the Pest Conservatorium," affects me very pleasantly. Engesser's
constancy in conducting the Liszt-Verein [Engesser founded the
Liszt-Verein in Pest (for mixed voices)] particularly rejoices
me. Is Gobbi's Cantata come out? Friendly greetings to the
composer and recently "well-known composer of album-leaf
waltzes," from your old, truly attached
F. Liszt
Villa d'Este, January 20th, 1876
(Before my arrival--16th February--I will telegraph to you from
Venice, where I shall visit Count Imre Szechenyi.) In case there
were anything to write to me, address, till February 5th, Rome,
Vicolo dei Greci, 43.
182. To Eduard von Liszt
(Villa d'Este,) January 23rd, 1876
My Dear Beloved Friend,
Your letter has deeply affected me. I preserve it in the secret
cell of the heart, where the last words of my dear mother remain-
-and give me consolation. I cannot thank you in words. My thanks
rise in prayer to God. May His blessing ever be with your
generosity and constancy in all that is good.
At the "Decisions of the Court of Cassation" (the 2nd October and
16th November) you spoke so forcibly and beautifully clearly
about blasphemy, and of the symbol of redemption, the crucifix--
and thus truly fulfilled the teaching of our Savior:
"Thesaurizate autem vobis thesauros in Coelo." Let us continue to
the end, dearest Eduard, in the love of Christ!
I absolutely wrote the "Hunnenschlacht" for the sake of the hymn
"Crux fidelis." Kulke in a very generous manner determined on the
production of this work in Vienna. For very many years Kulke has
always been well-affected towards me. I enclose a few lines of
thanks which I beg you to hand to him. His "Moses before Pharaoh"
I have, alas, not the power to compose. To compose philosophy and
politics in music appears to me an all-too-difficult task. I
almost doubt whether it could be accomplished.
Heartiest greetings to your family, and most truly yours,
F. Liszt
I shall arrive in Pest again in the middle of February.
183. To Dr. Eduard Kulke in Vienna
My Dear Sir,
During long years you have constantly shown me so much kindness
that I cannot sufficiently thank you for it. I am also ashamed
not to compose better works, so as to make the kindly
interpretation of them more easy and pleasanter to you.
Nevertheless all the more valuable is your insight and
indulgence.
The "feathered thief" [A comedy by the addressee, a well-known
and meritorious author, and sent by him shortly before to Liszt.]
reconciles me with the "newspaper geese." It will, without
plagiarism, win its laurels on the stage. The dialogue and action
are full of humor and wit...and the final catastrophe of the
thrashing must make an impression on the public.--
Excuse me, my dear Sir, if I do not feel myself equal to the task
of an Old-Testament Oratorio. [Kulke had sent a poem, "Moses
before Pharaoh," to Liszt in Rome, with the question whether he
would be inclined to make it the subject of an Oratorio.] Michael
Angelo represented his Moses mighty and horned (perhaps as a most
excellent ideal forerunner of Pope Julius II.?); Rossini sang
exquisitely the "preghiera di Mose," with which Europe is still
enraptured; and Marx's Oratorio Moses, less well-known, contains
many excellent parts.
"Non omnia possumus omnes." My humble self can do but little, and
remains most humbly grateful to the "Caritas Christi."
With especial regards and thanks, yours most truly,
F. Liszt
Villa d'Este, January 23rd, 1876
184. To Marie Lipsius
My Honored Patroness,
Your kind promise to translate the "Chopin" into beautiful German
rejoices me extremely. Hearty thanks for it. I will soon send the
revised (French) copy, and I hope the work will be easy and
pleasant to you. In the 3rd edition of "Musikalische
Studienkopfe" I lately read "Berlioz"--an excellent
characterisation and recognition of this extraordinarily great
master, who perhaps hovers more in the untrodden regions of
genius than anywhere else.
The addition of the "index" is a valuable completion of this
third edition. Its success augurs well for what will follow.
With much respect and gratitude,
F. Liszt
(Villa d'Este,) February 3rd, 1876
185. To August von Trefort, The Hungarian Minister of Education
in Budapest
[Printed in the Pester Lloyd of that date.--Addressee died 1888.]
Herr Minister,
Although I scruple to weary the extraordinary good-will which the
public of Budapest has evinced towards me, I nevertheless make so
bold as to offer the assistance of my two hands for the concert
shortly to be given in aid of the sufferers by the floods, if
Your Excellency is of opinion that this could still be at all
useful. In the year 1838, when I returned for the first time to
Vienna, I gave my first concert there in aid of the sufferers by
the inundation at Pest. It will be a comfort to me if I can now
close my protracted career as virtuoso by the fulfilment of a
similar duty. [The concert in aid of the sufferers by the floods
in Budapest took place with Liszt's co-operation on the 13th
March, 1876] I remain, until death, Hungary's true and grateful
son.
