Letters of Franz Liszt, Volume 1, From Paris to Rome:

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I am writing to Schuberth by the next post to tell him (what he
might know without that) how unwillingly and how seldom I meddle
with dedications--especially dedications to people and societies
that I don't at all know, as he would like me to do! In the
somewhat numerous works of mine that have appeared of late years
you will find very few dedications. The twelve Symphonic Poems
have none. The Gran Mass is also without one--and in the Songs I
have left out the earlier dedications. Therefore, before I try in
America a method which I have almost given up in Europe, some
time may yet elapse. Schuberth means thoroughly well by me, for
which I am obliged to him--but he means well in his own way,
which cannot always be mine.

May I beg another little favor of you? At the Court concert on
the 1st January I should like to let the Reiter-Marsch of F.
Schubert (not Julius!), which I instrumented, be performed, and I
have no longer either the score or the parts. You would lay me
under an obligation if you could quickly send them to me. I have
never heard the piece; and as it has already been given with
success in Vienna and Leipzig I may almost venture to expect that
the company here may be bold enough to go half-way in the same
direction!--

Possibly I shall also attempt the Mephisto Waltz the same
evening, as well as a couple of my orchestrated songs. (I may
mention, by the way, that I have orchestrated six songs of
Schubert's--"the Erlkonig, Gretchen, the junge Nonne, the
Doppelganger, Mignon, and Abschied"--and three of my own--
"Loreley, Mignon, and the three Zigeuner." Later on, if a weak
moment should come over you, I should be glad to impose these
three latter upon you in score--but you shall hear them first.)

A thousand apologies for all this random talk about compositions,
and best greetings from yours in all friendliness,

F. Liszt

Weymar, December 19th, 1860

249. To Dr. Franz Brendel

Dear Friend,

Your article "For the New Year" is most capital and worthy of
you. In three places I would merely venture to propose some
slight alterations for your consideration. You will find them
marked + and with the letters A, B, C.

At + A it would suit things better to say as follows: "Concert-
rooms and theaters, the scene of the most palpable speculation,
personal passion, and severing struggles." Or, if you think the
word "most palpable" too strong, let us put another, such as "the
commonest" or "the most mercantile speculation," etc.

+ B, instead of opinion, "the most affected assumption" Here
there is more question of assumption than of opinion. If
angenommen [affected] sounds too much like Anmassung
[assumption], let us put "the widespread assumption."

+ C, instead of "outward forces," I would rather have another
word, such as "powers," "factors," "levers," or any one that is
better. I do not know why the "Machle" [forces] do not seem to me
quite right here.

Finally, + D, I think it would be advisable ruthlessly to strike
out the following short sentence: "Indeed it would not be saying
too much if it were to be asserted that in many circles it takes
the place of religion,"--apart from the consideration of whether
it is accurate or not, because for the most part the men of the
State are sure to take offence at it. "How," they will say, "you
wish us to support a movement that aims at nothing less than the
doing away with religion?"--and, behold, there is a new bugbear
ready, and the most healthy and just endeavors are checked for
many a year!--

I am in perfect agreement with all the rest, with the exception
of the parenthesis marked *--"without thereby, as has often been
the case hitherto, falling into the unpractical mistake of
conceding to the public things which they do not want, and
diminishing the revenues." For, by the way, let me also say
parenthetically that, if I had not done this with most resolute
intention for many years, Wagner could not truly have said in his
letter to Villot (page 40 of the French edition of his
translation of the four Operas): "Tout a coup mes relations avec
le public prirent un autre tour, sur lequel je n'avais pas compte
le moins du monde: mes operas se repandaient." ["All at once my
relations with the public took a fresh turn, on which I had not
calculated the least bit in the world: my operas were becoming
known."

Both on this account and for other reasons I think this
parenthesis dangerous, and can in no wise subscribe to it!

With friendliest greetings, your sincere

F. Liszt

December 19th, 1860

I have written a long letter to Kahnt today. In case he cannot
read my writing, will you be so good as to help him with it?

250. To Felix Draseke

You have again encouraged and rejoiced me, my excellent friend,
by your affectionate comprehension of my meaning and endeavors in
the "Dante" Symphony.

Once more my heartfelt thanks for it. Later on, when "Hamlet" and
the "Hunnenschlacht" are published, please do not refuse me the
special satisfaction of publishing the whole of your articles on
the Symphonic Poems in the form of a pamphlet. We will speak
further of this by word of mouth, and possibly a few musical
examples could be added to the earlier ones.

