goodness,--all the more because you exercise them unobtrusively,
as it were in the shade, without any flourish of trumpets and
drums.
Do not scold me for having divided the gift you confided to me
for the sufferers from the inundations at Raab. 300 florins were
amply sufficient for them, and the other 300 florins of your 50
pounds sterling were well employed for the children's gardens (an
admirable institution of Frobel's), of which Madame Tisza, the
wife of the President of Council of the Ministers of Hungary, is
the president in this country.
I send you herewith Madame Tisza's thanks (in Hungarian, with a
German translation), and the receipt of Count Thun,--supreme
Count (an ancient title still preserved,--"Obergespan" in German)
of the Committee of Raab.
I preferred to send your gift in the name of Madame E. de
Schwartz, and not to mix up your nom de plume of Elpis Melena
with it. Pardon me this innocent bit of arbitrariness.
Shall I see you again, my very dear friend, this summer at
Weimar? I hope so, and I remain sempper ubique
Your grateful and attached
F. Liszt
From the middle of April until August I shall stay at Weimar,
with the exception of some excursions of a few days' duration.
Please let me know a couple of weeks beforehand when your
friendly visit will take place.
330. To Baroness Wrangel in St. Petersburg
[This lady had begged Liszt for a contribution to an album which
it was intended to present to Henselt on the occasion of a
festival in honor of his having been 25 years General Music
Inspector of the Imperial Schools in St. Petersburg, Moscow, etc.
This is Liszt's answer.]
Madame la Baronne,
For thirty years past I have entirely abstained from adding to
collections of autographs and of writing my name in any albums
whatever. Nevertheless I willingly make an exception today, while
thanking you for your kind words, and begging you to transmit to
my honored friend A. Henselt the short copy enclosed herewith.
A renowned diplomatist once said to me, "To princes one should
offer only flowers gathered from their own gardens."
Henselt belongs to the princes, and will accept the souvenir of
one of the most beautiful flowers of his own noble gardening.
Very humble respects.
F. Liszt
Weimar, May 20th, 1883
[Liszt adds a postscript to this letter where he writes a musical
score excerpt of the Larghetto form Henselt's Concerto:]
"Albumblatt" for Henselt.
Motive of the wonderful Larghetto in A. Henselt's Concerto.
Larghetto.
[Here, Liszt illustrates with a musical score excerpt of the main
theme of the Larghetto.]
For 40 years the composer's admiring and truly attached
Weimar, May, 1883
F. Liszt
331. To Mason and Hamlin in Boston
[Printed in Gottschalg's "Urania"]
My dear Sirs,
For what a magnificent Organ I have to thank your kindness! It is
worthy of all praise and admiration! Even average players could
attain much success on it.--I should gladly have kept this
splendid instrument in my own house, but, alas! there is not
sufficient room for it. It is now looking grand in the large room
of the Orchestral School here, an institution of importance, the
excellent director of which is Herr Professor and
Hofcapellmeister K. Mueller-Hartung--he has published some
beautiful Organ Sonatas and plays them no less beautifully.--On
the evening of its opening two renowned organists played upon it,
the Court organist A. W. Gottschalg (the publisher of the
considerable Organ repertoire, etc., etc.), and the town organist
B. Sulze, who has attained a great name through many valuable
compositions and transcriptions.--I shall probably have a visit
this summer from Prof. Dr. Naumann from Jena, Walter Bache from
London, and Saint-Saens from Paris, who, according to my opinion,
continues to be the most eminent and extraordinary king of
organists. I shall not fail to beg the three above-mentioned
virtuosi to make a closer acquaintance with your organ. For the
rest it shall not be misused and shall remain closed to ordinary
players.
Accept, etc.,
F. Liszt
Weimar, June 12th, 1883
332. To Madame Malwine Tardieu
Chere Bienveillante,
Thank you for the very agreeable news of the resumption and
continuation of the performances of "Henry VIII." No one wishes
Saint-Saens, more than I do, all the success that he grandly
deserves, both in the theater and in concerts.
In the matter of concerts, those of the Meiningen orchestra,
under Bulow's conductorship, are astonishing, and very
instructive for the due comprehension of the works and the
rendering of them. I send you a copy of some lines written to a
friend; these will give you my impression,--one which you would
share if you heard these concerts of the highest artistic
lineage.--The parallel between the "Sigurd" of Reyer [Performed
for the first time on 7th January, 1884, at the Theater de la
Monnaie, Brussels.] and the "Siegfried" of Wagner is ingeniously
traced by your husband, and renders good preparatory service to
the success of the performances of "Sigurd." As to the
"Nibelungen" tetralogy of Wagner--it shines with an immortal
glory. In the course of the winter season the Weimar theater will
give Gevaert's "Quentin Durward." Lassen will take the utmost
pains in directing the study and performance of it. To my regret
I shall not be able to be present at the premiere here, as I am
obliged to be at Budapest before the middle of January.