Your Excellency's most obedient
F. Liszt
Budapest, March 1st, 1876
186. To Walter Bache
Honored and Dear Friend,
You, in your London "Annual Concerts," have for 12 years worked
more wonders than I was able to compose in the "Rosenwunder"
[Rose miracle] of Elizabeth. Hearty thanks for your account of
the 12th concert, and all the exertions connected with it! I beg
you to present my most respectful compliments to Mrs. Osgood
("Elizabeth"), and, before all, to Constance Bache, the kind
translator of the Legend.
Entirely approving of the use of the mute in the passage
[Here, Liszt illustrates with a musical score excerpt]
and during the chorus of angels, remains, in sincere esteem for
the steadfast conductor and friend Walter Bache, his faithful and
grateful
F. Liszt
Budapest, March 8th, 1876
187. To Madame Jessie Laussot,
Dear excellent Friend,
The Commander Casamorata has written to me again about the fete
of Bartolomeo Cristofori. I have replied to him that my answer
had been already received by you in the month of January '75, and
that I can only repeat the same excuses. I copy the last lines of
my letter to Casamorata that you may have the exact particulars:-
-
"Without reckoning that for more than thirty years I have not
belonged to the active lists of pianists and only desire the
honorable repose of an invalid, I permit myself to remark that
the duty of celebrating the inventor of the pianoforte in Italy
belongs by preference to Italian pianists of note, such as M.
Buonamici (in Florence) and M. Sgambati (in Rome), etc."--
In conclusion, I scarcely could leave Germany all this summer
(except for the visit to the Chateau de Loo), and I shall
probably be obliged to return to Hungary after Bayreuth, where I
hope still to find you.
Yours very devotedly,
F. Liszt
Budapest, March 18th, 1876
188. To Dr. Leopold Damrosch in New York
[Draft of a letter from a copy by Dr. Mirus in Weimar.--Addressee
(1832-1885) came to Weimar in 1855 as a violinist under Liszt,
went to Breslau in 1858, and in 1871 to New York, where he had
great success and influence as a conductor.]
April 15th, 1876
My dear honored Friend,
You have recommended our young friend Max Pinner to me. He shows
himself to be an excellent artist, and I have become much
attached to him [Pinner died young.] I beg you to accept through
him the renewed expression of my former faithful friendship.
Your beautifully conceived and nobly executed work "Ruth" I have
read with sympathetic interest and pleasure. I will not fail to
suggest its performance in Germany.
How shall I thank you for the edifying goodwill which you
manifest towards my compositions? Your intelligent enthusiastic
conducting of my scores prevents any one noticing the defects of
the composition.
A hearty greeting to your wife, and with warmest esteem ever
yours,
F. Liszt
189. To Friedrich von Bodenstedt
[From a copy by Director Aug. Gollerich in Nurnberg.--Addressee,
who died in April 1892, the poet of Mirza Schaffy]
June 8th, 1876
My very honored Friend,
Your very agreeable and genial friend, Frau Major von L., sends
the September leaflet about the concert in Hanover. A thousand
thanks for it. .--.
On the occasion of my happy 50 years' jubilee you rejoiced me
with a poem, of which Iam proud. You have admirably succeeded in
coaxing such poetical euphony from an old worn-out instrument
like my humble self.
Au revoir in Hanover, and friendly greetings to your family.
With thanks, yours sincerely,
F. Liszt
190. To the Music Publisher Bessel
Sir,
Although the music which you have been so obliging as to send me
through Mr. Kahnt has not yet reached me, I hasten to assure you
again of the strong interest which I take in the works of the new
Russian composers--Rimski-Korsakoff, Cui, Tschaikowski,
Balakireff, Borodine--which you edit. You know that lately, at
the Tonkunstler-Versammlung at Altenburg, the Ballade "Sadko" was
well performed and received. Next year I shall propose that other
works of the above-named Russian composers be produced. They are
worth serious attention in musical Europe.
When you return to Weimar in July I shall better express to you
my thanks and regards.
F. Liszt
Weimar, June 20th, 1876
Kindly give the accompanying note to Mr. Cui.
191. To Prince Carl Lichnowsky
[Communicated to the Musical Chronicle, 20th February, 1888, by
A. Gollerich.--Addressee is the brother of Liszt's intimate
friend, Prince Felix Lichnowsky, who, as a member of the
Parliament of Frankfort, fell on the Heath at Bornheim
(Bornheimer Haide), a sacrifice to the Revolution of 1848.]
