subject of my settling in Hungary. I answer him, as before, that
I am quite disposed to show myself accommodating, devoted,
useful, obedient and grateful. The only condition that I make
relative to my return to Pest next winter is--a place to live in;
for, on the one hand, the modesty of my income forbids me to
increase my expenses, and, on the other hand, politeness demands,
as it seems to me, that if they seriously want me they will also
show me that they do, by sparing me the onerous trouble of having
to find a home. On the four occasions on which I have stayed at
Pest since 1865 Schwendtner has shown me the utmost and most
cordial hospitality. I feel a most true gratitude to him, but
should be afraid of showing it ill by taking too great advantage
of his kindness to me.
.--. Mme. de Moukhanoft [The cultivated musical friend of Liszt
and Wagner, to whom the latter dedicated his "Judenthum in der
Musik," whilst Liszt dedicated an Elegic to her memory] writes,
"Has Mihalovich received my letter of tender invectives and
entreaties to make him come to Weimar?"
It will be difficult to persuade her that walks on the shore at
Ostend ought to be preferable to the charm of the talks on the
"Goethe Platz," and even at the "Erb-Prinz," which she will again
favor with her presence towards the middle of June, I hope.
Tausig also promises me to spend a fortnight here.
Mlle. Brandt sang several songs admirably yesterday morning at
the "Hofgartnerei" I shall accompany her in yours tomorrow.
Yours in cordial friendship,
F. Liszt
Weimar, May 29th, 1871
Till the end of June address--Weimar.
109. To Marie Lipsius
Dear and kindest Biographer,
Again an excellent suggestion; follow it without hesitation and
present us ere long with a pleasantly powerful and characteristic
portrait of Tausig. [Liszt's great pupil (born in 1841) had died
in Leipzig on the 17th July, 187l.] In what year of the fifties
his father brought him to Weimar, I do not now recollect; but I
do remember how greatly astonished I was at his extraordinary
talent when I first heard him play. The intellectual claws and
pinions were already giving signs of mighty power in the youth
who was scarcely 14 years of age, and somewhat delicate in
appearance. I felt some compunction in undertaking to give him
further instruction, determined not to undertake the task, and
therefore informed the father that in the case of such a
stupendous organisation the wisest plan was to leave it free,
independent development without a teacher. However Tausig
insisted upon remaining with me. He studied immoderately; as a
rule kept very much to himself while in Weimar, and got into
various little scrapes in consequence of his quick, ironical
humor. I was accused of being over-indulgent with him, and of
thus spoiling him; but I really could not have acted otherwise,
and I loved him with all my heart. On various occasions when I
had to undertake short journeys in connection with the
performances of my works he accompanied me; among other places to
Dresden, Prague and Vienna. Subsequently he lived in Vienna for
some length of time, and got up some concerts there with the view
of having some Symphonic Poems performed which he himself
conducted--but he was unable to get a proper start. He had to
struggle on and to endure many privations before attaining the
success he deserved. His brilliant vocation did not become firmly
established till a few years ago, in Berlin, Leipzig, etc.
In the spring of '69 I met Tausig in Paris (after the
"Tannhauser" scandal), and returned with him to Weimar for the
Tonkunstler-Versammlung. Bulow conducted the Faust Symphony by
heart (at the rehearsals most accurately mentioning the
letters!), and Tausig played the A major Concerto marvellously.
Since then I have seen him only twice: last May at the
Tonkunstler-Versammlung in Weimar (where he played Beethoven's E-
flat major Concerto) and now...
Countess Krokow could give you the most reliable information
about him, and our friend R. Pohl may also be of use to you in
your work. As far as I know, no one has understood Tausig's
genius, his demoniacally ideal nature, with so quick a
perception, so refined and--I might say--with such womanly
intuition, as Frau von Moukhanoff (nee Countess Nesselrode).
Unfortunately the two letters in which she wrote me full
particulars about Tausig are in Rome. Tausig dedicated his two
lately published Etudes, Op. 1, to her, and she was ever a highly
appreciative and kindly patroness of his. Remember to mention her
specially in your delineation of his character.
Of Tausig's publications those chiefly deserving the highest
praise are his masterly transcriptions of the Beethoven Quartets,
the Toccata and Fugue of Bach (D minor), Schubert's March; the
three pieces from "Tristan and Isolde," the pianoforte score of
the "Meistersinger," of the Kaisermarsch, the "Nouvelles Soirees
de Vienne" and his two last original Etudes. Recommend also, for
the good of pianists, and as a very saleable work, an early
publication of his very admirable and well-sustained arrangement
of Chopin's first Concerto (E Minor).
