your Sonata (Op. 8). It bears testimony to a talent of vigorous,
reflective and inventive composition of excellent quality,--which
has only to follow its natural bent in order to rise to a high
rank. I am pleased to think that in your own country you are
meeting with the success and encouragement that you deserve:
these will not be wanting elsewhere either; and if you come to
Germany this winter I cordially invite you to stay a little at
Weimar, in order that we may thoroughly get to know each other.
Pray receive, sir, the assurance of my sentiments of esteem and
very distinguished regard.
F. Liszt
Rome, December 29th, 1868
NEXT SECTION: WEIMAR.--PEST.--ROME.
82. To Commerzienrath Carl Bechstein in Berlin
[Head of the famous pianoforte-manufactory; our "Beflugler," as
Bulow and Tausig called him (A play on the word Flugel, which
means both a "grand piano" and "wings.")]
Very Dear Sir,
Accept a seven-octaved chromatic scale of thanks for your
kindness in sending your magnificent piano for the Grand-Ducal
Hofgartnerei in Weimar. I hope you will on some occasion allow me
to have the pleasure of convincing you, de visu et audaitu, how
glorious the instrument looks and sounds here.
According to report we are shortly to see Tausig again in Weimar.
Tell him he may be sure of a hearty welcome from me.
With sincere esteem and grateful thanks I remain
Yours most sincerely
F. Liszt
Weimar, January 19th, 1869
P.S.--Enclosed are a few lines for Tausig, which kindly forward
to him.
83. To Johann von Herbeck
Very Dear Friend,
Fraulein Ehnn's amiable readiness to undertake the part has
greatly pleased me, and I beg you to convey my sincerest thanks
to our "Elizabeth." The part will not cost her any immoderate
effort; all possible alterations, pauses, dotted notes,
ornamentations, shall be left ad libitum and entirely to the
pleasure of the gracious singer. Do not write to me further on
this subject, and endeavor merely to get Fraulein Ehnn to feel
herself comfortably and pleasantly at home with my poor tone-
melodies.
Friend Remenyi, whom I do not need now to introduce to you, will
be the bearer of these lines to you. He has delighted and
captivated every one here, the Court as well as the public, and
this is verily no small matter, for in Weimar we are accustomed
to the most distinguished violin-virtuosos. I requested him to
tell you how grateful I feel to you for your idea of a concert of
Liszt's compositions.
But, in order to avoid every appearance of indiscretion or
forwardness, I consider it well and advisable to keep exclusively
to the Elizbeth on this occasion.
Hold fast, therefore, to two points:
a. all parts of the Elizabeth to be filled by native talent.
b. Critics to be worried only with this one work.
[At the performance of the Elizabeth in the "ausserordentlichen
Gesellschafts-Concert" (Company's special concert) on April 4th,
1869, Liszt met with a genuine triumph. Herbeck writes: "After
every number, and at the end of every part, there was no end to
the calls for Liszt." The performance was repeated on April 11th,
and received with even greater enthusiasm.]
I have also requested Remenyi to ask you about the apartments I
shall require. My stay in Vienna will be limited to eight or ten
days, which I should like to spend in as quiet and peaceable a
way as possible, and not within the circle of disturbing
visitors.
With sincere esteem and friendly attachment yours,
F. Liszt
Weimar, January 27th, 1869
84. To E. Repos
Dear Sir and Friend,
A thousand sincere thanks for the kind zeal and love that you
bestow upon the publication of my poor works. In order that the
edition of the "Requiem" may be entirely correct, I will beg you
to send me again proofs of the "Offertoire," "Sanctus" and "Agnus
Dei," either to Weimar before the 18th March, or to Vienna from
the 25th March to the 12th April. My address in Vienna is c/o Mr.
Herbeck, Court conductor, etc., etc. Graben, Trattnerhof. Vienna.
Austria.
I shall spend two or three days at Ratisbon towards the middle of
April, in order to hear the Cathedral choir there, which has a
great reputation in Germany. There also I shall find a manuscript
of the highest interest, and one which up to now has been almost
unknown: it is the opus musicum magnum of Orlandus Lassus. It is
composed of more than five hundred pieces of music.
Are you in touch with Mr. Pustet, the most considerable publisher
of religious music at Ratisbon?--
Your visit to Rome will be extremely agreeable to me. I expect to
be back at the end of April and to pass the summer at Santa
Francesca Romana.