Your most Serene Highness and Friend,
In old attachment I thank you heartily for your kind lines. The
most grateful recollections ever bind me to the House of
Lichnowsky. Your highly endowed father and your admirable brother
Feliz showed not less kindness to me, than Prince Carl Lichnowsky
showed before that to the young Beethoven, who dedicated his Opus
I. (3 Trios) to the Prince Lichnowsky, and felt himself quite at
home in the so-called Krzizanowitz "Palace," and in the Castle of
Gratz. [Krzizanowitz is Lichnowsky's inherited estate in Prussian
Silesia, the Castle of Gratz his dominion in Austrian Silesia.
Franz Liszt like Beethoven, was a guest in both these places.]
May it be permitted, dear Prince, to find you again there
(perhaps next year) to
Your faithful and most devoted
F. Liszt
June 21st, 1876
192. To Hofcapellmeister Max Erdmannsdorfer
Very honored Friend,
Thanking you very much for your kind invitation, I shall
willingly come next Sunday, and rejoice that I shall again hear a
special Sondershausen concert. Berlioz's "Harold-Symphony" is to
me an old, ever-fresh recollection: the Sondershausen orchestra
played it capitally at the first Festival of the "Music of the
Future" in Ballenstedt, which I conducted.
Send me soon the whole printed programme. Can you already conduct
Wagner's new "Fest Marsch?"
I beg for Bulow's "Nirwana," if possible, and in case there
should be room for anything, not long, of mine, I would most
modestly suggest the Symphonic Poem "Hamlet," which I never
heard. Most friendly greetings to your wife, and believe me
always
Yours most sincerely,
F. Liszt
Weimar, June 27th, 1876
I suppose the concert takes place on Sunday afternoon, so that
the visitors from Weimar can get back here again?
Which train, in the lately altered railway guide--as I was told
yesterday--will bring me in tempo (non rubato) [in time--not
broken] to Sondershausen and back?--
193. To Kornel von Abranyi
Dear honored Friend,
Best thanks for your letter. Please to make my apologies to the
mayor Herr Karoly and to the Festival Committee in Szegedin. [The
town of Szegedin and the Hungarian Vocal Society had begged
Liszt's active sympathy for the Musical and Singers' Festival
about to be held in that place. Karl Wagner was president of the
Festival Committee.] With reference to the first invitation to
Szegedin (last March) I made the observation immediately that
"During the whole month of August I belong to Bayreuth."
Consequently it is no fault to remain there,--if the principle is
correct.
Now, dear faithful friend, I invite you once again to come
hither. The "Festival-Play" is of the very most serious
historical significance...So do come at the latest from the 27th
till the 30th August for the third series of these stupendous
performances of the "Nibelung's Ring." The Montecuculi-an matters
will be gladly arranged for you here [i.e. the expenses.] by
Your old, most sincerely faithful
F. Liszt
Bayreuth, August 6th, 1876
194. To Richard Wagner
[Autograph of this curiosity in possession of Herrn
Commerzienrath Bosendorfer in Vienna.]
Incredible One,
Hast thou a moment's time for the Leipzig "affaire"? then please
come down here (where Herr Neumann now is) to thine own
F. L.
[Bayreuth, August, 1876]
[This referred to the performance of the "Nibelungen" in Leipzig,
striven for by Angelo Neumann and interceded for by Liszt, for
which purpose the former came to Bayreuth.--Wagner wrote in
pencil on Liszt's letter as follows:--
"Still more incredible One!
"I am in my shirt-sleeves and under no circumstances inclined to
give my work to Leipzig or anywhere else!
"Love me!
Thy
R. W."]
195. To the Kammersangerin [Private Concert Singer to the Court]
Marie Breidenstein in Erfurt
[Died 1892. She dedicated herself with satisfaction to the
rendering of Liszt's compositions, and was also his pupil for
piano.]
Dear honored One,
Perhaps the Schubert songs with my most modest instrumentation
would suit somewhere in your programme. Here are the printed
scores with the orchestral parts. "Gretchen" and "Erlkonig" have
been much used and are played out. This is not so much the case
with the "Young Nun"; and Mignon's wonderful song, "So lasst mich
scheinen bis ich werde" [So let me seem till I become], is
scarcely heard--or appreciated!
But if you will once more spare me an hour in Weimar, I will
accompany these 4 instrumented Schubert-Songs for you.