Accept the expression of my sincere esteem and gratitude.
F. Listz
Schloss Wilhelmsthal, Sunday, July 23rd, 1871.
In the middle of this week I return to Weimar and remain there
till the 5th-10th of August.
110. To Franz Servais
Dear Franz,
In spite of the proverb "Every road leads to Rome" I shall not be
able to return there by way of Hal this time. Will you give my
very affectionate respects to your mother and tell her how much I
regret to be unable to be present, except in thought, at the
beautiful family fete at the time of the inauguration of the
monument to your father, on the 10th September.--Shall you not
invite the Prince de Chimay (the present governor of Mons, I
believe)? He would have a right there owing to his sincere
interest for Art and his very distinguished musical talent.
I am persuaded that Lassen will express in noble music the
inspiration of this fete intended to perpetuate the memory of an
illustrious and sympathetic artist. But however successful may be
his composition, it does not absolve you from yours, which filial
affection demands of you and will dictate to you. Write it
without delay, and afterwards take advantage of your leisure at
Hal to fulfil the praiseworthy programme indicated in your
letter:
a. To work hard at the Piano.
b. To help towards your independence by making yourself capable
of cutting a good figure as conductor.
c. To venture on the performance of your "Macbeth" sorceries and
other of your compositions, with the reservation of not hearing
yourself immediately proclaimed king by the sorcerers of
criticism.
Shall you make your appearance at the composition competition
next year? I invite you to do so.
You know that H. Richter has been appointed conductor to the
National Theater of Pest, and will conduct "Lohengrin" there at
the end of September. He will find, I trust, honor and
satisfaction in more firmly implanting in his country the sublime
works of Wagner, and in making the orchestra, the stage and the
public profit by the exemplary rules and practices of M. de Bulow
at Munich. Needless to say that I shall endeavor to make
Richter's task as easy as possible to him.
Count Tyszkiewicz, in passing lately through Weimar, was kind
enough to explain to me his new system of musical mathematics,
and to show me his tables of figures honored with commendatory
letters from Mr. Gevaert and several notabilities. If, by means
of his figures and measures, Tysz. succeeds, as you claim for
him, in demonstrating that X...is a "pyramid," this will be a
more pyramidal glory even than the system.
Next Thursday I go to Eichstatt (Bavaria), where the (German) St.
Cecilia Society meets. Its founder and president F. Witt--a much
respected ecclesiastic, conductor of the Cathedral, composer and
editor of two newspapers of sacred music published by Pustet at
Ratisbon--gives evidence of a great capacity and a persevering
zeal in endeavoring seriously to improve the uses and customs of
Church music, and, by continuous publications, to propagate the
old works of repute as well as the new ones of this class that
are deserving of recommendation.--A pamphlet by Witt, which
appeared in the spring, "uber das Dirigiren der Kirchenmusik"
["about the conducting of Church music"], corrects some grievous
errors and furnishes much profitable instruction.
I shall be much obliged if you will send me a printed account of
your fete of the 10th September; on that day I shall be in Rome,
and shall not return thence till toward the end of October, to
settle at Pest for the winter.
Remember me most kindly to your brother Joseph, [The excellent
Violoncellist Joseph Servais, who died in 1885 at the age of 35]
to Godebski and his wife, and believe, dear Franz, in my
steadfast feelings of devoted affection.
F. Liszt
Wilhelmsthal, August 25th, 1871
Address Rome, Santa Francesca Romana, Campo Vaccino.
What are Joseph's and your plans for the winter?
111. To Walter Bache
Dear Mr. Bache,
Your kind remembrance of the 22nd October has given me sincere
pleasure, for which I thank you cordially. Please excuse me for
not telling you oftener by letter my constant feelings of
affection for you; the hindrance of occupations and cares drives
me, alas! into an extreme parsimony as regards letter writing
with my best friends, but I think that is my only omission
towards them. To see M. de Bulow again was a real joy to me. His
health is improving, and his prodigious maestria at its height.
