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...
The rehearsals of my Oratorio "Le Christ" are progressing. It
will probably be performed in the early part of July, and I will
have the programme sent to you.
Towards the end of July I shall go to Weimar. The "Wartburg
Festival" is fixed for the 28th August. On that day the Elisabeth
will be heard in the hall of the Minnesingers. A fortnight before
that the concerts of the Tonkunstler-Versammlung will take place
at Meiningen. Possibly you may be able to come and look me up in
the course of this same month of August.
Yours ever from heart and soul,
F. Liszt
Rome, June 20th, 1867
54. To William Mason in New York
Dear Mr. Mason,
Your kind letter gives me a very cordial pleasure, and I beg you
to be assured of the continuance of my very affectionate
feelings. I frequently hear your success in America spoken of.
You deserve it, and I rejoice to know that your talent is justly
appreciated and applauded. Your compositions have not yet reached
me, but I am fully disposed to give them a good reception. In
about a fortnight I shall start for Weimar. The Tonkunstler-
Versammlung is to take place at Meiningen this year from the 22nd
to the 25th August. I shall be present at it, as also at the
Jubilee Festival at the Wartburg, at which my Oratorio "Saint
Elizabeth" will be performed on the 28th August. Perhaps I shall
meet there Mr. Theodore Thomas and Mr. S.B. Mills, of whom you
speak. I have heard the highest praises of the capability of Mr.
Thomas, whom I have to thank particularly for the interest he
takes in my Symphonic Poems. Artists who are willing to take the
trouble to understand and to interpret my works cut themselves
off from the generality of their fraternity. I, more than any
one, have to thank them for this, therefore I shall not fail to
show my thanks to Messrs. Thomas and Mills when I have the
pleasure of making their acquaintance.
The news which reaches me from time to time about musical matters
in America is generally favorable to the cause of the progress of
contemporaneous Art which I hold it an honor to serve and to
sustain. It seems that, among you, the cavillings and blunders
and stupidities of a criticism adulterated by ignorance, envy and
venality exercise less influence than in the old continent. I
congratulate you on this, and give you my best wishes that you
may happily pursue this noble careerof an artist,--with work,
perseverance, resignation, modesty, and the imperturbable faith
in the Ideal, such as was indicated to you at Weimar, dear Mr.
Mason, by your very sincerely affectionate and attached
F. Liszt
Rome, July 8th, 1867
55. To E. Repos, director of the "Revue de Musique sacree" in
Paris
[Autograph of all the letters to Repos in the possession of Herr
Dr. Oscar von Hase in Leipzig.]
Dear sir,
I am very much obliged to you for the kind feelings you express
to me, and beg to assure you of my desire to correspond to them.
By your activity and the character of your publications our
interests are naturally similar; I will take care to make them as
agreeable as possible to you.
The day after tomorrow I will send you four or five small pages
which, if I mistake not, will suit you,--and which may be
propagated. It is a simple and easy version for Organ of the hymn
"Tu es Petrus," lately performed here on the eighteen-hundredth
anniversary of St. Peter. I hope you will find an organist in
Paris who is willing to appropriate this piece and by his talent
to make it worth hearing.
As I am anxious that your edition should be perfectly correct I
beg that you will send me the proofs. Address them to me, from
the loth to the 30th August, at Weimar, Grand Duke of Saxe-
Weimar, Germany. The performance of my Oratorio "Saint
Elizabeth," at the jubilee Festival of the Wartburg on the 28th
August, calls me into those parts of Thuringia which "Saint
Elizabeth" has illustrated.
I shall start from here in about a week. Will you therefore defer
what you are so kindly intending to send me until my return to
Rome (end of October)? Accept, dear sir, my best thanks, together
with the assurance of my very distinguished and devoted
sentiments.
F. Liszt
Rome, July 12th, 1867
Here, as in Germany, my name is enough without any more detailed
address.
56. To Prince Constantine Czartoryski
[From a rough copy in Liszt's own handwriting enclosed in the
following letter. The addressee, President of the Society of the
Friends of Music, died in 1891 in Vienna, where he was Vice-
President of the Herrenhaus.]
My Prince,
The two letters which you have done me the honor to address to me
at Rome and Munich have reached me at the same time. I cannot but
feel myself highly flattered at your kind proposition with regard
to the performance of my Oratorio "Saint Elizabeth" at one of the
concerts of the musical society over which you preside. The great
renown of these concerts, the rare capability of their conductor
Mr. Herbeck, the talent of the artists who take part in them, and
the care that is taken to maintain the traditions of the musical
glory of Vienna, make it very desirable for every serious
composer to take a place in their programme. Thus I am most
sincerely grateful to you, my Prince, for procuring me this
honor, which however, much to my regret, I should not be able to
accept without some delay.
