Ver.07/27/01*END*
This etext was produced by John Mamoun <mamounjo@umdnj.edu> with the
Online Distributed Proofreading Team of Charles Franks.
Letters of Franz Liszt, Volume 2: "From Rome to the End"
by Franz Liszt; letters collected by La Mara and translated by
Constance Bache
CONTENTS
BRIEF BIOGRAPHICAL SKETCH
FRONTISPIECE TO VOLUME II, HONORING LISZT
TABLE OF LETTER CONTENTS
THE LETTERS OF FRANZ LISZT, VOL. 2
INFO ABOUT THIS E-TEXT EDITION
BRIEF BIOGRAPHICAL SKETCH
The Austrio-Hungarian composer Franz Liszt (1811-1886) was a
pianistic miracle. He could play anything on site and composed
over 400 works centered around "his" instrument. Among his key
works are his Hungarian Rhapsodies, his Transcendental Etudes,
his Concert Etudes, his Etudes based on variations of
Paganinini's Violin Caprices and his Sonata, one of the most
important of the nineteenth century. He also wrote thousands of
letters, of which 399 are translated into English in this second
of a 2-volume set of letters (the first volume contains 260
letters).
Those who knew him were struck by his extremely sophisticated
personality. He was surely one of the most civilized people of
the nineteeth century, internalizing within himself a complex
conception of human civility, and attempting to project it in his
music and his communications with people. His life was centered
around people; he knew them, worked with them, remembered them,
thought about them, and wrote about them using an almost poetic
language, while pushing them to reflect the high ideals he
believed in. His personality was the embodiment of a refined,
idealized form of human civility. He was the consummate musical
artist, always looking for ways to communicate a new civilized
idea through music, and to work with other musicians in
organizing concerts and gatherings to perform the music publicly.
He also did as much as he could to promote and compliment those
whose music he believed in.
He was also a superlative musical critic, knowing, with few
mistakes, what music of his day was "artistic" and what was not.
But, although he was clearly a musical genius, he insisted on
projecting a tonal, romantic "beauty" in his music, confining his
music to a narrow range of moral values and ideals. He would have
rejected 20th-century music that entertained cynical notions of
any kind, or notions that obviated the concept of beauty in any
way. There is little of a Prokofiev, Stravinsky, Shostakovich,
Cage, Adams, and certainly none of a Schoenberg, in Liszt's
music. His music has an ideological "ceiling," and that ceiling
is "beauty." It never goes beyond that. And perhaps it was never
as "beautiful" as the music of Mozart, Bach or Beethoven, nor
quite as rational (Are all the emotions in Liszt's music truly
"controlled?"). But it certainly was original and instructive,
and it certainly will linger.
FRONTISPIECE TO VOLUME II, HONORING LISZT
I.
We welcome thee, from southern sunnier clime,
To England's shore,
And stretch glad hands across the lapse of time
To the once more.
II.
Full twice two decades swiftly have rolled by
Since thou wast here;
A meteor flashing through our northern sky
Thou didst appear.
III.
Thy coming now we greet with pleasure keen,
And loyal heart,
Adding tradition of what thou hast been
To what thou art.
IV.
No laurel can we weave into the crown
Long years entwine,
Nor add one honour into the renown
Already thine:
V.
Yet might these roses waft to thee a breath
Of memory,
Recalling thy fair Saint Elizabeth
Of Hungary
VI.
We welcome her, from out those days of old,
In song divine,
But thee we greet a thousand fold,
The song is thine!
--C.B.
[Presumably written by Constance Bache, this trite paean would
likely not have appealed to Liszt, who repeatedly affirmed his
humility.]
TABLE OF LETTER CONTENTS (LETTER NUMBER, FOLLOWED BY ADDRESSEE)