Please give Tardieu the cordial love of
Your much attached
F. Liszt
Weimar, December 14th, 1883
Yet another young pianist, but one of the best kind,--M. Siloti,
a Russian by birth, and of good education. He was said to be the
best pupil of Nicholas Rubinstein before he came to work with me.
He obtained a marked success at Leipzig lately, which he will
continue next week at Antwerp. In spite of my aversion to letters
of introduction, I am giving him a couple of words for the
Lynens, and I recommend him to your kind attention.
333. To Casar Cui
Very Honored Friend,
It is well known in various countries in what high esteem I hold
your works. As I am convinced that the "Suite" of which you speak
will prove itself worthy of your preceding compositions, I feel
that I am honored by the dedication, and thank you for it with
gratitude. Your musical style is raised far above ordinary
phraseology; you do not cultivate the convenient and barren field
of the commonplace...Doubtless form in Art is necessary to the
expression of ideas and sentiments; it must be adequate, supple,
free, now energetic, now graceful, delicate; sometimes even
subtle and complex, but always to the exclusion of the ancient
remains of decrepit formalism.
At Meiningen, where Bulow's admirable conducting is working
wonders of rhythm and nuances with the orchestra, I lately had
the honor of a conversation with the Grand Duke Constantine
Constantinowitch, on the actual development of music in Russia
and of the well-known capacity of its courageous promoters. His
Imperial Highness justly appreciates their serious worth, their
noble character and intense originality; consequently, dear
Monsieur Cui, the Grand Duke accords full praise to your talents
and deserts. I take pleasure in repeating this to you, at the
same time renewing to you the assurance of my very sincere
regard.
F. Liszt
Weimar, December 30th, 1883
A young Russian pianist, M. Siloti, who has been brought to a
high state of virtuosity by the lessons and example of Nicholas
Rubinstein, is now gaining a real success in Germany. When he
comes to Petersburg I recommend him to your kindness.
334. To Otto Lessmann
Weimar, January l0th, 1884
Dear Friend,
The remarkable concerts of the Meiningen Court orchestra led me
to the attempt to write a "Bulow March." I send you herewith a
Preface to this, and also an article (in French), in the form of
a letter, on my impressions in Meiningen. Will you insert both
these in your paper? Also kindly translate the French letter.
[It follows here after the Preface in the original. A German
translation of it appeared in Lessmann's Allgemeine Musikzeitung
on the 18th January, 1884, under the title of "Letter to a
friend."]
Faithfully yours,
F. Liszt
I shall stay ten days to a fortnight longer in Weimar on account
of the severe illness of Achilles [Liszt's servant].
Preface to the Bulow March:
For thirty years Hans von Bulow has been expressing and actively
furthering everything that is noble, right, high-minded and free-
minded in the regions of creative Art. As virtuoso, teacher,
conductor, commentator, propagandist--indeed even sometimes as a
humorous journalist--Bulow remains the Chief of musical progress,
with the initiative born in and belonging to him by the grace of
God, with an impassioned perseverance, incessantly striving
heroically after the Ideal, and attaining the utmost possible.
His conducting of the Meiningen Court orchestra is a fresh proof
of this. To that same orchestra this "Bulow March" is dedicated
in high esteem for their model symphonic performances, by
F. Liszt
Weimar, January, 1884
Meiningen, December, 1883
At seven o'clock people were at the rehearsal of the Beethoven
concert. Under Bulow's conducting the Meiningen orchestra
accomplishes wonders. Nowhere is there to be found such
intelligence in different works; precision in the performance
with the most correct and subtle rhythmic and dynamic nuances.
The fact of the opera having been abolished at Meiningen by the
Duke some twenty years ago is most favorable to the concerts. In
this way the orchestra has time to have a fair number of partial
and full rehearsals without too much fatigue, as the opera work
has been done away with. Bulow is almost as lavish of rehearsals
as Berlioz would have been if he had had the means to be...The
result is admirable and in certain respects matchless, not
excepting the Paris Conservatoire and other celebrated concert-
institutions. The little Meiningen phalanx, thanks to its present
General, is in advance of the largest battalions. It is said that
Rubinstein and some others have expressed themselves
disapprovingly about some of the unusual tempi and nuances of
Bulow, but to my thinking their criticism is devoid of
foundation...
