spend your holidays at Weimar. A hearty welcome to you.
This year the Tonkunstler-Versammlung, at which I am accustomed
to appear as a superfluous necessity ("le superflu, chose si
necessaire," according to Voltaire), ever since the foundation of
these gatherings twenty years ago with Brendel--takes place at
Zurich from the 9th to the 12th July.
Let us go there together, dear friend, from Weimar. I read by
preference your excellent newspaper, and am making a lively
propaganda for it.
Yours gratefully and cordially,
F. Liszt
Weimar, April 23rd, 1882
295. To Frau Charlotte Blume-Arends
Weimar, April 23rd, 1882.
Dear Madame,
Poetry is your domain. As a pretty French verse has it, "Meme
quand l'oiseau marche, on sent qu'il a des ailes" [Even when it
walks, we feel that a bird has wings].--My most cordial thanks
therefore for the gift which you call prosaic, and my best
regards to your husband. It would be charming if you came to
Weimar again. From the middle of June to the 12th of July remains
here uninterruptedly
Yours very truly,
F. Liszt
296. To Freiherr Hans Von Wolzogen
Much-esteemed Freiherr,
Your "Leitfaden" are a salutary enrichment to musical literature.
They essentially promote the spiritual comprehension of the
great, sublime, unique works of Wagner. The "Leitfaden" are
already considered classical, and rightly so, because, as a
masterly piece of work, they establish a school.
Pray accept my very best thanks for the numerous proofs of
kindness you have given me, to correspond in some degree to which
is the wish of
Yours sincerely,
F. Liszt
Weimar, April 25th, 1882
A cordial and friendly meeting at Parsifal!
297. To Frau Heriette Von Liszt in Vienna
Weimar, May 11th, 1882.
My Dear Cousin,
Our dear Hedwig [The daughter of E. von Liszt, who studied a
whole summer under Liszt in Weimar.] has not been forgotten.
Immediately on arriving here I ordered Overbeck's edifying
drawings for her, "The Seven Sacraments," a serious study of
which, as well as of the commentary, is to be highly recommended.
The work is published at Ratisbon; my bookseller here is wont to
do business in Tempo moderato molto commodo. He kept me waiting,
and I had to go to Belgium (on the 30th of April). I only
received the above-mentioned work here yesterday, and send it you
today together with the "Ave Maria" for Harmonium and Meyer's
excellent "Manual of Universal Knowledge." Eduard and Hedwig may
extend their knowledge by means of it.
My Belgian week--from May 1st to 8th, Brussels and Antwerp--was
of the pleasantest. Enclosed are the moderate articles (on the
performance of "St. Elizabeth") by the Brussels Schelle and
Hanslick [In the "Independance Belge"]--Eduard Fetis, the son of
the renowned and meritorious author of the many-volumed
"Biographic universelle des Musiciens" and of the "Universal
History of Music." Thirty years ago I said to that same Fetis
somewhat arrogantly, nay almost insolently: "My aspirations are
directed not merely towards obtaining articles, but rather
towards acquiring a durable position in the History of Art."
Till the beginning of July will remain in Weimar
Yours most cordially,
F. Liszt
P.S.--The arrival of the "Kaiser Virginia" has just been
announced to me. Please send me the little bill.
298. To Camille Saint-Saens
Very Dear Friend,
I am still quite struck with wonder at your "Predication aux
oiseaux de St. Francois." ["St. Francis preaching to the birds."
Composed by Liszt for pianoforte alone. (Roszavolgyi.)] You use
your organ as an orchestra in an incredible way, as only a great
composer and a great performer, like yourself, could do. The most
proficient organists in all countries have only to take off their
hats to you.
I am sending you by this post a parcel of things of mine for
organ. If you should find an opportunity at Brussels of producing
the Introduction to St. Elizabeth, it would, under your fingers,
have the effect I intended.
Cordial thanks for your visit to Brussels, and ever yours in
admiration and friendship.
F. Liszt
Weimar, May 14th, 1882
299. To Madame Malwine Tardieu
Dear Kind Friend, ["Chere bienveillante"]
The telegram Tardieu-Lynen-Lessmann sent from Aix-la-Chapelle has
given me extreme pleasure. [The Tardieus, the Lynens (Antwerp
friends of Liszt), and Otto Lessmann were present at the Musical
Festival at Aix-la-Chapelle.]
My padrone di casa (Lessmann is this through his paper) are
always most excellent.