1. Dr. Franz Brendel. December 20th, 1861
2. A. W. Gottschalg in Tieffurt. March 11th, 1862
3. Dr. Franz Brendel. April 12th, 1862
4. Mme. Jessie Laussot in Florence. May 3rd, 1862
5. Dr. Franz Brendel. June 12th, 1862
6. the same. July 12th, 1862
7. the same. August 10th, 1862
8. the same. August 29th, 1862
9. the same. November 8th, 1862
10. A.W. Gottschalg. November 15th, 1862
11. Eduard Liszt. November 19th, 1862
12. Dr. Franz Brendel. December 30th, 1862
13. Breitkopf and Hartel. March 26th, 1863
14. A.W. Gottschalg in Weimar. April 14th, 1863
15. Dr. Franz Brendel. May 8th, 1863
16. Eduard Liszt. May 22nd, 1863
17. Dr. Franz Brendel. June 18th, 1863
18. the same. July 18th, 1863
19. Breitkopf and Hartel. August 28th, 1863
20. Dr. Franz Brendel. September 7th, 1863
21. Dr. Gille in Jena. September 10th, 1863
22. Dr. Franz Brendel. October l0th, 1863
23. Mme. Jessie Laussot. October 15th, 1863
24. Dr. Franz Brendel. November 11th, 1863
25. Breitkopf and Hartel. November 16th, 1863
26. Dr. Franz Brendel. January 22nd, 1864
27. the same. May 28th, 1864
28. Dr. Franz Brendel. June 13th, 1864
29. The Committee of the Society for the Support of Needy
Hungarian Musicians in Pest. June 18th, 1864
30. Eduard Liszt. June 22nd, 1864
31. Dr. Franz Brendel. July 1st, 1864
32. Walter Bache in London. July 2nd, 1864
33. ? August 7th, 1864
34. Eduard Liszt. September 7th, 1864
35. Breitkopf and Hartel. September 14th, 1864.93
36. the same. October 1st, 1864
37. Mme. Jessie Laussot. March 6th, 1865
38. Dr. Franz Brendel. April 3rd, 1865
39. Prince Constantine (Hohenzollern-Hechingen). May 11th, 1865
40. Breitkopf and Hartel. May 27th, 1865
41. Dr. Franz Brendel. July 21st, 1865
42. Abbe Schwendtner. September 20th, 1865
43. Dr. Franz Brendel. September 28th, 1865
44. Eduard Liszt. November 1st, 1865.
45. Dr. Franz Brendel. January 14th, 1866
46. the same. June 19th, 1866
47. the same. October 2nd, 1866
48. Breitkopf and Hartel. October 4th, 1866
49. Dr. Franz Brendel. January 6th, 1867
50. Dr. Cuturi in Pisa. January 22nd, 1867
51. Julius von Beliczay in Vienna. April 29th, 1867
52. Mme. Jessie Laussot. May 24th, 1867
53. Eduard Liszt. June 20th, 1867
54. William Mason. July 8th, 1867
55. E. Repos in Paris. July 12th, 1867
56. Prince Constantine Czartoryski.October 14th, 1867
57. Eduard Liszt. October 16th, 1867
58. the same. October 20th, 1867
59. Peter Cornelius. October 23rd, 1867
60. Eduard von Liszt. November 6th, 1867
61. E. Repos. November 8th, 1867
62. Mme. Jessie Laussot. January 13th, 1868
63. DP. Franz Brendel. January 26th, 1868
64. Walter Bache. January 30th, 1868
65. Dr. Franz Brendel. March 31st, 1868
66. Johann von Herbeck. June 9th, 1868
67. Dr. Franz Brendel. June 17th, 1868
68. E. Repos. July 1st, 1868
69. Carl Riedel in Leipzig. August 12th, 1868
70. E. Repos. August 26th, 1868
71. Dr. Siegmund Lebert in Stuttgart. September 10th, 1868
72. E. Repos. September 19th, 1868
73. C.F. Kahnt. September 20th, 1868
74. E. Repos. September 22nd, 1868
75. Dr. S. Lebert. October 19th, 1869
76. Richard Pohl in Baden-Baden. November 7th, 1868
77. Johann von Herbeck. December 1st, 1868
78. Dr. Siegmund Lebert. December 2nd, 1868
79. Eduard von Liszt. December 6th, 1868
80. Johann von Herbeck. December 29th, 1868
81. Edvard Grieg. December 29th, 1868
82. Carl Bechstein in Berlin. January 19th, 1869
83. Johann von Herbeck. January 27th, 1869
84. E. Repos. March 3rd, 1869
85. Laura Kahrer in Vienna. April 15th, 1868
86. Franz Servais. May 21st, 1869
87. William Mason. May 26th, 1869
88. Heinrich Schulz-Beuthen. June 18th, 1869
89. Franz Servais. July 4th, 1869
90. Mme. Jessie Laussot. July 16th, 1869
91. Camille Saint-Sa2ns. July 19th, 1869
92. the same. August 4th, 1869
93. Mme. Jessie Laussot. October 7th, 1869
94. Dr. Ludwig Nohl. November i7th, 1869 188
95. Princess Wittgenstein. November 27th, 1869
96. Franz Servais. December 20th, 1869
97. Dr. Franz Witt in Ratisbon. Towards end of 1869
98. Dr. Siegmund Lebert. January loth, 1870
99. C.F. Kahnt. February 11th, 1870
100. Dr. Gille. February 26th, 1870
101. Baroness Schwartz in Crete. March 15th, 1870
102. Camille Saint-Saens. May 12th, 1870
103. Johann von Herbeck. June 20th, 1870
104. Sophie Menter. August 11th, 1870
105. the same. August 29th, 1870
106. Kornel von Abranyi in Budapest, November 2nd, 1870
107. Sophie Menter. March 22nd, 1871
108. Edmund von Mihalovich in Budapest. May 29th, 1871
109. Marie Lipsius. July 23rd, 1871
110. Franz Servais. August 25th, 1871
111. Walter Bache. October 25th, 1871
