going on; celebrated artists are growing thick on the ground,
like the suitors at Penelope's court. Joseph Rubinstein suspends
his commercial occupations, and returns from Cracow to drive the
four-in-hand accompaniment of Rheingold. The architects,
painters, decorators, machinists, costumiers and their people are
continuing their work; therefore, in spite of difficulties and
obstacles, the great work of Art of this century--Wagner's
Tetralogy of the Nabelungen--will come to pass, and I hope to be
present at the first performance with my very dear friends Mi and
Do. [Mihalovich was called Mi by Liszt, and Count Apponyi Do.]--
Meanwhile let us go on patiently at our own modest work, and
endeavor to make it as suitable as possible. Next winter we will
make an exchange of our latest sheets of music. I will bring a
pretty thick packet to Sir Hagbar. [An Opera by Mihalovich
(Hagbar and Sigurd)]
Schuberth promises me the "Geisterschiff" in the autumn; we will
then launch it at once with Sgambati, who has just composed
several Lieder, exquisite in sentiment. I have recently written,
as an Impromptu, without any forethought, an Elegie in memory of
Mme. de Moukhanoff, entitled "Schlummerlied im Grabe" [Slumber
Song in the Grave.]
Your kind wishes for my repose are being realised here. I pass my
days very peaceably, and my evenings alone, in reading, writing
or playing. Since the departure of Bulow, who gave me his most
eminent company for two days (in the middle of June), I have, so
to say, seen nobody. He is now making his villeggiatura at
Salzungen near Meiningen, returns to England in the month of
November, and will not go to America till the autumn of '75.
Pay me a visit sometimes in thought, dear Mi, and believe me ever
your very cordially devoted friend,
F. Liszt
Villa d'Este (Tivoli), July 30th, 1874.
Let me hear something about Do and Horpacs. [An estate of Count
Emmerich Szechenyi, the former Austro-Hungarian ambassador in
Berlin, whom Liszt frequently visited.] I will write to them
later.
154. To Peter Cornelius
[The letter is addressed to Neuenahr, where Cornelius had gone
for a water-cure, shortly before his death. The translation of
the Cacilia-legend he did not accomplish.]
Dear and valued Friend,
You have again presented me with a marvellous gift. Your German
translation of Lamartine's "Hymne de l'enfant a son reveil" is
exquisitely successful, and retains all the fragrance and aroma
of the original poem.
"Kein Wurmlein vergissest Du...Das Zicklein an Staude und
Beere...Am Milchkrug Mucklein saugt den Saft...Und die Lerche das
Kornlein picket."...
["No worm dost Thou e'er forget...The kid amid the shrubs and
berries...The fly that sips the sweetest juice...And the lark
that pecks the blade of corn."...]
All and everything fits in so exactly with the music, syllable by
syllable, that it seems as if the poem and music had sprung up
together. Verily, dear friend, you are an extremely kind and most
perfect magician. Now do not be vexed with me if my grateful
appreciation of your skill should prove somewhat covetous, and I
again ask you to do me a favor. A little French poem of 48 short
lines, "Sainte Cecile, Legende," by Madame Emile Girardin
(Delphine Gay) is awaiting your poetic courtesy. Allow me to send
you my finished composition of this Cacilia, the musical
foundation of which is furnished by the Gregorian antiphone:
"Cantantibus organis, Caecilia Domino decantabat." It is to be
hoped that I have not spoilt it, and I trust to your friendly
kindliness to send me a German translation of it before the next
Cacilia Festival (22nd November), soon after which it shall be
printed, and a performance of it given in Pest.
The delay with the edition of your two Operas I sincerely regret.
They deserve much greater appreciation and a much wider
circulation than hundreds of others that are printed, and the
publication of the pianoforte scores is sure to effect this for
them. Meanwhile I am glad that you have made use of my suggestion
to base the Overture of the "Barber" on the pleasantly
characteristic motive--
[Here, Liszt illustrates with a 4-bar musical score excerpt.]
Next summer we shall meet in Munich.--With hearty thanks, your
sincerely attached
F. Liszt
Villa d'Este (Tivoli), August 23rd, 1874
If you should see Frau Schott in Mainz, give her my kindest
remembrances. For some time past various manuscripts have been
lying ready which I should have liked to hand over to Schott's
house of business; but fear that they might arrive at an
inopportune moment. The very title, "Drei symphonische Trauer-
Oden" ["Three Symphonic Funeral Odes"] might prove alarming; and
besides, the scores--all about 20 pages in length--would have to
be published simultaneously with the pianoforte transcriptions
(for one or two performers). Well, "we can wait."...