Daniela de Bulow, my darling granddaughter, writes how kind you
are, and will come with us shortly to Villa "Fantaisie"
(Bayreuth). [She had accompanied her father, Dr. Hans V. Bulow,
who played (under Wullner's conductorship) Brahms' first
Pianforte Concerto, and Beethoven's 15 Variations (on a theme out
of Eroica).]
At "Parsifal" we shall be 30,000; that will be the best chance of
seeing one another again.
The Opera of Hamlet, by Stadtfeld, [The first performance of the
Opera. The composer, a Wiesbaden man (born 1826), had studied at
the Brussels Conservatoire, and died there in 1853.] written in
transition years (50), and twice given here, not without success,
is one of the best that I know of the Meyerbeer-Donizetti genre.
The Wagner invasion is strangely modifying theatrical
requirements at the present time. It is no longer possible to
write a "Hamlet" according to the style of a Duprez, some
absolute tenor with the famous "ut de boitrine," nor to make the
ghost of Hamlet's father benevolently intervene in order to
effect a Trio or Quartet, even of a pretty musical manufacture.
The distinguished work of Stadtfeld belongs, then, to the
theatrical Past, so rich in oblivion...
As you are so kind as to undertake my books, I will ask you to
send me soon the following works:--
1st, Gevaert--History of Music in ancient times 2 volumes.
(Publisher, Annoot Braekmann, at Ghent.)
2nd, Charles Clement--Michael Angelo, Leonardo da Vinci,
Raphael,--a magnificent volume illustrated by 167 drawings.
Price, bound, 15 francs. (Publisher, Hetzel, Paris.)
3rd, J. D. Lewis--"Bons Mots of the Greeks and Romans": 1 volume
in 16--Charavay library. A thousand pardons for thus using and
abusing your amiable kindness.
I have read with pleasure the article in the "Guide Musical" on
the Festival at Aix-la-Chapelle, and beg you to repeat to the
author [Presumably Monsieur Tarideu.] my sincere friendship.
Till our happy meeting at Bayreuth, at the end of July, farewell.
In affectionate gratitude,
F. Liszt
I add the article from the official paper of Weimar on
Stadtfeld's "Hamlet."
Weimar, June 10th, 1882.
300. To the Honorable Committee of the Allgemeine Deutsche
Musikverein
[Printed in Neue Zeitschrift fur Musik, 1882, No. 23.]
Dear Sirs,
The Allgemeine Deutsche Musikverein confers a high distinction on
me by electing me as its Honorary President.
Since the starting of this Verein, 20 years ago, I have the honor
of feeling that I have been of service to it. Its aim is a worthy
one,--the advancement of music and musicians in an unprejudiced
manner, and in accordance with the spirit of the time. Its ways
have always been known as pure and worthy of recognition,
regardless of opposition and silence.
Let us therefore go boldly forwards on our noble road!
Accept, dear Sirs, my heartiest thanks, together with the
assurance that, ever conscious of my task, I remain, with high
esteem,
Yours most faithfully,
F. Liszt
Rome, [June, 1882]
301. To the Commendatore F.von Jagemann at Freiburg in Breisgau
[From a copy of Liszt's in the possession of Otto Lessmann at
Chalottenburg.]
Dear Sir and Commendatore
You ask me if L. Ramann's biography is "classical"? To belong to
the classical means, first of all, to be dead, then to be to the
world immortal. Neither of these is claimed at present by yours,
F. Liszt
Freiburg, July 6th, 1882
302. To Nicolaus Oesterlein in Vienna
[The Addressee was the able founder and possessor of the Richard
Wagner Museum in Vienna, a unique collection, in its way, of
musical and historical importance. The bibliography mentioned in
the letter came out I (at Breitkopf and Hartel's) shortly before
the first performance of "Parsifal."]
My Dear Sir,
I have already heard the praise of your "Catalogue of a Richard
Wagner Library." It will be a pleasure to me to make its
acquaintance, and while awaiting your kind sending of the work
accept thanks for your accompanying lines,
From yours very truly,
F. Liszt
Bayreuth, July 16th, 1882
303. To Kornel von Abranyi
Bayreuth, July 23rd, 1882
Dear honored Friend,
By the same post you will receive the instrumentation of the "A
magyarok istene" for the Musical Festival at Debreczin..--. I beg
the directors carefully to try over the small instrumentation
before the full rehearsal, with the instruments (plus the
brilliant cymbals), without the vocal parts.
The solo trumpeter must perform his part, as a Hungarian Magnate,
in a noble manner, and not blow the trumpet as though it were a
trade.
