Letters of Franz Liszt, Volume 2: From Rome to the End

F >> Franz Liszt; letters collected by La Mara and translated >> Letters of Franz Liszt, Volume 2: From Rome to the End

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Your intention of sending the third copy next Easter to the
Exhibition of the German Products of the Printing Press, I, as
the author, consider both very appropriate and a pleasant piece
of news.

As I am expecting corrected proofs of the "Elizabeth" score, I
beg you to enclose Wieseneder's "Kindergarten Lieder-Buchlein"
[Book of Kindergarten Songs]. Probably this will be your last
sending to Rome for the year '68, as I shall be in Weimar again
by the beginning of January. I shall, therefore, leave all
further discussions in extenso till then. Meanwhile there is
scarcely anything positive or to the point to write about.

My friendly greetings to Brendel; he knows how much it is my wish
to obtain reliable support and some profitable advantage for the
endeavors of the A. D. Musik-Verein. Rest assured of this, dear
friend, and count upon my sincere and unalterable attachment.

F. Liszt

Rome, September 20th [1868]

Be quick with and out with the 69th Almanack!--

74. To E. Repos

Dear Monsieur Repos,

Here is the Requiem. If you think it would be well to publish the
five parts separately (Requiem, Dies irae, Offertoire, etc.) in
the 5 numbers of the Revue de Musique sacree, I have not the
slightest objection to it; and will only ask you to announce the
complete edition, to be had by itself, at the same time as the
detached pages appear.

The copy is very distinct and correct; please beg the engraver
not to add any wrong notes of his own composition, and send me
the proofs to Rome.

I should be glad if the "Offertoire" of St. Francis (added to the
book of the Requiem) could come out at once. The manuscript is
only two pages,--and I do not think I shall be infringing too
much St. Francis's rule of poverty by reserving to myself, for
this Offertoire as well as for all my compositions that you
publish, author's rights for Germany and Italy, in order to keep
my promise to several publishers.

Accept, dear Monsieur Repos, the expression of my very
distinguished and devoted sentiments.

F. Liszt

Rome, September 22nd, 1868

75. To Prof. Dr. S. Lebert

Dear Friend,

Today I deserve a little praise. The Weber task is finished, and
hence I have kept my promise a few weeks in advance.

How I have understood my task you will see from the short Preface
on the first page of the various readings to the "Conzertstuck."
The printer will have to act in strict conformity with what is
there stated, and to give the necessary letters and signs.
Unfortunately I cannot help giving this unusual trouble, for two
kinds of letters and signs are positively indispensable.

My responsibility with regard to Cotta's edition of Weber and
Schubert I hold to be: fully and carefully to retain the original
text together with provisory suggestions of my way of rendering
it, by means of distinguishing letters, notes and signs,--and
these I beg you will again have fully explained to the printer.

In the various readings you will probably find some things not
inappropriate;--I flatter myself that I have thus given
performers greater licence, and have increased the effect without
damaging or overloading Weber's style. Get Pruckner, who is
acquainted with my bad musical handwriting, to play the various
readings to you.

N.B.--They must be printed in small notes throughout the whole
edition.

The parcel containing the "Conzertstuck," "Momento capriccioso,"
4 Sonatas of W[eberj (and the 2 Beethoven ones of the Bulow
edition) will be despatched to you tomorrow by Kolb. Send me, at
your early convenience, Weber's 2 Polonaises (Hartel's last
edition), which must not be omitted in Cotta's edition; also let
me have all Schubert's Dances (Valses, Landler, Eccossaises, in
Holle's edition revised by Markull). And as I have now got into
the way of revising, I should like at once to prepare the
Schubert volume and submit to you, before the end of November,
the result of many years of most delightful communion with
Weber's and Schubert's pianoforte compositions, with fingering,
marks for pedal and expression, and various readings.

The Schubert volume I shall limit to 3 or 4 Sonatas, the great
Fantasia, some 8 Impromptus, the Moments Musicals, and all his
Dances. A few other pieces as duets may follow later, more
especially his Marches and the Hungarian Divertissement.

Let me hope that my work may prove intelligible, temperate and
satisfactory, and also of some service to ordinary pianists.

Any remarks and objections you may have to make in connection
with these, I shall be quite willing to consider.

With friendly greetings and thanks,

Yours most sincerely,

F. Liszt

Rome, October 19th, 1868

P.S.--Let me hear from you at once, as soon as you receive the
parcel.