112. Marie Lipsius. October 25th, 1871
113. Breitkopf and Hartel. November 22nd, 1871
114. Mme. Anton Rubinstein. January 9th, 1872
115. Edmund von Mihalovich. April 18th, 1872
116. Johanna Wenzel. June 10th, 1872
117. Wilhelm von Lenz. September 20th, 1872
118. Otto Lessmann. September 26th, 1872
119. Eduard von Liszt. November 6th, 1872
120. Princess Wittgenstein. January 10th, 1873
121. Eduard von Liszt. January 13th, 1873
122. Dr. Emil Thewrewk von Ponor in Budapest. January 14th, 1873
123. Dr. Franz Witt. January 20th, 1873
124. Eduard von Liszt. January 28th, 1873
125. the same. February 10th, 1873
126. the same. March 3rd, 1873
127. Mme. Jessie Laussot. March 30th, 1873
128. Casar Cui. May, 1873
129. Franz Servais. June 5th, 1873
130. Adelheid von Schorn. July 30th, 1873
131. Eduard von Liszt. August 19th, 1873
132. Franz Servais. August 19th, 1873
133. Walter Bache. August 20th, 1873
134. Max Erdmannsdorfer. September 16th, 1873
135. Otto Lessmann. September 24th, 1873
136. Kornel von Abranyi. October ist, 1873
137. Martha Remmert. December 27th, 1873
138. ? 1873
139. Countess Marie Donhoff in Vienna. January, 1874
140. B. Bessel in St. Petersburg. February 2nd, 1874
141. Skiwa in Vienna. March 21st, 1874
142. C. F. Kahnt. March 29th, 1874
143. Dr. Franz Witt. 1874?
144. Carl Riedel. April 17th, 1874
145. Dr. Franz Haberl, 1874?
146. Carl Riedel. May 5th, 1874
147. Princess Julie Waldburg. May 10th, 1874
148. Peter Cornelius. May 16th, 1874
149. A. F. Eggers in Liverpool. June 21st, 1874
150. Walter Bache. June 21st, 1874
151. Dr. Franz Witt. Early Summer, 1874
152. Dr. Franz Haberl. Early Summer, 1874
153. Edmund von Mihalovich. July 30th, 1874
154. Peter Cornelius. August 23rd, 1874
155. Ludwig Bosendorfer in Vienna. August 28th, 1874
156. Adelheid von Schorn. October 12th, 1874
157. Breitkopf and Hartel. November 24th, 1874
158. Count Albert Apponyi in Budapest. December 6th, 1874
159. Edmund von Mihalovich. December 8th, 1874
160. Carl Hoff bauer in Munich. End of 1874
161. Edmund von Mihalovich. December 29th, 1874
162. Carl Hoff bauer. Beginning of 1875
163. Julius Stern. February 4th, 1875
164. Count Albert Apponyi. February 18th, 1875?
165. Johann von Herbeck. March 3rd, 1875
166. Eduard von Liszt. April 22nd, 1875
167. Adelheid von Schorn. May 17th, 1875
168. Eduard von Liszt. July 17th, 1875
169. Louis Kohler. July 27th, 1875
170. Carl Hillebrand in Florence. August 2nd, 1875
171. Adelheid von Schorn. August 7th, 1875
172. Dr. Franz Witt. August or September, 1875
173. Lina Ramann. September 28th, 1875
174. Eduard von Liszt. September 29th, 1875
175. Kornel von Abranyi. October 14th, 1875
176. Walter Bache. October 26th, 1875
177. Eduard von Liszt. October 31st, 1875
178. Mme. Jessie Laussot. November 17th, 1875
179. Eduard von Liszt. November 26th, 1875
180 Hans Schmitt in Vienna. End of 1875
181. Kornel von Abranyi. January 20th, 1876
182. Eduard von Liszt. January 23rd, 1876
183. Dr. Eduard Kulke in Vienna. January 23rd, 1876
184. Marie Lipsius. February 3rd, 1876
185. August von Trefort in Budapest. March 1st, 1876
186. Walter Bache. March 8th, 1876
187. Mme. Jessie Laussot. March 9th, 1876
188. Dr. Leopold Damrosch in New York. April 15th, 1876
189. Friedrich von Bodenstedt. June 8th, 1876
190. B. Bessel. June 20th, 1876
191. Prince Carl Lichnowsky. June 21st, 1876
192. Max Erdmannsdorfer. June 27th, 1876
193. Kornel von Abranyi. August 6th, 1876,
194. Richard Wagner. August, 1876
195. Marie Breidenstein in Erfurt. September 18th, 1876
196. Camille Saint-Saens. October 2nd, 1876
197. L.A. Zellner in Vienna. October 31st, 1876
198. Hans Richter in Vienna. November 10th, 1876
199. Breitkopf and Hartel. November 12th, 1876
200. Constantin Sander in Leipzig. November 15th, 1876
201. Breitkopf and Hartel. November 23rd, 1876
202. Constantin Sander. November 29th, 1876
203. Vera Timanoff. November 29th, 1876
204. Otto Reubke in Halle. November, 1876
205. Marianne Brandt in Berlin. December 3rd, 1876
206. Committee of the Beethoven Monument. December 10th, 1876
207. Eduard von Liszt. January 2nd, 1877
208. Walter Bache. March 9th, 1877
209. Eduard von Liszt. July 3rd, 1877
210. Ludwig Bosendorfer. July 12th, 1877
211. Edmund von Mihalovich. July 20th, 1877
212. Kornel von Abranyi. July 28th, 1877
213. Constantin Sander. September 5th, 1877
214. Adelheid von Schorn. September 15th, 1877
215. Breitkopf and Hartel. September 26th, 1877
216. Frau Ingeborg von Bronsart. October 2lst, 1877
217. Eduard von Liszt. November 23rd, 1877
