note of the score; I have now only to finish a part of the piano
arrangement, and the 4-hand arrangement of the Introduction, the
Crusaders' March, and the final procession--which shall be done
by the end of this month at latest. Then I send the whole to
Weimar to be copied, together with a couple of other smaller
manuscripts. What will be its ultimate fate will appear according
as...Meanwhile I will try one or two little excursions into the
country (to Albano, Frascati, Rocca di Papa--and a little farther
still, to the "Macchia serena" near Corneto, where in earlier
times much robbery and violence took place!), and before the end
of September I hope to be able to set steadily to work again, and
to continue my musical deeds of "robbery and murder"! Would that
I only could hear, like you, the Sondershausen orchestra, and
were able to conjure friend Stein and his brave phalanx into the
Colosseum! The locality would assuredly be no less attractive
than the "Loh," [The Sondershausen concerts are, as is well
known, given in the "Lohgarten."] and Berlioz's Harold Symphony,
or Ce que l'on entend sur la montagne [One of Liszt's Symphonic
Poems], would sound there quite "sonderschauslich" [curious]
[Play of words on Sondershausen and "sonderbar" or "sonderlich"].
I often imagine the orchestra set up there, with the execrated
instruments of percussion in an arcade--our well--wishers Rietz,
Taubert, and other braggarts of criticism close by (or in the
Aquarium!)--the directors of the Deutsche Musik-Verein resting on
the "Pulvinare," and the members all around resting on soft
cushions, and making a show in the reserved seats of the
Subsellia, as senators and ambassadors used to do!--
Tell Stein of this idea, and give him my most friendly thanks for
all the intelligent care and pains that he so very kindly gives
to my excommunicated compositions. As regards the performances of
the Sondershausen orchestra I am quite of your opinion, and I
repeat that they are not only not outdone, but are even not often
equalled in their sustained richness, their judicious and liberal
choice of works, as well as in their precision, drilling, and
refinement.--It is only a shame that no suitable concert-hall has
been built in Sondershausen. The orchestra has long deserved such
an attention; should such a thing ever fall to their lot, pray
urge upon Stein to spread out the Podium of the orchestra as far
as possible, and not to submit to the usual limited space, as
they made the mistake of doing in the Gewandhaus, the Odeonsaal
in Munich, etc., etc., and also, alas, in Lowenberg. The concert-
hall of the Paris Conservatoire offers in this respect the right
proportions, and a good part of the effect produced by the
performances there is to be ascribed to this favorable
condition.--
According to what I hear Bulow is not disposed to mix himself up
in the preliminaries of the next Tonkunstler-Versammlung.
Accordingly some one else must be entrusted with the afore-
mentioned task in Carlsruhe, although Bulow was the best suited
for it. If you do not care to enter at once into direct
communication with Devrient, Pohl would be the best man to
"pioneer" the way. It would not be any particular trouble to him
to go from Baden to Carlsruhe, and to persuade Devrient to favor
the matter. This is before all else needful, for without
Devrient's co-operation nothing of the sort can be undertaken in
Carlsruhe. If the Tonkunstler-Versammlung takes place not out of
the theater season, then one or more theatrical performances can
be given in conjunction with it, especially of Gluck's Operas; as
also an ultra-classical Oratorio of Handel's might well be given
over to the Carlsruhe Vocal Unions. .--.
What "astonishing things" are you planning, dear friend? This
word excites my curiosity; but, on the other hand, I share your
superstition to speak only of actions accomplished ("faits
accomplis"). In Schelle you will gain a really valuable
colleague. Has his "History of the Sistine Chapel" come out yet?
If so, please be so good as to send me the book with the other
musical things.--
My daughter, Frau von Bulow, writes to me that Wagner's new work
"Die Meistersinger" is a marvel, and amongst other things she
says:--
"These 'Meistersinger' are, to Wagner's other conceptions, much
the same as the 'Winter's Tale' is to Shakespeare's other works.