It would be wearisome to enter into many details; one fact alone
will suffice: the score of the "Elizabeth" is to be sent back to
be engraved, and I promised the editor not to let it go anywhere
else before its publication. Besides this the voice and
orchestral parts which were used at the Wartburg are no longer
available.
Kindly pardon me therefore that I cannot in this matter satisfy
your favorable intentions as I should like. "What is deferred is
not lost," says a proverb to which I prefer to attach myself
today, while begging you to accept, my Prince, the expression of
the sentiments of high esteem and consideration with which I have
the honor to be
Your Highness's very humble and devoted servant,
F. Liszt
Munich, October 14th, 1867
57. To Eduard Liszt
Dearest Eduard,
My hearty thanks to you for your letter. It almost made me
determine to send Prince Czartoryski an answer in the
affirmative; but when I came to think the matter over more fully
it did not seem suitable, considering my peculiar position.
Enclosed is a copy of my letter to Czartoryski; I hope you may
not disapprove of it; let me give you a few more reasons.
1st. I really cannot at present send off the only existing copy
of the score of the "Elizabeth", for it is required for printing.
Nor should I care to have the orchestra and chorus parts from
Munich used, and this I wrote to Prince Cz. It was for this very
same reason that I declined offers respecting performances of the
"Elizabeth" from Dusseldorf, Leipzig, Dresden, etc.
2nd. I do not share your rosy hopes of this work proving a
success in towns where my earlier works not only met with little
appreciation, but even received unseemly rebuffs. In Vienna,
Leipzig, Berlin and even larger cities, the hisses of half a
dozen stupid boys or evil-disposed persons were always sufficient
to delude the public, and to frustrate the best intentions of my
somewhat disheartened friends. In the newspaper criticisms these
hissing critics are sure to find numerous supporters and pleasant
re-echoes as long as the one object of the majority of my judges
of this species is to get me out of their way. The improvement,
which is said of late to have shown itself in regard to my
position, may be interpreted somewhat thus: "For years in his
Symphonic Poems, his Masses, Pianoforte works, Songs, etc., Liszt
has written mere bewildering and objectionable stuff; in his
"Elizabeth" he appears to have acted somewhat more rationally--
still, etc., etc."--Now as I am in no way inclined to cry peccavi
for all my compositions, or to assume that the castigations they
received were just and justifiable, I do not consider it
advisable to subscribe to the supposed extenuating circumstances
of the "Elizabeth". I well know the proverb: "Non enim qui se
ipsum commendat, ille probatus est," and do not think I am
sinning against it. However it is possible that my resolute
friends may, in the end, be right in asserting that my things are
not so bad as they are made out to be!--Meanwhile what I have to
do is to go on working quietly and undismayed, without in the
smallest degree urging the performance of my works-nay in
restraining some friendly disposed conductors from undertaking
them.
3rd. After having two years ago excused myself to Herbeck about
allowing a performance of the "Elizabeth" in Vienna, I cannot now
immediately accept the friendly offer of Prince Czartoryski. It
might be somewhat different had Herbeck attended the Wartburg
performance, as I invited him to do through Schelle. But much as
I appreciate and admire Herbeck's talent as a conductor, still I
cannot know in advance whether he likes my work or not, or how
far he agrees with my intentions. At all events I should have to
come to some personal understanding with him on the subject
before a performance is given in Vienna, just because this is a
matter of importance to me, and the performance ought not to be a
dementi of the preceding ones. It is much more to my advantage
not to have my works performed at all, than to allow them to be
performed in a half-and-half or unsatisfactory manner.--I may say
quite frankly that it would certainly be very agreeable to me to
stand in a somewhat better light in Vienna as a composer than I
have hitherto done. But the time has not come for that--and if it
should ever come, half a dozen of my compositions, for instance
the 13th Psalm, the Faust and Dante Symphonies, some of the
Symphonic Poems, and even, horribile dictu! the Prometheus
Chorus, would have to be introduced to the public in proper
style. Three concerts would be necessary for this, and would have
to be announced beforehand, arranged and rehearsed, and there the
"Elizabeth" might also then find a place among them. Herbeck
would be an excellent one to arrange and conduct these concerts,
provided he were not too much afraid of the obligations due to
criticism. My personal position will not permit of my taking any
part in them as a conductor; nevertheless I should not care to be
altogether idle on the occasion, and hence should like, first of
all, to have a careful discussion with Herbeck about various
points that must absolutely be given thus and in no other way. It
was in this sense that I wrote to Czartoryski that: "Ce qui est
differe nest pas perdu" ("Aufgeschoben ist nicht aufgehoben")
["Put off is not given up."]--and so I may possibly come to
Vienna--in the winter of '69.