Your very affectionately devoted
F. Liszt
Weimar, March 3rd, 1869
Probably I shall profit by your kind proposition, and shall send
you shortly a Mass (for 4 voices, with a simple Organ
accompaniment).
85. To Laura Kahrer, in Vienna
[Now married to Concertmeister Rappoldi in Dresden, and one of
the lady-professors at the Conservatoire there. The above note,
which was accompanied by a silver pen for composing, Liszt sent
her after having been present at her first public appearance at a
charity-concert in the Royal Opera House in Vienna. In 1870 she
became a pupil of his in Weimar, and was soon considered one of
the most distinguished lady-pianists; since 1879 she has enjoyed
the title of Kammervirtuosin (Court pianist) of Saxony.]
Dear and astounding Artiste,
Accept this small remembrance of the hour when your extraordinary
talent so joyfully surprised me, and be assured of the sincere
and friendly devotion of yours,
F. Liszt
Vienna, April 15th, 1869
86. To Franz Servais
[Composer; conducted the Wagner performances in the Theater de la
Monnaie, Brussels, in 1890-91.]
Dear Monsieur Franz,
The sincere pleasure caused me by your letter, which reached me
at Pest at the end of April, is completed by the one you have
addressed to me here. I am delighted to hear that my prophecy has
been realised and that you enjoyed yourself at Munich. At this
time you would not find anywhere else an ensemble of ideas,
works, acts and instruction so suited to your artist-nature, and,
consequently, so favorable to the full development of your fine
powers. Thanks to M. de Bulow and his prodigious activity, on a
par with his intelligence, Munich is becoming the new musical
capital of Germany. You will therefore do well to stay some time
there, in order vigorously to prepare yourself for the task which
has devolved on you elsewhere.
Perhaps I may see you again this summer, for if, as announced,
"Rheingold" is performed there on the 25th August I shall come to
it.
Meanwhile I thank you for having so well listened to the
"Elizabeth"; that is a presage to me that we shall meet more than
once on the same path, in which I wish you the most complete
success. .--.
Believe, dear Monsieur Franz, in my very devoted affection.
F. Liszt
Rome May 21st, 1869
87. To William Mason
Rome, May 26th, 1869
Dear Mr. Mason,
Mr. Seward has given me your kind letter and several of your
compositions. These give me a double pleasure in that they prove
that you have not lost your time at Weimar, and that you continue
to make good use of it elsewhere.
The Etude de Concert (Op. 9) and the Valse Caprice (Op. 17) are
of a distinguished style and make a good effect. I shall also
sincerely praise the 3 Preludes (Op. 8) and the two Ballades, but
with some reservation. The first Ballade appears to me somewhat
cut short; it wants I know not what at the beginning and towards
the middle (page 7) of something needed to make the melody stand
out; and the pastorale of the 2nd Ballade (page 7) figures like a
too-cheap piece of "padding."... And, since I am in the vein for
criticising, let me ask why you call your "Ah! vous dirai-je,
Maman"--"Caprice grotesque?" Apart from the fact that the
grotesque style should not intrude into music, that title is
unjust to the clever imitations and harmonies of the piece, very
charming by the way, and which it would be more suitable to
entitle "Divertissement" or "Variazione scherzose."--
As to the Methode, you won't expect me to make a deep study of
that. I am much too old for such a thing, and it is only in self-
defence that I still work sometimes at the piano in view of the
incessant botherations and indiscretions of a heap of people who
imagine that nothing would be more flattering to me than to amuse
them!--
Nevertheless, in looking through your Methode I find some
exercises much to be recommended, namely, the "interlocking
passages" page 136 to 142;--and all the "accentual treatment" of
Exercises. [The italics (here in quotations) in this sentence are
written in English and in italics by Liszt.]
May your pupils and the editor obtain from them all the profit
that I wish them!
A thousand thanks, dear Mr. Mason, and count on my very
affectionate and devoted sentiments of old.
F. Liszt
88. To the Composer Heinrich Schulz-Beuthen
[Printed in Gottschalg's "Chorgesang," 1890.--Schulz-Beuthen was
born in 1838.]
