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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With regard to the "Elizabeth" I have received offers from Vienna
and a few other places; but it is in no way my intention to wage
war in a hurry with this work. I shall, therefore, decline the
invitations with thanks, and await an opportunity more convenient
to myself for the next performance. Whether this may be at the
Tonkunstler-Versammlung in Coburg I do not know, and, frankly
said, this will depend upon the Duke's bon plaisir. [It was not
performed at a Tonkunstler-Versammlung in Coburg.] For my own
part I am in no great hurry, as I have heard enough of the work
in Pest, and found no alterations to make in it. Then also there
is no hurry with regard to its publication, and my reply a short
time ago to a willing publisher (who, curiously enough, offered
me a respectable honorarium for it!) was, that only by next
summer could I decide whether to have it published or not.

Gille has the kind intention of arranging a performance of the
"Elizabeth" in Jena as soon as possible. I don't want to enter
into a fuller correspondence with him on the subject; but please
tell him, in all friendliness, that I regret to be obliged
somewhat to check his admirable zeal. Apart from certain
considerations of propriety (which I will never disregard in the
slightest degree) there is an irremovable difficulty in the
matter of the performance itself. It cannot be given in Jena
without the co-operation of the Weimar performers. And why plague
our dear and excellent Weimar singers and artists, and how--with
their many theatrical engagements--could they find the necessary
time for studying the parts, for rehearsals?--etc., etc.--

Hence let us give a simple no as regards Jena, and put a sign of
interrogation? nay, even two or more??? as regards the
Tonkunstler-Versammlung in Coburg, for (as I told you in my last
letter but one) we shall there have entirely to submit to the
Duke's opinion concerning the larger (or longer) work which is to
fill the first day's programme.

(N.B.--"Elizabeth" lasts about three hours, including the
intervals. Bulow's conductorship would be indispensable.)

For ten days past I have again been back in the Vatican, and
think of remaining here over the winter. At the present moment I
am engaged in arranging the Pope's Hymnus, published last month
by Bote and Bock for pianoforte as a solo and in duet-form, for
chorus (with Italian words). I think something of this piece, for
which Kaulbach has made a splendid drawing. If it is performed
here you shall hear about it. As soon as possible I mean to set
to work with my "Christus Oratorio." Unfortunately I have had to
set it aside for a year, as the "Vocal Mass" and other smaller
works prevented my doing anything to it. I shall require from six
to eight months before I get the "Christus" finished, for I am
scarcely half-way through yet.

My health is good, and I can unconcernedly allow people the
pleasure of referring to me as "physically broken down" and a
"decayed wreck" (as I have been described in the Augsburger
Allgemeine Zeitung).

One favor do me at once, dear friend. Request Kahnt to purchase
for me the steel-plates (or woodcuts) of Schwind's "Elisabeth-
Galerie" in the Wartburg, published in Leipzig by Weigel or
Brockhaus, and let them be sent safely, quickly and correctly,
addressed to "Herr Baron Anton von Augusz--Szegzard" (Tolnaer
Comitat--Hungary). If I am not mistaken, the drawings are
published in two parts. The first part contains the pictures of
St. Elisabeth's arrival at the Wartburg, the miracle of Roses--up
to her death. The second part gives the medallions depicting her
works of charity. I wish to send the complete "Elisabeth-Galerie"
to Baron Augusz. The price is not high, and the money shall be
refunded to Kahnt as soon as I get the bill.

By the way Kahnt would be doing me a favor by presenting
"Remenyi," through Roszavogli (Pest), with a copy of Pflughaupt's
arrangement for pianoforte and violin of my "Cantique d'amour"
and "Ave Maria"--and by granting my humble self a copy also, at
his convenience. Remenyi will be glad to play the pieces with
Plotenyi and thus make them known, and I would get Sgambati and
Pinelli [A Roman violin virtuoso (born 1843), was appointed in
1872 Director of the "Societa musicale romana," in Rome.] to do
the same here.

With hearty greetings to your wife,

Your unchangeably sincere and devoted

F. Liszt

The Vatican, September 28th, 1865

Let me know of the despatch of the "Elisabeth-Galerie," and also
send me a few copies of Bulow's three articles.

Why have my organ-pieces (from Korner, Erfurt) not yet reached
me? Please remind Kahnt or Gottschalg of this.

44. To Eduard Liszt

Dearest Eduard,

My heartiest thanks to you for remembering the 22nd October. The
day was celebrated quietly and happily like last year in my
former residence (Madonna del Rosario)--and you were present with
me in my inmost heart.

