it should be given on any future occasion, I would recommend the
conductor to take the tempi solemnly always, but never dragging,
and to beat the time throughout alla Breve. And the "Gloria,"
more especially towards the middle and before the commencement of
the "Agnus Dei" up to the Prestissimo, must be worked up
brilliantly and majestically. Whether and when the "Coronation
Mass" is to appear in print I do not know. Dunkl (Roszavoglyi) in
Pest had intended to publish it, but the honorarium of 100 ducats
seems to make him hesitate, and I will not accept any smaller
sum. Two movements from it (the "Offertorium" and "Benedictus") I
have transcribed for the piano, and these may be bought
separately, which will be an advantage to the publisher. And the
pianoforte arrangements for one or two performers are to appear
simultaneously with the score.--It is of no importance to me to
have the work published immediately. If you should meet Carl
Haslinger and have an opportunity, ask him whether he would risk
100 ducats upon it. As he has already published a number of
Masses, this one might suit him as well. If not, it is all the
same to me. Only I cannot make any alteration about the
honorarium I have now fixed upon. [The "Coronation Mass," like
the "Gran Mass," was published by Schuberth, Leipzig.]
Yours,
F. Liszt
Rome, November 6th, 1867
61. To E. Repos
Dear Sir,
Pray excuse me for replying so late to your kind and cordial
letter. Various matters detained me in Germany longer than I
expected, and I have only been back three days at my house at
"Santa Francesca Romana," where I shall spend the winter. Your
publications will be excellent company to me here. I accept with
gratitude the Gradual and Vesperal [Gradual--a portion of the
Mass. Vesperal--book of evening prayer] (in--12) that you are
kind enough to offer me, and beg you to let me have them shortly.
What can I on my side send you that will be agreeable to you?
Something will be found, I hope, for I sincerely desire to
satisfy you.
It seems to me that it would not be of any use for you to
undertake to publish now one or two large works of my
composition. In order to be somewhat accredited, they must first
of all be performed and heard, not en passant, but seriously and
several times. For this I have no support in France, and should
even expose myself to unpleasant dispositions and interpretations
if I in the least endeavored to bring myself forward there. It is
only in Germany, Hungary, and Holland that, in spite of frequent
and lively opposition, my name as a composer has acquired a
certain weight. In those countries they continue performing my
music by inclination, curiosity, and interest, without my asking
anybody to do so. You have probably heard of the favorable
reception that the "Legend of St. Elizabeth" met with at the
Festival of the Wartburg at the end of August. For two years past
this work has been performed several times at Pest, Prague,
Munich, and I have recently been asked for it from Vienna,
Dresden, Leipzig, Aix-la-Chapelle, etc., but as the score has to
be sent to be engraved I have not been able to lend it further. I
shall give myself the pleasure of sending you a copy towards
Easter.-It is also in Germany (probably at Munich) that my
Oratorio "Le Christ" will be first given: now, as it is important
to me that the first complete performance (for the one in Rome on
the occasion of the centenary of St. Peter was only a tentative
and partial one) should be as satisfactory as possible, I must be
present at it. Consequently it will not take place till the
winter of '69--if I am still in this world then,--it being my
intention not to leave Rome for a year.
Pardon me these details, dear sir. As the cordiality of your
letter assures me that we shall have long business relations with
one another, it is better to put you at once in possession of the
facts of my musical situation. It prescribes to me duties
attached to many restrictions which my ecclesiastical capacity
increases still more. "Providemus enim bona non solum coram Deo
sed etiam coram hominibus."--
To return to your publications. Palestrina, Lassus, the masters
of the 16th and 17th centuries, are your models par excellence.
You have plenty of work for years to come to edit their admirable
works, and to put yourself on a par with the collection published
(cheap) at Ratisbon under the title of "Musica divina." Moreover
there is nothing to prevent you from adding many a composition
more or less modern. Dispose of my few, as you are pleased to
admit them. You might begin with the "Credo" (from the
"Coronation Mass"), and the "Te Deum" in plain song [cantus
planus] of which you speak. Later on a tolerably simple Mass,
with organ accompaniment only, might perhaps find a place. Then,
two excerpts from the Oratorio "Christ,"--"the Beatitudes" and
the "Pater noster"--which have already appeared at Leipzig, might
reappear in Paris, especially if there were any favorable
opportunity of getting them heard. As to the Oratorio entire, it
will be better still to wait awhile longer.