76. To Richard Pohl at Baden-Baden.

Rome, November 7th, 1868

.--. My very kind biographer La Mara writes me a few charming
lines telling me that she is shortly sending me her volume
"Studienkopfe" ["Studies of heads"]. "Das junge Volk hat Muth,"
["Young folk have pluck"] as you say, and I quite approve of
their not letting themselves be intimidated. Courage is the vital
nerve of our best qualities; they fade away when it is wanting,
and unless one is courageous one is not even sufficiently
prudent. To examine, reflect calculate and weigh are assuredly
necessary operations But after that one must determine and act
without troubling too much about which way the wind blows and
what clouds are passing. .--.

77. To Johann von Verbeck

Much esteemed Friend,

I have just answered the invitation of the "Musikfreunde," and
trust you will agree with what I have written. I am quite aware
that the performance of the "Elizabeth" in Vienna--which is
considered a mark of honorable distinction to me--I owe to you.
My not having complied with your offer before was mainly due to
my desire to spare you any embarrassments in connection with the
performance, embarrassments which I, owing to my peculiar
position and my distance from active circles of the Press, can
readily ignore without the slightest "bitterness of feeling."

Well, let us hope that your favorable augury will prove true.
Your earlier letter I have not received. But I was heartily
delighted with your last. Shortly before receiving it I had been
hearing a number of excellent things about the composer,
conductor and friend Herbeck, all of which tallied perfectly with
what I remembered and of what I myself feel convinced. You will
guess who communicated all this to me.

To return to the "Elizabeth" performance in Vienna; I should like
to be present. The Committee of the Musikfreunde name two days in
March; the last mentioned would be the most convenient one for
me. I must tell you beforehand, in confidence, that on this
occasion I should not be able to remain in Vienna beyond a couple
of days, and that I wish especially to keep quiet while there,
and to meet as few people as possible. It is no longer in any way
appropriate that I should appear anywhere in person; [Liszt had
been requested to conduct his "Elizabeth", a request he declined
(probably in consideration of his having taken holy orders).] it
suits me much better, when necessary, to be trodden down an
effigy by all the different chatter. And as you, much esteemed
friend, are the one and only person who shall conduct the
"Elizabeth" in Vienna, I wish to leave the distribution of the
vocal parts entirely to your care. I would merely remind you that
my two compatriots Bignio and Fraulein Rabatinsky (now in Vienna)
sang splendidly in the parts of the Landgrave Ludwig and the
spiteful Landgravine Sophie, at the first performances of the
Oratorio in Pest. Hence, if no categorical objections are raised
against them by the worthy theatrical potentates, it would seem
advisable and well to secure these singers for parts for which
they have already proved themselves competent.

As an unnecessary remark let me add that the small Magyar
Cantilena of the Magnate (in the first number) requires a
powerful voice.

In sincere esteem, I remain yours in all friendliness,

F. Liszt

Villa d'Este, December 1st, 1868

P.S.--I am expecting the promised manuscript of the
"Tanzmomente." [Composed by Herbeck for orchestra; transcribed by
Liszt for the pianoforte] By the beginning of January I hope to
be in Weimar.

78. To Prof. Dr. S. Lebert

Dear friend,

The annotations to Schubert's Sonatas demanded more time than I
had anticipated. For some weeks past I have been working
industriously at them--now they are finished ad unguem.

Our pianists scarcely realise what a glorious treasure they have
in Schubert's pianoforte compositions. Most pianists play them
over en passant, notice here and there repetitions,
lengthinesses, apparent carelessnesses, and then lay them aside.
It is true that Schubert himself is somewhat to blame for the
very unsatisfactory manner in which his admirable piano-forte
pieces are treated. He was too immoderately productive, wrote
incessantly, mixing insignificant with important things, grand
things with mediocre work, paid no heed to criticism, and always
soared on his wings. Like a bird in the air, he lived in music
and sang in angelic fashion.

O never-resting, ever-welling genius, full of tenderness! O my
cherished Hero of the Heaven of Youth! Harmony, freshness, power,
grace, dreamings, passion, soothings, tears and flames pour forth
from the depths and heights of thy soul, and thou makest us
almost forget the greatness of thine excellence in the
fascination of thy spirit!----

Let us limit our edition of Schubert's pianoforte compositions to
2 Sonatas, the G major Fantasia (a Virgilian poem!), the splendid
"Wanderer"-dithyramb (C major Fantasia), 2 books of Impromptus,
Moments Musicals and all his Valses (among which there are gems
of the first water). All this will be sent to you forthwith; and
in addition Weber's Polonaises.

In the Sonatas you will find some various readings, which appear
to me tolerably appropriate. Several passages, and the whole of
the conclusion of the C major Fantasia, I have re-written in
modern pianoforte form, and I flatter myself that Schubert would
not be displeased with it.