I also beg that the directors will be so good as to correct any
chance mistakes there may be in my hastily written and unrevised
manuscript score. Though I trouble myself but little about the
spread of my compositions, yet I do not wish them to be offered
to the public in a mutilated form. As I flatter myself that I
possess a sufficient portion of self-criticism, other criticism
remains only valuable and instructive to me.
Your son Kornel is heartily welcome to me at Bayreuth.
I will discuss here with Vegh [Formerly Vice-president of the
Hungarian Academy of Music.] the ministerial affairs of your
"academic, historical manual." The matter will assuredly be
settled to your satisfaction.
Yours most faithfully,
F. Liszt
Wagner's "Parsifal" far surpasses the master-works which the
theater boasts up to the present time. May the public be educated
up to it.
304. To Freiherr Hans von Wolzogen
My dear Freiherr,
Both at and after yesterday's performance of Wagner's "Parsifal"
it was the universal feeling that about this wonder-work it is
impossible to speak.
It has indeed struck dumb those who were so deeply impressed by
it; its sacred pendulum swings from the sublime to the sublimest.
Yours ever,
F. Liszt
Bayreuth, July 27th, 1882
305. To Madame Malwine Tardieu
Weimar, September 12th, 1882
Dear Madame and Friend,
How I reproach myself for the delay in my written thanks! Those
preceding my letter have not been wanting, and your friendly
kindness touches me deeply. Lassen assures me of your indulgence.
He has lately heard at Brussels "l'hymne a la beaute," [By
Benoit. Performed at the Brussels Musical Festival in August
1882] and (between ourselves) did not think it particularly
beautiful. In this kind of music even the greatest masters have
seldom succeeded in freeing themselves from lukewarm
conventionality. This [conventionality] affords matter for
academical prizes such as have been carried off several times by
Madame Louise Collet of inglorious memory.
Our friend Benoit shall follow his vocation of musical "Rubens".
And Gounod's "Redemption"! Ought one to speak of success or non-
success in a work of that kind? Gounod has always kept the
Catholic religious incentive with a turn towards the sublime. His
"Polyeucte" is a witness for him.
May that abominable quibbler and bloodthirsty "doctrinaire,"
Henry VIII., be the means of a brilliant and lasting success to
St. Saens, who richly deserves it; but in the matter of serious
opera the public has reached that blase point which is explained
in the words of Ronge, a naive German reformer:--
"What we have we don't want any more; and what we would have we
don't quite know." Wagner has known how to want and to act--
gloriously, although and because. [Wagner a su vouloir et
perpetrer--glorieusement, quoique et parce que.] His work is
already becoming immortal.
Let us speak of some modest things, concerning your humble
servant. The three Psalms have been admirably translated into
French by Mr. Lagye; I will write my thanks to him fully, as soon
as I have entirely finished the work of adapting the text to the
music. For this it is necessary to modify and rewrite about
fifteen pages, a dozen of which are ready. I shall send the whole
to Kahnt, the publisher, on Sunday next, and shall inform Lagye,
in whose debt I am, of the remainder of the arrangements.
His translations appear to me really excellent, very carefully
made, and prosodically well suited to the music. I only regret to
have to give him so much trouble, but I hope that in the end he
will be satisfied with me. He shall have the second copy of my
"Lieder;" if he succeeds as well in putting them into French as
he has done with the three Psalms, they may with advantage make
their way in Belgium and still farther.
All my articles of musical criticism, lately published by L.
Ramann under the title of "Essays" (Breitkopf and Hartel,
Leipzig), were written in French. Three or four appeared long ago
in the Debats and the Constitutionnel. The most extensive of
these, on Berlioz's "Harold Symphony," was to have been put into
a celebrated review in Paris, but in the fifties it was
considered too eulogistic, and I refused any curtailments for
Berlioz...Consequently this article has only appeared in a German
translation (Neue Zeitschrift fur Musik, Leipzig). What has
become of the original French manuscripts of my complete articles
I don't in the least know. The introduction to Hartel's for which
Mr. Kufferath [Moritz Kufferath, a writer on music, reviewer of
the "Guide musical" (Schott), and translator of many of Wagner's
writings, wanted to translate Liszt's Essays into French.] asks
will not serve his end at all. The only person who could give him
some particulars would be Mademoiselle L. Ramann, my biographer,
who has been for many years past on the look-out for everything
relative to my prose and music. She is the directress of a
Pianoforte School in the Durerplatz at Nuremberg (Bavaria).
Please thank Kufferath for his kind interest, and assure him
that, if I abstain from writing to the firm of Hartel, it is from
no want of willingness on my part. A thousand friendly regards to
your husband, and ever cordial and devoted expressions to
yourself.