Besides the programme of the Beethoven concert, in the morning
there was an extra seance of the orchestra for the performance of
the Overtures to "King Lear" (Berlioz) and to the
"Meistersinger," my march "Vom Fels zum Meer," the "Ideales," and
Brahms' Variations on a theme of Haydn. Always the same and
complete understanding in the ensemble and the details of the
scores,--the same vigor, energy, refinement, accuracy, relief,
vitality and superior characteristics in the interpretation.
An extraordinary thing! the most difficult Quartet of Beethoven,
one which on account of its complications never figures on any
programme, the grand fugue, Op. 133, is played by the Meiningen
orchestra with a perfect ensemble. On a previous occasion I also
heard at Meiningen Bach's celebrated Chaconne played in unison
with a real virtuosity by some ten violins.
F. Liszt
335. To Felix Mottl, Hofcapellmeister at Carlsruhe
[The addressee, born in 1856, has been since 1880 at Carlsruhe,
where he was recently appointed to the post of Court opera
conductor, and since 1886 one of the conductors of the Bayreuth
Festivals. He is one of the most important conductors of the
present day, and has also come forward as a composer.]
My Very Dear Friend,
You have done a noble artistic deed in reinstating Cornelius's
charming Opera "The Barber of Bagdad." I hardly know of any other
comic opera of so much refined humor and spirit. This champagne
has the real sparkle and great worth.
The one-act arrangement seems to me the most propitious. As in
Carlsruhe so elsewhere it will make its way. Write about this to
Hans Richter. "The Barber of Bagdad" might perhaps, in one act,
become a stock-opera in Vienna, and then return once more to
Weimar, where, at the first performance long ago, they behaved so
ill about it.
Friendly thanks, and yours ever,
F. Liszt
Budapest, February 8th, 1884
336. To Frau Hofrathin Henriette von Liszt
My Very Dear Cousin,
This time I was not able to have a thorough rest in Vienna. Such
an extra [luxury] is hardly my lot anywhere. My life is one
continued fatigue. Some one once asked the celebrated Catholic
champion Arnauld (the Jansenist) why he did not allow himself
some rest. "We have eternity for that," answered he.
I hear for the first time through you of a cousin or niece, Mary
Liszt, a concert giver. Concert givers have frequently misused
our name by playing under it in provincial towns. A pianist in
Constantinople, Herr Listmann, apologised to me for having
knocked off the second syllable of his name. On this account he
received a valuable present from the then Sultan Abdul Medgid. .-
-.
Farewell till our next meeting in Easter week, dear cousin, from
yours ever affectionately,
F. Liszt
Budapest, February 8th, 1884
One, and even two, letters from the Princess in the month of
January have been lost.
337. To Camille Saint-Saens.
Very Dear and Most Excellent Friend,
Before I received your kind letter I had intimated to Baron
Podmaniczki, the Intendant of the theater of Budapest, that he
ought to esteem it an honor to give your Henry VIII.--a frightful
personage in history, but brilliantly illustrated by your
beautiful music [an Opera by Saint-Satins]. The inauguration of
the new theater will take place at the end of September with the
St. Etienne, a new Opera by Erkel, the popular dramatic composer
par excellence in Hungary. His Huvtyadi Laszlo was performed 250
times, and his "Bankban" more than 100, without ever over-
reaching the mark. Two other works are promised after the St.
Etienne, so that your Henry VIII. cannot appear till '85, for it
still has to be translated into Hungarian.
I spoke about it in Vienna to his Excellency Baron Hoffmann, the
Intendant of the Imperial Theaters. He told me that your work is
going to be given shortly at Prague, and that he will send his
own conductor, M. Jahn, there, in order that it may be better
looked after. I beg that you will send the piano score of Henry
VIII. at once to M. le directeur Jahn (very influential), with a
few polite lines; also to do the same to M. Erkel Sandor (son of
the composer), conductor of the National Opera of Budapest.
Address to him "Theater National," Budapest.