I am working pretty industriously at the "Sanct Stanislaus." Of
this you will tomorrow receive a full report--and an urgent
request for speedy, energetaeally accentuated pains over the
essential but not lengthy alterations of the text.
155. To Ludwig Bosendorfer in Vienna
[Head of the celebrated pianoforte manufactory, now
Commerzienrath (Councillor of Commerce)]
Dear friend,
With my sincere thanks for your interesting reports of the Vienna
musical world I would gladly have given you something of the same
kind in return. But there is here nothing whatever in the way of
novelties or specialities in the way of concerts; be content,
therefore, if my letter today mentions only one, but to me a very
important artistic item--namely, the frequent use of your piano,
which, among other virtues, possesses a wondrous power of not
getting out of tune [Unverstimmtheit]. Since its despatch from
Vienna not a tuner has touched it, and yet it keeps in beautiful
tune, and steadily resists all variations and effects of
temperature.
Till the end of January I shall remain quietly at work here; then
go direct to Pest--and by the middle of April on to Weimar. My
thoughts and efforts require now only peace and seclusion. These
are things that suit me best in my old age, and uphold me in
spiritual intercourse with my dear and true friends. As such I
greet you and your wife heartily and sincerely.
F. Liszt
Villa d'Este, August 28th, 1874
156. To Adelheid von Schorn in Weimar
Dear and Most excellent One,
For our grand coup you come in completely in your role of
providence, which you fill with such complete good grace, and
with an admirable mastery! I cannot tell you what immense comfort
your letter brings me, with its assurance of your speedy arrival
in Rome. Try not to delay it beyond the 25th-30th November, and
if possible come sooner. Princess Wittgenstein is still very
suffering, and has kept her bed entirely for six weeks; your
company and the inspirations of your solicitude will do her more
good than all the Allo-and Homoeopaths put together.
I beg that you will write to her speedily to announce your
coming, for she is ignorant and must be kept in complete
ignorance of the plot we have hatched with Princess Marie [The
daughter of Princess Wittgenstein.], the happy success of which
you will crown. (questions of detail will be easily settled to
your satisfaction, in such a manner that the stay in Rome will be
thoroughly pleasant to you.
It is understood that you will not mention the question of where
you will live to Princess W., who has already only too much worry
about her own rooms. In my opinion it would be best for you to go
to the Hotel d'Amerique, Via Babuino (close by the house of the
Princess and of the one where I live), and to spend some days
there, until you see where you can settle yourself comfortably,
whether at the Pension (also very near the Babuino) where your
cousin Octavie stayed, or elsewhere.
When you reach Bologna, please let me know by telegram on what
day you will arrive; I will meet you at the station, and it will
be a real joy to me to escort you to your first abode in Rome.
Thank you with all my heart, and yours ever,
F. Liszt
Rome October 12th, 1874 (Vicolo de Greci, 43.)
The Princess is living at Via Babuino 59.
Your letter was only returned to me from Tivoli yesterday
evening.
I shall remain here, or at the Villa d'Este, till the end of
January.--
157. To Breitkopf and Hartel
Very dear Sirs,
The kind reception you gave the last sending of my somewhat
cumbersome manuscripts and revisions pleased me greatly. I will
always gladly do what I can to not increase the publishers'
worries, and henceforth print only what has been carefully worked
out and will prove tolerably acceptable.
With regard to the form in which the Songs and Wagner-
transcriptions are to be published, you may act altogether as you
think best. I did certainly think that the convenient and neat
edition in small octavo would be preferable (like the last
edition of Chopin and my "Etudes transcendantes"): hence in from
5 to 6 little volumes:--
1. Beethoven (The "Adelaide" and other Songs);
2. Mendelssohn (6 Songs);
3. Robert and Clara Schumann;
4. Robert Franz;
5 to 6 (?). Wagner-transcriptions.
This would in no way prevent the songs and pieces of several
pages (such as the "Adelaide," Mendelssohn's Songs, the
"Tannhauser-March," the "Rienzi-Fantasia," etc.' being sold
singly--in the same small 8vo form which, candidly speaking, I
always like best. As long ago as the year '39 I induced Haslinger
to publish Schubert's songs in an edition of this kind--and at
that time it seemed rather a doubtful innovation. Also about
placing the words below the music. I wish this, for the sake of
the poetical delivery in all of the songs, except the "Adelaide,"
because the poem roams about rather too freely in rococo style.