"Expectans expectavi"...and let my biographical notice which you
have in view also wait. In order to make it exact and
comprehensive, it would be necessary for me to give some data to
the writer who would undertake the task of representing me today
to the public. Many things have been printed about me in a
transient way. Amongst the most remarkable articles that of Mr.
Fetis, in his "Biographie universelle des Musiciens" (second
edition), of which you tell me, takes the foremost place.
Nevertheless, however much disposed I am to acknowledge the
conscientious and kind intentions towards myself of the
illustrious and learned man, and even whilst really thanking him
for raising the importance of my works which he connects with
"one of the transformations of Art," I shall not have the false
humility of accepting some of his valuations as definitive
judgments. Of all the theorists whom I know, Mr. Fetis is the one
who has best ascertained and defined the progress of harmony and
rhythm in music; on such chief points as these I flatter myself
that I am in perfect accord with him. For the rest he must excuse
me for escaping in different ways from the critical school whose
ways he extols. According to his theory Art ought to progress,
develop, be enriched, and clothed in new forms; but in practice
he hesitates, and kicks against the pricks,--and, for all that,
would insist that the "transformation" should take place without
in the least disturbing existing customs, and so as to charm
everybody with the greatest ease. Would to Heaven that it might
be so! Between this and them, pray accept, dear sir, my best
thanks, together with the expressions of my very distinguished
and devoted sentiments.
F. Liszt
Rome, November 8th, 1867--Santa Francesca Romana
P.S.--My sincere congratulations for the cross of St. Sylvestre.
People outside are quite mistaken in thinking that they are
lavish with decorations here.
I have informed the Princess W. of your kind arrangements
relative to the edition of the work that Monseigneur de Montault
mentioned to you.
62. To Madame Jessie Laussot
Dear Maestra,
No one knows better than you how to relieve the virtue of
obligingness by the most cordial kindness. You make a point of
persuading your friends that you are in their debt for the
services you render them. In so far as they give you the
opportunity of exercising your fine qualities you are perfectly
right, but further than that you are not; and for my part I beg
you to be as fully assured of my sincere gratitude as of my
entire devotion.
I am not going to set about pitying you much for the difficulties
and contradictions that your artistic zeal encounters. The world
is so formed that the practice of the Good and the search for the
Better is not made agreeable to any one; not in the things of
Art, which appear the most inoffensive, any more than in other
things. In order to deserve well one must learn to endure well.
The best specific for the prejudice, malice, imbroglios and
injustice of others is not to trouble oneself about them. It
seems that such and such people find their pleasure where we
should not in the least look for it: so be it, reserving to
ourselves to find ours in nobler sources. Besides, how could we
dare to lament over difficulties that run counter to our good
pleasure? Have not the worthiest and most illustrious servants of
Art had to suffer far more than we?...This consolation has its
melancholy side, I know; nevertheless it confirms the active
conscience in the right road.
This a propos of the prelude extra muros of your last concerts.
Let us pass on to the programmes of them, dear and victorious
Maestra.
The "Panis Angelicus," [By Palestrina.] the Schumann Quintet and
the sublime Prelude to "Lohengrin" are works which a well-
brought-up public ought to know by heart. You will do well
therefore to reproduce them often. There is no criticism
admissible on this subject; and, if you absolutely exact it that
I should make one at all, it would only be on the adjective
"celebrated," appended to the Schumann Quintet, which would do
without it without disadvantage. Pardon me this hairsplitting.-
As to the "Beatitudes" I entirely approve of your not having
exhibited them a second time. You know, moreover, that I usually
dissuade my friends from encumbering concert programmes with my
compositions. For the little they have to lose they will not lose
it by waiting. Let us then administer them in homoeopathic doses-
-and rarely.
I am delighted with what you tell me of Wilhelmj. Please assure
him of my best regard and of the pleasure I shall have in showing
it to him with more consequence. The Concerto for which he asks
has already been begged for several times from me by Sivori and
Remenyi. I don't know when I shall find time to write it. There
is not the least hurry for it, as long as criticism constrains
violin-virtuosi to limit themselves to a repertoire of four or
five pieces, very beautiful doubtless, and no less well known.
Joachim naively confessed to me that after he had played the
Beethoven and Mendelssohn Concertos and the Bach Chaconne he did
not know what to do with himself in a town unless it were to go
on playing indefinitely the same two Concertos and the same
Chaconne.
