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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I must add one other princely personage to this letter, and with
this I am obliged to close. A visit at this very moment is
announced from the Principe della Rocca, who has driven up with
his photographic apparatus. You shall, therefore, ere long have a
little picture of the Madonna del Rosario which, since the Pope's
visit here, has been the talk of Rome.

A thousand hearty greetings.

F. L.

July 18th, 1863

19. To Breitkopf and Hartel.

Rome, August 28th, 1863

My Dear Sir,

The work that you were good enough to entrust to me is almost
finished, and by the same post you will receive the Piano score
of 8 Symphonies of Beethoven, whilst awaiting the 9th, which I
propose to send you with the proofs of the preceding ones. Nos.
1, 2, 3, 4, and 8 are bound in one volume; there is only the
"Funeral March" from the "Eroica Symphony" wanting, which is
published in the Beethoven-Album by Mechetti, Vienna. I shall
require to see this arrangement again (which you will oblige me
by sending with the next proofs), for probably I shall make
numerous corrections and modifications in it, as I have done in
the Symphonies in C minor, in A, and the "Pastoral," which were
edited some twenty years ago. The copies of these are returned to
you today with a great many alterations, errata and addenda,
inasmuch as--in order to satisfy my own criticism--I have been
obliged to apply to them the torture of red pencil and gum, and
to submit them to a very considerable alteration.

Whilst initiating myself further in the genius of Beethoven, I
trust I have also made some little progress in the manner of
adapting his inspirations to the piano, as far as this instrument
admits of it; and I have tried not to neglect to take into
account the relative facility of execution while maintaining an
exact fidelity to the original. Such as this arrangement of
Beethoven's Symphonies actually is, the pupils of the first class
in the Conservatoires will be able to play them off fairly well
on reading them at sight, save and except that they will succeed
better in them by working at them, which is always advisable.
What study is deserving of more care and assiduity than that of
these chefs d'oeuvre? The more one gives oneself to them the more
one will profit by them, firstly in relation to the sense and
aesthetic intelligence, and then also in relation to the
technical skill and the attaining of perfection in virtuosity--of
which one should only despise the bad use that is sometimes made.

By the title of Pianoforte score (which must be kept, and
translated into German by Clavier-Partitur or Pianoforte-
Partitur?) I wish to indicate my intention of associating the
spirit of the performer with the orchestral effects, and to
render apparent, in the narrow limits of the piano, sonorous
sounds and different nuances. With this in view I have frequently
noted down the names of the instruments: oboe, clarinet, kettle-
drums, etc., as well as the contrasts of strings and wind
instruments. It would certainly be highly ridiculous to pretend
that these designations suffice to transplant the magic of the
orchestra to the piano; nevertheless I don't consider them
superfluous. Apart from some little use they have as instruction,
pianists of some intelligence may make them a help in
accentuating and grouping the subjects, bringing out the chief
ones, keeping the secondary ones in the background, and--in a
word--regulating themselves by the standard of the orchestra.

In order to be perfectly satisfied with regard to my work allow
me, my dear sir, to beg you to let Mr. Ferdinand David and
Monsieur Moscheles see it before it is printed. The minute
familiarity they have acquired with the Symphonies of Beethoven
will show them in a moment any errors, oversights, faults and
misdeeds of which I, very unwittingly, may have been guilty. Will
you please assure them that any information from them in these
respects will be most valuable to me, and that I shall not fail
to profit by it for the honor of your edition. In particular I
should like to know from Mr. David whether the N.B. placed on
page 78 of the manuscript (Finale of the 8th Symphony--"the
execution of the principal figure, etc.") is authorised,--and I
should be very grateful to him for any other particulars he is
kind enough to give me. As to Mr. Moscheles, I hope he will not
disapprove of my having followed his example in putting a profuse
fingering for the greater ease of the mass of performers; but
perhaps he would be so kind as to suggest a better fingering
himself, and to let me know his observations upon such and such
an artifice of "piano arrangement" of which he is a consummate
master. There is only one point on which I would venture even to
an act of rebellion--it is that of the pedals, a bass [base]
passion of which I cannot correct myself, no matter how annoying
the reproaches it may draw upon me!--["Even if one may
presuppose," he writes on another occasion (27th August, 1861) to
Breitkopf and Hartel, "a correct use of the pedal on the part of
piano-players, I am nevertheless, through manifold unpleasant
experiences to my ears, brought back to giving the most minute
indications of it."]

