and arrived again at Fischplatz, No. 4., early on Friday. The
roof is already on the new Music Academy building, Radialstrasse,
and is said to look very well. In November of this year I shall
inhabit it.
My friends in Budapest, Abranyi, Mihalovich, Count Albert
Apponyi, Count Geza Zichy and several others, are strongly and
heartily attached to me. Archbishop Haynald only comes to Pest in
the beginning of January. I was not caught in the other base
spider's web. "Honesty is the best policy!"
Bosendorfer called on me yesterday and told me of the intention
of the Vienna Friends of Music to perform the "Gran Mass" at the
end of March. If Bosendorfer's intimations are correct I am not
disinclined to conduct this performance, although for many years
I have refused all such invitations--and only a little while ago
to London, Aix-la-Chapelle, Berlin, etc. I should be rejoiced if
at last the "Gran Mass" had a fair hearing in Vienna.
A hearty greeting to Frau Generalissima from thy faithfully
devoted
F. Liszt
Looking forward to our speedy meeting at the end of March.
[It did not come to pass. Councillor E. von Liszt died on the 8th
February, 1879. "It is for me a constant sorrow at the heart that
Eduard is no longer with us," wrote Liszt to the widow a year
after Eduard's death.]
241. To Ludwig Bosendorfer
Dear and honored Friend,
I take your friendly hint by enclosing these lines to
Hellmesberger; please to give them to him. During many years, in
Vienna, Weimar and Budapest, Hellmesberger has always shown
himself kindly disposed towards me. In ingratitude there is,
alas, only too much rivalry; the matter grows contemptible, and
contemptible people like to find amusement in it. My nature
absolutely forbids me such despicable behavior. Count Geza Zichy
tells me, dear friend, that he expects you shortly. Perhaps you
will come with Hellmesberger to our Kunstlerabend [Artists'
Evening] here on the 7th March, when we shall be honored by the
fine composer and splendid virtuoso, my excellent friend, Saint-
Saens.
Count Zichy writes you the rest about the Klausenburg journey.
A hearty greeting to your wife.
Truly devoted,
F. Liszt
Budapest, February 19th, 1879
I have just received Zellner's letter. Give him my hearty thanks
for it.
Sophie Menter went to Warsaw the day before yesterday, and gives
a concert there tomorrow with her husband Popper,--and afterwards
in St. Petersburg,
242. To Adolf von Henselt
Very dear Friend,
Hast thou still pleasure in beautiful, distinguished virtuoso
piano-playing? If so then go and hear the eminent pianiste Frau
Menter. She brings thee the hearty greeting of thy old friend
F. Liszt
Budapest, February, 1879
243. To Marie Lipsius
My dear Friend,
Hearty thanks for your dear lines of sympathy. The loss of my
cousin and most intimate friend Eduard von Liszt is a deep grief
to me. You wish for the dates of the Budapest and Vienna
concerts; for this I was obliged to ask the help of my excellent
friend Kornel Abranyi. He knows these and other things far better
than I. For ten years he edited the Hungarian musical paper, and
now officiates as General Secretary and Professor at the Royal
Academy of Music in Budapest, the Director being Franz Erkel, and
my humble self the President.
Here is the result of Abranyi's researches, by which it is
evident that I have neither been idle nor used anything for my
own benefit.
At the same time let it be mentioned to the praiseworthy and
amiable authoress of "Musikalische Studienkopfe," La Mara, that
since the end of '47 I have not earned a farthing by pianoforte
playing, teaching or conducting. All this rather cost me time and
money.
Since the year '47 I only played in public twice in Rome--'63 and
'64--at the gracious command of Pope Pius IX.; often in Budapest
later on, twice in Vienna, once in Pressburg and Oedenburg (my
native town) as a child of the country. Nowhere else. May my poor
pianoforte performing at last come to an end! It has long been a
torment to me. Therefore--Amen!--
On the occasion of the celebration of their Majesties' silver
wedding I shall have the honor, in accordance with the invitation
of the Gesellschaft der Musikfreunde [Society of friends of
music,] of conducting the "Gran Mass" in Vienna on the 8th April
(the Tuesday before Good Friday). Performances of this Mass
(after the first at Gran in '56) took place in Pest, Prague,
Vienna, later in Leipzig and Amsterdam, in '66 in Paris, and
again in Amsterdam, as also in '77 in Weimar and Dusseldorf, the
latter under the conductorship of Ratzenberger. This Mass has
also been heard in America.
