 1857
180. To Eduard Liszt
Best and excellent Eduard,
At last I send you the pianoforte edition of the Mass, which I
could not get in order sooner, much as I wished to do so, partly
owing to the excess of matters, letters, and business which have
been pressing upon me, and partly also on account of my illness,
which has obliged me to keep my bed for more than three weeks
past. As regards the edition, which can be got up in two styles,
according to whether one wants it to be economical or luxurious,
I send you word of all that is necessary on the accompanying
note-sheet (first page of the score--written by my hand), and beg
you, best friend, to use your influence to get the proofs sent to
me and to get the work published as quickly as possible. [The
Gran Mass.]
Your last letter was again a great pleasure to me, owing to your
loving comprehension of my works. That in composing them I do not
quite work at haphazard and grope about in the dark, as my
opponents in so many quarters reproach me with doing, will be
gradually acknowledged by those among them who may be honest
enough not to wish entirely to obstruct a right insight into the
matter through preconceived views. As I have for years been
conscious of the artistic task that lies before me, neither
consistent perseverance nor quiet reflection shall be wanting for
the fulfillment of it. May God's blessing, without which nothing
can prosper and bear fruit, rest on my work!--
I have read with attention and interest the discussions in the
Vienna papers, to which the performance of the Preludes and the
concert gave rise. As I had previously said to you, the
doctrinaire Hanslick could not be favorable to me; his article is
perfidious, but on the whole seemly. Moreover it would be an easy
matter for me to reduce his arguments to nil, and I think he is
sharp enough to know that. On a better opportunity this could
also be shown to him, without having the appearance of correcting
him. I suppose the initials C. D. in the Vienna paper mean
Dorffl--or Drechsler? No matter by whom the critique is written,
the author convicts himself in it of such intense narrowness that
he will be very welcome to many other people less narrow than
himself. His like has already often existed, but is constantly in
demand. The musician nowadays cannot get out of the way of all
the buzzing. Twenty years ago there were hardly a couple of
musical papers in Europe, and the political papers referred only
in the most rare cases, and then only very briefly, to musical
matters. Now all this is quite different, and with my "Preludes,"
for instance (which, by the way, are only the prelude to my path
of composition), many dozen critics by profession have already
pounced on them, in order to ruin me through and through as a
composer. I by no means say that present conditions, taken as a
whole, are more unfavorable to the musician than the earlier
conditions, for all this talk in a hundred papers brings also
much good with it, which would not otherwise be so easy to
attain;--but simply the thinking and creative artist must not
allow himself to be misled by it, and must go his own gait
quietly and undisturbed, as they say the hippopotamus does, in
spite of all the arrows which rebound from his thick skin. An
original thinker says, "As one emblem and coat of arms I show a
tree violently blown by the storm, which nevertheless shows its
red fruit on all the boughs, with the motto, Dum convellor
mitescunt; or also, Conquassatus sed ferax."
When you have an opportunity I beg you to give my best thanks to
my old friend Lowy for the letter he wrote me directly after the
performance of the "Preludes." I know that he means well towards
me, in his own way, which, unfortunately, cannot be mine,
because, to me, friendship without heart and flame is something
foreign; and I cannot understand, for instance, why at the
concert in question he did not take his customary place, but kept
back in a corner, as he tells me. Pray when have I given him any
occasion to be ashamed of me? Do I not then stand up in the whole
world of Art as an honest fellow, who, faithful to his
conviction, despising all base means and hypocritical stratagems,
strives valiantly and honorably after a high aim? Given that I,
deceived by my many-sided experiences (which really cannot be
estimated as very slight, since I have lived and worked through
the periods--so important for music--of Beethoven, Schubert,
Mendelssohn, as well as Rossini and Meyerbeer), led astray by my
seven years' unceasing labour, have hit upon the wrong road
altogether, would it be the place of my intimate friend, in the
face of the opposition which is set up against me because I bring
something new, to blush, hide himself in a corner, and deny me?