Very dear Sir,
That you have dedicated your 42nd and 43rd Psalms to me I feel to
be an honor in the artistic sense, for which I am sincerely
grateful. It is long since any new composition has given me the
impression of intellectual strength and musical completeness such
as I find in yours. And this work stands even above eminent
compositions of the kind. It appears to me even more fully
rounded, pregnant and powerful than your 29th Psalm, which I
justly recognised as a distinguished work upon first reading it
through. The grand impression produced by your 29th Psalm on the
occasion of the Tonkunstler-Versammlung in Dessau confirmed my
predictions, and I am convinced that wherever the 42nd and 43rd
Psalms are heard every person with any depth of soul will feel
their sublime beauty, and offer you something more valuable than
mere ordinary applause. Do not look for word-making from me; I
never knew much about it, and I can still less try my hand at it
now in my old age. But allow me, very dear sir, to tell you quite
frankly and briefly this:--
You must not hold yourself aloof and at a distance; your splendid
works must be performed, printed and circulated. And although--
owing to the idle and impudent chatter of many leaders of the
press--my influence in musical matters has been reduced to a
minimum, still I hope shortly to arrange a performance of your
Psalms in one or two places.
With sincere esteem I remain yours very truly,
F. Liszt
Weimar, June 18th, 1869
89. To Franz Servais
Dear Monsieur Franz,
.--. Although older than you, yet my enthusiasm for "Tristan" is
not second to yours.--I am delighted that the performance has
come off so well, but I should not wish this marvellous chef-
d'oeuvre to become for you a sort of upas tree under the shadow
of which you would go to sleep.--Great manifestations of genius
ought to do the part of the sun,--to illuminate and fertilise.
Believe in my sentiments of devoted affection.
F. Liszt
Rome, July 4th, 1869
90. To Madame Jessie Laussot
Dear Maestra,
I do not know why the name of Boccherini always recalls to me the
valley of Tempe. There could be nothing more flattering and more
salutary for me than to be admitted into so fortunate an abode,
and you have certainly made the stroke of a Maestra in
introducing me there (a little bit in a contraband way!).--I hope
Mr. Delatre will be kind enough to send me under cover the first
number of the paper containing La Mara's article [The Liszt-
sketch from the first vol. of the "Musakalischen Studienkopfe,"
which the authoress had translated into Italian.]; directly
afterwards I will subscribe to the Boccherini, so that I may get
the whole of the biography regularly.
A thousand thanks for your intelligent solicitude; I entirely
approve of the word tedesco being left out on the title-page;
"tradotto dall' Autore" is evidently the better indication, and I
guarantee you that the authoress will be perfectly satisfied and
will add her thanks to mine, without thinking of making the
slightest observation or difficulty about anything whatever. When
you are passing through Leipzig I will make you acquainted with
my very amiable panegyrist.
I am certainly intending to be present at the first performance
of "Rheingold," announced for the 25th August; but I doubt
whether they will be in a position to give this work so soon. Mr.
de Bulow absolutely must take some rest after the Conservatoire
examinations; the Servais are pressing him much to settle down
with them for the months of August and September at Hal (in
Belgium); I want him to accept their invitation, and he will, I
hope, decide to do so. Now without him "Rheingold" at Munich
seems to me at least problematical. I will let you have positive
tidings, which I myself shall receive shortly. Please tell me
where to address you.
I have set to work again, and with the exception of the fortnight
at Munich, in honor of "Rheingold," I shall remain here, or else
in the neighborhood, until next spring.
Sgambati kisses your hands. Pinelli is at the baths of Lucca,
where Buonamici [Giuseppe Buonamici, pupil of Liszt and Bulow,
now one of the most celebrated pianists of Italy. Lives at
Florence] will probably join him.
Very cordially yours,
F. L.
I will write two words of thanks to Delatre and beg you to give
me his address.
In your walks at St. Gall make my salutations to the concert room
in which were heard, some 10 or 12 years ago, the "Symphonie
Heroique" conducted by Wagner, and two Symphonie Poems, conducted
by your very humble servant. Szadrowski was at that time
conductor at St. Gall; since then he is settled in the Grisons
(at Graubunden); if you should go that way do not fail to see
him; I recommend him to you as one of our friends.
Rome, July 16th, 1869
91. To Camille Saint-Saens in Paris.
[The celebrated French composer, pianist and organist (born in
Paris 1835) was, as is well known, in sympathy with the New
German School, and fosters, amongst others, the genre of
"Symphonic Poems" made known by Liszt.]