218. Jules de Zarembski. December 13th, 1877
219. Mme. Jessie Laussot. January 29th, 1878
220. the same. February 3rd, 1878
221. B. Bessel. March 11th, 1878
222. Walter Bache. March 19th, 1878
223. Dr. Ludwig Nohl. March 20th, 1878
224. Dr. Siegmund Lebert. March 27th, 1878
225. Edmund von Mihalovich. April 13th, 1878
226. Kornel von Abranyi. April 14th, 1878
227. Fran Ingeborg von Bronsart. April 20th, 1878
228. Eduard von Liszt. April 26th, 1878
229. Edmund Singer. May 10th, 1878
230. Adolf von Henselt. June 5th, 1878
231. Eduard von Liszt. June 6th, 1878
232. Carl Riedel. June 7th, 1878
233. Vera Timanof£ Summer, 1878
234. Eduard von Liszt. July 6th, 1878
235. Robert Franz. July 12th, 1878
236. Kornel von Abranyi. September 13th, 1878
237. Eduard von Liszt. November 4th, 1878
238. Freiherr Hans von Wolzogen. November 15th, 1878
239. Eduard von Liszt. November 21st, 1878
240. the same. January 22nd, 1879
241. Ludwig Bosendorfer. February 19th, 1879
242. Adolf von Henselt. February, 1879
243. Marie Lipsius. March 2nd, 1879
244. Otto Lessmann. March 23rd, 1879
245. Von Trefort. May 12th, 1879
246. Walter Bache, May 25th, 1879
247. Ludmilla Schestakoff. June 14th, 1878
248. A. Borodin, C. Cui, An. Liadoff, and N. Rimsky-Korsakoff.
June 15th, 1879
249. Josef Bohm. June 22nd, 1879
250. Vera Timanoff. Summer, 1879
251. Adolf von Henselt. July 12th, 1879
252. Dr. Siegmund Lebert. September 25th, 1879
253. Bassani in Venice. October 28th, 1879
254. Anatole Liadoff. December 25th, 1879
255. Fran Reisenauer.Pauly in Rome. January 30th, 1880
256. Carl Klindwo1th. February 16th, 1880
257. Herrmann Scholtz. April 29th, 1880
258. Sophie Menter. May 26th, 1880
259. Jules de Zarembski. June 1st, 1880
260. Bassani. June 4th, 1880
261. Marie Lipsius. June l0th, 1880
262. Kornel von Abranyi. June 20th, 1880
263. Freiherr Hans von Wolzogen. July 28th, 1880
264. Friedrich Hofme1ster. August 17th, 1880
265. Baroness Helene Augusz. September 1st, 1880
266. Mme. Anton Rubinstein. October 24th, 1880
267. Frau Amalie von Fabry in Budapest. November 1st, 1880
268. Frau Anna Benfey-Schuppe. November 11th, 1880
269. Committee of Antwerp Musical Society. November 16th, 1880
270. Sophie Menter. December 2nd, 1880
271. Dr. Friedrich Stade. December 11th, 1880
272. S. Jadassohn. January l0th, 1881
273. Frau Reisenauer-Pauly in Konigsberg. January 29th, 1881
274. Dionys von Pazmandy. February 15th, 1881
275. Fran Colestine Bosendorfer. April 17th, 1881
276. the Committee of the Wagner-Verein. April 25th, 1881
277. Kornel von Abranyi. May 13th, 1881
278. the same. May 22nd, 1881
279. Frau Charlotte Blume-Arends. August 29th, 1881
280. Otto Lessmann. September 8th, 1881
281. Francois Auguste Gevaert in Brussels. September 19th, 1881
282. the same. October 8th, 1881
283. Edmund von Mihalovich. October 8th, 1881
284. Jules de Zarembski. December 4th, 1881
285. Camille Saint-Saens. December 6th, 1881
286. Ludwig Bosendorfer. December 8th, 1881
287. Pauline Viardot-Garcia. December 12th, 1881
288. Mme. Malwine Tardieu in Brussels. January 20th, 1882
289. Alexander Wereschagin. February 5th, 1882
290. Martha Remmert. February 20th, 1882
291. Mme. Malwine Tardieu. April 11th, 1882
292. Franz Servais. April 22nd, 1882
293. Mme. Malwine Tardieu. April 23rd, 1882
294. Otto Lessmann. April 23rd, 1882
295. Frau Charlotte Blume-Arends. April 23rd, 1882
296. Freiherr Hans von Wolzogen. April 25th, 1882
297. Frau Henriette von Liszt. May 11th, 1882
298. Camille Saint-Saens. May 14th, 1882
299. Mme. Malwine Tardieu. June 10th, 1882
300. Committee of Allgemeine Deutsche Musikverein. June, 1882
301. F. von Jagemann at Freiburg in Breisgau. July 6th, 1882
302. Nicolaus Oesterlein in Vienna. July 16th, 1882
303. Kornel von AbrAnyi. July 23rd, 1882
304. Freiherr Hans von Wolzogen. July 27th, 1882
305. Mme. Malwine Tardieu. September 12th, 1882
306. Otto Lessmann. September 16th, 1882
307. the same. September 20th, 1882
308. Frau Charlotte Blume-Arends. September 27th, 1882
309. Otto Lessmann. October 14th, 1882
310. the same. November 4th, 1882
3ll. Mme. Malwine Tardieu. November 6th, 1882
312. Otto Lessmann. November, 1882
313. Adelheid von Schorn. November 20th, 1882
314. Freiherr Hans von Wolzogen. November 24th, 1882
315. Franz Servais. November 26th, 1882
316. Adelheid von Schorn. December 8th, 1882
317. Carl Riedel. December 9th, 1882
318. Arthur Meyer in Paris. January 28th, 1883
319. Albert Fuchs. February 4th, 1883
320. Saissy in Budapest. February 6th, 1883
321. the same. February eth, 1883.