You did otherwise and better in this, dearest Eduard, and your
conduct with Castelli was, as ever, perfectly right. My few
friends may take a good example from you, for they assuredly need
not let themselves be frightened by the concert which the bullies
and boobies raise against my things. I have, as usual, thought
over your musical remarks and reflections. The fourth movement of
the Concerto, [No. I, in E flat major.] from the Allegro
marziale,
[a score appears here]
corresponds with the second movement, Adagio:--
[a score appears here]
It is only an urgent recapitulation of the earlier subject-matter
with quickened, livelier rhythm, and contains no new motive, as
will be clear to you by a glance through the score. This kind of
binding together and rounding off a whole piece at its close is
somewhat my own, but it is quite maintained and justified from
the standpoint of musical form.
The trombones and basses
[a score appears here]
take up the second part of the motive of the Adagio (B major):--
[a score appears here]The pianoforte figure which follows
[a score appears here]
is no other than the reproduction of the motive which was given
in the Adagio by flute and clarinet,
[a score appears here]
just as the concluding passage is a Variante [various reading]
and working up in the major of the motive of the Scherzo,
[a score appears here]
until finally the first motive
[a score appears here]
on the dominant pedal B flat, with a shake accompaniment,
[a score appears here]
comes in and concludes the whole.
The Scherzo in E flat minor, from the point where the triangle
begins, I employed for the effect of contrast.
[a score appears here] As regards the triangle I do not deny that
it may give offence, especially if struck too strong and not
precisely. A preconceived disinclination and objection to
instruments of percussion prevails, somewhat justified by the
frequent misuse of them. And few conductors are circumspect
enough to bring out the rhythmic element in them, without the raw
addition of a coarse noisiness, in works in which they are
deliberately employed according to the intention of the composer.
The dynamic and rhythmic spicing and enhancement, which are
effected by the instruments of percussion, would in more cases be
much more effectually produced by the careful trying and
proportioning of insertions and additions of that kind. But
musicians who wish to appear serious and solid prefer to treat
the instruments of percussion en canaille, which must not make
their appearance in the seemly company of the Symphony. They also
bitterly deplore, inwardly, that Beethoven allowed himself to be
seduced into using the big drum and triangle in the Finale of the
Ninth Symphony. Of Berlioz, Wagner, and my humble self, it is no
wonder that "like draws to like," and, as we are treated as
impotent canaille amongst musicians, it is quite natural that we
should be on good terms with the canaille among the instruments.
Certainly here, as in all else, it is the right thing to seize
upon and hold fast [the] mass of harmony. In face of the most
wise proscription of the learned critics I shall, however,
continue to employ instruments of percussion, and think I shall
yet win for them some effects little known.
I hear from Paris that at all the street corners there they are
selling a little pamphlet for a sou entitled "Le seul moyen de ne
pas mourir le 13 Juin a 1'apparition de la Comete." ["The only
means how not to die on the 13th of June at the appearance of the
comet."] The only means is to drown oneself on the 12th of June.
Much of the good advice which is given to me by the critics is
very like this seul moyen. Yet we will not drown ourselves--not
even in the lukewarm waters of criticism--and will also for the
future stand firm on our own legs with a good conscience.
I had still much more to say to you, but the letter has become so
long that I should not like to take up any more of your time. It
is to be hoped that we shall see each other in the course of this
summer, when we shall be able again to talk over everything to
our hearts' content. Meanwhile I thank you again warmly for your
friendship, and remain yours from my heart.
F. Liszt
What you tell me of your idea for Daniel [Liszt's son] is very
agreeable and soothing. I must beg the Princess to correspond
with you in reference to the matter. My decision to send D. to
Vienna, in order to finish his law there, and to entrust him to
your protection, is pretty much unchanged.