The pianoforte Duets of Schubert (Holle's edition) please address
to Weimar, as I have no time left for revisings in Rome. Send me
also a copy of the "Aufforderung zum Tanz" ["Invitation to the
Dance"] that is so drummed at everywhere. You forgot to let me
have this piece of salon-fireworks with the other music, and I
too did not remember it at the time; years ago I had to play this
"Invitation" over and over again, times innumerable--without the
smallest "invitation" on my part--and it became a detestable
nuisance to me. However, such a show-piece must not be omitted in
Cotta's edition of Weber.

Your visit to Weimar, dear friend, will be very welcome and
agreeable to me. When there we shall be able to discuss, weigh
and settle a number of things very conveniently.

With sincere thanks, I remain

Yours in all friendship,

F. Liszt

Villa d'Este, December 2nd, 1868

P.S.--I have not received the French translation of your Method.

79. To Eduard von Liszt

Dearest Eduard,

Your promotion [Eduard von Liszt had been appointed
Oberstaatsanwalt (Chief State attorney) in Vienna.] is a real and
great joy to me. It does my heart good to see your continual
services receive recognition, and to know you about to enter a
more promising sphere. Your new position does not, indeed, free
you from all effort and exertion, but you have long since become
accustomed to bear the yoke on work-days like a man, and although
the yoke may not appear altogether enviable, still it is always
the most honorable and most secure.

I wish only that you may ever remain true to yourself, and by
perfectly satisfying your own conscience you may deeply feel
God's unfailing promise "Dominus non privabit bonis eos qui
ambulant in innocentia."--

.--. From the President and the Vice-President of the Society of
Musikfreunde, Drs. Egger and Dumba, I received a very friendly
letter inviting me to fix upon one of the three day--2lst
February, 7th or 23rd March--for the performance of the
"Elizabeth" in Vienna, and to undertake to conduct the work. To
do the latter is absolutely impossible to me, for reasons that
you know; hence I shall decline to fix upon a date. My answer
conveys to the above-named gentlemen my thanks for this
distinguishing mark of their good-will, and, at the same time, I
express my wish to attend the performance, and mention that the
end of March would be the most convenient time for me.

I also wrote to Herbeck pretty fully, saying that he, and he
alone, should conduct this performance; it is to be hoped that
under his direction the whole thing will run a successful course.

Hearty greetings to all yours, and I look forward to seeing you
again soon.

F.L.

December 6th, 1868 [Villa d'Este]

80. To Johann von Herbeck

Very dear Friend,

Although I feel absolutely sure that you will conduct the
"Elizabeth"-performance in a perfect and brilliant style, I
gladly comply with your wish that I should be in Vienna a few
days beforehand. As I have already said, it would be more
convenient to me to leave here towards the end of March.
Meanwhile present my most gracious thanks to the Committee of the
"Musikfreunde," with the request that they will in future regard
me as quite inadmissible as a conductor. Your question whether I
attach "any special importance" as to how the different parts
should be filled, I answer simply thus: arrange things wholly and
entirely as you think best. The few indefinite suggestions in my
last letter are of importance only in so far as they agree with
your competent arrangement, otherwise in no way. One point only I
should like adhered to in the Vienna performance, namely that no
foreign singers be engaged for it. To have one's own house in
good order is always the wisest and safest plan.

I have heard much in praise of Fraulein Ehnn [A singer at the
Royal Opera House in Vienna]; and should feel specially indebted
to her if she would undertake the Elizabeth: the part does not go
against the grain, and should Fraulein Ehnn wish any alterations
I should be quite willing to consider them.

With warm thanks, yours most sincerely,

F. Liszt

Rome, December 29th, 1868

The "Tanzmomente" are still dancing on their way here, for they
have not yet come.

81. To Edvard Grieg

[Published in Gronvold "Norwegische Musiker" (Norwegian
Musicians, Warmuth, Christiania).--The addressee was the clever
leader of the Young School of Northern Composers. He was born at
Bergen in 1843, and educated at Leipzig.]

Sir,

I am very glad to tell you what pleasure it has given me to read
your Sonata (Op. 8). It bears testimony to a talent of vigorous,
reflective and inventive composition of excellent quality,--which
has only to follow its natural bent in order to rise to a high
rank. I am pleased to think that in your own country you are
meeting with the success and encouragement that you deserve:
these will not be wanting elsewhere either; and if you come to
Germany this winter I cordially invite you to stay a little at
Weimar, in order that we may thoroughly get to know each other.

Pray receive, sir, the assurance of my sentiments of esteem and
very distinguished regard.