322. Rich and Mason in Toronto. 1883
323. Mme. Marie Jaell. February 12th, 1883
324. Adelheid von Schorn. February 14th, 1883
325. Otto Lessmann. February 18th, 1883
326. Lina Ramann. February 22nd, 1883
327. Mme. Malwine Tardieu. March 6th, 1883
328. Ferdinand Taborszky in Budapest. March 11th, 1883
329. Baroness M. E. Schwartz. March 22nd, 1883
330. Baroness Wrangel in St. Petersburg. May 20th, 1883
33I. Mason and Hamlin in Boston. June 12th, 1883
332. Mme. Malwine Tardieu. December 14th, 1883
333. Cšsar Cui. December 30th, 1883
334. Otto Lessmann. January 10th, 1884
335. Felix Mottl. February 8th, 1884
336. Frau Henriette von Uszt.February 8th, 1884
337. Camille Saint-Satins. April 29th, 1884
338. Otto Lessmann. May 7th, 1884
339. Camille Saint-SaŽns. May 18th, 1884
340. Walter Bache, May 23rd, 1884
341. Carl Navratil in Prague. May 30th, 1884
342. Baron Friedrich Podmaniczky in Budapest, 1884
343. Freiherr Hans von Wolzogen. June 18th, 1884
344. Auguste Gotze. June 22nd, 1884
345. Kornei von Abranyi. July 1st, 1884
345A. Mme. Malwine Tardieu. August 9th, 1884
346. Rahter in Hamburg. August 28th, 1884
347. Richard Pohl. September 12th, 1884
348. Sophie Menter. September 13th, 1884
349. Baron Friedrich Podmaniczky. September 2lst, 1884
350. Walter Bache. October 18th, 1884
351. Mili Balakireff in St. Petersburg. October 2lst, 1884
352. Countess Mercy-Argenteau. October 24th, 1884
353. Mme. Malwine Tardieu. December 7th, 1884
354. Freiherr Hans von Wolzogen. December 18th, 1884
355. Camille Saint-Saens. End of 1884 or beginning of 1885
356. Countess Mercy-Argenteau. January 20th, 1885
357. Camille Saint-Saens. January 27th, 1885
358. Mme. Malwine Tardieu. April 6th, 1885
359. Lina Ramann. April 27th, 1885
360. Camille Saint-Saens. May 8th, 1885
361. Alexander Siloti. May, 1885
362. J. P. von Kiraly in Eisenstadt. June 5th, 1885
363. Ferdinand Taborszky. June 8th, 1885
364. Alfred Reisenauer. September 1st, 1885
365. Otto Lessmann. September 5th, 1885
366. Casar Cui. October 18th, 1885
367. Countess Mercy-Argenteau. October 24th, 1885
368. Eduard Reuss in Carlsruhe. November 4th, 1885
369. Breitkopf and Hartel. November, 1885
370. Walter Bache. November 17th, 1885
370A. the same. November 26th, 1885
370B. the Philharmonic Society. November 26th, 1885
371. Countess Mercy-Argenteau. November 2lst, 1885
372. Camille Saint-Sans. November 28th, 1885
373. Eugen d'Albert. December 26th, 1885
374. Sophie Menter. December 30th, 1885
375. Eduard Reuss. January l0th, 1886
376. Walter Bache. February 11th, 1886
377. Countess Mercy- Argenteau. February 17th, 1886
379. Sophie Menter. March 18th, 1886
379. Countess Mercy-Argenteau. April 14th, 1886
380. Alexander Ritter. April 24th, 1886
381. Frau Amalie von Fabry. May 27th, 1886
382. Mme. Malwine Tardieu. May 29th, 1886
383. Eduard Reuss. June 5th, 1886
384. Frau Reuss-Belce. June 5th, 1886
385. Eduard Reuss. June 22nd, 1886
386. Sophie Menter. July 3rd, 1886
Index of Supplemental Letters
387. Freiherr von Spiegel in Weimar. September 30th, 1841
388. Eugenio Gomez in Sevilla. December 27th, 1844
389. Mme.? End of December, 1844
390. Mme.? Beginning of 1845
391. Mme.? in Milan. 1846
392. Frau Charlotte Moscheles (?). June 22nd, 1848
393. Heinrich Wilhelm Ernst. May 30th, 1801
394. Josef Dessauer (?). Beginning of the fifties
395. Testimonial for Joachim Raff. Beginning of the fifties.
396. Dr. Eduard Hanslick in Vienna. January 31st, 1856.
397. Minister von Bach in Vienna. September 18th
398. ? in Leipzig. Spring, 1859
399. Dr. Eduard Hanslick. September 24th, 1859
THE LETTERS OF FRANZ LISZT, VOLUME 2: FROM ROME TO THE END
1. To Dr. Franz Brendel
[Rome,] December 20th, 1861
Dear Friend,
For the New Year I bring you nothing new; my soon ageing
attachment and friendship remain unalterably yours. Let me hope
that it will be granted to me to give you more proof of it from
year to year.
Since the beginning of October I have remained without news from
Germany. How are my friends Bronsart, Draseke, Damrosch,
Weissheimer? Give them my heartiest greetings, and let me see
some notices of the onward endeavors and experiences of these my
young friends, as also of the doings of the Redactions-Hohle
[Editorial den] and the details of the Euterpe concerts.
Please send the numbers of the paper, from October onwards, to me
at the address of the library Spithover-Monaldini, Piazza di
Spagna, Rome. Address your letter "Herrn Commandeur Liszt," Via
Felice 113. "Signor Commendatore" is my title here; but don't be
afraid that any Don Juan will stab me--still less that on my
return to Germany I shall appear in your Redactions-Hohle as a
guest turned to stone!--
Of myself I have really little to tell you. Although my
acquaintance here is tolerably extensive and of an attractive
kind (if not exactly musical!), I live on the whole more retired
than was possible to me in Germany. The morning hours are devoted
to my work, and often a couple of hours in the evening also. I
hope to have entirely finished the Elizabeth in three months.
Until then I can undertake nothing else, as this work completely
absorbs me. Very soon I will decide whether I come to Germany
next summer or not. Possibly I shall go to Athens in April--
without thereby forgetting the Athens of the elms! .--.
First send me the paper, that I may not run quite wild in musical
matters. At Spithover's, where I regularly read the papers, there
are only the Augsburger Allgemeine, the Berlin Stern-Zeitung
[Doubtless the Kreusseitung], and several French and English
papers, which contain as good as nothing of what I care about in
the domain of music.
Julius Schuberth wrote a most friendly letter to me lately, and
asks me which of Draseke's works I could recommend to him next
for publication. To tell the truth it is very difficult for me in
Rome to put myself in any publisher's shoes, even in so genial a
man's as Julius Schuberth. In spite of this I shall gladly take
an opportunity of answering him, and shall advise him to consult
with Draseke himself as to the most advisable opportunity of
publishing this or that Opus of his, if a doubt should actually
come over our Julius as to whether his publisher's omniscience
were sufficiently enlightened on the matter!--
Remember me most kindly to your wife.
Yours most sincerely,
F. Liszt
Please give my best greetings to Kahnt. Later on I shall beg him
for a copy of my songs for a very charming Roman lady.
2. To A.W. Gottschalg, Cantor and Organist in Tieffurt
["Der legendarische Cantor" [the legendary Cantor] the Master
jokingly named this faithful friend of his. "I value him as a
thoroughly honest, able, earnestly striving and meritorious
comrade in Art, and interest myself in the further progress--
which is his due," wrote Liszt to the late Schuberth. Meanwhile
Gottschalg was long ago advanced to the post of Court organist in
Weimar. He is widely known as the editor of the "Chorgesang"
[chorus singing] and of the "Urania."]
Dear Friend,
Although I cannot think otherwise than that you remain ever
equally true to me, yet the living expression of your kindly
feelings towards me is always a pleasure and a comfort. First of
all then accept my warmest thanks for your two letters, which
bring back to me the best impressions of your morning and evening
visits to me in my blue room on the Altenburg.
It goes without saying that I have no objection to make to the
publication of the Andante from the Berg Symphony in the Jubilee
Album in honor of Johann Schneider. I only beg, dear friend, that
you will look the proof over accurately, and carefully correct
any omissions or mistakes in the manuscript.
I should be very glad if I could send you a new Organ work, but
unfortunately all incentive to that sort of work is wanting to me
here; and until the Tieffurt Cantor makes a pilgrimage to Rome
all my organ wares will certainly remain on the shelf.
Ad vocem of the Tieffurt Cantor, I will tell you that I have been
thinking of him very particularly these last few days, whilst I
was composing St. Francis's Hymn of Praise ("Cantico di San
Francesco"). The song is a development, an offspring as it were,
a blossom of the Chorale "in dulci jubilo," for which of course I
had to employ Organ. But how could I be writing an Organ work
without immediately flying to Tieffurt in imagination?--And lo,
at the entrance to the church our excellent Grosse [The
trombonist of the Weimar orchestra (died 1874), who was so
faithfully devoted to Liszt, and whom the latter remembered in
his will] met me with his trombone, and I recollected an old
promise--namely, to compose a "piece" for his use on Sundays. I
immediately set to work at it, and out of my "Cantico" has now
arisen a Concertante piece for Trombone and Organ. I will send
you the piece as an Easter egg by the middle of April. [Published
by Kahnt in Leipzig] Meanwhile here are the opening chords:--
[Here, Liszt illustrates with a musical score excerpt of the
opening chords of the Concertante, in F major]
and on a lovely evening in May will you play the whole with
Grosse in your church at Tieffurt, and perpetuate me with Organ
and Trombone!--
It has struck me that your name is not mentioned among the
fellow-workers in the Johann Schneider Jubilee Album. If there is
still time and space you might perhaps contribute your
arrangement of the Fugue from the "Dante Symphony" (with the
ending which I composed to it for you). This proposal is open to
amendment, on the supposition that Hartels are willing to agree
to it--and, above all, that it suits you.