Its phantasy is found in gaiety and drollery, and it has called
up the Nuremberg of the Middle Ages, with its guilds, its poet-
artisans, its pedants, its cavaliers, to draw forth the most
fresh laughter in the midst of the highest, the most ideal,
poetry. Exclusive of its sense and the destination of the work,
one might compare the artistic work of it with that of the
Sacraments-Hauschen of St. Lawrence (at Nuremberg). Equally with
the sculptor, has the composer lighted upon the most graceful,
most fantastic, most pure form,--boldness in perfection; and as
at the bottom of the Sacraments-Hauschen there is Adam Kraft,
holding it up with a grave and collected air, so in the
'Meistersinger' there is Hans Sachs, calm, profound, serene, who
sustains and directs the action," etc.
This description pleased me so much that, when once I was started
on the subject, I could not help sending you the long quotation.
The Bulows, as you know, are with Wagner at Biebrich--at the end
of this month there is to be a performance of "Lohengrin" at
Frankfort under Wagner's direction. There must not fail to be a
full account of this in the Neue Zeitschrift, and for this I
could recommend my daughter as the best person. The letters in
which she has written to me here and there of musical events in
Berlin and elsewhere are really charming, and full of the finest
understanding and striking wit.--
Berlioz was so good as to send me the printed pianoforte edition
of his Opera "Les Troyens." Although for Berlioz's works
pianoforte editions are plainly a deception, yet a cursory
reading through of "Les Troyens" has nevertheless made an
uncommonly powerful impression on me. One cannot deny that there
is enormous power in it, and it certainly is not wanting in
delicacy--I might almost say subtilty--of feeling.
Pohl will let you know about the performance of Berlioz's comic
Opera "Beatrice and Benedict" in Baden, and I venture to say that
this Opera, which demands but little outside aids, and borrows
its subject from a well-known Shakespeare play, will meet with a
favorable reception. Berlin, or any other of the larger theaters
of Germany, would certainly risk nothing of its reputation by
including an Opera of Berlioz in its repertoire. [This took place
a quarter of a century later.] It is no good to try to excuse
oneself, or to make it a reason, by saying that Paris has
committed a similar sin of omission--for things in which other
people fail we should not imitate. Moreover Paris has been for
years past developing a dramatic activity and initiative which
Germany is far from attaining--and if special, regrettable
personal circumstances prevent Berlioz from performing his works
in Paris, the Germans have nothing to do with that.
Hoping soon for news of you (even if not about the "astonishing
things"), I remain, dear friend, with faithful devotion,
F. Liszt
Rome, August 10th, 1862 Via Felice, 113
Who has corrected the proofs of the "Faust Symphony"? Please
impress upon Schuberth not to send out into the world any
unworthy editions of my works. Bulow is so good as to undertake
the final revision, if only Schuberth will take the trouble to
ask him to do so.
8. To Dr. Franz Brendel
Via Felice, 113 [Rome], August 29th [1862]
Dear Friend,
In explanation of the main point of your last letter (which
crossed mine), namely, the question as to where the next
Tonkunstler-Versammlung is to be held, let me add the following
in colloquial form.
I should not, without further proof, exactly like to consider
Carlsruhe as a town altogether unsuitable for the purpose--
although Pohl and Bulow are afraid it is, and have various
reasons for assuming it to be so. As regards Bulow, I have
already asked you not to trouble him with any of the preliminary
details. When the time comes, he is certain to do his part--that
is, more than could be expected or demanded of him. Only he must
not be tormented with secondary considerations, not even where,
owing to his position and antecedents, he is best known (for
instance, in Carlsruhe, as already said). His individuality is
such an exceptional one that its singularities must be allowed
scope. Hence let us meanwhile leave him out of the question, he
being what he is, with this reservation--that he undertakes to
conduct the musical performances--as I hope and trust he will
finally arrange to do. But again as to Carlsruhe, I would propose
that unless you have important, positive objections to the place,
you should write to the Grand Duke yourself and beg him in my
name to take the Musik-Verein under his patronage, etc.--The
worst that could happen to me in return would be to receive a
courteously worded refusal; this, it is true, is not a kind of
thing I cultivate as a rule, but as a favor to such an honorable
association I would gladly face the danger, in the hope that it
might prove of some use and advantage.