How far have you got with the "Loreley"?--Only take hold of the
witch with tender force.--Geibel has lately brought out his
opera-text to the "Loreley," and several composers are already
setting to work on it (or under it). In the present state of
things there is not much to be expected from effusions and feeble
attempts of that kind. On the other hand I am expecting something
great, beautiful, and magical from the Symphonic form into which
you will shape this story--a story which just as easily becomes
dry and tedious as, on the other hand, it can be melting. Take
care that we bring your work to a hearing at the next
Tonkunstler-Versammlung (in July-August) here.

O. Singer's "Entschwandenes Ideal" ["Vanished Ideal"] is full of
music; noble in conception and powerfully worked out. I shall
write to him shortly about it, and send him my seventh book of
songs, as you told me that he rather liked the earlier ones.--

An excellent little work by our friend Weitzmann lies before us
again: "The New Science of Harmony at Variance with the Old." The
"Album Leaves for the Emancipation of Fifths" as a supplement are
stirring; and the "Anthology of Classical Following Fifths," with
quotations from Hiller and Hauptmann,. is especially instructive.
In Harmony, as in other things, it is no longer a question of
reforming what has been laid aside, but rather of the fulfilling
of the law.------

On any day, my dear friend, you will be heartily welcome to

Yours very gratefully,

F. Liszt

December 30th, 1860

Towards the middle of January I am going to Paris or a couple of
weeks to see my mother (who is still constantly ill).

251. To Dr. Franz Brendel.

[Beginning of January, 1861]

Dear Friend,

A thousand thanks for your letter, and still more excuses that I
have delayed so long with my answer. On New Year's Day we had a
grand Court-concert--on the top of which there was a banquet at
the Erbprinz, which lasted till four o'clock in the morning; on
the other days perpetual dinners and suppers, at which I was also
obliged to be present. Besides all this, the final revision of my
second concerto (and a couple of smaller piano pieces) occupied
me much. Schott had undertaken the publication of them, and I did
not wish to annoy him by letting the somewhat numerous
alterations which had to be made in them wait to be corrected
until the proofs were printed, etc., etc.

From all the transitions and connection of the movements (which I
am now most carefully working out in the Concerto), I pass at
once without transition to the answering of your questions.

1. I think Bronsart's engagement for next year at four hundred
thalers is advisable.

2. If Weissheimer has really made himself impossible, Damrosch
should be the next one to be thought of, as a colleague of
Bronsart. There is no hurry about this affair, and we will talk
over it again viva voce.

3. The remaining four hundred thalers for X. I will send you at
the end of this month. If you should require them sooner write me
a couple of lines.

4. The question of leave of absence is not easy to decide, so
long as no definite date is fixed for the concert. Frau Pohl, for
instance, had had leave once already--but then the date of the
concert was altered, and in consequence of her absence it was of
no use. For the rest I don't doubt that Frau Pohl can get leave
of absence once more--I only beg you to let me know definitely
the day, so that I may inform Dingelstedt of it.

5. With regard to the co-operation of Messrs. v. Milde and
Singer, it has its difficulties. They are both not without
scruples in regard to the Euterpe, which, though they do not say
so in so many words, might be summed up as follows: "If we co-
operate in the Euterpe, we shut the golden doors of the
Gewandhaus in our faces, and injure ourselves also in other
towns, in which the rule of the Gewandhaus prevails. Ergo, it is
more desirable, prudent(!), for us to act..." The rest you can
add for yourself. Milde complains of the thanklessness of the
part in the "Sangers Fluch," ["The Singer's Curse," by Schumann]
the awful cold of the winter season, all the disagreeables in
connection with obtaining leave, etc. Singer does not know what
piece to choose, and also the E string of his violin is not quite
safe, and more of that kind.

6. Fraulein Genast is in a still worse position, for she is not
quite independent of the intimidation (on classical grounds) of
her father, and is, moreover, engaged for the next Gewandhaus
concert (for the part of the Rose in Schumann's "Rose's
Pilgrimage"). None the less she said to me from the beginning
that she was perfectly ready to do whatever I thought advisable.
In view of this surmise I must naturally be all the more
cautious. She sings on the 22nd in Zwickau, on the 24th
(probably) at the Gewandhaus, and on the 31st in Aix-la-Chapelle.
I have therefore advised her to come to an understanding with you
herself personally in Leipzig on the 23rd, and to co-operate with
you by preference as a singer of Lieder (with pianoforte
accompaniment) at the soiree of the Euterpe on the 29th.
Yesterday evening I marked the following three songs for her, as
the most suitable for the purpose:--