.--. N.B.--I beg you most particularly to make no further use of
the two Psalms "By the waters of Babylon," of which you have a
copy, because I have undertaken to make two or three essential
alterations in them, and I wish them only to be made known and
published in their present form. I send the new manuscript at the
same time as the Cantico di San Francesco.
My best greetings to your wife, and rest assured always of my
sincere thanks, and of the complete harmony of my ideas with your
own.
F. Liszt
Rome, March 11th, 1862
When I am sending several manuscripts at Easter, I will write a
couple of letters to Weimar and thank Jungmann [A pupil of
Liszt's in Weimar; died there in September 1892] for his letter.
I feel the want of time almost as much in Rome as in Weimar, and
I have observed a strict Fast in correspondence as a rule, so
that for three months past I have hardly sent as many as three to
four letters to Germany.
Remember me most particularly to Herr Regierungsrath Miller! [A
friend of Liszt's, a multifarious writer on music; died 1876]
3. To Dr. Franz Brendel.
[Autograph in the possession of Herr Alexander Meyer Cohn in
Berlin.]
Dear Friend,
Your friendly letter has again brought me a whiff of German air,
which is all the more welcome to me here as I have not too much
of it. One sees extremely few German papers in Rome--also I read
them very irregularly--and my correspondents from Germany are
limited to two, of whom friend Gottschalg, my legendary Tieffurt
Cantor, is the most zealous. His letters flow from his heart--and
are therefore always welcome to me.
For all of good news that you tell me I give you twofold thanks.
Firstly, because you have for the most part brought it about,
prefaced it, and seen it through. And then, because you tell it
me in so friendly a fashion. Although I have long been prepared
to bear the fiasco of my works quietly and unmoved, yet still it
is pleasant to me to learn that the "Faust" Symphony in Leipzig
did not have such a very bad fate. [In one of the "Euterpe"
concerts, under Bronsart's conducting, at which Schnorr of
Carolsfeld sang the tenor solo.] Do not fail, dear friend, to
give Herr Schnorr my best thanks--and if perchance my songs would
be a little pleasure to him will Kahnt be so good as to send
Schnorr a copy (bound) at my order?
With regard to the Bronsart affair, I sincerely regret that I had
not the opportunity of smoothing matters down sooner. Between
people of one mind dissension and variance should never appear--
much less lead to an outbreak. As you ask me for my opinion, I
openly confess that in the main Bronsart appears to me perfectly
justified in vindicating his choice of new compositions for the
musical directors, in spite of the fact that the two or three
experiments he has made do not show in favor of the principle (as
seen by the consequences). But between ourselves we must not
conceal the fact that a great part of the laxity and corruption
of our musical condition in Germany (as also elsewhere) is to be
attributed to the too great--or too petty--yielding and pliancy
of conductors and music-directors. I well know that the Euterpe
Committee nourishes and cherishes quite another idea than that of
the company X. Y. Z., or of the Court Theater directors A. B. C.
D. Yet the question constantly arises--Shall the cook cook? Shall
the coachman drive?--Ergo let the musician also have his own way.
The harm that may spring from that is not so very terrible.
On the other side, I consider a change of persons in the
management of a new institution is not desirable. In intellectual
movements in particular the leaders of them are especially
recommended to keep themselves conservative as regards their
people. The public requires definiteness before all else--and
just this is endangered by a change of persons. The substitute
for B., whom you mention to me (his name also begins with B.), is
certainly highly to be recommended in all that concerns talent,
position, and I think also worthy character; none the less do I
vote very decidedly that Bronsart be retained--if possible.
I do not need to add, dear friend, that this opinion of mine is a
purely objective one. I have not heard a word from Bronsart since
last September, and, as I said to you before, my musical news
from Germany is limited to two, or at most three letters which
Gottschalg wrote me.
With the wish that all difficulties may be smoothed in the best
way by your intelligent gentleness and forbearance, I remain your
warmly devoted
F. Liszt
[Rome] April 12th, 1862
P.S.--More next time (though little of interest to you, as
absolutely nothing occurs here that could touch you closely).--I
am preparing to stay here for the summer, and somewhat longer.--
In order not to lose the post I only send you today these few
lines.
4. To Madame Jessie Laussot in Florence
[Madame Laussot, an English lady, became later the wife of Dr.
Carl Hillebrand, the celebrated writer. She was the intimate
friend of Liszt, Von Bulow, etc., and is herself a musician of
great repute, to whom many artists of note, Sgambati, Bache,
Buonamici, etc., owe much of the success of their career. She
started a musical society in Florence, the "Societa Cherubini;"
which she conducted for many years, and introduced there much of
the best music of Germany (Liszt's included).]
Your charming lines, Madame, reached me at the beginning of Holy
Week. At that moment one no longer belongs to oneself in Rome;
and I have felt this more than others, for the services and
ceremonies of the Sistine Chapel and of St. Peter's, to which I
attached a special musical interest, have absorbed all my time
during the last fortnight. Pray excuse me therefore for not
having thanked you sooner for your kind remembrance, which
touches me much.
Some one has made a mistake in telling you that I am coming to
Florence. I have no longer any taste for moving about from one
place to another, and, unless something very unforeseen happens,
I shall not stir from here so soon. Rome is a more convenient
place than others for those who ask nothing better than to work
in their own fashion. Now, although I have become very
indifferent as to the fate of what I write, work none the less
continues to be the first need of my nature. I write therefore
simply to write--without any other pretensions or care--and for
this it suits me best to remain in one place.
Will you be so kind, Madame, as to give my very affectionate
respects to Madame Ritter [Mother of Carl Ritter--Wagner's
friend--and of Alexander Ritter, the composer of "Der faule
Hans."], to which please add my best remembrances to her family,
and pray accept also the expression of my very sincere and
affectionate regards.