Sgambati and Pinelli announce six matinees of Chamber Music every
Wednesday, beginning the day after tomorrow. The audience will be
more numerous this year than formerly. People are beginning to
talk about these matinees in the aristocratic salons in which it
is often de bon ton not to listen to good music.--
Towards spring Sgambati will bring you his new laurels, and will
also tell you about his future prospects. The deciding of his
marriage will influence all the rest: it might almost be
regretted that our friend should abandon himself to an excess of
honorable feeling!
Without offending any one, the famous saying about the Chassepot
rifle may be applied to the Chickering Piano; it is doing wonders
at Rome. Everybody talks to me of it, and wants to see and hear
it. One of my archeological friends calls it "the Coliseum of
Pianos"!
My affectionate respects to your mother;--sympathetic
remembrances to Miss Williams; a friendly shake of the hand to
Callander;--admiring chirps to Bocage;--warmest compliments to
the Pearsolls, and
Very cordially yours,
F. Liszt
Rome, January 13th, 1868
63. To Dr. Franz Brendel
Dear Friend,
My hearty congratulations upon our Falcon-colleagueship [Brendel
had received the Weimar Order of the Falcon of Watchfulness
(Falkenorden der Wachsamkeit)] and henceforth always, "Vigilando
ascendimus."
As I was expecting parcels and news from Leipzig I delayed
answering your friendly letter. I have not yet received either
the Almanack, or the corrected proofs of the "Elizabeth". How did
the performance in the Pauliner Church [Riedel had arranged a
performance of the "Elizabeth" in Leipzig.] go off? Ask Kahnt to
let me have one or two of the notices of it--especially the
unfavorable ones. Remind him also to write to Otto Roquette about
the translation of the Latin chorus at the end, to which I
referred in my last letter to him.
Berlioz's "Requiem" is the corner-stone of the programme for the
Altenburg Tonkunstler-Versammlung. I have often speculated about
the possibility of having this colossal work produced.
Unfortunately the Weimar churches were not sufficiently spacious,
and in Brunswick, where the Egidien church would be a magnificent
place for musical festivals of any kind, other difficulties stood
in the way. Probably Altenburg also does not possess any building
sufficiently large to hold an orchestra for the "Dies Irae", and
Riedel will have to reduce the 16 drums, 12 horns, 8 trumpets and
8 trombones to a minimum. But, even though it should not be
possible to give a performance of the whole work, still there are
portions of it--such as the "Requiem Aeternam," the "Lacrymosa
and Sanctus"--that are extremely well worth hearing and
appreciating.
The sketch of the programme furnishes an excellent antidote to
Berlioz's Requiem, in Handel's "Acis and Galatea"; and some
smaller things of Draseke, Lassen and my humble self might be
introduced in between.
Sgambati's co-operation will depend upon my journey. I am unable
as yet to say anything definite about it. Not till June can I
decide whether I can come or not. To speak frankly it will be
difficult for me to leave Rome at all this year.
With regard to your personal affairs I can but again assure you
that I take the liveliest interest in them. The modesty of your
claims, dear friend, is very much out of proportion with the
importance of the services you have rendered. One rarely meets
with demands that are as just and as unpretending as yours. Be
assured of my sincere readiness to promote your interest in
higher quarters, and to do what I can to satisfy you.
With warmest thanks and kindest greetings yours,
F. Liszt
Rome, January 26th, 1868
Sgambati's matinees for Chamber-music are better attended than
ever this winter. They include all that is musically interesting
as regards Rome.
64. To Walter Bache
Dear Mr. Bache,
I thank you cordially for your kind letter, and beg you to rely
always on my feelings of sincere affection and esteem.
It would certainly be a great pleasure to me to see you again in
London this summer, yet I could not venture to promise or to keep
my promise, and must abstain from either.
Please therefore to make my excuses to the Secretary of the
Philharmonic Society, and to thank him for his kind intentions
towards me. If an opportunity of realising them should occur
later on,--without disappointment or disagreeableness to any
one,--I should be much pleased. As regards the present time it is
superfluous to give any thought to the proposition you transmit
to me, in view of the obligations which will retain me elsewhere.
I am even doubtful whether it will be possible for me to accept
the invitation of my German friends to the Tonkunstler-
Versammlung at Altenburg in July.--
The good news you give me of Klindworth is very pleasant to me.