If, as I venture to flatter myself, my arrangement of the
Symphonies satisfies you, I should be tempted to propose to you,
for next year, a similar work on the Quartets, those magnificent
jewels in Beethoven's crown which the piano-playing public has
not yet appropriated in a measure suitable to its musical
culture.

But I really fear to exhaust your patience by giving you proofs
of mine...consider therefore this project of the Quartets as not
having been proposed if it seems to you inopportune, and pray
accept, my dear sir, the expression of my very sincere and
devoted sentiments.

F. Liszt

(Monte Mario, Madonna del Rosario)

P.S.--As it has been impossible for me to hunt out here a copyist
who will fulfil the conditions that may reasonably be exacted
(the one whom I employed pretty much last year divides his time
between the prison and the public-house!), I am compelled to send
you the manuscript such as it is, with many apologies for its
badly written appearance. To make a fair copy of it someone with
plenty of experience is needed; and I can safely recommend you
such an one in Mr. Carl Gotze ("Member or Vice-director of the
theater chorus") at Weimar. He is accustomed of old to my
writing, and would make the copy of the Symphonies with
intelligence and care.

N.B.--A copy of the Orchestral Score of the Symphonies will be a
great help to the work of the copyist of my manuscript, for
exactness in nuances, division of parts and indication of the
instruments.

In any case it will be necessary for me to revise the final
proofs. .--.

Let me add, in conclusion, that I shall be glad to receive, with
the proofs or even sooner, a copy of my "Etudes d'execution
transcendante," and also those "d'apres Paganini" (Breitkopf and
Hartel edition), which I have promised to give to an excellent
pianist here, Mr. Sgambati, who is most capable of playing them
well in public;--and, besides these, a copy of my "Ave Maria"
(for chorus with Organ accompaniment) which is shortly to be
performed here.

20. To Dr. Franz Brendel

Dear Friend,

This morning I sent off manuscripts and corrections to Hartel and
Schuberth--and thus had to write the word Leipzig several times.
It struck me as a reproach as regards yourself, and I mean
forthwith to get rid of it. You shall not hear of me through
others without having the trouble of reading my own bad
handwriting yourself. I have not, however, anything very special
to relate. The summer has passed quietly and I have not wandered
abroad much; have, in fact, been pretty constantly sitting at my
work. My abode continues to suit me more and more, so I intend to
spend the winter here. You no doubt received with my last letter
the photograph of the "Madonna del Rosario." Unfortunately I
cannot send you a picture of the grand, truly sublime view that
can be enjoyed from every window. So you must imagine it to
embrace all Rome, the wondrous Canmpagna, and all the past and
present glories of the district.

For some time past I have had no other news of you than your
excellent articles on "artistic individuality," etc., in which,
among many other right and fine observations, I was specially
pleased with the axiom: "The artistic temperament, when genuine,
corrects itself in consequence of the change of contrasts." May
it prove so in my case;--this much is certain,--that in the
tiresome business of self-correction few have to labor as I have,
as the process of my mental development, if not checked, is at
all events rendered peculiarly difficult by a variety of
coincidences and contingencies. A clever man, some twenty years
ago, made the not inapplicable remark to me: "You have in reality
three individuals to deal with in yourself, and they all run one
against the other; the sociable salon-individual, the virtuoso
and the thoughtfully-creative composer. If you manage one of them
properly, you may congratulate yourself."--Vedremo! [We shall
see!]

Weitzmann's "Carnival in Rome towards the Middle of the
Seventeenth Century," I read with great pleasure in the "Neue
Zeitschrift." It is a pleasant, lively sketch, spiced with
learning but without pedantic lead. Did a very remarkable
"History of the Pianoforte," etc., by the same author, appear in
your paper? Frau von Bulow wrote to me lately that Hans is busy
with some essays for the N. Z. Probably he is writing a review of
Weitzmann's "History of the Pianoforte," which would be most
appropriate; if this is not the case I would advise you to get
one of your staff to undertake the work and to give several
quotations from it. The confounded pianoforte has its
unmistakable significance, were it only because of the general
abuse to which it is put!--In honor of Hartel's edition of
Beethoven I have been occupying myself again with studies and
experiments in pianoforte pieces. The arrangements of the 8
Beethoven Symphonies which I am about to send to Leipzig are, I
trust, successful. They cost me more trouble, in attempts of
various sorts, in corrections, eliminations and additions, than I
had anticipated. As we grow old we deliberate more and are less
readily satisfied...