F. Liszt
May 3rd, 1862 (Via Felice, 113--Rome.)
5. To Dr. Franz Brendel
Rome, June 12th, 1862
Grand, sublime, immeasurably great things have come to pass here
lately. The Episcopate of the whole world assembled here round
the Holy Father, who performed the ceremony of the canonisation
of the Japanese martyrs at Whitsuntide in the presence of more
than 300 bishops, archbishops, patriarchs, and cardinals. I must
abstain, dear friend, from giving you any picture of the
overpowering moment in which the Pope intoned the "Te Deum;" for
in Protestant lands that which I might call the spiritual
illumination is wanting. Let us therefore, without any other
transition, return to our everyday musical matters!
I am convinced that your determination to make a change in the
choice of conductors of the Euterpe has been made only after
mature consideration. .--. In my last letter I pointed out, as
the chief thing, that in concert societies the principle of
stability in the matter of the Musical Direction is the most
important thing, whereby I did not in the least mean to say that
one must on that account agree to extreme consequences--or rather
inconsequences. Well, as your decision is made, any further
discussion is useless. Blassmann [He moved to Dresden some years
later, and there he died.] has now to approve himself, and
actively to fulfil the favorable expectations which his talent
and good name justify. So be it, and as Schuberth says, Punktum
[a full stop.]
As regards the place of meeting for the next Tonkunstler-
Versammlung I am quite of your opinion. First of all I advise you
to consult Bulow. Owing to his long connection with the Court at
Carlsruhe he is best qualified to take the preliminary measures
("to pave the way"!). If the Grand Duke and Grand Duchess take up
the matter favorably, then without doubt all that is requisite
and necessary will be done in the most desirable manner. The most
essential things are
(a) Letting us have the theater free of charge for two to three
evenings--(as at Weimar--would not it perhaps be best to mention
this in the 1st letter?).
(b) Official preparatory measures by the Intendant to ensure the
co-operation of the Carlsruhe orchestra and chorus, also free of
charge.
You will have to consult more fully with Dr. Devrient and
Kalliwoda as to the best time for it. But the thing to be done
before all else is to gain the Grand Duke's interest--and if you
think it would be practicable for me to write a few lines to
H.R.H. later on I will do so with pleasure. I only beg that you
will give me exact particulars of the steps already made and
their results.
For my part I think that to Bulow, a priori, ought to be
entrusted the conducting of the Musical Festival, and this point
should be at once mentioned as settled in the introductory letter
to the Grand Duke. Otherwise Bedow's position in the affair would
not be sufficiently supported.
To sum up briefly: Request Bulow to undertake the conductorship
of the Musical Festival; and address the Grand Duke of Baden,
either by letter or by word of mouth (as opportunity may
warrant), with the request that H.R.H. would graciously support
the proposed Musical Festival of the third Tonkunstler-
Versammlung, by giving it his patronage, as the Grand Duke of
Weimar did last year, etc., etc.
.--. That excellent Pohl has quite forgotten me. I asked him,
through Gottschalg, to send me my Gesam- melte Lieder [complete
songs], the "Dante Symphony" (in score and arrangement for 2
Pianos), the 4-hand Symphonic Poems, and a couple of copies of my
Catalogue (published by Hartel).
I have been waiting in vain for these for two months. A few days
ago I wrote to Frau von Bulow to send Pohl an execution; perhaps
this may help matters at length!
The Berlioz parts have remained at Weimar. Grosse knows about
them--and possibly they have also gone to Pohl with the rest of
the scores. As soon as they are found I shall be happy to make a
present of them to the library of the Musikverein for their use,
as well as the scores, and I authorise you with pleasure, dear
friend, to do the same with the score and parts of the "Gran
Mass."
The newspaper has not reached me from Pohl any more than the
parcel.
Hearty greetings to your wife from yours in all friendship,
F. L.
6. To Dr. Franz Brendel
Dear Friend,
Well, as the parcel has come at last, Pohl shall not be scolded
any more, and his "innocence" shall shine out in full splendor!
.--.
I have just received a few lines from Berlioz; Schuberth, whom I
commissioned, before I left, to send the dedication-copy of the
"Faust" score to Berlioz, has again in his incompetent good
nature forgotten it, and perhaps even from motives of economy has
not had the dedication-plate engraved at all!!--Forgive me, dear
friend, if I trouble you once more with this affair, and beg you
to put an execution on Schuberth in order to force a copy with
the dedication-page from him. The dedication shall be just as
simple as that of the "Dante Symphony," containing only the name
of the dedicatee, as follows,
"To Hector Berlioz."
After this indispensable matter has been arranged I beg that you
will be so kind as to have a tasteful copy, bound in red or dark
green, sent, perhaps through Pohl (?), to Berlioz at Baden (where
he will be at the beginning of August. In case neither Pohl nor
his wife should go to Baden this summer (which however I scarcely
expect will be the case), send the copy to Fraulein Genast (who,
as I learn from the "Zeitschrift" [periodical], is at present in
Carlsruhe) with the request that she will give it to Berlioz.
Is there not any talk of bringing out an arrangement of the
"Faust Symphony" for 2 Pianofortes?--Schuberth is sure to have
far greater things in contemplation, and I almost regret having
incommoded him by giving up the manuscripts!--
Nonetheless, please take him to task about it, or, better, bully
him into action with "Faust-Recht" [Faust rights or Faust
justice.] In truth the final chorus of Part III. of the Faust
tragedy, "faithful to the spirit of Part II. as composed by
Deutobold-Symbolizetti-Allegoriowitsch-Mystifizinsky"--
"Das Abgeschmackteste
Hier ward es geschmeckt,
Das Allvertrackteste
Hier war es bezweckt"
[A parody on the concluding lines of Goethe's Faust. The parody
may be freely translated as follows:--
The most insipid
Here was tasted;
In queerest nonsense
Here all was wasted."]
can often be applied to matters of publishing. And while I am
touching on this, to me, very disagreeable chapter, may I also
take the opportunity of inquiring how long our amiable friend and
patron Julius Schuberth is intending to ignore the 2 Episodes
from Lenau's "Faust" ("Nachtlicher Zug"--and "Mephisto Walzer"),
which I recommended to his good graces more than a year ago, and
gave him in manuscript?