Very honored Friend,
Your kind letter promised me several of your compositions; I have
been expecting them, and, while waiting, I want to thank you
again for your second Concerto, which I greatly applaud. The form
of it is new and very happy; the interest of the three portions
goes on increasing, and you take into just account the effect of
the pianist without sacrificing anything of the ideas of the
composer, which is an essential rule in this class of work.
At the very outset the prelude on the pedal G is striking and
imposing: after a very happy inspiration you do wisely to
reproduce it at the end of the first movement and to accompany it
this time with some chords. Among the things which particularly
please me I note: the chromatic progression (last line of the
prelude) and that which alternates between the piano and
orchestra (from the last bar of page 5--repeated then by the
piano alone, page 15); the arrangement of thirds and sixths in
demisemiquavers, charmingly sonorous, pages 8 and 9, which opens
superbly on the entry of the subject fortissimo; the piquant
rhythm
[Figure: Musical score excerpt of the rhythm in 6/8]
of the second subject of the Allegro scherzando, page 25.
Possibly this would have gained somewhat by more combination and
development, either of the principal subject or of some secondary
subject; for instance, a little anodyne counterpoint, it seems to
me, would not be out of place on pages 26, 27. etc., etc., and so
on. Item for pages 50 to 54, in which the simple breadth of the
period with the holding on of the accompaniment chords leaves
rather a void; I should like there to be some incidence and
polyphonic entanglement, as the Germanic Polyphemuses say. Pardon
me this detailed remark, dear Monsieur Saint-Saens, which I only
venture to make while assuring you in all sincerity that the
total of your work pleases me singularly. I played it again the
day before yesterday to Sgambati, of whom Plante [Francis Plante
(born 1839), the exquisitely refined Pianist] will speak to you,
as of an artist above the common run and even more than
ordinarily distingue. He will let the public hear your Concerto
next winter, which ought to meet with success in every country.
When is the performance of the "Timbre" ["Le timbre d'argent"
(the silver bell), an Opera] to be? I wish it to give you
abundantly all the satisfaction that you deserve, and shall only
regret that I cannot be present at the performance of it. At my
age the role of young composer is no longer suitable--and there
would not be any other for me at Paris, as I cannot continue
indefinitely that of an old disabled pianist. Thus I have
judiciously made up my mind not to trouble myself about my
compositions any further than the writing of them, without in the
least thinking of spreading them. Supposing that they have any
value it will always be found out soon enough either during my
life or afterwards. The sympathy of my friends (a very well
chosen sympathy, I flatter myself) amply suffices me; the rest of
the world may talk in its own way. As to the "Elizabeth" I do not
think it is adapted to the Parisian taste. I am moreover very
tired of that score through the performances at the Wartburg,
Pest and Vienna; and the difficult task of a suitable French
translation, plus the rehearsals with a set of artists little
disposed to take trouble, frightens me. I much prefer to employ
my time in a manner less ungrateful and more agreeable;
consequently I shall not put out anybody in Paris, which I shall
not visit; and invite you to come and see me in Rome. Here, dear
Monsieur St. Saens, we can talk and musiquer [make music] at our
ease. Try and procure me this great pleasure soon, and believe
fully in my sentiments of high esteem and devoted affection.
F. Liszt
Rome, July 19th, 1869
92. To Camille Saint-Saens
Very honored Friend,
At last your compositions have come, and I spent all yesterday in
their amiable society.
Let us speak first of the Mass: this is a capital, grand,
beautiful, admirable work--so good that, among contemporary works
of the same kind, I know perhaps of none so striking by the
elevation of the sentiment, the religious character, the
sustained, adequate, vigorous style and consummate mastery. It is
like a magnificent Gothic Cathedral in which Bach would conduct
his orchestra!
After having read your score three times I am so thoroughly
imbued with it that I venture to risk a few remarks.
In the Gloria one should, I think, preserve the literal text
entire: "Gratias agimus tibi propter magnam gloriam tuam."--
Consequently add four or five bars.
At the beginning of the Sanctus it would be better to continue
the voices, and to complete by them the sense of the orchestra;
similarly it would be advantageous to interlace, by means of an
alto solo, the text of the Benedictus (which you have omitted) to
the Organ melody, pages 77 and 78 after the Hosanna, as well as
to add the chorus to the final phrase of the "Dona nobis pacem,"
pages 88 and 89.