He is going to make a concert tour this winter in Vienna, Pest,
Prague, Berlin, etc., and will come to London in May. I hope that
the people there will be able to appreciate his superiority in
its entirety. Bulow, more than any contemporary artist, takes the
lead in celebrity. He is not only a very great virtuoso and
musician, but also a veritable sovereign of music. Mme. Laussot,
who has the genius of nobility of the heart, also came to fete me
on Sunday. I shall see her again at Florence in a fortnight, on
my way to Pest, where, as you know, I am henceforth fixed, by
royal and national favor. Whether there or at Weimar, I hope we
shall meet again next summer, dear Bache, in perfect harmony.
Your very cordially affectionate and devoted
F. Liszt
Rome, October 25th, 1871
Bravo and thanks for your concert programmes, which I beg you to
continue sending me.
112. To Marie Lipsius
Dear Patroness,
To your .--. sketch of Tausig only a single objection could be
raised; namely, that you bestow too high praise upon me. Pardon
me if I cannot argue about it, and accept my cordial thanks for
this new tribute of your generous kindness.
Last Sunday (22nd October) I had the great pleasure of a visit
from Bulow. He is going to remain in Florence till the New Year,
and he then begins a categorical concert tour in Vienna, Pest,
Prague, Berlin, Leipzig, and at the end of April goes to London.
His perfect mastery as a virtuoso--in the finest sense of the
word--is in its zenith. To him one might apply Dante's words: "A
master to those who know."
Again my hearty thanks, and wishing you an increase of La Mara's
.--. writings, I remain with much esteem,
Yours very sincerely,
F. Listz
Rome, October 25th, 1871.
In a fortnight's time I travel to Pest.
113. To Breitkopf and Hartel
Dear Sirs,
In order justly to decide the question of plagiarism between
Messrs. Altschul and Joseffy, [Both were pupils of Liszt; the
former is now in Buda-Pest, the latter in New York.] one would
need first of all to compare the manuscripts of the two
disputants. Altschul was kind enough last winter to play me his
version in thirds and sixths of Chopin's "Valse" (in D-flat
major); the other, questionable, version by Joseffy I do not
know. If you think it advisable to send me both versions I am
quite ready to let you have my opinion on the subject. Meanwhile
I will only remark that the multifarious forms of passages in
thirds and sixths--upwards, downwards, to the right, to the left,
or crossing, split up, etc., etc.--admit of a variety of forms of
transcription in thirds and sixths of the Chopin Valse, and hence
Herr Joseffy might quite innocently, in his love of sport as a
virtuoso, have shot down his own bird even within Herr Altschul's
range.
But whether two birds existed must be proved by the "corpus
delicti."
With highest esteem I remain, dear sirs,
Most truly yours,
F. Liszt
Buda-Pest, November 22nd, 1871. (Palatingasse 20.)
P.S.--Herewith is my yearly contribution to the "Bach-
Gesellschaft."--
Allow me to reply, later on, to your kind inquiry in regard to a
pianoforte piece.
114. To Madame A. Rubinstein in St. Petersburg
Madame,
Your talent of observation is as incontestable as your very
charming amiability. With a sagacious eye you observed my
predilection for the silent "compatriot," apparently rather
sombre, but of excellent composition at bottom. [A box of
caviare, which Madame Rubinstein had sent to Liszt.] Doubtless
the advantages which appertain to it in its own right were
peculiarly enhanced by the charm of your salon, where I hope to
see it again and often. Meanwhile, since you are good enough to
favor me with its uninterrupted company, I beg to assure you that
I shall appreciate it even beyond its specific merits, which are
moreover very real. Will you be so good as to renew to Rubinstein
the expression of my old and admiring friendship, and accept,
Madame, the most affectionate thanks and respects of your very
devoted servant,
F. Liszt
Pest, Tuesday, January 9th, 1872
115. To Edmund von Mihalovich
Very Dear Friend,
Your new Song "Du bist wie eine Blume" ["Thou'rt like a tender
flower"] is most welcome, and you have succeeded perfectly with
it. It only remains to add a ninth to this No. 8, so that the
volume may contain the number of the Muses. I hope that you will
shortly bring me this No. 9 yourself, for we want you at the
Tonkunstler-Versammlung (also the ninth), which will be held at
Cassel from the 26th to the 30th June. Your "Geisterschiff"
figures on the programme of the first concert, and Riedel (our
President) will write to you officially to invite you to fill the
post of pilot and captain of your "phantom ship," in other words,
to conduct the orchestra. At the same concert Volkmann's Overture
"Richard III.," Raff's "Waldsymphonie," Rubinstein's Overture to
"Faust" and a new Violin Concerto of Raff will be performed.