Very much vexed to be unable to make a place for one of your
grand works--such as your superb Mass or some Poeme symphonique--
in the programme of our next Tonkunstler-Versammlung at Weimar
from the 23rd to the 28th May. Sauret is going to play your third
Concerto, and I will send you this overloaded programme. If you
came to hear it, it would be a very great pleasure to
Your admiringly and cordially attached
F. Liszt
Weimar, April 29th, 1884
338. To Otto Lessmann
[Weimar,] May 7th, 1884
Dear Friend,
The motto of my Oratorio "Stanislaus" is "Religion and
Fatherland." In the fragment (Orchestral Interlude) which will be
given here at the next Tonkunstler-Versammlung the whole meaning
of the work is made plain. [This remained unfinished, as is well
known.]
Farewell till our speedy meeting.
Ever faithfully yours,
F. Liszt
339. To Camille Saint-Saens
Very dear Friend and Confrere,
I refused to suspect that there could be any ill-will against you
at Budapest. Nevertheless I think it is strange and most unjust
that your dramatic and symphonic works have not yet taken the
place which is due to them in Hungary. I have explained myself
clearly about them several times, but the theater menage, and
even that of the Philharmonic Concerts, is formed outside of my
influence. They are quite ready to accord me a general
consideration, with the exception of arranging particular cases
otherwise than I wished. For many people doubtful profits and
manoeuvres contrary to their dignity exercise an irresistible
attraction. The idea of honor seems to them too troublesome.
I shall not desist in the least from my conscientious propaganda
of your 'Henry VIII' and other of your works. The new theater at
Budapest will open (at the end of September) with the 'Roi St.
Etienne', [King Stephen] a grand Hungarian Opera by Erkel
(senior). After that Baron Podmaniczky, the Intendant, has
promised to give a new Opera by Goldmark, also Hungarian in
subject, and another by Delibes. The "Henry VIII." should appear
somewhere between these three. Its performance at Prague will
determine that at Vienna, which will be soon, I hope. His
Excellency Baron Hoffmann, the Intendant of the Imperial Theaters
in Vienna, told me that he would send his artistic and musical
conductor (at the Opera), M. Jahn, to Prague. It depends on the
opinion of this person whether "Henry VIII." is given at Vienna.
When you come again to Weimar you are sure to be received there
with sympathy, gratitude and sincere admiration by your old
attached friend,
F. Liszt
Weimar, May 18th, 1884
Thanks for the photograph. You will find it well placed here near
a charming bust. The Court and town of Weimar keep their
affectionate and kind sentiments towards you.
340. To Walter Bache
Dear honored Friend,
I am very gladly in accord with all your doings, and only protest
against the sacrifice you have in the noblest manner made for my
severely criticised works.
The English edition of the "Elizabeth Legend" with your sister's
translation delights me.
Tell Mr. Alfred Littleton he can send me the proof-sheets (bound)
of the piano edition, and the score, to Weimar. Along with this
the 4 four-hand pieces (published by Kahnt) might also be
published. Would it be well perhaps to begin with these? Arrange
about this as you like with Mr. Littleton. I have only to correct
the proofs, which will quickly follow.
If you think it would do, I shall also add to the English edition
a little Preface, in the form of a letter--addressed to Walter
Bache.
By the same post today I send you the complete enormous programme
of the Tonkunstler-Versammlung (going through 25 years). This
evening they begin with the acting performance of the "Elizabeth
Legend."
Auf Wiedersehen! [To our next meeting!]
I shall stay at Bayreuth from July 5th till the middle of August,
and then come back to Weimar.
Faithfully and gratefully,
F. Liszt
Weimar, May 23rd, 1884
I have told Kahnt all that concerns himself in your letter.
341. To the Composer Carl Navratil in Prague
Dear Herr Navtatil,
I write in haste to tell you that Smetana's [Bohemian composer
and pianist (1824-84).] death has moved me deeply. He was a
genius. More in my next. In haste.
F. Liszt
Weimar, May 30th, 1884
342. To Baron Friedrich Podmaniczky, Intendant of the Hungarian
Opera in Budapest
[From a rough copy in Liszt's own handwriting in the possession
of Abranyi]
[1884]
Monsieur le Baron,
I have begged my friend M. de Mihalovich to lay before you a
proposition, the fate of which depends on the committee that
directs the orders for the sculptures of the new National
Hungarian Theater.
In my humble opinion it would be unjust, and even ungrateful, to
exclude from them the likenesses of two composers of high
distinction, the late Mosonyi and Franz Doppler.
A charming Opera of Mosonyi's of elevated taste, "Szep Ilonka"
["The fair Helen": its subject, like that of his other Opera
"Almos," was taken from Hungarian history], has been performed
here some dozen times with success, and was then consigned to
oblivion in the oubliettes of the administration. Another greater
dramatic work by Mosonyi, "Almos," has remained in manuscript,
although Baron Orczy, your predecessor as Intendant, had some
idea of producing it.