Let us leave "the flow'ret at the grave" to bloom on quietly
without retouching it again.
I must unfortunately again trouble you to send me all the proofs.
It is a matter of great moment to me to have the things arranged
as accurately and as appropriately for the piano as possible. And
for this I require the last proofs, in order finally to revise
them in reading and playing them over. (For the printer's
consolation be it remarked that no new alterations shall now crop
up again; my zeal in correcting shall be confined to making some
pedal marks and fingerings.) First of all I should like to try
over Sgambati's duet arrangement of the "Ideale" with him; and
you will doubtless do me the favor of sending me the proof sheets
stitched together before I leave here (at the end of January).--
I leave the matter concerning the small honorarium confidently to
your well-known kindly disposition, and remain, very dear Sirs,
Yours respectfully and most obediently,
F. Liszt
Villa d'Este, November 24th, 1874
158. To Count Albert Apponyi in Budapest
[From an undated rough draft of a letter in the possession of
Herr O. A. Schulz, bookseller in Leipzig. (The date has been
ascertained from a letter to Mihalovich.)--The addressee was the
well-known Hungarian statesman.]
[Villa d'Este, December 6th, 1874]
Dear and Very Honored Friend,
Your excellent letter of the 27th November reached me here
yesterday evening. I hasten to give you my very sincere thanks,
and to add a frank reply on the question of the Academy of Music.
First of all I think the "moyen violent" [violent means] of
Huszar, which will deliver us from barren tittle-tattle, is
right; let us throw the Seeschlange [sea serpent] into the
Danube, and if he wants an epitaph here is one: "It is better to
do nothing than to do stupidities."
Now, are we the stupid ones?--The Government is much interested
in this affair; the Sovereign's decision has been obtained; I
know not what official publication has followed. You yourself,
dear Count, have brilliantly persuaded the Chamber of Deputies
that the said Academy would be of use in raising Art in Hungary;
my necessary humble reserve has been taken by the public as
consent.--Is it possible now to take no account of such
precedents, and to draw back when it is a question of advancing?
I do not think so, and I am quite of your opinion, as wise as it
is opportune.
In spite of the difficulties of a position embroiled with divers
worries, and in spite of the scantiness of the financial means,
we ought to stick to our affirmative position and not in the
least to give way.
As to my "personal convenience," which you are good enough to
take into such kind consideration, permit me to assure you anew
that I aspire to one only blessing--quiet time for work in my own
room. Orare et laborare. The point of honor, which no one
understands better than yourself, attaches me to Hungary, our
country. May I fulfil there all my duty of gratitude!--
I shall be back at Pest (Fischplatz) on the 10th February, and
shall rejoice to hear the Ballade of our valiant friend
Mihalovich, to whom I shall write tomorrow.
Yours from my heart,
F. Liszt
159. To Edmund von Mihalovich
Dear Excellent Friend,
I wrote the day before yesterday to Do, and was about to continue
with a letter to you when a telegram called me subitissimo back
to Rome. The thread of my ideas has not been broken on the
journey, and I resume our conversation, a trois, on the long
gestation--omen of abortion--of the Hungarian Academy of Music.
I trust that my very dear and honored friends will be convinced
of my perfect disinterestedness in the question; the idea of an
Academy is in no way mine if I become sponsor to it, it will be
in self-defence and without any connivance at paternity whatever;
I even refuse to help in the procreation of the marmot [brat];
and, far from making myself, before my time, in any way its
champion or propagandist, I hesitate over the difficulties which
are opposed to its birth. I have explained these many a time to
my Budapest friends, and the difficulties have increased rather
than diminished during these last three years...
1stly. The financial situation of the country appears to be such
that one must scruple to burden the budget with an expenditure
beyond urgent needs. My patriotism is sufficiently sincere and
lively to counsel me to abstention, including every renunciation
that is compatible with my strict duty.
2ndly. It would be a poor luxury to add a third music school to
the two schools already existing (meagrely) at Pest. If one
cannot emulate with honor the similar establishments of Vienna,
Leipzig, etc.--what is the good of troubling any further about
it? Now, to give a vigorous impulse to Art among us, we must
first unite and fuse into one spirit a set of professors of well-
known capability,--a very arduous and ungrateful task, the
accomplishment of which demands much intelligence, and a
sufficient amount of cleverness and of money.