In conclusion also the following memoranda for La Mara: Without a
written engagement, yet indeed morally bound, since '71 I spend
several months of every winter in Budapest, from April to July in
Weimar, then the autumn months, and more, chiefly in the Villa
d'Este near Rome, where His Eminence Cardinal Hohenlohe affords
me the kindest reception. There I wrote the "Christmas-tree," the
"Via Crucis," the "Responses to the Seven Sacraments," etc. These
three works are quite ready, and indeed beautifully copied, as
well as the "Cantico del Sole" of the marvellous St. Francis of
Assisi. Their publication troubles me little, for they are not
suitable to the usual musical customs and trade...
So why bargain with them?
I have only fragmentarily sketched the Oratorio "Stanislaus," but
wish to finish it, which will take at least a year.
My "Technical Piano-Exercises"--improperly advertised in the
papers as "Pianoforte-School"--still require a few months for
revision and arrangement with fingering, etc., but could come out
next year if I have no hindrances.
Accept, my dear friend, my sincere and grateful attachment.
F. Liszt
Budapest, March 2nd, 1879
The middle of April I shall be in Weimar again
244. To Otto Lessmann
My dear Friend,
The enclosed programme proves to you that in spite of all fatigue
my invalided piano-playing still contributes in a small degree to
the relief of the sufferers of Szegedin.
[According to the programme, Liszt played Schubert's "Funeral
March"; "To the memory of Petofi," and "Cantique d'Amour" of his
own composition, as well as, with Mihalovich, Schubert's
Fantaisie (C major) for two pianofortes.]
To assist in other concerts than in this country would not become
me, and I have already declined many invitations of that sort
with excuses and thanks.
For the celebrations preceding the silver wedding of their
Majesties I shall have the honor of conducting the "Gran Mass" in
Vienna on the 8th April ("Society of the friends of music").
To our speedy meeting in Weimar, and ever yours in all
friendship,
F. Liszt
Budapest, March 23rd, 1879
245. To Von Trefort, the Hungarian Minister of Instruction
[From a copy in the possession of K. v. Abranyi.]
Monsieur le Ministre,
I learn through M. Abranyi that Your Excellency continues to show
your solicitude for the Royal Academy of Music at Budapest. The
work of this institution is to serve Art in Hungary, and thus to
help, in this connection, in making your patriotic, grand
intentions fruitful. My colleagues at the Academy of Music are of
one mind and devoted in their activity.
I permit myself to recommend once more particularly to your
kindness M. Abranyi. He perseveres in his meritorious career as
writer, theorist, composer, translator, professor, and Magyar
character of the noblest stamp. The evidence of his merits will
assuredly be recognised in many languages by a heap of laudatory
phrases...after his death. A brilliant obituary is assured to
Abranyi, but I hope that Your Excellency will accord him the
modest satisfaction that he claims while he is alive.
I have the honor to be, Monsieur le Ministre, your very humble
and very devoted servant,
F. Liszt
Weimar, May 12, 1879
246. To Walter Bache
Very honored, dear Friend,
Hearty thanks for your letter and for letting me see Manns's
Commentary on the "Hunnenschlacht." Please give to Manns the
accompanying short explanation of the idea of my "Symphonic
Poem." In spite of my spending several hours in letter-writing
almost every day, it is impossible for me to be regarded as a
punctual correspondent. Intelligent and kindly-disposed persons
will excuse me, and the many others I can scarcely entertain any
longer, because I don't require any such entertainment! [Play
upon the words "wirthschaften" (to manage) and "Wirthschaft"
(housekeeping, or a public house]
Next Whit-week "Tonkunstler-Versammlung" in Wiesbaden. On the 5th
June Bulow conducts the first concert there, at which Bronsart's
beautiful and valuable "Fruhlings-Fantasie," Billow's music to
Shakespeare's "Julius Caesar," and my "Faust Symphony" will be
performed. Bulow kindly plays the piano the same evening, and has
chosen Tschaikowsky's Concerto. Besides this his favorite pupil
Schwarz produces several "Etudes transcendantes." [By Liszt] Till
the middle of July I stay here. Then Bayreuth, and at the end of
August Villa d'Este. To Frau Jessie Hillebrand and her husband
[who were just then in London] give heartfelt and faithful
devotion, with respectful thanks, from
Theirs in old friendship,
F. Liszt
Weimar, May 25th, 1879
[The explanation, accompanying this letter, of the idea of the
"Hunnenschlacht" is as follows:]
Kaulbach's world-renowned picture presents two battles--the one
on earth, the other in the air, according to the legend that
warriors, after their death, continue fighting incessantly as
spirits. In the middle of the picture appears the Cross and its
mystic light; on this my "Symphonic Poem" is founded. The chorale
"Crux fidelis," which is gradually developed, illustrates the
idea of the final victory of Christianity in its effectual love
to God and man.