Next Saturday departs from here
Your sincerely devoted
F. Liszt
Weimer, Monday, September 18th, 1876
N.B.--The instrumentation compelled me to a few little different
readings in Schubert's four songs: on this account the singer
must go by my score-edition as regards the rests and the very
slight alterations.
196. To Camille Saint-Saens
Very Dear Friend
In sending you today the transcription of your "Danse macabre," I
beg you to excuse my unskilfulness in reducing the marvellous
coloring of the score to the possibilities of the piano. No one
is bound by the impossible. To play an orchestra on the piano is
not yet given to any one. Nevertheless we must always stretch
towards the deal across all the more or less dogged and
insufficient forms. It seems to me that Life and Art are only
good for that.
In sincere admiration and friendship,
Your very devoted
F. Liszt
Hanover, October 2nd, 1876
197. To Professor L. A. Zellner, General Secretary of the
Conservatoire of Music in Vienna
[From a copy of a draft by Dr. Mirus in Weimar.]
October 3lSt, 1876
Honored Friend,
Be so very kind as to convey my sincere thanks to Directors
Mosenthal and Herbeck for the friendly communication about the
Beethoven-Monument Concerts in Vienna next March. A few weeks
earlier I beg you to send me the programmes, to which Beethoven's
Concerto in E-flat major, and also as a Finale, in case the
"Hammerclavier" appears admissible, the "Choral Fantasia," will
willingly be added with his old hands by
Your faithful and most obedient
F. Liszt
198. To Hans Richter, Conductor of the Royal Opera in Vienna
[From a copy by Dr. Mirus in Weimar.-Addressee (born 1843 in
Hungary) the renowned conductor, since 1876, of the Bayreuth
Festspiel, and, in addition to his opera work in Vienna,
conductor of the Philharmonic Concerts there and of the Richter-
Concerts in London.]
November 10th, 1876
I thank you most sincerely for your friendly intention of giving
my Beethoven-Cantata in the performance at the Royal Opera House
for the benefit of the monument to Beethoven. By today's post you
will receive the whole printed score, together with a separate
edition of the orchestrated Andante (from the B-flat major Trio),
which shines, like a guiding star, above my insignificant work.
The Cantata was published by Kahnt, Leipzig, in the year 1870,
and was also first brought out in Weimar, then in Pest, on the
occasion of the Beethoven Jubilee Celebration. If, my dear Sir,
the orchestration to some extent pleases you, I should advise you
to take up this alone in your programme on the 15th December.
The remaining movements might meet with many hindrances in
Vienna...and, frankly, I have become altogether somewhat shy as
regards the performance of my compositions. Although I quietly
endure their foregone want of success with prevailing criticism,
it is my duty not to let my friends be injured by it.
Once again hearty thanks for your goodwill and meritorious
conducting of Wagner.
F. Liszt
199. To Breitkopf and Hartel
Dear Sirs,
Your communication to me of the 25th October has been very much
delayed, owing to my change of residence several times during the
past weeks. There is surely no need to assure you that I never
thought of causing any unpleasantness at all to any one--more
especially judicially [The publisher of "Tannhauser" had tried to
make out that Liszt's arrangement of the March was a "piracy."]
In particular my connection with your very honorable house for
more than 30 years has ever been most simple and honest. This is
also shown by my two quoted letters of the 17th February and 3rd
April, 1853, with reference to the publication by your firm of
the "Tannhauser and Lohengrin pieces," whose publication at that
time I was quite "the agreement" with Richard Wagner in
suggesting.
Certainly I could not, without injuring the Tannhauser March, go
all through the original, loading it with shakes, and here and
there adding arpeggios. However, if "connoisseurs" will look
through my transcription in detail, they will easily discover
that neither the variation on the principal theme, nor the
modulating of the second, nor in any manner the whole setting of
the pianoforte arrangement, could be found fault with as a
"piracy."
With much esteem,
Very sincerely yours,
F. Liszt
November 12th, 1876
Budapest (where I stay the whole winter)
200. To Constantin Sander, Music Publisher in Leipzig
[Autograph in possession of M. Alfred Bovet in Valentigney.]
Very honored Sir,
Best thanks for kindly sending me the "collected writings of
Hector Berlioz" and some novelties of your firm. The compositions
of Tschaikowsky interest me. A few of my pupils here play his
Concerto and several of his pieces really capitally. I have also
recommended Riedel to include Tschaikowsky's Symphony in the
programme of the next Tonkunstler-Versammlung.