Before I received your lines I had already answered Dunkl's and
Herbeck's letters relating to the "Elizabeth" Oratorio. You know
how much against my wish it is to put this work into circulation.
And, however flattering it may be to me (perhorrescised
composer!) to receive offers from various places about it, still
I think it advisable to avoid precipitancy, and not to expose my
friends so soon again to unpleasantnesses such as my earlier
works brought upon them. Lowy's empty stalls (with the Preludes)
are significant...and, considering the various kinds of abuse
which my works have had to endure, silence would seem to be most
becoming.

Therefore be good enough, dearest Eduard, to tell those kindly
disposed "Musical Friends," emphatically that I cannot make up my
mind to the proposed performance of the "Elizabeth," and beg them
to pardon this small-mindedness in me. Besides the score is no
longer at my disposal, as I have sent it to Bulow, who requires
it for a performance desired by H.M. the King, for which I have
already invited Herbeck. Bulow is giving some concerts this month
and next in Berlin, Dresden, Prague, etc. Hence he cannot begin
rehearsing the Elizabeth till later. Of the Munich performance
you shall hear details when the time comes.

With regard to your communication to the Princess, I assure you
again that as soon as and as often as it is possible for me to do
you a service, as certainly shall it be done.

Kindest greetings to your wife from

Your truly devoted

F. Liszt

[Rome,] November 1st, 1865.

45. To Dr. Franz Brendel

Dear friend,

My answer to you has been delayed in order that I might at the
same time tell you of a variety of things.

A) At the beginning of March I intend going to Paris. The Gran
Mass is to be given on March 15th in the Church of St. Eustache
at the anniversary "de l'oeuvre des ecoles" to which the Maire of
the 2nd Arrondissement, M. Dufour, sent me an official invitation
the other day.

B) The report spread in various newspapers about the Hungarian
Coronation-Mass which I am to compose, is for the present only
officiously correct. Probably it may become true shortly. [This
did occur, as is well known.]

C) At the opening of the Dante Gallery here at the end of the
month my "Dante Symphony" is to be performed. I enclose the
article from the Osservatore Romano in which this extraordinary
event is discussed in detail--also another number of the same
paper containing a short notice on the "Stabat mater speciosa" (a
very simple chorus from my "Christus Oratorio"), that was sung
last Thursday in the Franciscan Church Ara Coeli (on the
Capitol).

D) I am quite determined to attend the Tonkunstler-Versammlung in
Coburg, and expect to hear from you shortly more about it. It is
to be hoped that Bulow will conduct. If there should be any
thought of giving the "Elizabeth," Bulow will be indispensable.--

As regards the Elizabeth, pray make my best excuses to Kahnt. I
did not reply to his friendly request, because I have made up my
mind not to have this work published meanwhile, and hold fast to
this negative determination. Do not let Kahnt take this ill of
me, and let him be assured of my sincere willingness to meet his
wishes in all other matters.

.--. I am in want of a great many things, but most of all in want
of more time!

With friendliest greetings, sincerely and devotedly yours,

F. Liszt

The Vatican, January 14th, 1866

46. To Dr. Franz Brendel

Dear Friend,

So there is to be no Tonkunstler-Versammlung this year; in place
of it war-cries, and symphonies of bayonets and cannon! Here,
probably, we shall remain in peaceful quietude under the
protection of France.--As regards my humble self, I mean to try,
during the second half of this 66th year, to overtake what I was
compelled to neglect during the first half of it. My "Christus
Oratorio" shall be finished by Christmas.--Prince Hohenlohe, with
whom I have been residing since April 1865, has been made
Cardinal and shortly leaves the Vatican. Last Sunday I returned
to my old quarters at Monte Mario, Madonna del Rosaraio, where I
am as comfortable as possible. Next year I think of going to
Germany, first to Munich. As you know, the King of Bavaria has
conferred upon me the title of Knight of the Grand Cross of the
Order of St. Michael. And the Emperor Maximilian that of the
Guadeloup order.--

My stay in Paris will not prove unfruitful. People may say of it
what they like.--I must mention to you the name of Camille Saint-
Saens in Paris, as specially deserving of notice in the Neue
Zeitschrft as a distinguished artist, virtuoso and composer. Last
year he was in Leipzig, so he told me, and played his Concerto at
the Gewandhaus there. But people could not make anything out of
him, and in dignified ignorance allowed him to pass. Langhans [A
Berlin musical composer and critic who died in 1892.] sees him
frequently and could give you fuller information about him for
the Zeitschrift.

Give Kahnt my grateful thanks for carefully carrying out the
orders from Paris. I mean to wait another year before publishing
the "Elizabeth." I also want several illustrations for it, for,
as the work is dedicated to the King of Bavaria, I wish it to
present the choicest and noblest appearance.