F. Liszt
I stay here till the beginning of October.
306. To Otto Lessmann
My Very Dear Friend,
It is only through your kindness that I learn of Hellmesberger's
intention to perform shortly in Vienna a new Mass of my
composition. Hellmesberger has indeed always been very well
disposed towards me, and has frequently conducted the Hungarian
Coronation-Mass in the Hofkapelle, and several of my longer works
at concerts; but it would be rather difficult for him to conduct
a new Mass, because I have not composed one. I should think it
must be the "Missa choralis" (with Organ accompaniment only)...
Here is the list of my Masses, and the order in which they were
composed:--
1. For men's voices (with Organ), Anno 48--Editio nova at
Hartel's.
2. The Gran Mass.
3. Missa choralis (with Organ) at Kahnt's.
4. Hungarian Coronation-Mass (performed at the coronation in
Buda).
5. Requiem for men's voices (with Organ). Rome, latter half of
the sixties. Published by Kahnt.
Perhaps I shall yet write a Requiem at special command. [A
requiem, composed on the death of the Emperor Maximilian of
Mexico, still exists in manuscript.] I beg you to give my thanks
to the friendly publisher of the Symphonic Poem "From the cradle
to the grave," for sending me the pianoforte version of this
composition. Before the end of October I will send Bock the
completed score.
A short piece from Parsifal, "Solemn March to the Holy Grail,"
will reach Schott today at Mainz.
Three weeks longer remains here Yours ever faithfully,
F. Liszt
Weimar, September 16th, 1882,
Ever heartily welcome in Weimar; that is to say, if the visit
suits you as Allegro commodo. It would be dreadful to me to
incommode my friends.
307. To Otto Lessmann
Dear Friend,
If one wants to be just, he must see that he speaks only with
high respect of Hans von Bulow. His knowledge, ability,
experience are astounding, and border on the fabulous. Especially
has he, by long years of study, so thoroughly steeped himself in
the understanding of Beethoven, that it seems scarcely possible
for any one else to approach near him in that respect. One must
read his commentary on the pianoforte works of Beethoven (Cotta's
edition), and hear his interpretations of them--(what other
virtuoso could have ventured to play the 5 last Sonatas of
Beethoven before the public in one evening?), and follow Bulow's
conducting in the orchestral works of Beethoven. To set one's
back up against such remarkable deeds as these, I call feeble or
malicious nonsense.
Yours ever in friendship,
F. Liszt
Weimar, September 20th, 1882.
308. To Frau Charlotte Blume-Arends
Weimar, September 27th, 1882.
My dear friend,
I thank you again for a beautiful, kind gift--"The Oberammergau
Passion Play," described by Franz Schoberl, a clergyman in
Laibstadt. The little book has been composed with reverence, and
gives an exact description of the Oberammergau production, which
seems to me especially deserving of notice on account of the
agreement between the Old Testament representations--beginning
from Adam and Eve to the Brazen Serpent and further--and their
fulfilment in the facts of the gospel. This agreement is no
simple peasant's invention, but indeed a significant, most
touching parallel, thought out by cultured priests, familiar with
the Christian tradition. The grouping, and the mute performance
of the life-like Old Testament representations and of the
Crucifixion of Christ in Oberammergau, deserve full praise, in
contrast to the music, which is beneath criticism, and very much
spoiled the whole performance for me. And even such esteemed and
highly honored Catholic musicians and divines as F. Witt, Haberl,
etc., protest against such inane musical stuff and rubbish.
Thank you once more, and with heartfelt greetings to you and
yours,
Yours most truly,
F. Liszt
309. To Otto Lessmann
Dear Friend,
At the Musical Festival which I had the honor of conducting some
twenty-five years ago at Aix-la-Chapelle, Hiller, the friend of
my young days in Paris, took up quite a critical attitude against
the conductor and his compositions.
I took no particular notice of his behavior, but I heard that it
displeased many people, who made no secret of it to him. I was
also told that at one of the rehearsals Hiller did not exactly
leave of his own accord. As I was engaged at the conductor's desk
I did not observe the occasion of his leaving, and contented
myself with reading, some days later, his witty report of the
Aix-la-Chapelle Musical Festival in the Cologne paper. My
excellent friend, Freiherr Hans von Bronsart, replied to Hiller's
article with no less wit and with a different opinion. Unhappily
the musical chronicle is overflowing with unresolved discords.