Write and tell me, therefore, in what spirit Seifriz has answered
you, and what information Riedel has gathered in Prague. Prague,
for certain (yet rather uncertain?) considerations, is indeed
much to be recommended; only one would need, in some measure, to
have the support of the musical authorities and notabilities of
the place, as well as that of the civic corporation (because of
municipal approbation and human patronage). In short, if the
Tonkunstler-Versammlung were taken up and set in a good light
there by a few active and influential persons, everything else
would be easy to arrange, whereas otherwise all further steps
would be so much trouble thrown away. I cannot altogether agree
with your opinion, dear friend, that "the difficulties would in
no way be greater in Prague than in Leipzig"--you forget that you
yourself, in the capacity of a Leipzig citizen, removed most of
the difficulties by your unswerving perseverance and your
personal influence, whereas in Prague you could act only through
the intervention of others. The question, therefore, is whether
you can confidently reckon upon reliable friends there.
Until I receive further news from you, it seems to me that
Bulow's idea of preferring Lowenberg to all other places is one
very well worth consideration. Our amiable Prince would certainly
not fail to give his earnest support to the Tonkunstler-
Versammlung, and the small miseries of the little town of
Lowenberg might be put up with or put down, for a few days at all
events. Think this plan over again carefully, and do not look at
Lowenberg through the glasses of our excellent friend Frau von
Bonsart!--Of course a date would have to be fixed when the
orchestra is assembled there, and the whole programme arranged
with Seifriz and drawn up with his friendly co-operation. In my
opinion many things might be possible in Lowenberg that could
scarcely be broached elsewhere; and as, in fact, Bulow conceived
the idea I expressly recommend it you as a means for "paving the
way" to a happy issue.--
Together with your last letter I received three of the Faust
essays by Pohl. I shall send him my warm thanks for them by next
post, and shall add, for his bibliographical and statistical
edification, the little remark that Mademoiselle Bertin had an
Italian opera performed in Paris before the Revolution of July,
entitled "Faust" or "Fausto." Before Pohl's articles appear in
pamphlet form I should like to have read them all through--but if
he is in a hurry about them, do not mention this to him; perhaps,
however, if it did not make the pamphlet too thick, it might be
well to include Pohl's essay on the "Dante Symphony" (as it
appeared in Hartel's edition of the score).
In spite of the unsatisfactory performance of the "Dante
Symphony" in Dresden (partly, moreover, the fault of the bad,
incorrectly written orchestral parts, and my careless
conducting), and without regard to the rapture of the spiritual
substance (a matter which the general public tolerates only when
demanded by the higher authority of tradition, and then
immediately gapes at it upside down!)--in spite, therefore, of
this grievous Dresden performance, which brought me only theone
satisfaction of directly setting to work at some not unessential
improvements, simplifications, and eliminations in the score--
that had taken hold of me during the rehearsals and the
performance, and which I felt at once, without troubling myself
about the audience present...--Now, what was I about to say,
after all these parentheses and digressions? Yes, I remember
now:--the "Dante Symphony" is a work that does not need to be
ashamed of its title,--and what you tell me of the impression
produced by the "Bergsymphonie" (in Sondershausen) strengthens me
in my presumption. Hence I should be glad to see the preface by
Pohl printed again, and placed at the end of the "Faust"
pamphlet; for, considering what most people are, they require to
read first, before attaining the capacity for learning,
understanding, feeling, and appreciating.--
The edition of the "Faust Symphony" (arranged for two
pianofortes) is worthy of all praise, and, in the language of
music-sellers, elegant. The printer has done well in so arranging
the type that a number of lines are brought on to one page and a
number of bars on to every line. Schuberth shall ere long receive
a complimentary note from me, together with a few "proof"
indications for the "Faust Symphony." But, in fact, I have come
across only a few and unimportant errors as yet.
The publication of Lenau's two "Faust Episodes" (a point Pohl
touches upon in his essay with fine discrimination) Schuberth
might undertake according as he sees fit. I am pretty well
indifferent as to whether the pianoforte arrangement or the score
appears first; only, the two pieces must appear simultaneously,
the "Nachtlicher Zug" as No. 1 and "Mephisto's Walzer" as No. 2.