May he remember me sufficiently well to know how much I
appreciate him and what an affection I have for him.
Sgambati is very much in fashion this winter, and the fashion is
perfectly right in this. He sends you a thousand affectionate
greetings, and Lippi, [A Roman pupil of Liszt's] Mdlle. Giuli
[Liszt's best lady-pupil in Rome] and the other patients of the
"Scuola" [School] hold you in warm remembrance.
Accept also, dear Mr. Bache, the assurance of my very sincere
devotion.
F. Liszt
Rome, January 30th, 1868
The performance of my symphonic works in London must, like the
concert of the Phil. Society, be postponed. Your zeal in this
matter touches me much. I would not wish tosuppress it, and only
beg you to moderate it so that it may be all the more fruitful.
65. To Dr. Franz Brendel
Dear Friend,
I have nothing to find fault with in the sketch of the Altenburg
programme except that my name occurs too often in it. I am afraid
of appearing obtrusive if several works of mine are produced at
every Tonkunstler-Versammlung. Certainly the repetition of the
13th Psalm might be permissible and even advantageous to myself,
as you kindly remark; also I should not care to raise any protest
against the chorus "An die Kunstler," and simply because it has
hitherto been more screamed at than heard, for it has been
accounted one of my most culpable heresies to have set these
words of Schiller's to music after Mendelssohn, and indeed
without copying Mendelssohn and without humoring the customary
taste of Vocal Societies. Parenthetically be it said that
Schiller and "Manhood's dignity" forbade me to make this
composition any pleasanter. I dreamt a temple and not a kiosk!--
If you run the risk of giving this Artists' Chorus in Altenburg I
must beg the conductor to take all possible care in rehearsing
it--and to aim at the most dignified composure in the
performance. Like reverberating marble-pillars must be the effect
of the singing!--
Please thank Stade [Director of the Court orchestra, and Court
organist in Altenburg (born 1817); he was a friend of Liszt's for
many years.] most warmly for his friendly intention to play one
of my Organ pieces. He will probably choose either the Variations
on the Basso continuo of Bach's Cantata "Weinen, sorgen, seufzen,
klagen" ("Weeping, grieving, sighing, lamenting")--or the BACH-
Fugue.
Discuss the matter again with Riedel and Stade, as to whether 3
items by Liszt on the programme are not too much. I will gladly
yield to your decision, and wish only there were more prospect of
my being able to attend this Tonkunstler-Versammlung. However I
cannot say anything definite about it till June.
Sgambati gives a concert next week in Florence. On his return at
the end of April it will be decided whether he can undertake the
journey to Altenburg or will have to remain here all summer.
Sgambati is decidedly not an artist for a watering-place,
although as a virtuoso his talent is extraordinary and
undoubtedly effective. He plays Bach, Beethoven, Chopin,
Schumann, and my most troublesome things with perfect
independence and in a masterly style. His artistic tendencies and
sympathies are altogether "new-German." This winter we heard two
of his larger works: a Pianoforte-Quintet and a Nonet for
strings. Both of these deserve to be brought out by our Musik-
Verein.
Ad vocem of the dedication of Seifritz's Overture, you have come
to the right resolution in dedicating the 2nd year's issue of the
Almanack to Prince Hohenzollern. I likewise approve of the
following numbers being dedicated to the Princes in whose
capitals the Tonkunstler-Versammlungen are held.
The first number of the Almanack seems to me very successful. But
the historical Calendar might gain in interest by omissions and
additions. Mediocre local celebrities such as "H.S. in E., T.D.
in B., L.A. in L.," etc., etc., do not need to figure as
historical. As little do a couple of first performances that were
given in Weimar under my conductorship. See to it, dear friend,
that more important data are collected in good time, and that
superfluous data are rejected.
As I told you in Leipzig, the Grand Duke has determined to have
me in Weimar for a couple of months during the winter (towards
the beginning of '69). Perhaps I may go somewhat sooner.
With the next sending of proofs please ask Kahnt to enclose the
manuscript of the 18th Psalm ("The Heavens declare the glory of
God") for male voices. It is written on very large sheets of
music-paper and bound in boards. But in order that the parcel may
be made a more convenient size let the boards be removed and the
manuscript paper doubled up. Kahnt will remember that I left him
this manuscript seven years ago.