The whole of the brave musical activity of Mosonyi at Budapest is
most honorable and meritorious, as much by his teaching as by his
numerous compositions of Church music, orchestral music, and
piano music. Many of his Hungarian pieces remain classical, as
opposed to the current wares, supposed to be of this same kind,
more frequently heard (at the present time in Vienna).
Franz Doppler has left the best possible remembrance of his rare
talents and qualities at Budapest, where during many years he
fulfilled the duties of conductor to the theater, and shone by
his virtuosity (very celebrated in Europe) as a flute player--an
instrument which Frederick the Great condescended to use.
Doppler's Operas "Beniowszky" and "Ilka" were favorably received;
and up to the present time "Ilka" is the only Hungarian opera
admitted to the repertoire of several theaters in Germany.
Besides this Doppler has also written two acts of the "Elizabeth"
[The opera "Elizabeth," composed by Franz Erkel and Doppler, was
performed at the National Theater in 1857], by which Her Majesty
the Queen of Hungary was entertained at the theater of Budapest.
I venture then, Monsieur le Baron, to recommend you to see about
the desirability of placing two fine reliefs of Mosonyi and
Doppler [The reliefs adorn the vestibule of the opera house.] in
a suitable position in the new theater in the Radialstrasse, and
beg you to accept the expression of my high esteem and sincere
devotion.
F. Liszt
343. To Freiherr Hans von Wolzogen
Dear Freiherr,
My admiration remains unlimited for the sublime genius of Wagner.
What blissful creative power and influence has he not, ever
active from "Tannhauser" to the "Ring des Nibelungen" and the
marvellous "Parsifal."--
The Art of our century finds its foundation and glory therein.
The little that I have written in letters about Wagner is at the
service of the public.
With highest esteem yours most truly,
F. Liszt
Weimar, June 18th, 1884
To our friendly meeting in Bayreuth in the middle of July.
344. To the Concert-Singer Auguste Gotze
[Daughter of Professor Franz Gotze, and--as one of the first
singing mistresses of the present day--the inheritor of his
school; she is also a talented singer, reciter, and dramatic
poetess. She lives at Leipzig.]
Dear Friend,
In honor of you I will willingly endeavor to add the melodramatic
accompaniment to Felix Dahn's poem. ["Die Mette von Marienburg"
[The Matins of Marienburg] Liszt's intention remained, alas,
unfulfilled.] This short work will only require a few hours but I
can seldom get any free hours for working...All sorts of
interruptions keep me from writing.
Hearty greetings to your charming colleague, Fraulein von
Kotzebue.
High esteem from your friendly
F. Liszt
Weimar, June 22nd, 1884.
345 To Kornel von Abranyi
Dear, excellent Friend,
The best person to make a suitable instrumentation of the
"Rheinweinliedes" [Rhine-wine-song] for the Miskolcz Musical
Festival will be our friend C. Huber. [Carl Huber, conductor of
the Hungarian Provincial Singers' Union, died 1885.] This chorus
for men's voices was written in Berlin in the year '42, and
performed there several times, and afterwards in Leipzig also,
about which a "querelle d'Allermand" [groundless quarrel] soon
reached me in Paris.--
To bear and forbear is ever our life's task.
As I have marked on the accompanying copy, on pages 3, 5, 7,
instead of D-flat, G-flat in the 2nd tenor, the C, F
[Here, Liszt illustrates with a musical score excerpt showing a
cadence in B-flat]
is to remain.
The Gazette de Hongrie [Gazette of Hungary], and still more the
Budapester Tageblatt [Budapest daily paper], in which your son
Kornel is a collaborator, gave me the tidings of the election
doings in the cara patria.
Without in the least taking part in politics, yet I take that
interest in them which it behoves every not uneducated man to do;
and I rejoice that Kornel Abranyi, junior, is taking his seat in
Parliament.
Heartily, faithfully yours,
F. Liszt
Weimar, July 1st, 1884
From the 12th July till the middle of August I shall be at
Bayreuth.
Tell Huber to do the instrumentation of the "Rheinweinlied" quite
freely, according to his own will and what he thinks best,
without a too careful attention to the printed piano
accompaniment.
345A. To Madame Malwine Tardieu
[Autograph in possession of Constance Bache]
Dear kind Friend,