Other minor, local considerations complicate the matter stilt
further; I pass them over in silence today, and will not repeat
myself any more except on one point,--my religious devotion to
our country and our art. To serve them somewhat, according to the
moderate degree of my talent, whether it be in working by myself
at my manuscripts (which is what I much prefer), or in
cooperating with my friends in public things, this is my simple
and exclusive desire, totally removed from the personal
pretensions or anxieties of vanity which are wrongly imputed to
me.
"Tiszta lelek, tiszta szandek, akar siker, akar nem." ["Pure
soul, pure intention, whether the results be favorable or not."--
Maxim of Stephan Szechenyi.]
My friends are those who haunt the Ideal; there, dear friend, we
"recognise" each other, and shall always do so,--but not "in the
mud," illustrated by a fascinating poet, too much celebrated and
tainted by the triviality of vulgar applause--Heine. Amongst
other things he had predicted that the Cathedral of Cologne would
never be finished. "In vain will Franz Liszt give his concerts,"
etc.--
You know that Wagner is coming to Pest in Lent. It is only right
that several of your compositions--especially the last, "Sello"--
should be performed in public at that time. Talk the matter over
with Richter. I on my side will ring the "Bells." Please beg
Abranyi to hurry with the Hungarian translation of Longfellow's
poem (the Prologue to the "Golden Legend"), and to follow, not
the German translation of the "Pianoforte score," which I have
sent to Engesser, but the original English text. [Liszt had set
to music the Prologue to the "Golden Legend," under the title
"Die Glocken des Strassburger Munsters"--"The Bells of Strassburg
Cathedral."]
Yours in cordial friendship,
F. Liszt
Villa d'Este, December 8th, 1874
I will write tomorrow to the very gracious chatelaine of Horpacs.
160. To Carl Hoffbauer in Munich
[From a copy belonging to Dir. Aug. Gollerich.--Hoffbauer, born
in 1850, became in 1872 Director of the Gesang-Verein in Munich,
went to Frankfort in 1880, and put an end to his own life. He
composed, among other things, the Operas "Cotzzata" and
"Demetrius."]
[End of 1874.]
My hearty thanks for the kindly zeal with which you have taken up
the "Christus Oratorio." But a performance of it in Munich
appears to me so doubtful, and connected with so much trouble,
expense, and difficulty, that I must for the present dissuade you
from the undertaking. Besides, it would not be possible for me to
accept your invitation for the end of February, as several
engagements will keep me in Pest till Easter. And, if ever you
give a performance of the Christus in Munich, I should much like
to be present. As yet the whole work has been only twice heard,
in Weimar and Pest (in May and last November, '73).
In reply to your inquiry, I must mention Herr and Frau von Milde
and Frau Dr. Merian as specially well acquainted with and capable
of taking the solo parts.
Accept the assurance of my utmost gratitude for your eagerness to
give a performance of the Christus in Munich.
Most respectfully and sincerely yours,
F. Liszt
101. To Edmund Von Mihalovich
Very Dear Friend,
In spite of the legion of Dessoff, calm plains or storms, go on
roaring bravely in the waters of the "Phantom Ship." Even should
we not succeed in arriving safely in port, and should we meet no
other Senta than Her Highness Madam Criticism, it matters not;
those who follow us in the same waters of the Ideal will be more
fortunate...
"Et quasi cursores vitai lampada tradunt!"--
We will talk about all this fully in February, in the Fischplatz.
Will you be so kind as to send the enclosed letter to my gracious
and admired translator of the "Chopin"--Mme. la Comtesse Ottilia
Wast? [A translation into Hungarian from the old edition of the
book.]
Further, I beg that you will recommend Taborszky to publish
before Easter my St. Francois de Paule, which our very dear
friend Albert Apponyi has been good enough to adorn with his
poetry,--and also "L'hymne de l'enfant a son reveil," which
Taborszky must have received in November (with the German words
by Cornelius and the addition of a harp part).
Schuberth has been seriously ill. I shall be after him to bring
out your Geisterschiff [Phantom Ship] without any more delay.
A revoir in six weeks, and always
Very cordially yours,
F. Liszt
Villa d'Este, December 29th, 1874
On the occasion of the Wagner concert in Pest I should like my
"Bells" to ring, and beg Abranyi to attune the Hungarian
Klingklang [ding-dong] of them speedily and beautifully.