Must the pages perchance become quite mouldy, or will he bring
them out as an oeuvre posthume [posthumous work]? I am tired of
doing silent homage to this noble mode of proceedings, and intend
next time to help the publisher out of all his perplexities
[Untranslatable pun on "Verleger" and "Verlegenheiten."] by
putting the manuscripts back in their place again.--
--
"O Freunde, nicht diese Tone, sondern lasst uns angenchmere
anstimmen!" [A quotation from Schiller's "Ode to joy" in
Beethoven's "Choral Symphony:" "O friends, not tones like these,
but brighter ones let us sing."] (I am perhaps not quoting
exactly, although the sense of the apostrophe remains clearly
present, especially in musical enjoyments and experiences!)
Amongst the "more pleasant" things I at once place much
information given in your letter and the newspaper (which reached
me at the same time in some 16 numbers with Pohl's parcel). My
most earnest wishes are, first and foremost, bound up in the
complete prospering, upspringing, and blossoming of the "grain of
mustard-seed" of our Allgemeine Deutsche Musik-Verein. With God's
help I will also support this in other fashion than mere
"wishes." According to my opinion the third Tonkunstler-
Versammlung will be the chief factor in strengthening and
extending the Allgemeine Deutsche Musik-Verein, which comprises
in itself the entire development and advancement of Art.
Various reasons led me to recommend Carlsruhe to you in my last
letter as the most suitable place for the third Tonkunstler-
Versammlung, that is, supposing that H.R.H. the Grand Duke gives
his countenance to the matter, and grants us favorable conditions
with regard to the disposal of the theater, orchestra, and
chorus. It behoves Bulow, as conductor of the musical
performances, to undertake to "pave the way" towards a favorable
promise on the Grand Duke's side. Within two to three months the
necessary preliminaries can be fixed, and I shall then expect
fuller tidings from you about the further plans and measures.
Without wishing to make any valid objection to Prague--rather
with all due acknowledgment of what Prague has already
accomplished and may still accomplish--yet it seems to me that
the present political relations of the Austrian monarchy would
make it inopportune to hold the Tonkunstler-Versammlung in Prague
just now. On the other hand I am of opinion that a more direct
influence than has yet been possible on South Germany, which is
for the most part in a stagnating condition, would be of service.
Stuttgart in particular, through Pruckner, Singer, Stark, etc.,
might behave at it differently from what it did at a previous
Musical Festival in Carlsruhe!
Dr. Gille's interest in the statutes and deliberations of the
M.V. [Musik-Verein] is very advantageous, as also Pohl's previous
removal to Leipzig. .--. The constant intercourse with you,
together with the Leipzig acids and gases, will be sure to suit
him well.
From Weimar I have received a good deal of news lately from Count
Beust, Dingelstedt, Gille, and Stor. To the latter my answer will
be little satisfactory; but I cannot continue with him on any
other road, and let the overpowering Dominant of his spasmodic
vanity serve as the Fundamental note of our relations.
I am writing to Gille by the next post, and also to Muller, who
rejoiced me lately by his Erinnerungs-Blatt [remembrance] from
Weimar, (in the 8th November issue of the "Zeitschrift," which I
have only now received). Will you, dear friend, when you have an
opportunity, give my best thanks to Kulke for his article upon
Symphony and Symphonic Poem--and also the enclosed lines to
Fraulein Nikolas, from whom I have received a charming little
note?
Already more than 140 pages of the score of my "Elizabeth" are
written out complete (in my own little cramped scrawl). But the
final chorus--about 40 pages--and the piano-arrangement have
still to be done. By the middle of August I shall send the entire
work
to Carl Gotze at Weimar to copy, together with the "Canticus of
St. Francis," which I composed in the spring. ["Cantico del
Sole," for baritone solo, men's chorus, and organ. Kahnt.] It
would certainly be pleasanter for me if I could bring the things
with me--but, between ourselves, I cannot entertain the idea of a
speedy return to Germany. If later there seems a likelihood of a
termination to my stay in Rome, you, dear friend, shall be the
first to hear of it.
With hearty greetings to your wife, I remain
Yours in sincere and friendly attachment,
F. Liszt
Rome, July 12th, 1862
Your little commission about Lowenberg shall be attended to. Let
me soon have news of you and of my intimate friends again. There
is absolutely nothing to tell you from here that could interest
you. In spite of the heat I shall spend the summer months in
Rome.
7. To Dr. Franz Brendel
[Letters 7, 8, 9, 18, and 24 to Brendel have been partially
published in La Mara's "Musikerbriefe" (Letters of Musicians),
Vol. II.]
What a delightful bunch of surprises your letter brings me, dear
friend! So Pohl has really set to work on the Faust brochure--and
Schuberth is actually not going to let the piano-arrangement of
the "Faust Symphony" lie in a box till it is out of date. How
curious it all sounds, just because it is so exactly the right
thing and what I desired!--If you are back in Leipzig please send
me soon a couple of copies of the Faust brochure (those numbers
of the journal containing Pohl's articles have not reached me),
and also send me the 2-pianoforte arrangement of the Faust
Symphony (a few copies when convenient). I have as yet received
nothing of the parcel which Kahnt announced as having sent me
with some of my 4-hand things; and as I have fished out here a
very talented young pianist, Sgambati [A pupil of Liszt's, and
now one of the first pianoforte players and composers of Italy;
has been, since 1871, Professor at the Academia Sta. Cecilia in
Rome] by name, who makes a first-rate partner in duets, and who,
for example, plays the Dante Symphony boldly and correctly, it
would be a pleasure to me to be able to go through the whole
cycle of the Symphonic Poems with him. Will you be so good
therefore, dear friend, as to ask Hartel for the whole lot in the
2-pianoforte arrangement (a double copy of each Symphonic Poem,
for with one copy alone I can do nothing, as I myself can only
play the thing from notes!), and also the 4-hand arrangement,
with the exception of the "Festklange," which Hartels have
already sent me?
Besides these, I expect in the same parcel the Marches which
Schuberth has published (the "Goethe Marsch" and the Duke of
Coburg) and the "Kunstler Festzug" [Artists' procession] (for 4
hands), which I ordered previously.--