247. To Ludmilla Schestakoff
Madame,
Your illustrious brother Glinka is one of the well-chosen
admirations of my youth. His genius has been known to me ever
since the year 1842; and at my last concert in St. Petersburg (in
'43) I played the "Marche tscherkesse" from "Russlan and
Ludmilla," and a brilliant transcription by Vollweiler of several
themes from the same Opera.
Glinka remains the Patriarch-prophet of music in Russia.
With my sincere thanks to you for sending me the beautiful score
of "Russlan," carefully edited and well arranged by Messrs.
Rimsky-Korsakoff, Balakireff and Liadoff [The score was published
in 1879.], I beg you to accept, Madame, the expression of very
respectful homage of your very humble servant,
F. Liszt
Weimar, June 14th, 1879
248. To Alexander Borodin, Caesar Cui, Anatolie Liadoff and
Nicolas Rimsky-Korsakoff in St. Petersburg
Very Honored Gentlemen,
You have done a work of serious value under the form of a jest.
Your "Paraphrases" charm me: nothing can be more ingenious than
these 24 Variations and the 16 little pieces upon the favorite
and obligato subject
[Here, Liszt writes a 4-bar musical score excerpt of the main
theme of the 24 Variations]
In short, here we have an admirable compendium of the science of
harmony, of counterpoint, of rhythms, of figuration, and of what
in German is called "The Theory of Form" (Formenlehre)! I shall
gladly suggest to the teachers of composition at all the
Conservatoires in Europe and America to adopt your "Paraphrases"
as a practical guide in their teaching. From the very first page,
the Variations II. and III. are true gems; and not less the other
numbers continuously, up to the grotesque Fugue and the "Cortege"
which crown the whole work gloriously. Thanks for this dainty
feast, gentlemen, and I beg that when any one of you brings out a
new composition he will let me know it. My most lively, my
highest and most sympathising esteem has for many years been
assured to you; pray accept also the expression of my sincere
devotion.
F. Liszt
Weimar, June 15th, 1879
249. To Capellmeister Professor Jos. Bohm in Vienna
Honored Herr Vereinsleiter [Conductor of a Verein (Society)], I
follow your edifying endeavors in the Cacilien-Verein with
sincere interest. It seems singular that they should stumble on
obstacles. What is in question? Innovations?...By no means. The
noblest Conservatism remains the essence and aim of the Cacilien-
Verein; it merely demands a serious study and proper performances
of the most dignified classical authors in Church music,
Palestrina and Lassus at the head. Nothing can reasonably be
objected to this, and you may confidently maintain, dear sir,
that "recognition must take place and the good cause prove
victorious."
I beg you will put down my name as a subscriber to your "Vienna
journal for Catholic Church music," [Professor Bohm was at that
time the editor of it, and had invited subscriptions for a
monument to the musical historian Ambros.] and have the numbers
which have already appeared addressed to me in Weimar.
Be so good as to employ the enclosed hundred florins for the
gravestone of my highly esteemed friend the late A. W. Ambros.
Yours with all esteem,
F. Lizst
Weimar, June 22nd, 1879
250. To Vera Timanoff
A hearty welcome to you, Illustrissima, and pray tell M. Sauret
that I shall be delighted to make closer acquaintance with him. I
greatly admired his superb talent in Vienna.--You know my rule
never to bother anyone, and least of all artistes; but if M.
Sauret should feel inclined to play something at the Hofgartnerei
this morning, it would give me great pleasure.
In any case I invite him to come (at eleven) with you, and I
shall request you to fulfil your promise of captivating us by
your performance (not by dancing, but by your superior fingering)
of Rubinstein's Ballet, "Feramors."
Yours affectionately,
F. Liszt
Sunday Morning [Summer, 1879]
251. To Adolf von Henselt
Very dear friend,
Our meeting once more is a cordial pleasure to me. According to
your last letter, you purposed arriving on the 19th inst. Why
delay? Still, arrange it entirely according to your own
convenience. Only allow me to make one observation: on Wednesday
evening, 23rd July, I am invited by somebody where a refusal
would be wrong and stupid. But if you were favorably inclined,
our extra three-handed whist might be quite well arranged at the
house of this somebody.