If Kahnt should be disposed to take it next year, I shall be glad
to come to some arrangement with him about it. Still I am
determined not to have the "Elizabeth" published till then; to
several publishers who have offered to undertake the publication
I have already replied,--may every kind of printing long be held
at a distance from this score.--

Allow me to recommend to your friendly interest a few other
things I have at heart.

Ask Kahnt, in my name, not to be sparing in supplying Bulow with
copies of the Liszt-compositions he has published. I should more
especially like my Quartets for male voices circulated, and a few
complimentary copies from Kahnt would be useful in this respect.
No fear need be entertained of Bulow's making indiscreet demands,
and one may confidently grant him all he wishes.

.--. Hartel will shortly be sending me some music. Please enclose
the last numbers of the Neue Zeitschrft in the parcel in order
that my ignorance on matters musical may be relieved.

In sincere attachment I remain in unalterable friendship,

Yours,

F. Liszt

Rome, June 19th, 1866

The score of the Gran Mass presumably reached Riedel safely (6
weeks ago). The vocal parts I have meanwhile left with
Giacomelli. Later an edition of the choral and orchestral parts
will become a necessity.

47. To Dr. Franz Brendel

Dear Friend,

Your last letter but one, the registered one, has reached me
safely. As it contained more in the way of answers than was
wanted I hesitated to write to you. As already said, I have made
up my mind to wait another year before publishing the
"Elizabeth." In the first place it is necessary that I should
correct the frequent errors in the copy of the score--a piece of
work that will take a couple of weeks.--Then, before its
appearance, I should like an opportunity of quietly hearing the
work once in Germany, and this perhaps might occur next year.
Meanwhile give Kahnt my best thanks for his ready consent, of
which, however, I cannot make use till later, provided that an
honorarium of a couple of thousand francs (which has been offered
me elsewhere) does not frighten him. .--. So far as one can plan
a journey nowadays, I intend to be in Germany again for a few
weeks during the summer of 1867.--Tomorrow I shall write to Dr.
Hartel and tell him that you have kindly expressed yourself ready
to discuss with him the small matter about the Draseke brochure.
It would please me greatly to hear that some amicable arrangement
had been made.

With regard to the publications of the Allgemeine Deutsche
Musikverein, I would vote for the Overture by Seifriz. Likewise
for the continuation of the Chamber music performances in
Leipzig--and, of course, for the compensation from the Society's
purse due to you.

Stade's article on the "Faust Symphony" I have not yet received.
My last number of the Zeitschrift is that of July 6th. I am glad
that Stade does not disapprove of these Faust-things.--
Schondorf's Polonaise, Impromptu, etc., which Kahnt has sent me,
I have read through with pleasure and interest. With the next
sending to Rome please enclose the "Petrus" Oratorio by Meinardus
(the pianoforte score). In case the pianoforte score has not
appeared, then let me have the full score. And together with the
"Petrus" Oratorio please also send me the fragment of the
"Christus" Oratorio by Mendelssohn (published by Hartel).

My "Christus" Oratorio has, at last, since yesterday got so far
finished that I have now only got the revising, the copying and
the pianoforte score to do. Altogether it contains 12 musical
numbers (of which the "Seligkeiten" and the "Pater Noster" have
been published by Kahnt), and takes about three hours to perform.
I have composed the work throughout to the Latin text from the
Scriptures and the Liturgy. After a time I shall ask Riedel for
his assistance and advice with regard to the German wording.

Please give Alex Ritter my cordial thanks for his Amsterdam
report.

I cannot, at present, promise you any literary contributions for
the proposed Annual of the D. M. If the instrumental Introduction
to the "Elizabeth" (for piano-forte) would suit you I would
gladly place it at your disposal, reserving the copyright for the
subsequent publisher of the score, that is, his right to publish
the same Introduction again.

As far as I can foresee I shall remain here the whole winter. My
address is simply: To Commandeur Abbe Liszt--Rome.

Fuller performances of the Beethoven Symphonies and of the Dante
Symphony are to be given next Advent in the Dante Gallery.
Sgambati is to conduct them, and I have promised to attend the
rehearsals.

Heugel of Paris (Director of the Menestrel) is shortly to publish
a new edition of my Franciscus-legends.