A. "The Pilgrimage to Kevlaar" (composed for E. Genast lately by
Hiller, and still in manuscript).

B. A song of Rubinstein's: for instance, "Ah! could it remain so
for ever!" (Tender allusion to the Gewandhaus!)

C. The three Zigeuner (by me).

The three songs would make up two numbers of the programme.--

I especially beg of you, dear friend, not to make any protest
against the song of Hiller. The plainly fair and just thing,
which has nothing in common with the "elevated right" which is
bestowed exclusively on Capellmeister Rietz and his associates
(as the Leipzig University expressed it), consists simply in not
shutting the door to publicity in anybody's face, or maliciously
and slyly casting stones and mud at him. Regardless of the fact
that we must not expect that they on their side will deal thus
with us, we must consistently and faithfully carry out and
fulfill this simple justice and fairness, and thus show the
gentlemen how people of a nobler mind and more proper cultivation
behave. You perhaps remember the opinion which I have many times
given and proved by actions--especially at the Versammlung-
Versammlung, when Frau Dr. Reclam sang Hiller's (somewhat
mediocre) Psalm, and...etc. After that I vote especially for the
performance of one of Rubinstein's larger works, such as the
proposed Symphony, and beg you to appoint Bronsart for it.--It
would lead me too far to explain my views in detail; that I have
no concessions or favoritisms in view in this matter goes without
saying.

7. The co-operation of the violinist recommended by Schuberth
must be considered, and even qualified, according to his talent.

8. "Tasso" can quite well be performed without the harp. A
pianino will do quite well, and I beg you most earnestly not to
put yourself to any inconvenience for my things. In my orchestral
works I have taken the larger measure of instrumentation (Paris,
Vienna, Berlin, Dresden--or, if you prefer personal names,
Meyerbeer, Mendelssohn, Wagner, Berlioz); but in spite of this
most of them can be performed in smaller proportions, as has been
most strikingly shown, for instance, in Sondershausen. The chief
thing before all else is the conductor; if he be a good and
reliable musician things may then be well managed in a variety of
ways--and in "Tasso" especially the harp is hardly wanted. So
don't bother yourself any more about it, and soothe Bronsart.

If I am not mistaken, I think I have now answered all the
principal questions in your letter. As to what concerns personal
matters we will talk about that shortly. I shall write one of
these next days to Schuberth (as soon as I have finished my
revisions for Schott). He has made me a proposal to which I am
inclined to agree. [The rest of the letter is missing.]

252. To Dr. Franz Brendel

Dear friend,

I expressly wish that Weissheimer should accompany the songs
which Fraulein Genast will sing at the Euterpe soiree. I have
especially commissioned him to make the motive of this wish of
mine, if necessary, still clearer to you. With regard to the
choice of songs you will easily come to an understanding with the
amiable singer. But I, for my part, hold to the opinion that
Hiller's "Wallfahrt nach Kevlaar" is well suited to the
programme.

The "Faust" Symphony must be written out quite fresh once more
before I send it to Schuberth. By the 15th February he will
receive the manuscript, together with a couple of lines for
Dorffel, who is almost indispensable to me as the corrector of
this work. I shall be over head and ears in work the next few
weeks, in order to do all that is necessary before I start on my
journey to Paris, which I shall probably do on the 20th February.

Best thanks for all the information in your last letter. Some
things, indeed most things, are still going very badly--upon
which we cannot and must not make ourselves any illusions;--but
if we are proof against these things we shall come out of them.

Before and after Lowenberg (in the middle of February) I shall
come and see you in Leipzig.

Meanwhile hearty greetings and thanks from your

F. L.

January 20th, 1861

You shall have the small sum for X. in the course of the week.

253. To Dr. Franz Brendel

Dear friend.

By yesterday's post I sent you--

A. The score of the second act of the "Flying Dutchman"--and two
orchestral parts of the duet (these latter in order that the
copyist, in writing it out, may guide himself by these, and may
not add the terzet-ending, as it stands in the score--Weissheimer
will give Thumler the exact speed). Beg Thumler to send me the
score back soon, as it may possibly be wanted at Easter in the
theater.

B. The last part (Mephistopheles and final chorus) of the "Faust"
Symphony in score--and the complete arrangement of this same
Symphony for two pianofortes.

Will you be so good as to give these manuscripts to Schuberth? I
hope he will keep his promise and not delay the publication of
the work. At the end of this week I will send Schuberth the score
and the four-hand piano arrangement of the two Faust-episodes
("Der nachtliche Zug" "The Nocturnal Procession")--and the
"Mephisto-Waltz"). I should be glad if these two things could
come out in the course of this year.