To you, dear friend, I am ever harmoniously,
F. Liszt
Weimar, October 14th, 1882
310. To Otto Lessmann
[Weimar,] November 4th, 1882
Dear Friend,
I shall be delighted if the Tannhauser-Songs [Composed by
Lessmann, transcribed by Liszt for piano, and published by Barth,
Berlin (now Junne, Leipzig)] give you satisfaction. Find a
pianist of the fair sex, or the other sex, in Berlin, who will
set about his task well of playing these songs in public. As far
as I can tell I should think they would bring the player
applause.
I will answer your two questions at once.
Of my "continuously written autobiography" I have as yet heard
nothing. Publishers have frequently asked me to write memoirs,
but I put it off with the excuse that it was more than enough for
me to live through my life, without transcribing it to paper. If
I were married I could certainly dictate somewhat of it to my
wife now and then. But I am glad to keep out of the bothers of
penmanship, which I dislike.
The dramatic performance of the Elizabeth in Cologne is to take
place after my return from Budapest, next April or May. (I have
promised to be present at it.) Yesterday evening I wrote a couple
of lines of thanks and commendation to Herr Duysen, for Fraulein
Spiring, whom you met here [Lives now in Jena]. She is a pianist
and teacher deserving of recommendation, and is trying to
establish herself in Berlin, and I commend her to your good
graces.
With thanks, yours ever,
F. Liszt
Rubinstein is coming to see me next Tuesday after the Leipzig
performance of the "Maccabees."
311. To Madame Malwine Tardieu
Weimar, November 6th, 1882
Dear Friendly One [Chere bienveillante],
I am still detained here, partly on account of a stupid
indisposition,--nothing serious, but disagreeably prolonged. I
make a rule of never bothering my head about my health, and I beg
my friends never to trouble about it.
Thank you for sending the 3rd volume of the correspondence of
George Sand. The long letter of 20 pages to Mazzini, dated the
23rd May, '52, appears to me to be a chef d'oeuvre of judgment
and foresight. In 1852 few political men were placed in a
sufficiently elevated position to rule the fluctuations of
socialism and to understand its necessary value. Mazzini himself
was mistaken in this, as well as in regard to the importance of
the acquisition of universal suffrage. Forgive me for wandering
off thus into political matters, of which I don't understand
anything, and of which it does not concern me to talk. But I will
just quote to you a mot which in 1842 was rather widely spread on
the sly in Petersburg. A fair lady of my acquaintance told me
that the Emperor Nicholas had said to her of me, "As to his hair
and his political opinions, they displease me." I begged the same
lady to transmit my reply, which was as follows: His Majesty has
every right in the world to judge me as seemeth well to him,
nevertheless I venture to beg him not to think that I am an
idiot. Now it would be idiocy on my part to proclaim political
opinions. The Emperor shall know them when he deigns to put
300,000 soldiers at my disposal.--
To return to the letters of George Sand. Those addressed in '52
to Prince Jerome Bonaparte and to Louis Napoleon about the
pardoning of several democrats are in exquisite taste; the genius
of a great heart appears in them. Allow me to beg for the little
account of the books that you have been so kind as to send me,
dear Madame Tardieu, and please add to it the price of the
subscription to the Bien public. I suppose you only took it for
one quarter, and I will not go on with it, not having time to
read half the papers which my profession and my tastes would lead
me to peruse. Besides this my eyes, without having exactly
anything the matter with them, do not any longer adapt themselves
either to reading or writing without reprieve; and by evening I
often feel extremely tired...
Has the Independance Belge spoken of a most interesting and
superb volume,
"The Correspondence and Musical Works of Constantin Huygens"
(17th century), published by Jonckbloet and Land, professors at
the University of Leyden, magnificently edited by Brill at
Leyden?
The work is worthy of notice.
To the kind remarks which the Indpendance has inserted on the
concert of the 23rd October with the Liszt programme, [A Liszt-
concert in the Weimar theater in celebration of his birthday.] I
add the observation that the real title of my "Transcription" of
the "Rakoczy March" should be--"Paraphrase symphonique." It has
more than double the number of pages of Berlioz's well-known one,
and was written before his. From delicacy of feeling for my
illustrious friend I delayed the publication of it until after
his death; for he had dedicated to me his orchestral version of
the Rakoczy, for which, however, one of my previous
transcriptions served him, chiefly for the harmonisation, which
differs, as is well known, from the rudimentary chords usually
employed in the performances of the Tsiganes and other little
orchestras on the same lines. Without any vanity I simply
intimate the fact, which any musician can verify for himself.