acknowledgments to Mr. de Fourcaud, [Musical and Art
Correspondent of the Paris Gaulois, with outspoken Wagner
tendencies and opinions.] and accept the expression of my cordial
affection?
F. Liszt.
Budapest, April 6th, 1885.
In a few days I shall be back at Weimar.
359. To Lina Ramann.
[Weimar] April 27th, 1885.
I am sending you at once, my very dear friend, the volumes of
scores which I have by me in Weimar. [Works of Palestrina's.] The
celebrated Missa Papoe Marcelli is not amongst them, but can
easily be found; the last edition of it by Amelli, Milan, the
editor-in-chief of the Church-Music paper there. I got him to add
a few indications of expression because, according to my opinion,
without such indications any further editions of Palestrina and
Lassus--the two great Cardinals of old Catholic Church-music--
would serve only for reading, and not for actual performances. Of
course no one can fix with absolute certainty the figures to the
basses of Palestrina and Lassus; yet there are determining points
from which one can steer.
The best model of all is and will continue to be--Wagner's
arrangement of Palestrina's "Stabat Mater"--with marks of
expression and plan of the division of the voices into semi-
chorus, solos, and complete chorus.
Wagner made this model arrangement at the time when he was
conductor in Dresden. It appeared 15 years later, published by
Kahnt. It is to be hoped that people will gradually regulate
themselves by this with judgment--and time.
Faithfully yours,
F. Liszt
360. To Camille Saint-Saens
Thank you cordially, my very dear friend, for the concession you
are willing to make to me.
The Society of Musicians, in which I have taken part for 25
years, holds to the principle of producing the works of living
Symphonic composers of all countries. I claim then your superior
and continued share in it, and remain your admiring and attached
friend,
F. Liszt
Weimar, May 8th, 1885
361. To Alexander Siloti
[Well known as one of the most gifted pupils of Liszt, and one of
the first pianists of the present day. Born 1863, and lives now
in Paris]
In Weimar it is wisest to keep oneself negative and passive.
Therefore, dear Siloti, attempt no "Liszt-Verein."
[In consequence of the above letter the Liszt-Verein (Liszt
Society) was not founded in Weimar, as Siloti intended, but in
Leipzig in 1885, where it has flourished brilliantly under the
direction of Professor Martin Krause.]
With thanks, yours truly,
F. Liszt
May, 1885
362. To the Composer J.P. von Kiraly in Eisenstadt
[From a copy by Director Aug. Gollerich in Nuremberg.]
Dear Friend,
Ninety years ago my father was preparing for his duties as book-
keeper to Prince Nikolaus Esterhazy in Eisenstadt. At that time
he often took part, as an amateur, among the violoncellos in the
Prince's frequent Court concerts, under the conductorship of the
happy great master Josef Haydn. My father often told me about his
intercourse with Haydn, and the daily parties he made up with
him. In 1848 I visited the dear, affectionate Father Albach at
the Franciscan monastery of Eisenstadt, and dedicated to him my
Mass for men's voices, which will be brilliantly performed here
very shortly. May the simple, artless genius of Haydn ever rule
over the Eisenstadt Kindergarten conducted by your daughter.
"Joke and earnest!" Bravo, friend! The work honors the master who
knows so well the Muses. In Oedenburg and Eisenstadt surely every
one will subscribe. At the beginning of July I shall send you a
small contribution for the Kindergarten. Perhaps later on I shall
be able to do more; unfortunately I am anything but well off, and
must content myself with a small amount.
F. Liszt
Antwerp, June 5th, 1885
363. To Ferdinand Taborszky, Music Publisher in Budapest
Antwerp, June 8th, 1885
Very dear Friend,
From Weimar, where I shall once more be in ten days' time, you
will receive at the beginning of July some short Hungarian
pianoforte pieces, which I shall orchestrate later on, entitled:
To the memory of
Stephan | Szechenyi
Franz | Deak
Josef | Eotvos
-----------------------
Ladislas | Telek
Michael | Vorosmarti
Alexander | Petofi
The last piece has already been published by Taborszky, but must
have a few more concluding bars in the new edition.
"Mosonyi's Trauerklange" (Mosonyi's funeral music), which you
have already had by you for fifteen years, shall make No. 7. Our
friend Mosonyi, so excellent and full of character, and so pre-
eminent a musician, must also not be forgotten.
The seven numbers make altogether sixty pages of print. All the
new pieces are perfectly ready, written out in manuscript, only
requiring a copyist, whom I cannot find while I am on my journey.
[Liszt's intention to orchestrate the pieces remained
unfulfilled.]
When I send you the manuscripts I will write all further
particulars with regard to the publishing of them.