You will find all these small matters carefully noted down on
your score, which I will venture to return to you, begging you to
let me have it back again soon, for I must possess this
extraordinary work, which has its place between Bach and
Beethoven.
Bear with one more liturgical question, and, in addition, a
proposition boldly practical in the Kyrie, the spire of your
Cathedral. The inspiration and structure of it are certainly
admirable..."omnia excelsa tua et fluctus tui super me
transierunt." Nevertheless, during these 300 bars, about, of a
slow and almost continuous movement, do you not lose sight of the
celebrant, who is obliged to remain standing motionless at the
altar? Do you not expose him to commit the sin of impatience
directly after he has said the confiteor?...Will not the composer
be reproached with having given way to his genius rather than to
the requirements of the worship?
In order to obviate these unpleasant conjunctures it would be
necessary for you to resign yourself to an enormous sacrifice as
an artist, namely, to cut out 18 pages! (for church performance
only, for these 18 pages should be preserved in the edition to
your greater honor as a musician, and it would suffice to
indicate the "cut" ad libitum, as I have done in several places
in the score of the Gran Mass).
Sacrifice, then, 18 pages as I said, and put the "Christe
eleison" on page 6, instead of the "Kyrie eleison,"
[Here, Liszt illustrates with a 3-bar musical excerpt at the
point where the words "Chri-------------ste e-le------" are
sung.]
concluding pp on page l0. From the musical point of view
exclusively, I should blush to make such a proposition; but it is
necessary to keep peace, especially in the Church, where one must
learn to subordinate one's self in mind and deed. Art, there,
should be only a correlative matter, and should tend to the most
perfect concomitance possible with the rite.
Be assured, dear Monsieur Saint-Saens, of the sentiments of high
esteem and great sympathy which I entertain towards you.
Your very devoted
F. Liszt
Rome, August 4th, 1869
93. To Madame Jessie Laussot
I have had to write a great many notes this last week. Pardon me
for being so late in thanking you for your friendly lines, and
kindly tell Mademoiselle Alexandrine Ritter how sincerely I feel
for her in her affliction. Her mother expressed in a rare degree
and in her whole personality the high and sweet dignity of the
human soul. Respect attached itself to her naturally,--and she
inspired the noble serenity of it.
In a few days a little surprise will reach you in the form of an
"Ave Maria" written for the Cherubim Society, and dedicated to
the society's dear Maestra. However simple these few bars may be
(in which there is not a single repetition of a word, nor
ornamenting of any kind) I hope they will not be unpleasing to
you, and I beg you to play them in the form of a prayer for
Your very affectionate
F. Liszt
Rome, October 7th, 1869
In acknowledging the receipt of the "Ave Maria" tell me when you
expect Bulow, of whom I have had no tidings since Munich.
Sgambati returned here last week.
94. To Dr. Ludwig Nohl
[The well-known writer on musical subjects (1831-1885)]
Dear Friend,
Let my best thanks for your letter be, to take it to heart--and
to comply with it. Meanwhile this much is certain--that we shall
see each other in Weimar next May, and that at the Tonkunstler-
Versammlung there you will officiate as the worthy biographer of
Beethoven.
In spite of too modest a remark in your letter I am convinced
that you are peculiarly well qualified for thoroughly grasping,
and making others comprehend, the question of the "more modern
style of Art." Proofs of this have been gathered recently from
all the admirable things you have said in your brochure on
Wagner; for instance, in regard to the "refined, firm and proud
position held by Music," its "most expressive physiognomy," and
"that spirit of love which Music has created for itself"--and
also, if you will allow me such presumption in contrast to your
modesty, on p. 63, where you say, "The logos alone regulates the
thought and gives life to the risings and fallings of the poetic
idea"--
Sic vos non vobis--
Innumerable interruptions prevent my beginning the Beethoven
Cantata today. But I have at last secured quiet: I shall remain
all the winter at the Villa d'Este (3 or 4 hours out of Rome),
and take care that I do not lose an immoderate amount of time.
With sincerest thanks and in all friendliness yours,
Villa d'Este, November 17th, 1869
F. Liszt
95. To the Princess Caroline Sayn-Wittgenstein
[According to the Weimarer Zeitung it was printed as follows,
fragmentarily, in the Leipziger Tageblatt of December 6th, 1888.]
November 27th, 1869.