There is no thematic connection between the two pieces, it is
true; but nevertheless they belong together, owing to the
contrast of ideas. A "Mephisto" of that species could proceed
only from a poodle of that species!--.--.
With the "Elizabeth" (of which I have now to write only the
pianoforte score, which will take about a fortnight's time) I am
also sending to Weimar the three Psalms in their new definitive
form. It would please me if, some day, a performance of the 13th
Psalm, "How long wilt Thou forget me, O Lord?" could be given.
The tenor part is a very important one;--I have made myself sing
it, and thus had King David's feelings poured into me in flesh
and blood!--
It is to be hoped that Schnorr will be kind enough to adapt
himself to the tenor part (the only solo voice in the Psalm, but
which affects everything, and penetrates and sways chorus and
orchestra). Theodor Formes sang the part very well eight years
ago in Berlin; but that performance at Stern's Concert was to me
only a first trial performance!--
With notes alone nothing can be accomplished; one thirsts for
soul, spirit, and actual life. Ah! composing is a misery, and the
pitiful children of my Muse appear to me often like foundlings in
a hospital, wandering about only as Nos. so and so!--
Please give my best thanks to Schnorr for having so kindly
interested himself in my orphaned "Songs." His better self-
consciousness--the God we carry in our breasts--requite him for
it!--My daughter, Frau von Bulow, writes and tells me marvels
about Schnorr and his wife, and of the performance of "Tristan"
at Wagner's in Biebrich. If only we possessed electric telegraphs
in favor of musical ubiquity! Assuredly I would not make any
misuse of them, and only rarely put myself in correspondence with
the music-mongers; but Tristan and Isolde are my "soul's
longing"!
The French journals contain nothing but praise and exclamations
of delight at the success of "Benedict and Beatrice," Berlioz's
new opera, which was performed in Baden. Pohl is sure to give you
a full report of it. To judge from his essay, the tenor solo at
the end of the "Faust Symphony" caused less offence in Leipzig
(it was the stumbling-block in the Weimar performance, so much so
that influential and well-disposed friends have urgently advised
me to strike out the solo and chorus and to end the Symphony with
the C major common chord of the orchestra). It was really my
intention at first to have the whole "Chorus mysticus" sung
invisibly--which, however, would be possible only at performances
given in theaters, by having the curtain lowered. Besides which,
I felt doubtful whether the sound would not have thus become too
indistinct...
However it may be with this and other things, I will not fail to
exercise patience and goodwill--but neither will I make too great
a demand upon yours. Enough, therefore, for today from your
heartily devoted
F. Liszt
P.S.--N.B.--With the next sending of music please enclose the
choruses from Schumann's "Manfred" (Songs and pianoforte
accompaniment). I shall probably this autumn be engaged with the
same subject, which, in my opinion, Schumann has not exhausted.
9. To Dr. Franz Brendel
Dear Friend,
You will have heard of the grievous shock I received in the
middle of September. [Liszt's eldest daughter, Mme. Blandine
Ollivier, had died.] Shortly afterwards Monsieur Ollivier came to
Rome, and during his stay here, which lasted till the 22nd
October, I could not calculate upon being able to take any
interest in other outward matters. This last week I have had to
spend in bed. Hence my long delay in answering you.
So far as I understand the position of affairs with regard to the
Tonkunstler-Versammlung, it seems difficult to give any definite
advice. The question here is not one of theoretical, but of
absolutely practical considerations, with regard to which
unfortunately my influence is very limited. In my last letter I
believe I told you that I am prepared, in case you decide upon
Prague, to subscribe my name to the petition addressed to the
Austrian ministry in behalf of state support. At the same time I
intimated to you that my cousin Dr. Eduard Liszt would be the
best one to draw up the said petition (in accordance with a draft
sent to him), and in fact might aid the undertaking with good
advice, and otherwise promote its interests. I, on my side, will
not spare myself any trouble in order to obtain from the Austrian
government a favorable result for the objects of the Tonkunstler-
Versammlung. I cannot, of course, guarantee success beforehand;
still I consider it not impossible, and when the time comes I
will communicate all further details to you.