With friendliest greetings, your attached

F. Liszt

October 2nd, 1866

48. To Breitkopf and Hartel

Much Esteemed Herr Doctor,

It is very mortifying to me to have to confess that I have most
awkwardly come to a standstill with the transcription of the
Beethoven Quartets. After several attempts the result was either
absolutely unplayable--or insipid stuff. Nevertheless I shall not
give up my project, and shall make another trial to solve this
problem of pianoforte arrangement. If I succeed I will at once
inform you of my "Heureka." [Discovery (from a Greek word).-
TRANS.] Meanwhile I am occupied exclusively with the "Christus
Oratorio," which has, at last, advanced so far that all I have
now to do is to put the marks of expression in the score and the
pianoforte score.

Pray kindly excuse me if a small piece of vanity leads me to
address you with a wish. My "Symphonic Poems" have, as you know,
had a regular deluge of halberds hurled at them by the critics.
After all these murderous and deadly blows that have been aimed
at them, it would be very gratifying to me if the analyses of
these "Symphonic Poems" in which, a few years ago, Felix Draseke
discussed them severally in the Anregungen [Notices] could now be
published by you all together in the form of a brochure, for they
are written with a thorough knowledge of the subject, yet in a
kindly spirit.

On this account I begged Dr. Brendel to discuss the matter with
you, and now take the liberty of addressing you personally on the
subject of my wish.

With much esteem, yours sincerely,

F. Liszt

Rome, October 4th, 1866

Will you kindly send Cantor Gottschalg in Tieffurt a good copy of
my pianoforte scores of the nine Beethoven Symphonies? 49. To Dr.
Franz Brendel

Dear Friend,

My heartfelt sympathy in the grievous loss which you have
sustained. [On November 15th, 1866, Dr. Brendel lost his wife,
Elizabeth nee Trautmann (born in St. Petersburg 1814). She was a
pianist and a pupil of Field and Berger. Dr. Brendel survived her
only two years.] It is an immeasurable sorrow on which one can
only be silent!--

Let us pass over to the business part of your letter. Our Grand
Duke informs me that there is to be a Wartburg Festival this
summer (a Jubilee in celebration of the 800th year of the
Wartburg's existence). And for this fete he wishes a performance
of the "Elizabeth-Legend" under my personal direction. I have
agreed to this, for, as the occasion is an exceptional one, I too
am enabled to make an exception to meet his commands. Now as the
Duke is Patron of the Tonkunstler-Verein, it seems to me
appropriate that this year's T. K. Versammlung should be brought
into some connection with the Wartburg Jubilee. Think the matter
over and discuss it with Gille. The date of the Wartb. Festival
has not been announced to me, and will probably not be settled
till later. As for myself I could not promise to remain more than
one month in Germany. Hence it would be agreeable to me
personally if the T. K. Versammlung were not kept apart from the
Wartburg Jubilee, and were arranged for about the same date; I
could then attend both. In case Bulow cannot undertake to act as
conductor, those to be mentioned as substitutes would be, no
doubt, Seifriz, Riedel, Damrosch, Lassen.-- Seifriz's hesitation
with regard to the publication of his Overture I consider to be
scrupulous beyond measure, and am of the opinion that he should
not hold to it any longer. Gille's circular (of December 9th) I,
of course, agree with, only the compensation of 50 thalers [about
71 British pounds sterling, 0s., 0d.] is somewhat too modest. I
should like to see an 0 added to the 50.--

The full score and pianoforte score of the "Elizabeth" contain a
mass of errors. The revising will take me a couple of weeks. At
the beginning of February I will send you the manuscript for
Kahnt's disposal, that is, if he is willing to comply with my
conditions about the publication (which I will write out
carefully for you). You know that I should have preferred to
postpone the publication of the "Elizabeth" for some time longer-
-still I understand Kahnt's difference of opinion, and desire to
prove myself willing, provided that you approve of my
willingness.

.--. Kindly, when you have an opportunity, remind Hartel about
sending the dedication-copy of my pianoforte scores of the
Beethoven Symphonies to Bulow. The copy ought to be properly
bound (in three volumes--3 Symphonies in every volume), and
addressed to Bulow, Johanniss-Vorstadt 31, Basel.

With sincere thanks and hearty good wishes for the year 1867, I
remain in unchanging friendship, yours,

F. Liszt

Rome, January 6th, 1867

The Neue Zeitschrift has not come for more than six months.

50. To Doctor Cuturi, Pisa

[From a rough copy of Liszt's in possession of Herr Alexander
Ritter in Munich]

Sir,

I am told that you would be good enough to take into
consideration my recommendation of Mr. Alexander Ritter. I hasten
therefore to assure you of the sincere esteem in which I hold his
remarkable talent as a violinist and his capability as an
orchestral conductor. His very extensive musical knowledge, his
frequent and close connection with virtuosi and celebrated
composers, and his practical experience of the best-known works
and orchestras qualify him in a high degree for the post that
would be offered to him at Pisa. The best judges discern in Mr.
Ritter not merely a brilliant virtuoso, able to obtain everywhere
applause and approbation, but also--which is more rare--a
consummate musician, endowed with the most noble feeling for Art,
and possessing the most perfect understanding of the works of the
great masters.