C. For Kahnt, the small score of the chorus "Die Seligkeiten"
["The Beatitudes"], which I also hope may soon be published. It
has been given here a couple of times in the Schloss orchestra
and the parish church, and, as I have been told many times, has
been spoken of in an exceptionally favorable manner. I have
written few things that have so welled up from my innermost soul.

I think I shall be ready with the revision of the "Prometheus"
score by next Saturday. I have already made two arrangements (for
two and four hands, not two pianofortes) of the Reapers' Chorus,
which I give Kahnt gratis. He shall get the whole packet early
next Monday at the latest. Weissheimer tells me that the edition
of the score shall be ready by the middle of July. If Kahnt
prefers to let the Prometheus be copied, I have nothing to say
against it; I only beg that in this case he will employ a very
clever and exact copyist-and, as I have already told him, that he
will preserve the size of the other Symphonic Poems.

N.B.--The division and distribution of the score--so that there
may be as few unnecessary rests as possible, and that, where it
can be done (as, for instance, at the beginning of the Tritons'
Chorus, the Reapers' Chorus, etc), two sets of staves should be
printed on one page--I beg that this may be entrusted to Herr
Dorffel. I also do not wish the work to look like a conductor's
score on the outside!--and, before it is given into the hands of
the engraver or copyist, it is necessary that the parts where two
sets of staves come on to one page should be clearly indicated.
My copyist here has made a very careless scrawl of the
"Prometheus" score, and I have therefore taken other work out of
his hands, and have given him a good scolding. But there is no
time to have a new score written, and therefore Dorffel must
largely help out with the matter.

N.B.--The piano arrangement must be put below the score, as it is
in the manuscript.

Kahnt can publish the arrangement of the Reapers' Chorus sooner
or later, as he likes. The date of the Tonkunstler-Versammlung
can remain fixed for the 15th August. I think it would be
advisable for you to come soon to Weymar (perhaps at Easter), and
to come to a direct understanding with Dingelstedt, M[usic]
D[irector] Montag, and some others among those who are
principally concerned in the matter.

I would propose to you Dr. Gille, in Jena, as a lawyer, and a
zealous co-operator in this affair. He is very ready to help, and
reliable.--

Are you really thinking of still giving the "Prometheus" at the
Tonkunstler-Versammlung? It certainly would not be incompatible
with the "Faust" Symphony (which I wish for in any case)--but I
fear that it will bring in its train too much vexation and
annoyance.

We will speak further about this.

Weissheimer will tell you some things with regard to the
programmes.

Riedel ought to conduct Beethoven's Mass.

With heartfelt greetings, your

F.L.

Weymar March 4th, 1861

P.S.--Advise Schuberth once more to bring out the book of songs
by Lassen immediately--as he promised me.

254. To Peter Cornelius in Vienna

Your letters, dearest friend, are ever a joy to my heart, as also
this time on the 2nd April [Liszt's name-day]. Although on that
day I felt the absence of the Princess the most keenly, and the
Altenburg was for me equally perturbed, yet the loving attachment
of a few friends touched and filled me with comfort. Remain ever
to me, as I remain to you, faithful and steadfast, trusting in
God!--

Unfortunately I have been able to do but very little work this
winter. Revisions and proof-correcting took up almost my whole
time. The two last Symphonic Poems, "Hamlet" and the
"Hunnenschlacht," will come out directly. I will send them to
you, together with a dozen Quartets for men's voices which Kahnt
is publishing. By the end of July the choruses to "Prometheus"
and the "Faust" Symphony will also be out. If we should not see
each other sooner, I count on you, for certain, to be here for
the Tonkunstler-Versammlung (5th, 6th, 7th August), to which I
give you, dearest Cornelius, a special invitation. I hope that
Eduard, [Liszt's cousin] Tausig, Porges, Laurencin, [Count
Laurencin, a writer on music in Vienna] Kulke, Doppler, [Franz
Doppler (1821-83), a flute virtuoso; music-conductor at the Royal
Opera in Vienna. He arranged with Liszt some of the latter's
"Hungarian Rhapsodies" for orchestra.] are coming--and I beg you
to give them a preliminary intimation of my invitation. The next
number of Brendel's paper will give the programme--with the
exception of the third day, which cannot be fixed until later.
Perhaps you will give us a fragment of your "Cid." In any case I
wish your name not to be wanting; and, if you should not have
anything else ready, a couple of numbers from the "Barber Abul
Hassan Ali Eber" shall be given. The charming canon at the
beginning of the second act would be the best.