To Schuberth I have sent the corrections of the 2-pianoforte
arrangement of the "Faust Symphony," together with a pretty,
tuneful arrangement of the "Preludes" by Herr Klauser (of New
York), and was thus induced to play the hackneyed piece through
again, to touch up the closing movement and give it new
figuration. In the hands of a skilful player it will prove
brilliantly effective.

But enough of all this pianoforte stuff! I feel forced to set to
work again in blackening score-sheets--and first of all the
"Christus Oratorio" shall be proceeded with.--Write and tell me
whether Kahnt is publishing the two Psalms which Pastor
Landmesser took him, and advise him to request Herr von Bulow to
revise the last proofs. There is nothing more vexatious to me
than careless editions, full of errors, such as Schuberth would
like to have if one gave free reins to his good nature! From the
Committee of the Association for the Completion of Cologne
Cathedral I have received an invitation to the Festival arranged
for the 14th and 15th October. The letter reminds me, in the most
courteous terms, that in the year '42 I had the honor of being a
member of the Council. I had not forgotten this peculiar
distinction; but the worthy gentlemen seem absolutely not to have
considered how my activity could now appropriately be of service,
and they wisely guard against mentioning any of my ecclesiastical
compositions, although it might have occurred to them that I
could manage something in that species of music. However, the
worthy Committee find the old story of the "period of my
brilliancy," and the "bewitching strains I drew from the keys,"
etc., more voluble and convenient. Besides which some small sum
would have to be forthcoming were I to agree in considering
myself what the good folks would like to consider me. Fortunately
the determination of my work does not lie in their hands, and on
account of this very evident conviction I answered their
communication most courteously, modestly referring to my present
occupation in Rome, and enclosing an extract from one of the
Hymns of St. Ambrosius, from the Liturgy of the "Three Holy
Kings," an incident intimately connected with Cologne Cathedral.
At the same time I feel satisfied that I have not shown any
intention to give annoyance, and declared myself as perfectly
content to fulfil my duties as an honorary member of the Council,
in quietude, by composing a work specially for the Cathedral
(which I shall not fail to do), but without laying the slightest
claim to the sympathy--much less to the patronage--of the worthy
gentlemen of Cologne.--I flatter myself that I am not in the bad
graces of the Three Holy Kings, consequently do not need to
trouble myself about the rest of the Cologne folk!

Now my Leipzig parcels can be despatched with an easy mind.

With heartiest greetings,

Yours devotedly,

F. Liszt

September 7th, 1863

Monte Mario (Madonna del Rosario)

P.S.--Sgambati, an excellent Roman pianist, wishes to study my A
major Concerto. Schott has as yet omitted to send me the
complimentary-copy of this piece, to which I am entitled, so I
beg you to enclose in Kahnt's next sending a duplicate copy
(arranged for 2 pianofortes, as there can be no thought of an
orchestral performance of it here). From Hartel I have also
ordered for Sgambati and Bach [This is no doubt meant for Bache.]
my Etudes, the Paganini ones, and my "Ave Maria" (chorus-score
and voice parts, for a performance at the Classical Concerts
conducted by Mililotti). It would be advisable, owing to the
expense of forwarding music, to send the things all in one
parcel; please be kind enough to suggest this to Hartel, and to
get the 3 opus from him, and I do not wish to have to wait beyond
the end of October for them. Gottschalg will soon have some copy
to send me which might come at the same time.

21. To Justizrath Dr. Gille of Jena

Dear friend,

I trust you will forgive my long silence. I could not excuse
myself in any other way than by a worse lamentation about the
variety of circumstances, moods and occupations that have more
and more encouraged my habitual dislike to letter-writing. Unless
some definite object demands it of me, I do not write to any one
in Germany, with the exception of Bulow, my cousin Eduard in
Vienna, and Brendel, to whom I am very grateful for the kindness
with which he looks after the more important details connected
with my musical affairs. As regards my Weimar friends, my
inclination to communicate with them is spoilt by my imagining
that they would as gladly see me among them as I should feel at
home among them. And as I cannot write to them and say: "I am
coming to remain with you," I get more and more silent.