First of all, however, I need several quiet months in Rome in
order again to take up the work that has been interrupted for so
long. The Bulows have persuaded me to spend my birthday with
them. The Munich Musik-Schule is in full activity and seems as if
it were likely to outstrip the other Conservatoires. Bulow is
assuredly justified in saying, "Go and do likewise"!--
Before the end of the month I shall be back in Rome. All hearty
good wishes to you and yours, from your faithfully attached,
F. Liszt
Munich, October 16th, 1867
P.S.--Before long you will receive a visit from August Rockel.
This name will probably call up to your imagination--as it has
done in many other cases--an ultra-revolutionary agitator; in
place of which you will find a gentle, refined, kindly and
excellent man. I should like you to cultivate his acquaintance,
and can cordially recommend him to you. His daughter (at the Burg
Theater) you are sure to know--and you will also know of his old
friendship with Wagner and Bulow. It was not till I came here
that I became acquainted with Rockel and learned to value him.
Have you read in the Augsburger Allgem. Zeitung the extremely
kind notice of my stay in Stuttgart? Best thanks also for sending
me your article on the "Wanderer."
58. To Eduard von Liszt
Dearest Eduard,
By some mistake I did not receive your letter of the 16th till
today. From my last you will have clearly seen that I do not wish
any further performance of the "Elizabeth" before the score is
published. As I told you, I have declined the offers from
Dusseldorf, Dresden and other towns. Even as regards Leipzig,
where I am under special obligations to Riedel (for he has on
several occasions got his Society to give excellent performances
of the "Gran Mass," the "Prometheus" choruses, the "Seligkeiten,"
etc.), I shall endeavor to defer the promised performance of the
"Elizabeth." The matter would be one of special importance to me
as regards Vienna,--and for this very reason I am anxious not to
be in too great a hurry. Hence I most gratefully accept your
mediation with Prince Czartoryski. Be my kind mediator and point
out to him my peculiar position, so that there may not be any
sort of vexation--and let the "Elizabeth" remain unperformed. I
think I have clearly stated my reasons for this passive, or, if
you prefer it, this expectative mode of action.
It would interest me to know how the "Coronation Mass" was
performed and received in Vienna. Ask Herbeck in my name not to
drag the tempi; the "Gloria," more especially, must be taken the
more rapidly as it proceeds--the time to be beaten throughout
alla breve. Send me word about this to Rome.
To please the Bulows I shall remain here till October 24th,--and
be back in Rome, at latest, on the 30th.
If Bulow goes on working here for a couple of years, Munich will
become the musical capital of Germany. In addition to my interest
in all musical matters here, my stay has offered many other
points of interest and pleasure by my intercourse with Kaulbach,
Liebig, Heyse, Geibel, Redwitz, etc.--
Cordially yours,
F. Liszt
Munich, October 20th, 1867
Enclosed is a tolerably good photograph of my humble self.
59. To Peter Cornelius in Munich
Dearest Cornelius,
I am grieved not to have met you yesterday, so as to have thanked
you at once for the indescribable pleasure your poem gave me. The
little interpreter Lulu [Daniela, the eldest daughter of H. v.
Bulow, now married to Prof. Dr. Thode] recited it twice admirably
without the smallest error or stumbling. I most sincerely wish
that all your works may find such interpreters as Lulu, so fully
able to grasp your sentiments that your audience has nothing to
do but to weep--as was our feeling yesterday with Cosima, when we
both wept like children!
With all my heart, your
F. Liszt
Wednesday, October 23rd, 1867 [Munich]
60. To Eduard von Liszt
Dearest Eduard,
The enclosed letter from Chordirector Kumenecker [The Director of
the Altlerchenfelder Kirchenmusik-Verein, in Vienna, had
requested Liszt to grant him permission to give a performance of
the "Coronation Mass."] I received only on my return to Rome
(November 6th). Be so good as to pay the writer of it a visit in
my name, and ask him kindly to excuse my not complying with his
request. Also tell him that I have not got either the chorus or
the orchestral parts of the "Coronation Mass." The only existing
copies are those belonging to the Court orchestra of Vienna;
hence these parts would have either to be obtained or to be
copied if a performance of the work is to be given elsewhere, and
this I should not care either to advise or disadvise.