In the first place, however, comes the question whether I can
take any personal part in the meeting of the Tonkunstler-
Versammlung in the year '63? [This meeting did not take place in
1863, but in 1864.] And unfortunately this question I am forced
to answer decidedly in the negative. Owing to its being my custom
not to enlighten others by giving an account of my own affairs, I
avoid, even in this case, entering further into particulars. Of
this much you may meanwhile be assured with tolerable certainty:
I have neither the intention nor the inclination to make any
lengthened stay in Germany. Probably, however, during the course
of next summer I may go to Weimar for perhaps a three weeks'
visit to my gracious Master the Grand Duke. From Weimar I should
go to Leipzig, and then return here by way of Trieste or
Marseilles.
Requests for concert performances of my works under my direction
have been addressed to me from several quarters of late.
Yesterday again I received a letter on this same subject from
London, to which, as in the case of the others, I shall reply
with grateful thanks and excuses.--
I am firmly resolved for some length of time to continue working
on here undisturbed, unremittingly and with an object. After
having, as far as I could, solved the greater part of the
"Symphonic" problem set me in Germany, I mean now to undertake
the "Oratorio" problem (together with some other works connected
with this). The "Legend of Saint Elizabeth," which was altogether
finished a couple of months ago, must not remain an isolated
work, and I must see to it that the society it needs is
forthcoming! To other people this anxiety on my part may appear
trifling, useless, at all events thankless, and but little
profitable; to me it is the one object in art which I have to
strive after, and to which I must sacrifice everything else. At
my age (51 years!) it is advisable to remain at home; what there
is to seek, is to be found within oneself, not without; and, let
me add, I am as much wanting in inclination to wander about as I
am in the necessary means for doing so. But enough of my
insignificant self. Let us pass over at once to the subject of
those two brave fellows who, in your opinion, ought to play a
chief part in the next Tonkunstler-Versammlung: Berlioz--and
Wagner.
To class them together thus seemed strange to me at first,
considering the present state of affairs. And, so far as their
two-headed personality is drawn in, I hold it to be impossible
even. So let us take each apart.
A) Berlioz. Considering what has occurred, and what has appeared
in print, it strikes me as more than doubtful whether Berlioz
would make up his mind to undertake the musical conductorship of
the Tonkunstler-Versammlung, even though Benazet should come
forward en personne as mediator. Besides which his moral
influence at the Festival and the negotiations would be hindering
and disturbing. Hence let us leave Berlioz in Paris or in Baden-
Baden, and be content in being consistent and in giving him a
proof of our admiration by getting up a performance of one of his
larger works. (Perhaps the "Te Deum?"--if I am not mistaken it
lasts a good hour. For Prague this choice would be appropriate--
unless the "Requiem" might be preferred. We might even consider
whether the two might not be given together; this would
abundantly fill one concert. Discuss the requisite means, etc.,
for giving these, with Riedel.)
B) Wagner. What am I to say to you of Wagner? Have you had any
talk with him lately in Leipzig? On what terms are you with him
at present?...Ah, it is a pity that we cannot procure a stream of
gold for him, or have some palaces of gold built for him! What
can he do with admiration, enthusiasm, devotion, and all such
non-essential things?
Nevertheless it is our indebtedness and duty to remain faithful
and devoted to him. The whole German Musik-Verein shall raise up
a brazen wall in his honor!--He is verily worthy of it!
Hence, dear friend, see what can be arranged with Wagner. Since I
left Berlin we have not corresponded. But I am surprised almost
that I did not receive a line from him after Blandine's death!
.--.
Au revoir, therefore, dear friend. In Weimar or in Leipzig only
can I tell you what I may be able to accomplish later. I must,
however, most urgently beg to be exempted from undertaking to
direct the German Musik-Verein for the year '63!--
With cordial and most friendly greetings,
Yours sincerely,
November 8th [1862]
F. Liszt
P.S.--Best thanks for your Sondershausen essays.
10. To A. W. Gottschalg
Dear Friend,