My stay in Rome is not an accidental one; it denotes, as it were,
the third part--(probably the close) of my life, which is often
troubled, but ever industrious and striving upwards. Hence I
require ample time to bring various long works and myself to a
good ending. This requisite I find in my retirement here, which
will probably become even more emphatic; and my present monastic
abode provides me not only with the most glorious view over all
Rome, the Campagna and the mountains, but also what I had longed
for; quiet from without and peacefulness.--Enclosed is a
photograph of the "Madonna del Rosario," as an illustration to
the notices that have lately appeared in the newspapers in
connection with the Holy Father's visit here.

Your friendly lines came strangely in conjunction with the
"Dettingen Te Deum" to which you refer, and which I was playing
through at the very moment your letter was handed to me. A very
amiable English lady delighted me a little while ago by
presenting me with the praiseworthy London edition-"Novello's
Centenary Edition"--of the Oratorios of Handel, Haydn,
Mendelssohn, etc. (and all sold at from 1 to 3 shillings each);
these works are always welcome society to me. The number
containing the "Dettingen Te Deum" also contains the "Coronation
Anthem" (composed in 1741). "Zadok the priest, and Nathan the
prophet, anointed Solomon King." [This sentence is written in
English by Liszt.]

The commencement is wonderfully grand and powerful, like the
Bible itself.--

However notwithstanding all my admiration for Handel, my
preference for Bach still holds good, and when I have edified
myself sufficiently with Handel's common chords, I long for the
precious dissonances of the Passion, the B minor Mass, and other
of Bach's polyphonic wares.

Remember me kindly to your wife, and with heartiest greetings to
M. Gille, junior, I am Your sincerely attached

F. Liszt

Rome, September 10th [1863]

(Monte Mario, Madonna Del Rosario.)

Do not omit in your next letter to tell me something about your
musical Jubilee in Jena.

22. To Dr. Franz Brendel

Dear Friend,

I am deep in my work. The more we sow a field the more it
spreads. One would need to live to the age of a Methuselah to
accomplish anything plentiful!

Your letters, unlike so many others, are always so welcome, and I
thank you most sincerely for all the goodness, kindness, honesty
and warmth of feeling that the continuance of our friendship
brings with it. For even though you may not always be able to
communicate pleasant or enjoyable news, still things disagreeable
I can tolerate more readily from you, because of your ever
moderate and characteristically steadfast interpretation. The
experience you had lately to make with Y.Z. I regret sincerely,
and would gladly make you some compensation for a loss that is as
unexpected as it is unfortunate. But I am sorry to say I do not
know of any one who would exactly suit you. There is truly a
great dearth of men [Menschen] in this world! When they are put
to the test they prove themselves useless. My ten years' service
in Weimar gave me abundant proof of this!

Probably you will just have to drag on with your contributors,
till we finally get into smoother water again. It is more than
three months since I received any numbers of the Neue Zeitschr.;
do not forget to enclose the numbers in the next sending
(together with the music I want from Hartel), and address always
to "Madonna del Rosario (of which a photograph herewith), Monte
Mario--Rome."

Kahnt's willingness to publish the score of the two Psalms is
very flattering to me. He shall have the manuscript soon, and I
should like to enclose the instrumentation of the Songs from
Wilhelm Tell. Should a convenient opportunity occur some kindly-
disposed singer might be found to bring them into notice (perhaps
Schnorr?). The instrumental-fabric is not plain or ordinary, and
enhances the effect of the vocal part. My critical ex-colleague
Stor praised it formerly when performed at one of the Court-
Concerts at which Caspari sang the songs,--and since then I have
added some dainty little bits. One must praise oneself,
especially when others too often fail in doing so!--

With regard to the Tonkunstler-Versammlung, it seems to me that
the choice of Leipzig is most advantageous for the purpose at
present, and I would advise you to adhere to this. In the course
of the winter we will have an "exchange of thoughts" ("un echange
d'idees," as Prince Gortschakoff is ever saying) about the
programme and arrangements, and this will assuredly lead to more
harmonious results than the Russian notes. Fortunately we do not
need to quarrel about the extent of the treaties of 1815!

Hearty greetings from your sincerely devoted

F. Liszt

October 10th, 1863

P.S.--About six weeks ago there appeared in the Leipzig
"Illustrirte Zeitung" a biographical notice of F. Liszt, together
with a portrait. Let me have the number, and tell me who wrote
the article.

.--. Has anything new in the way of scores or pianoforte pieces
been published that is likely to interest me? Here people speak
of Mendelssohn and even Weber as novelties!