Wilhelmj will play the violin part, and I hope that other
soloists of renown will also lend us their assistance. The
programme of this year's Tonkunstler-Versammlung contains,
besides these, a new old piece of goods--the "Elizabeth;" and an
antiquated new one--"The Seven Words of O[ur]. S[aviour].,
composed by Schutz at the end of the sixteenth century, and the
manuscript of which was recently discovered at Cassel itself.
The "Elizabeth" will be given at Erfurt on the 2nd May, and on
the 8th Riedel gives Berlioz's "Requiem" at Leipzig, for the
benefit of our "Beethoven Scholarship." It goes without saying
that I shall be present at these two performances.
.--. Schuberth has been very ill at New York, and is not yet
sufficiently well to set out on his journey. I am expecting him
here towards the middle of June: he will come to Cassel, where we
will settle the little matter of your manuscripts in five
minutes.
Yours in all friendship,
F. Liszt
Weimar, April 18th, 1872
My most affectionate thanks to Count Albert Apponyi for his kind
remembrance, with the assurance of my cordial reciprocity.
P.S.--Augusz would give me great pleasure if he would send me a
small provision of Hungarian tobacco (to smoke), for my old
Weimar friend Grosse, the celebrated Trombonist.
Shall you not go to Bayreuth for the 22nd May? I shall invite you
to do so.
116. To Johanna Wenzel
[The lady here addressed was a pupil of Liszt's at the time, and
subsequently married Jules Zarembski, and is at present one of
the teachers of the pianoforte at the Brussels Conservatoire.]
My Dear Young Lady,
In reply to your friendly lines I beg of you earnestly no longer
to think of having the barbarous operation performed upon your
fingers; rather all your life long play every octave and chord
wrong than commit such a mad attack upon your hands.
With best thanks, I subscribe myself yours respectfully,
F. Liszt
Weimar, June l0th, 1872
117. To Wilhelm von Lenz
Very Honored Friend,
I owe you thanks in the 24 major and minor keys for the
remembrance you keep of me, and the ardent style in which you
publish it to the world. Your pamphlet ["Die grossen Pianoforte-
Virtuosen unsrer Zeit" The Great Pianoforte Players of our Day.]
draws down upon itself a capital reproach; it is that you make me
out too grand and too fine. I am far from deserving it, and I
confess it without any false modesty; but since you have been
pleased thus to overwhelm me I can but bow in silence,--and press
your hand.
No one possesses less than myself the talent of talking with the
pen, and the necessity of receiving more than a hundred letters a
month (not counting bills, and the numerous sendings of
manuscript or printed works which I have to read) makes
correspondence again more than difficult for me. It is all I can
do to get through the necessary epistolary work imposed upon
me...Moreover the greater part of the things which are easily
said is indifferent to me, and those that I wish to say resist
ordinary language. On this subject some one well said to me:
"Words seem to me to intercept feeling rather than to express it;
and actions, alas! seem to me sometimes like a thick veil thrown
over our soul: looks even seem to be trammelled by phantom
barriers, and souls which seek one another across the sufferings
of life only find one another--such is my belief--in prayer and
in music."--
What wit, what sallies and what brilliant sparks in your "Quartet
of Pianist Virtuosi!"--Don't let us forget the etymology of the
word "Virtuoso," how it comes from the "Cicerone" in Rome--and
let us reascend to Chopin, the enchanting aristocrat, the most
refined in his magic. Pascal's epigraph, "One must not get one's
nourishment from it, but use it as one would an essence," is only
appropriate to a certain extent. Let us inhale the essence, and
leave it to the druggists to make use of it. You also, I think,
exaggerate the influence which the Parisian salons exercised on
Chopin. His soul was not in the least affected by them, and his
work as an artist remains transparent, marvellous, ethereal, and
of an incomparable genius--quite outside the errors of a school
and the silly trifling of a salon. He is akin to the angel and
the fairy; more than this, he sets in motion the heroic string
which has nowhere else vibrated with so much grandeur, passion
and fresh energy as in his "Polonaises," which you brilliantly
designate as "Pindaric Hymns of Victory."
No need to tell you that I fully share in your admiration and
sympathy for Tausig and Henselt. Do you know Wagner's epigraph
"Fur Carl Tausig's Grab"?
"Reif sein zum Sterben, Des Lebens zogernd spriessende Frucht
Fruh reif sic erwerben, In Lenzes jaherbluhender Flucht--War es
dein Loos, war es dein Wagen: Wir mussen dein Loos wie dein Wagen
beklagen."