With hearty greetings, yours most sincerely,
F. Liszt
March 3lst, 1868
66. To Johann von Herbeck
Dear Friend,
My cousin Eduard will bring you the score of the 18th Psalm
intended for the Mannergesang-Verein [Vocal Society for Men's
Voices] in Vienna. Allow me at this opportunity again to offer
you my sincerest thanks for the kindly feelings you have always
entertained for me. The further fate of the Psalm forwarded to
you I leave wholly in your hands. You will have to decide whether
it is suitable for being performed at the Jubilee Festival of the
Mannergesang-Verein. If you think it is I shall be glad; still I
beg you not to make it any special consideration, and if you
think it more advisable not to burden the Festival-programme with
it, I shall be quite content, feeling convinced, dear friend,
that you will know best what is most to my advantage.
Otherwise the study of it would give no trouble. The Psalm is
very simple and massive--like a monolith. And, as in the case of
other works of mine, the conductor has the chief part to play.
He, as the chief virtuoso and artifex, is called upon to see that
the whole is harmoniously articulated and that it receives a
living form. In the rhythmical and dynamical climax, from letters
B to E (repeated from H to L), as also in some of the ritenuti;
especially in the passage:
"The law of the Lord is perfect,
Converting the soul;
The testimony of the Lord is sure,
Making wise the simple, etc.,"
you will find substance to prove your excellence as a conductor.
Well, dear friend, you know what it is brilliantly to arouse a
flaming spirit out of dead notes.
Accept the assurance of my sincere esteem and affection.
F. Liszt
Rome, June 9th, 1868
67. To Dr. Franz Brendel
[This is the last of the many letters Liszt addressed to Brendel,
who died a few months afterwards.]
Dear friend,
As might have been foreseen, I must unfortunately give up all
thought of paying you and my friends of the Tonkunstler-
Versammlung a visit this year. Were it possible for me to get
away from here, I should today start for Munich, in honor of the
"Meistersinger" which is to be performed next Sunday--and thence
I should go to Weimar and Altenburg. In place of this I have to
remain here till the end of the month. After that I mean to go to
the neighborhood of Ancona for some sea baths. Please send me at
once, in a wrapper, the notices of the Altenburg Musical Festival
that have appeared in the Neue Zeitschrift.
Sgambati asks me to send you his kindest excuses. He would have
much liked to wander to Germany, but he too is nailed here for
this summer. His concerts in Florence with Wilhemj a few weeks
ago were very successful. Sgambati is quite a phenomenal pianist
for Italy, and is certain to do himself credit elsewhere on
account of his sterling qualities, and his rare excellence as a
virtuoso is combined with a personality of the greatest
amiability and reliable artistic feeling. There is some talk of
his getting an appointment in St. Petersburg.
A fortnight ago I heard from Paris that Berlioz was failing in
health and suffering greatly. When I saw him last (in the spring
of '66) he was then already physically and mentally broken down.
Our personal relations always remained friendly, it is true, but
on his side there was somewhat of a gloomy, cramped tone mixed
with them...
Neither Schumann nor Berlioz could rest satisfied at seeing the
steady advance of Wagner's works. Both of them suffered from a
suppressed enthusiasm for the music of the future.
I shall not be able to decide about my proposed stay in Weimar
till the end of the year. Till then I shall keep quiet here or in
the neighborhood, the extreme boundary to which is indicated by
the sea baths of Ancona. Several other invitations have had to be
courteously declined. But next year a considerable change may
take place in my outward circumstances, and may again draw me
closer to Germany. How this last chapter of my life will shape
itself I cannot yet foresee.
The Vienna Mannergesang-Verein have kindly asked me to provide a
composition for their Jubilee Festival. This is the reason why I
asked Kahnt for the score of the 18th Psalm ("The Heavens declare
the glory of God"), which has at last come, and was despatched to
Vienna the day before yesterday [published by Schuberth,
Leipzig]. Kahnt has no doubt also received the corrected
pianoforte score of the "Elizabeth." And there happily remains
only the full score to do, the proofs of which I am expecting
now.
During the winter my innumerable social duties rendered it
absolutely impossible for me to write any longer compositions.
This enforced idleness vexes me extremely--and I intend to assume
an air of rudeness to rid myself of a great many people. It is
more especially intrusive correspondents who are a vexatious
waste of time to me. Since the "Coronation Mass," I have in fact
only written one solitary work: a "Requiem" for male voices with
simple organ accompaniment [published by Kahnt, Leipzig].