I am delighted to think that you have been entirely absorbed for
a time in "Tristan." In that work and the "Ring des Nibelungen"
Wagner has decidedly attained his zenith! I hope you have
received the pianoforte arrangement of "Rheingold" which Schott
has published. If not I will send it you. You might render a
great service by a discussion of this wonderful work. Allow me to
stir you up to do this. The summer days allow you now more
working hours; realize some of these with "Rheingold." The task
for you is neither a. difficult nor a thankless one; as soon as
you have seized upon the principal subjects representing the
various personages, and their application and restatement, the
greater part of the work is done. Let us then sing with Peter
Cornelius,--

"O Lust am Rheine, Am heimischen Strande! In sonnigem Scheine
Ergluhen die Lande; Es lachen die Haine, Die Felsengesteine Im
Strahlengewande Am heimischen Strande, Am wogenden Rheine!"

[Free translation,--

"O joy of the Rhine And its homelike shore! Where the bright
sunshine Gilds the landscape o'er; Where the woods are greenest,
The skies serenest, In that home of mine By the friendly shore Of
the billowy Rhine!"]

On the 30th of this month I am going to Paris for a couple of
weeks--and towards the end of May I shall meet my daughter Cosima
in Reichenhall, where she has to go through the whey-cure. Thank
God, she is again on the road to recovery! You can imagine what
grief took possession of me when I saw Cosima last winter
suffering from a similar complaint to Daniel!--

I have satisfactory tidings from the Princess from Rome. The
climate is having a very beneficial effect on her nerves, and she
feels herself, in that respect, far more at home than in
Germany...

She writes wonders to me about the last cartoons of Cornelius,
[The celebrated painter was the uncle of the addressee.] and her
personal relations with the great master have proved most
friendly.

What will become of me in the latter part of the summer does not
yet appear. But let us hold fast to our meeting again here at the
beginning of August.

Yours from my heart,

F. Liszt

April l8th, 1861

A thousand hearty greetings to Tausig.

255. To Hoffmann von Fallersleben

Dear, excellent friend,

I have received the enclosed note for you from the Princess. It
comes to you with my most heartfelt greetings. Please forgive me
for not having this time sent you my good wishes on the 2nd
April; [Hoffmann's birthday, and at the same time Liszt's name-
day] but as long as the Princess's absence lasts I recognize only
sorrowful anniversaries and no festivals of rejoicing. Meanwhile
rest assured that I think of you always with faithful friendship,
and remain ever truly devoted to you.

F. Liszt

April 18th, 1861

P.S.--I send you herewith the "Vereins-Lied"--and three other of
your songs.

256. To Peter Cornelius

[Autograph in the possession of Constance Bache.]

Dearest Cornelius,

Will you quickly sign the accompanying announcement to the
Tonkunstler-Versammlung with your good, beautiful name? You must
not fail me on this occasion in Weymar!

And yet another request, dearest friend. Will you go and see F.
Doppler and tell him that I very much wish he could arrive with
you on the 4th August at latest? I hope he will not refuse me
this pleasure--and if it is not inconvenient to him will he also
bring his flute and undertake the part in Faust?

With regard to the travelling expenses I have already written to
my cousin Eduard; he is to put a couple of hundred florins at
your disposal; for it goes without saying that neither you nor
Doppler will be allowed to spend a groschen out of your own purse
for the journey.

You will meet Eduard here--and also Wagner, Hans, Draseke,
Damrosch, Tausig, Lassen, and my daughter (Madame Ollivier).

To our speedy meeting then, my best Cornelius!

Bring your "Cid" with you as far as it is done, and kindly
dedicate some days to your heartily devoted

F. Liszt

Weymar, July 12th, 1861

P.S.--Shortly after the Tonkunstler-Versammlung I shall be
leaving Weymar for a long time.—-

256A. To Peter Cornelius

[Autograph in the possession of Constance Bache. This letter was
left out by La Mara, but is inserted by the translator.]

Dearest Cornelius,

I have just been told that the score of the "Barber of Baghdad"
is not in the theater library here, as I thought, but that you
have kept it.

I can therefore no longer keep it a secret from you that I am
intending to give the Terzet [Canon] from the beginning of the
second act at the third concert (7th August) of the Tonkunstler-
Versammlung, and I have not the smallest doubt as to the capital
effect that this exquisite piece of music will produce.

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