23. To Madame Jessie Laussot

Herewith, dear Madame, are a few lines that I beg you to forward
to Madame Ritter (mere), as I do not know where to address to
her. [She had lost her daughter Emilie, the sister of Carl and
Alexander Ritter.]

The melancholy familiarity with death that I have perforce
acquired during these latter years does not in the least weaken
the grief which we feel when our dear ones leave this earth. If
at the sight of the opening graves I thrust back despair and
blasphemy, it is that I may weep more freely, and that neither
life nor death shall be able to separate me from the communion of
love.--

She whom we are mourning was especially dear to me. Her bodily
weakness had perfected the intuitive faculties in her. She took
her revenge inwardly and lived in the beyond...At our first
meeting I thought I should meet her again. It was at Zurich at
Wagner's, whose powerful and splendid genius she so deeply felt.
During several weeks she always took my arm to go into the salle
a manger at the hour of dinner and supper,--and she spread a
singular charm of amenity, of sweet and conciliatory affection in
that home to which a certain exquisite degree of intimacy was
wanting. She possessed in a rare degree the secret of making her
presence agreeable and harmonious. Everything in her, even to her
very silence, was comprehensive, for she seemed to understand, or
rather to determine the thoughts which words render in only an
unformed manner, and worked them out in her noble heart.

May her soul live for ever in the fulness of the light and peace
of God!--

Very cordially yours,

F. Liszt

October 15th, 1863

(Madonna Del Rosario, Monte Mario.)

Pray excuse my delay in these few lines. It was only yesterday
that I learned your address through Mr. Sgambati.

24. To Dr. Franz Brendel

Dear Friend,

Kahnt's last sending that reached me last week brought me much
that I found pleasant and encouraging in the numbers of the Neue
Zeitschrift. I could verily not have imagined that so mild and
kindly a ray of light could have been shed over my compositions
discussed there, as is given under cipher 8. Let me know who
writes under cipher 8--I promise not to divulge the secret--and
meanwhile present my as yet unknown reviewer with my sincerest
thanks for his appreciation of my nature, which he manifests in
so kind and sympathetic a manner in his commentary to the
"Seligkeiten" [Beatitudes] and the instrumentation of "Mignon's
Song." [The review was written by Heinrich Porges.] He has formed
the most correct estimate of my endeavors by pointing to the
result, namely, to throw life into the truly Catholic, universal
and immortal spirit--hence to develop it--and to raise the
"culture that has been handed down to us from the remote Middle
Ages, out of the heavy atmosphere of the monasteries and, as it
were, to weave it into the life-giving ether of the free spirit
pervading the universe."

I also perfectly agree with the extremely applicable close of the
same article: "Our age has not yielded its right to feel itself
connected with the Infinite," and I intend to set to work in
earnest to comply, as far as possible, with the kindly
expectations of my reviewer. His reference to my Psalms leads me
to wish that I might soon see the four Psalms published in score
(they are very diverse, both as regards feeling and musical
form). Kahnt's willingness to publish them is, therefore, welcome
news to me, and I beg he will give me a proof of his goodwill by
kindly having them ready for next Easter's sale.

He can settle everything about the form and equipment "al suo
commodo" (as people say here).

Still the Psalms should be published in the same form, and should
Kahnt decide upon retaining the form of the Prometheus score (as
he writes to me) I shall be quite content and satisfied. The day
after tomorrow I shall send him the instrumentation of the 23rd
and 137th Psalms together with the score of the 13th. The latter
is one of those I have worked out most fully, and contains two
fugue movements and a couple of passages which were written with
tears of blood. Were any one of my more recent works likely to be
performed at a concert with orchestra and chorus, I would
recommend this Psalm. Its poetic subject welled up plenteously
out of my soul; and besides I feel as if the musical form did not
roam about beyond the given tradition. It requires a lyrical
tenor; while singing he must be able to pray, to sigh and lament,
to become exalted, pacified and biblically inspired.--Orchestra
and chorus, too, have great demands made upon them. Superficial
or ordinarily careful study would not suffice...

Pardon me, dear friend, for having troubled you to such an extent
with marginal comments to my manuscripts. I will only add that I
should be glad to see the short Choral Psalm for men's voices
("The Heavens declare the glory of God") printed in time for the
Easter's sale, in score-form from the copy I left Kahnt before I
went away;--and now to return to the Articles in the Neue
Zeitschrift, I feel specially grateful, in the first place, for
the communications concerning the Hungarian orchestra in Breslau.

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