[For Carl Tausig's Grave:--"Ripe for Death's harvest, The fruits
of life long tarrying, Full early to pluck them In the fleeting
bloom of spring--Was it thy lot, was it thy bourn? Thy lot and
thy destiny both must we mourn."]
Allow me to be particularly grateful to you for one very
comprehensive expression in your pamphlet (page 4)--"es war
thematisch" [it was thematic]--and accept, dear Lenz, the
expression of my old and very cordial devotion.
F. Liszt
Weimar, September 20th, 1872
In three weeks I return to Hungary, and shall stay there for the
winter. The remainder of my existence will be divided henceforth
between Pest and Weimar. When you return to Berlin (in the
summer) I invite you to come this way. Are you in touch with the
musical young Russia and its very notable leaders--Messrs.
Balakireff, Cui, and Rimski-Korsakoff? I have lately read several
of their works; they deserve attention, praise and propagation.
118. To Otto Lessmann in Charlottenburg
[Lessmann, a pupil of Bulow's and F. Kiel's, was at one time a
teacher in Tausig's School for the Higher Instruction in
Pianoforte Playing, and is now well known as editor of the
Allgemeine (deutsche) Musikseitung, representing the party of
musical progress with energy and success.]
Very Dear Sir and Friend,
My best thanks for presenting me with your admirable edition of
Bach's "Preludes." Such works are among the pleasant signs of the
musical Present; inasmuch as they will drive away the old jog-
trot style of pianoforte playing. Bulow's edition of Beethoven
outweighs in the matter of instruction a dozen Conservatoires.
And the editions by Kroll and Lebert also deserve praise and
ought to be widely circulated; and to your Bach Preludes I wish
plentiful successors in the "Suites," "Inventions" and
"Variations" (especially the 30 in G major) of grand old Herr
Johann Sebastian--of Eisenach.
Allow me also to add that reading over your Songs enables me more
and more thoroughly to enjoy them when I hear them--intelligent
singers shall be found for them--and accept, dear friend, the
expression of my sincere esteem and affection.
F. Liszt
Eisenach, September 26th, 1872
119. To Eduard von Liszt
Horpacs, November 6th, 1872
Dearest Eduard,
My stay here has been somewhat prolonged, and I shall not reach
Pest till next Sunday.
Szechenyi's [Count Szechenyi was Austrian ambassador in Berlin up
to 1892.] residence here is most decidedly pleasant and
convenient, without noise. In the chapel attached to the house,
the house-chaplain (a cultured and estimable priest) daily reads
Mass. At table an old house-physician, Dr. M., contributes a good
deal to the entertainment. Among other amusing things he said one
day: "As to the cholera, no one knows anything definite about it
yet except myself, for I have fathomed its nature. And its nature
consists solely and wholly...of nothing but cholera!"
The day before yesterday we drove with Szechenyi and Mihalovich
to Raiding, [Liszt's birthplace.] in less than two hours. A Herr
Wittgenstein (probably an Israelite), who lives in Vienna, now
rents this Esterhazy estate, and sublets it again. I found no
perceptible changes in the house where I was born since my last
visit there 24 years ago. The peasants recognised me at once,
came to pay me their respects at the inn, and rang the church
bell as we drove away.
.--. I wrote to Kahnt from here that he was to send you
immediately the 9 "Kirchen-Chorgesange" and my Mass for men's
voices ("Editio nova").
The three Patronatsscheine [tickets of membership] for the
Nibelung performance in Bayreuth (Bayern. N.B.--The King has
commanded that henceforth Baiern [Bavaria] shall be spelt with a
y), and your letter to Herr Feustel, please attend to without
delay.
All cordial greetings to you and yours--from your faithfully
attached
F. Liszt
Augusz I shall meet in Pest-Ofen.
Give Bosendorfer my friendly greetings, and at the same time tell
him how I praise the excellent piano upon which I have been
practising a little here.
If Zumbusch goes to Vienna, commission him--as we arranged--to
make a bust of me in marble and a pedestal for Bosendorfer.
120. To Princess Caroline Sayn-Wittgenstein
[Printed by "order" in the Signale, 1873 (after the death of
Napoleon), in which form the letter is reproduced here, as the
original could not be procured. This letter does not indeed show
us Liszt as a far-sighted politician, but simply as a man of
noble impulses.]
Pest, January 10th, 1873