F. Liszt

Rome, December 29th, 1868

NEXT SECTION: WEIMAR.--PEST.--ROME.

82. To Commerzienrath Carl Bechstein in Berlin

[Head of the famous pianoforte-manufactory; our "Beflugler," as
Bulow and Tausig called him (A play on the word Flugel, which
means both a "grand piano" and "wings.")]

Very Dear Sir,

Accept a seven-octaved chromatic scale of thanks for your
kindness in sending your magnificent piano for the Grand-Ducal
Hofgartnerei in Weimar. I hope you will on some occasion allow me
to have the pleasure of convincing you, de visu et audaitu, how
glorious the instrument looks and sounds here.

According to report we are shortly to see Tausig again in Weimar.
Tell him he may be sure of a hearty welcome from me.

With sincere esteem and grateful thanks I remain

Yours most sincerely

F. Liszt

Weimar, January 19th, 1869

P.S.--Enclosed are a few lines for Tausig, which kindly forward
to him.

83. To Johann von Herbeck

Very Dear Friend,

Fraulein Ehnn's amiable readiness to undertake the part has
greatly pleased me, and I beg you to convey my sincerest thanks
to our "Elizabeth." The part will not cost her any immoderate
effort; all possible alterations, pauses, dotted notes,
ornamentations, shall be left ad libitum and entirely to the
pleasure of the gracious singer. Do not write to me further on
this subject, and endeavor merely to get Fraulein Ehnn to feel
herself comfortably and pleasantly at home with my poor tone-
melodies.

Friend Remenyi, whom I do not need now to introduce to you, will
be the bearer of these lines to you. He has delighted and
captivated every one here, the Court as well as the public, and
this is verily no small matter, for in Weimar we are accustomed
to the most distinguished violin-virtuosos. I requested him to
tell you how grateful I feel to you for your idea of a concert of
Liszt's compositions.

But, in order to avoid every appearance of indiscretion or
forwardness, I consider it well and advisable to keep exclusively
to the Elizbeth on this occasion.

Hold fast, therefore, to two points:

a. all parts of the Elizabeth to be filled by native talent.
b. Critics to be worried only with this one work.

[At the performance of the Elizabeth in the "ausserordentlichen
Gesellschafts-Concert" (Company's special concert) on April 4th,
1869, Liszt met with a genuine triumph. Herbeck writes: "After
every number, and at the end of every part, there was no end to
the calls for Liszt." The performance was repeated on April 11th,
and received with even greater enthusiasm.]

I have also requested Remenyi to ask you about the apartments I
shall require. My stay in Vienna will be limited to eight or ten
days, which I should like to spend in as quiet and peaceable a
way as possible, and not within the circle of disturbing
visitors.

With sincere esteem and friendly attachment yours,

F. Liszt

Weimar, January 27th, 1869

84. To E. Repos

Dear Sir and Friend,

A thousand sincere thanks for the kind zeal and love that you
bestow upon the publication of my poor works. In order that the
edition of the "Requiem" may be entirely correct, I will beg you
to send me again proofs of the "Offertoire," "Sanctus" and "Agnus
Dei," either to Weimar before the 18th March, or to Vienna from
the 25th March to the 12th April. My address in Vienna is c/o Mr.
Herbeck, Court conductor, etc., etc. Graben, Trattnerhof. Vienna.
Austria.

I shall spend two or three days at Ratisbon towards the middle of
April, in order to hear the Cathedral choir there, which has a
great reputation in Germany. There also I shall find a manuscript
of the highest interest, and one which up to now has been almost
unknown: it is the opus musicum magnum of Orlandus Lassus. It is
composed of more than five hundred pieces of music.

Are you in touch with Mr. Pustet, the most considerable publisher
of religious music at Ratisbon?--

Your visit to Rome will be extremely agreeable to me. I expect to
be back at the end of April and to pass the summer at Santa
Francesca Romana.

Your very affectionately devoted

F. Liszt

Weimar, March 3rd, 1869

Probably I shall profit by your kind proposition, and shall send
you shortly a Mass (for 4 voices, with a simple Organ
accompaniment).

85. To Laura Kahrer, in Vienna

[Now married to Concertmeister Rappoldi in Dresden, and one of
the lady-professors at the Conservatoire there. The above note,
which was accompanied by a silver pen for composing, Liszt sent
her after having been present at her first public appearance at a
charity-concert in the Royal Opera House in Vienna. In 1870 she
became a pupil of his in Weimar, and was soon considered one of
the most distinguished lady-pianists; since 1879 she has enjoyed
the title of Kammervirtuosin (Court pianist) of Saxony.]