Otto Reubke's arrangement of the Schubert Quartet [In A minor,
published by Sander (F. E. C. Leuckart).] for one performer on
the pianoforte seems to me well done, though the 3rd bar of the
first Allegro should stand thus,--
[Here, Liszt illustrates with a musical score excerpt]
because in the latter case the important E of the melody cannot
be held on, etc.--
I know the manuscript of an excellent arrangement of Schubert's D
minor Quartet for 2 hands, the author of which, a man of very
high standing, I do not today mention by name. But should you be
inclined to publish this Quartet (arranged for 2 hands on the
P.F.) I will gladly give you further particulars.--
By today's post you receive my last revision of Berlioz's
"Symphonie fantastique." I have added two remarks to the title
which I beg you to notice and adhere to. Thus "Piano Score"--not
"Arrangement."...Then it is absolutely necessary to insert the
whole programme of Berlioz, French and German, in your 2nd
edition (on the 1st page after the title-page). If necessary my
friend Richard Pohl will give you the original French text and
the translation.
With sincere regard, yours in all friendship,
F. Liszt
Budapest, November 15th, 1867
P.S.--I keep the copy of the Witzendosf edition for a while, and
send you today only the Paris edition, together with the last
proof copy of the "Symphonie fantastique."
201. To Breitkopf and Hartel
November 23rd, 1876
Dear Sir and Friend,
Before Herr W. Juranyi handed me your letter I had replied to the
earlier communication from your esteemed house with reference to
the same matter.
Accept once again the assurance that I lay great stress upon the
continuation of our friendly relations, which have now existed
for 36 years. As far as this depends on me it shall never cease.
Your letter contains two proposals:--
1. To recommend Wagner to sign a legal document.
This is entirely opposed to my peaceable practices.
2. To prepare an enlarged version of the transcription of the
"Tannhauser-March."
Acquiescing in this, I will send you the day after tomorrow a
couple of pages of notes [musical] for the purpose of an enlarged
edition. I cannot decide whether these acquire a legal value, but
in any case they prove to you, dear Sir, my sincere readiness.
My "Wagner-Transcriptions," by-the-by, were not in any way a
matter of speculation to me. Appearing at the beginning of the
fifties, when only the Weimar theater had the honor of performing
"Tannhauser," "Lohengrin" and the "Flying Dutchman," such
transcriptions only served as modest propaganda on the inadequate
Piano for the sublime genius of Wagner, whose radiating glory now
and henceforth belongs to the Pride of Germany.
With high esteem most sincerely yours,
F. Liszt
Budapest, November 23rd, 1876
202. To the Music Publisher Constantin Sander
Very honored Sir,
You have rightly guessed that Herr von Keudell's "excellent"
transcription of Schubert's D minor Quartet is finished. It now
only remains for you to write to His Excellency, that you may put
this work in your window.
Reubke has succeeded very well with the B minor Rondo of
Schubert, only, to my thinking, he should add the now
indispensable pedal marks to it. By the same post I send you his
manuscript together with a few remarks, and beg you to thank
Reubke for his friendly dedication, and also to compliment him
especially on the refined and beautifully effective carrying out
of the subject--
[Here appears notated four measures of the theme.]
Yours most truly,
F. Liszt
Budapest, November 29th, 1876
203. To Vera Timanoff
[First Tausig's pupil (also Rubinstein's for a little while),
from 1875 she studied every summer with Liszt as long as he
remained in Weimar. In 1880 she became pianist to the Court at
Weimar.]
Dear Virtuosa,
I telegraphed immediately to you at Laibach, to tell you to come
without ceremony. Your talent is such that it would convert even
the Turks, and I assure you that the audience at the Pest
concerts will be delighted to applaud you. As to the title which
you propose to take, I think it is too modest for you, but there
would be an excess of modesty on my part in saying anything
against it...so let us be reciprocally proud of it and don't let
us advertise it!
A revoir soon,--and always
Your affectionately devoted
F. Liszt
Budapest, November 29th, 1876
Be so kind as to give my most cordial regards to Monsieur and
Madame Bosendorfer.
204. To Otto Reubke at Halle-on-the-Saale
[Now Music Director at the University there]
Dear Herr Reubke,
Your Arrangement [of Schubert's B minor duet for pianoforte
alone] pleases me uncommonly. I beg you to notice the alterations
I have made on the accompanying sheet of music-paper. This
version is not quite so much like the original as yours, but, as
the great thing is to bring out a fortissimo, we may well allow
inaccuracies of this kind in favor of the performer and of
effect.
You are requested to add to your excellent Arrangement of the
Schubert Rondo much pedal and some fingering,
By your warmly attached
F. Liszt
Budapest, November, 1876
205. To Marianne Brandt, Kammersangerin in Berlin
December 3rd, 1876
Dear honored Friend,