[Henselt was in Weimar the 19th and 20th July. "We played
together, not on the piano, but certainly half a dozen games of
whist, of which I fortunately lost five at least," wrote Liszt to
Fraulein von Schorn.]
Your version with the grace note [passing note?] B flat pleases
me best.
[Figure: musical example, two bars]
[The two bars of music refer to C. M, v. Weber's "Episodic
Thought," which Henselt had transcribed for piano and amplified;
he published it in March, 1879, dedicating it to "his friend
Franz Liszt." Henselt at first meditated calling it "Hymn of
Love." But Liszt found the term rather too highflown for this
favorite melody. "Episodic thought is more suitable," he wrote,
and so that title remained.]
In expectation of seeing you, and in faithful and admiring
friendship,
Weimar, July 12th, 1879
F. Liszt
252. To Dr. Siegmund Lebert
Dear friend,
I keep a long-standing promise today, by sending you the 3 last
Concerti by Beethoven arranged for 2 pianos. This arrangement is
distinctly different from all other existing arrangements of the
same Concerti for 2 pianos. Till now it has been the habit of
arrangers to content themselves with setting the Tutti (or
better, the orchestral parts) for the 2nd piano only, leaving the
1st to rest entirely or to support the 2nd according to
inclination. By this a grievous disproportion in the effect of
the orchestra parts is induced, let alone the fact that some of
the arrangements are exceedingly scanty.
In my opinion this sort of proceeding belongs to the past and is
hackneyed. What good is there it the first player sitting there
at all, if he does not know how to take part in the whole? Ergo,
I had to occupy him almost constantly.
As a matter of course I have not altered a single note of
Beethoven's original version (of the so-called Soli parts), and
have only added a tolerable amount of indications for pedal and
fingering, for the convenience of pupils and teachers.
2 identical copies (printed on 4 lines--excepting the Cadenzas)
are necessary for the performance of this arrangement.
It may prove useful and effective, as well in studing at the
"homely fireside" and in musical schools, as also in performances
in small concerts (where there is no orchestra), in
Conservatoires, at examination: and drawing-room performances.
The chief title stands on the first page; on the 2 following ones
are remarks for the printer, which I leave to your masterly hand
as a pedagogue, dear friend, to render more distinct and to
complete. With special regard I remain always yours sincerely,
F. Liszt
Rome, September 25th, 1879
I have great pleasure in the perusal of the 2nd edition of
Weitzmann's "History of Pianoforte Playing."
253. To Professor Bassani in Venice
[A well-known teacher of the pianoforte in Venice, and friend of
Liszt's]
Much-esteemed Colleague,
You are so forcibly exceptional a person, and prove this by truly
uncommon musical and poetical works.
Mademoiselle Giuli has already written to tell you the lively
pleasure I have had in hearing her play one of your compositions
remarkably well; several others, for piano or for the voice,
deserve a similar success, and will obtain it as soon as they are
known.
Pray accept, dear Monsieur Bassani, the very sincere esteem and
sympathy which is offered to you, together with best wishes for
the extension and widespread fame of your "Armonie dell' Anima,"
by
F. Liszt
(Villa d'Este) October 28th, 1879
254. To the Composer Anatolie Liadoff in St. Petersburg
Dear Sir,
All your compositions bear the stamp of distinction and of good
taste. This one is charmed to find again in the "Arabesques" you
are kind enough to send me. Pray accept my thanks and the
expression of my very sincere and devoted esteem.
F. Liszt
(Villa d'Este,) December 25th, 1879.
255. To Frau Reisenauer-Pauly in Rome
[The mother of Liszt's pupil, Alfred Reisenauer]
Dear Madame,
My best thanks for your kind notice of the Roman concert of
January 23rd. It seems to me that "populations necessiteuses"
[distressed population] would have been better on the programme
than "populations affamees" [starving population] of Silesia.
Mendelssohn's excellent Concerti always hold their ground without
risk, especially since Berlioz's witty article (published nearly
30 years ago), according to which they are occasionally performed
by the pianos alone, without further trouble on the part of the
pianist.
While taking affectionate part in the success achieved by your
son Alfred, whose talents are duly valued by me, I remain, dear
Madame,
Yours truly,
F. Liszt
Budapest, January 30th, 1880.
My cordial greetings to Madame Helbig.
256. To Professor Klindworth in Moscow
Much-esteemed dear Friend,
My sincere thanks for your masterly arrangement of Chopin's
Concerto. [The Concerto in F minor; score, orchestral parts and
arrangement for 2 pianos published by Jurgenson (Moscow) and Bock
(Berlin).] You showed me the first movement of it some years ago
in Munich. I consider the modifications in the instrumentation
and in the piano part successful. As much transparency as
possible should be preserved in the melodious parts.