Dear and astounding Artiste,

Accept this small remembrance of the hour when your extraordinary
talent so joyfully surprised me, and be assured of the sincere
and friendly devotion of yours,

F. Liszt

Vienna, April 15th, 1869

86. To Franz Servais

[Composer; conducted the Wagner performances in the Theater de la
Monnaie, Brussels, in 1890-91.]

Dear Monsieur Franz,

The sincere pleasure caused me by your letter, which reached me
at Pest at the end of April, is completed by the one you have
addressed to me here. I am delighted to hear that my prophecy has
been realised and that you enjoyed yourself at Munich. At this
time you would not find anywhere else an ensemble of ideas,
works, acts and instruction so suited to your artist-nature, and,
consequently, so favorable to the full development of your fine
powers. Thanks to M. de Bulow and his prodigious activity, on a
par with his intelligence, Munich is becoming the new musical
capital of Germany. You will therefore do well to stay some time
there, in order vigorously to prepare yourself for the task which
has devolved on you elsewhere.

Perhaps I may see you again this summer, for if, as announced,
"Rheingold" is performed there on the 25th August I shall come to
it.

Meanwhile I thank you for having so well listened to the
"Elizabeth"; that is a presage to me that we shall meet more than
once on the same path, in which I wish you the most complete
success. .--.

Believe, dear Monsieur Franz, in my very devoted affection.

F. Liszt

Rome May 21st, 1869

87. To William Mason

Rome, May 26th, 1869

Dear Mr. Mason,

Mr. Seward has given me your kind letter and several of your
compositions. These give me a double pleasure in that they prove
that you have not lost your time at Weimar, and that you continue
to make good use of it elsewhere.

The Etude de Concert (Op. 9) and the Valse Caprice (Op. 17) are
of a distinguished style and make a good effect. I shall also
sincerely praise the 3 Preludes (Op. 8) and the two Ballades, but
with some reservation. The first Ballade appears to me somewhat
cut short; it wants I know not what at the beginning and towards
the middle (page 7) of something needed to make the melody stand
out; and the pastorale of the 2nd Ballade (page 7) figures like a
too-cheap piece of "padding."... And, since I am in the vein for
criticising, let me ask why you call your "Ah! vous dirai-je,
Maman"--"Caprice grotesque?" Apart from the fact that the
grotesque style should not intrude into music, that title is
unjust to the clever imitations and harmonies of the piece, very
charming by the way, and which it would be more suitable to
entitle "Divertissement" or "Variazione scherzose."--

As to the Methode, you won't expect me to make a deep study of
that. I am much too old for such a thing, and it is only in self-
defence that I still work sometimes at the piano in view of the
incessant botherations and indiscretions of a heap of people who
imagine that nothing would be more flattering to me than to amuse
them!--

Nevertheless, in looking through your Methode I find some
exercises much to be recommended, namely, the "interlocking
passages" page 136 to 142;--and all the "accentual treatment" of
Exercises. [The italics (here in quotations) in this sentence are
written in English and in italics by Liszt.]

May your pupils and the editor obtain from them all the profit
that I wish them!

A thousand thanks, dear Mr. Mason, and count on my very
affectionate and devoted sentiments of old.

F. Liszt

88. To the Composer Heinrich Schulz-Beuthen

[Printed in Gottschalg's "Chorgesang," 1890.--Schulz-Beuthen was
born in 1838.]

Very dear Sir,

That you have dedicated your 42nd and 43rd Psalms to me I feel to
be an honor in the artistic sense, for which I am sincerely
grateful. It is long since any new composition has given me the
impression of intellectual strength and musical completeness such
as I find in yours. And this work stands even above eminent
compositions of the kind. It appears to me even more fully
rounded, pregnant and powerful than your 29th Psalm, which I
justly recognised as a distinguished work upon first reading it
through. The grand impression produced by your 29th Psalm on the
occasion of the Tonkunstler-Versammlung in Dessau confirmed my
predictions, and I am convinced that wherever the 42nd and 43rd
Psalms are heard every person with any depth of soul will feel
their sublime beauty, and offer you something more valuable than
mere ordinary applause. Do not look for word-making from me; I
never knew much about it, and I can still less try my hand at it
now in my old age. But allow me, very dear sir, to tell you quite
frankly and briefly this:--

You must not hold yourself aloof and at a distance; your splendid
works must be performed, printed and circulated. And although--
owing to the idle and impudent chatter of many leaders of the
press--my influence in musical matters has been reduced to a
minimum, still I hope shortly to arrange a performance of your
Psalms in one or two places.

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