[Liszt's "Glockengelaute" (Bell-ringing) consisted in this--that
he played the Beethoven E Concerto at the Wagner concert in Pest.
He allowed himself to be persuaded to do this, as people were
afraid that, on account of the high prices, the concert would not
be full.--The "Bells of Strassburg Cathedral" were not
performed.]
162. To Carl Hoffbauer in Munich.
[From the copy of a draft of a letter by Dr. Minis.]
[Probably Pest, at the beginning of 1875.]
Very Dear Sir,
Your last letter exhibits so convincing a character of truth and
noble-mindedness that I sincerely rejoice at the prospect of
becoming personally and in spirit better acquainted with you. And
first of all be assured of my special interest in your Opera
"Comata." Whatever I may be able to do as regards a
representation of it in a theater I shall not fail to do. In
Munich we will read the score over together, and discuss further
details.
Of your persistence in wishing to have the "Christus" performed I
wrote to Schuberth yesterday, and shall in full confidence leave
the whole matter to your considerate zeal. You will best know
whether and how a successful performance can be made possible,
and please therefore arrange matters altogether according as you
think fit. I beg you merely to let me know the day you fix upon
some 10 or 12 days previously, and address me to Pest (at
Easter), if earlier to Weimar, and I will then come for the full
rehearsal.
[The performance took place on the 12th April, 1875. As a result
of this King Ludwig II ordered a separate performance in the
Court theater, and this again was followed by a public one.]
Respectful greetings to the poetess of the "Comata," and believe
me, with marked esteem, yours gratefully and sincerely,
F. Liszt
163. To Professor Julius Stern in Berlin
Dear Friend,
For years past and again lately I have been very much indebted to
you. Our eminently learned and dear friend Weitzmann [Theorist
and contrapuntist in Berlin (1808-1880)] told me of the careful
rehearsals, and of the admirable manner in which you conducted
the Faust Symphony. Owing to critical circumstances and
negativings I have, as a rule, to dissuade people everywhere from
giving performances of my scores. All the more pleasantly am I
affected by the goodwill of the few friends who carefully and
courageously march on in front.
Therefore, while offering you my sincerest thanks, I beg you to
excuse my not being just now able to accept the tempting
invitation to Berlin.
Yours most respectfully and sincerely,
F. Liszt
Rome, February 4th, 1875
(Next week I return to Pest, and at the beginning of April go to
Weimar, where I should be delighted to welcome you again.)
164. To Count Albert Apponyi
[From a rough copy of a letter in the possession of Herr O. A.
Schulz, bookseller in Leipzig.]
February 18th, [1875?]
This morning the Politische Volksblatt [The Political People's-
Paper] brings me your portrait, my honored and dear friend. The
notice accompanying it pleases me only in so far as it predicts a
great future for you, based on your very evident merits and great
talents. People are agreed upon your great height
("Haupteslange")--all the better, for it corresponds to the
height of your character, and I bet a hundred to one that you
will never combat "the spirit of the times" ("Herr von Zeitgeist
und Frau von offentliche Meinung," [Mr. Spirit of the Times and
Mrs. Public Opinion.] as the honorable Count Gozzi ceremoniously
said), except when you meet with stupidities and adventures on
which this spirit of the times is astride.
A friendly invitation for tomorrow evening at the house of
Your very devoted and grateful
F. Liszt
165. To Johann Von Herbeck
Very Dear Friend,
My sincere thanks for your letter; gladly would I follow your
very kind and "unselfish" request. To say "nay" to my friends
always comes hard to me. But how can I act otherwise in face of
the negativings of critics? And why should I not prefer abiding
my time in peace alone?
Now-a-days an artist is reckoning without his host if he places
honest faith in the public. For people now-a-days hear and judge
only by reading the newspapers.
I mean to take advantage of this in so far that the leading and
favorite papers of Vienna, Pest, Leipzig, Berlin, Paris, London,
etc.--which abhor my humble compositions and have declared them
worthless and objectionable--shall be relieved of all further
outward trouble concerning them. What is the good of performances
to people who only care to read newspapers?
Hence, dear good friend, let the "Gran Mass" [Herbeck, however,
did have them performed.] and the "Glocken" ["Die Glocken des
Strassburger Munsters"--"The Bells of Strassburg Cathedral"]
remain unperformed in Vienna, where (in Easter week) you shall
receive a visit from yours most warmly and gratefully,
F. Liszt
Budapest, March 3rd, 1875
166. To Eduard Von Liszt
Dearest Eduard,