I conclude that you will impress on M. Jurgenson the necessity of
not giving way to the ancient careless abuses of publishers in
the 2-piano edition. Thus four lines and two identical copses are
requisite for performance.
As leader and head of the now numerous Chopin-Editors, your
excellent Jurgenson-Edition authorises you to advance a proudly
modest "Sic vos non vobis."
Au revoir this summer in Hall, dear Klindworth. Give my kind
regards to your wife.
Yours faithfully,
F. Liszt
Budapest, February 16th, 1880
The last corrected proofsheets of Tschaikowsky's Polonaise
dedicated to you leave by today's post addressed to Jurgenson.
257. To the Kammervirtuoso Professor Hermann Scholtz in Dresden
[Pianist and composer (born 1845, pupil of Bulow and
Rheinberger), is especially famous as an admirable player of
Chopin.]
Much-esteemed Sir and Friend,
I have sincere pleasure in praising and recommending your Chopin-
Edition. To Klindworth belongs the merit of having preceded you
by his intelligent and practical work. Your publisher, Peters,
might be advised in the next thousand copies he issues of the
Chopin-Edition signed Hermann Scholtz:--
A. Not to fill up the first volume with Waltzes. Why make this
paltry concession to the trifling requirements of the drawing-
room? Chopin's Waltzes are certainly charming, elegant and full
of invention...still his Polonaises and Mazurkas have a far
higher importance.
Chopin is the bewitching musical genius in which the heroically
chivalrous Polish nationality finds expression. This chief
characteristic ought to be distinctly emphasised in classifying
his works. So, first volume: Polonaises, Mazurkas and the
Fantasia upon Polish motives.
B. The clear notation of the melodies (indicated by tails turned
upwards!), as in the Klindworth-Edition, should be maintained.
C. In works having an orchestral accompaniment an arrangement of
that accompaniment for a second piano ought to be printed under
the Solo part of the first piano.
(The brains of most pianists become addled by the usual editions,
where the essentially melodious and rhythmical character, nay
often even the correct bass, is wanting.)
D. This is again addressed to Mr. Peters. He ought not to
withhold from the audience your admirable version of the
Recitative in the Adagio of the F minor Concerto for Piano Solo,
and should add these few pages to your Chopin-Edition.
Yours faithfully,
F. Liszt
Weimar, April 29th, 1880
255. To Sophie Menter
Dear Friend,
The signature of the telegram front Rome announced to me your
return to "Hungaria." I met friend Bosendorfer the day before
yesterday in Frankfort: we began at once of course to talk about
Sophie Menter and her new thickly-leaved Petersburg laurels.
Similar plants will bloom for you everywhere according to the
capacity of the soil, and will always shade your artistic
peregrinations through Europe and America.
Give my kindest regards to Neuschul, from yours cordially,
F. Liszt
Weimar, May 26th, 1880
259. To Jules de Zarembski
Dear Friend,
You have made an excellent choice; and M. Gevaert also. The
Brussels Conservatoire keeps in the first ranks: its very active
and intelligent Director will take good care not to allow it to
degenerate or to sink into idleness; on the contrary, he gives
and will give it an entirely progressive impulse. You will have
to see that your piano class does honor to the Conservatoire, to
its head and to your own name. This will take some years to do;
therefore, persevere.
Your three studies are most uncommon, remarkable and successful.
The second, in F minor, might be signed Chopin. This exceedingly
high praise does not imply that you have in any way been guilty
of plagiarism, for in your works original power is manifest.
Perhaps there may be a slight falling-off towards the middle of
the third Study; still this does not disturb the total good
impression.
When we are chatting together again about music I will explain to
you viva voce my antiquated ideas concerning the whys and
wherefores of matters belonging to our profession.
I am sending Simon at Berlin at once the good copy of your three
Studies. He has sent me the rather bad one of your Mazurkas for
two performers. These I played over with the Baroness von
Meyendorff yesterday evening. She begs me to tell you our very
favorable opinion of these charming productions of your Polish
muse.
I am telling Simon that publishers cannot do better than bring
out works of value such as Zarembski writes.
Pray, dear friend, present the sincere regards to Mme. Zarembska
of your cordially attached
F. Liszt
Weimar, June 1st, 1880
I am just sending off the copies of the Studies and Mazurkas to
Simon.
260. To Professor Bassani