Weymar, March 26th, 1857
In the next number of Brendel's paper appears a long letter from
R. Wagner on my individuality as a composer, which will be of
interest to you.
181. To Georg Schariezer, Vice-President of the Church Musical
Society at the St. Martin's Coronation Church in Pressburg
[From a copy of Herr Stadthauptmann Johann Batka in Pressburg.--
The Church Musical Society, which has been in existence since
1833, and which undertakes the performance of classical
instrumental Masses during the service every Sunday and saint's
day, performed Beethoven's Grand Mass as early as 1835, and many
times since, and has given Liszt's Gran Mass every year since
1872.]
Dear Sir,
The friendly intention of the highly renowned Pressburg
Kirchenmusikverein [Church Musical Society] to give a performance
of my "Missa Solemnis" is an uncommon pleasure to me, and I send
Your Honor my special thanks for the kind letter with which you
have honored me in the name of the Kirchenmusikverein. Much as I
should like to meet your wishes without any ceremony, and to send
you the score and parts at once, yet I am constrained to beg for
a long delay, for the reason that the score, together with the
pianoforte arrangement, is obliged to remain for some months
longer in the Royal State Printing House in Vienna, and I cannot
get the parts copied out afresh until the publication of the work
next September. The copies which were used at Gran and Prague
have been lost, and several essential alterations which I have
finally made in the score necessitate the making of an entirely
new copy.
I hope, however, that you, dear sir, as well as the K.-M.-V, will
continue your kind intention towards me, whereby I may have the
prospect of my Mass being performed by you later on. If I am not
quite mistaken, the Church element, as well as the musical style
of this work, will be better understood and more spiritually felt
after frequent performances than can be the case at first in the
face of the prevailing prejudice against my later compositions,
and the systematic opposition of routine and custom which I have
to meet with on so many sides. Thus much I may in all
conscientiousness affirm, that I composed the work, from the
first bar to the last, with the deepest ardor as a Catholic and
the utmost care as a musician, and hence I can leave it with
perfect comfort to time to form a corresponding verdict upon it.
As soon as the score comes out I shall have the pleasure of
sending Your Honor a copy; and should your present design perhaps
come to pass in the spring, I shall be delighted to be present at
the performance, and to conduct the final rehearsals myself.
Accept, dear sir, my best thanks, together with the expression of
my high esteem.
Yours most truly,
Franz Liszt
Weymar, April 25th, 1857
182. To Eduard Liszt
Dearest Eduard,
I have been thinking over the matter of supporting the voices by
some wind instruments and brass in my Mass for men's voices,
without being able to make up my mind to write out this
accompaniment. I ought properly to hear the Vienna chorus in
order to hit the right proportion, which is very various,
according to the size of the church, and also the class of
instruments, and the less or greater ability of the musicians. It
would be very agreeable to me if Herbeck, who appears to take an
interest in my work, would take the decision upon himself
according to what he thinks best, and would either keep in the
printed organ accompaniment, or write a small additional score as
support to the voices. In the latter case I think that horns,
clarinets, oboes, and bassoons cannot be dispensed with, and that
probably trombones would also make a good effect in the Kyrie and
Credo.
Remember me most kindly to Herbeck, and tell him my idea as well
as my request. In the studying of the Mass he will best ascertain
which passages most require a supplement-accompaniment.
Owing to my long-continued illness, which obliges me for the most
part to keep my bed, I have not yet been able to hear his
Quartet, which he was so good as to send me; but I shall shortly
give it over to our excellent Quartet Society (Singer, Cossmann,
Stor, Walbruhl) for a performance.
By today's post I send you an alteration in the Agnus Dei of my
Gran Mass, which I beg you to hand to the compositor. The voice
parts remain as before, but in the pauses I make the first
subject come in again in the basses, which makes the movement
more completely one whole. The compositor must work by this proof
for the whole Agnus Dei, and only revert to the general score
where the "Dona nobis pacem" (Allegro moderato) comes in.
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