Besides this, sir, I am sure that you will find much pleasure in
your personal relations with him. All who know him bear testimony
to his honorable character as well as to his gentlemanly manners;
and I will merely add that amongst all my German friends there
are few of whom I preserve so affectionate a remembrance.

Pray accept, Monsieur le Docteur, the expression of my esteem and
distinguished consideration.

F. Liszt

Rome, January 22nd, 1867

51. To Julius von Beliczay in Vienna

[Hungarian composer, living in Budapest since 1871]

Dear Sir,

Accept my sincere thanks for your very friendly letter and for
the dedication of the Beethoven Cadenza. It sounds well and is
pleasant to play. Of course somewhat more might have been made of
the thing, and a different key taken at the outset than C minor.
But it is easier for me to play the critic than to do things
myself, and so today I will merely thank you and assure you of my
interest in your efforts and your success.

Very truly yours,

F. Liszt

Rome, April 29th, 1867

52. To Madame Jessie Laussot

Dear Madame,

I cannot tell you how your generosity of mind and heart touches
me. The favorable reception you have obtained at Florence for the
"Beatitudes" and the "Pater noster" is a link the more in the
chain of my musical obligations to you, dear and valliant
Maestra. Will you kindly convey my best thanks to your co-
operators. .--.

As a slight musical indication observe that in the "Pater noster"
I simply modulate and develop somewhat,--in the somewhat confined
limits of a sentiment of trusting and pious submission,--the
Gregorian intonation as sung in all our churches--

[Figure: Musical score excerpt setting the words "Pater noster
qui es in coelis"]

following the traditional intonations for each verse. This
framework was naturally adapted to the arranging of my Oratorio--
"Christ",--in which I employed two or three other intonations of
the plain-song, without considering myself guilty of a theft by
such a use.

You know that the rehearsals of the "Christ" have begun. With the
help of our dear and admirable Sgambati it will be able to be
given here at the end of June. I shall invite you to come and
hear it, and shall send you shortly the programme of the whole
work, which is going to be published previously.

But since you interest yourself with so rare a zeal in my poor
works and in making them known, I am tempted to propose to you
the 23rd and 137th Psalms for your Florence programmes. The
latter has been sung here this winter with some success. It is
not very troublesome to study; provided that the singer
understands what she has to say the rest goes of itself. The
accompaniment is limited to four instruments,--Harp, Violin,
Harmonium and Piano; and, as in the Magnificat of the Dante
Symphony, the chorus is written for Soprano and Alto voices
(without Tenors or Basses). The text is excessively simple, and
is reduced to the one word, Jerusalem!

Perhaps you may also meet with a kind soul who is willing to
translate into Italian the Chorus of Reapers ("Schnitterchor")
from the Prometheus, which could be performed quite simply with
piano accompaniment.

I will permit myself to send you the two Psalms next week by Mrs.
Pearsoll (of New York), to whom I have sung your praises, a
matter in which I yield to no one. Happily the opportunity for
practising this recurs often: Mme. d'Usedom (whom I met the other
evening at Bn. Arnim's) will speak to you of it. .--.

As soon as I receive positive tidings about the coronation at
Pest you shall know. I shall certainly not stir from Rome this
time without coming to spend some hours with you at Florence.

Continue your friendship to me, and believe in mine, very cordial
and grateful.

F. Liszt

Rome, May 24th, 1867

The success of Bronsart's Trio delights me. You will give him
great pleasure if you will write him a couple of lines, which you
must address simply "H. v. B. Intendant des Hoftheaters.
Hannover." Tell him about Sgambati and his Trio at Rome and
Florence. I, on my side, will write to Bronsart as soon as my
summer plans are fixed.

53. To Eduard Liszt

Very dear Eduard,

You know that the Coronation Mass has met with the most kind
reception. [At its performance at Ofen (Budapest)] None of my
works up to the present time had been so favorably accepted. I
have begged Franz Doppler in particular to let you know about it,
knowing that you would like to hear me praised, even with some
exaggeration, by a friend as competent as he is affectionate.
Since the performance of the "Gran Mass" Doppler has always shown
the kindest feelings towards me. Tell him that I am very
sincerely grateful to him. I am anxious to thank Schelle [Musical
critic of the Vienna Presse, since dead] for his excellent
article in the Presse, and send you herewith a few lines which
you will be good enough to give him...

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