First of all, dear friend, will you be so kind as to go to my
house with Frau von Fabry? I stupidly forgot there--in the
bedroom, not in the salon--the beautiful and revised copy of a
composition for piano and violin or violoncello, together with
the transcription of the same for pianoforte alone. The title is
"La lugubre Gondola" (the funeral gondola). As though it were a
presentiment, I wrote this elegie in Venice six weeks before
Wagner's death.
Now I should like it to be brought out by Fritzsch (Leipzig),
Wagner's publisher, as soon as I receive it from you in Weimar.
[Published by Frizsch] Hearty greetings to your family.
Ever faithfully yours,
F. Liszt
364. To Alfred Reisenauer
Dear Friend and Art-Comrade,
I beg you to send me here, in manuscript, your capital
orchestration of the 3rd Mephisto-waltz. Don't take the trouble
to alter anything in this manuscript or to write anything new;
send it me just as I have seen it. When it has been copied the
printed edition will follow, with the name of Reisenauer attached
to it.
In all friendship,
F. Liszt
Weimar, September 1st, 1885
365. To the Editor of the "Allgemeine Musikzeitung," Otto
Lessmann, in Charlottenburg
[Was published in the Allgemeine Musikzeitung of September 1885]
Dear Mr. Editor,
With regret, and a firm conviction, I repeat to you in writing
that Theodor Kullak's forgetfulness ought to be made good by his
heirs. Otherwise it would be severely denounced as unfaithfulness
to his position as an artist. A fortune of several millions
gained by music-teaching ought not to remain buried without any
regard to music students. Unless the heirs prefer to found a
Kullak-Scholarship, I consider that they are in duty bound to
endow the four existing musical scholarships--those in the names
of Mozart, Mendelssohn, Meyerbeer, Beethoven--with 30,000 marks
each: total 120,000 marks.
With well-known opinions, mindful of the artist's standing, I am
yours truly,
F. Liszt
Weimar, September 5th, 1885
366. To Casar Cui
Very honored Friend,
The very gracious propagandist, the Countess of Mercy-Argenteau,
has already received a transcription of your brilliant
"Tarentelle." I will send a second copy of it to Bessel
(Petersburg), and shall ask him to give it to you, trusting that
you will not disapprove of the few liberties and amplifications
that I have ventured to make in order to adapt this piece to the
programmes of virtuosi pianists.
Sincere feelings of esteem and attachment.
F. Liszt
Munich, October 18th, 1885
367. To Countess Mercy-Argenteau
Dear admirable Propagandist,
It is your habit to write the most charming letters in the world.
Before receiving your last I had sent you from Weimar my
transcription of Cui's "Tarentelle." If you will condescend to
illustrate it with your fingers it will receive its full meed of
light.
I am sure you will be so kind as to send my note to Cui, who, I
hope, will not be vexed with the varying readings and
amplifications I have ventured to make, with a view of bringing
the pianist still more forward. In this kind of transcription
some sort of distinction is wanted.
Tomorrow evening I shall be in Rome,--Hotel Alibert. Please send
me word there of your safe receipt of the manuscript.
Constant homage, admiring and sincere.
F. Liszt
Innsbruck, October 24th, 1885
368. To Eduard Reuss in Carlsruhe [Pianist, pupil of Liszt's.]
My dear Friend,
Thanks and praise for your capital orchestral arrangement of the
"Concerto pathetique." It appears to me effective, well-
proportioned, and done with a refined and due understanding of
it. I had but little to alter in it; but some additions to the
original are desirable, in order to allow full scope to the piano
virtuoso. ["This 'Concerto Pathetique' seems to me a murderous
piece, with which first-rate virtuosi can make an effect," writes
Liszt, on the 10th November, to Reuss.] Hence, in different
places, there are altogether somewhere about fifty to sixty bars
which I add to your manuscript. The beginning is also to be ten
bars sooner, and the ending to conclude with twenty-two bars
more.
I hear an orchestration of the same "Concerto pathetique" spoken
of, as having been produced in Moscow. I do not know it myself,
and after yours there is no use in it. I received in Weimar,
almost simultaneously with yours, a letter from Joseffy in New
York, begging me to instrumentate the piece. I shall answer him
very soon that your score is already completed, and that he is to
apply to my friend Eduard Reuss if he is disposed to perform the
"Concerto" with orchestra in America. [Joseffy played the
"Concerto Pathetique" in this form from a copy, in the spring of
1886, in New York.]
Enclosed is my recommendation to Hartel with regard to the
publishing. Send it together with your manuscript, of which it is
not necessary to make a copy--only my scribbling of the additions
must be copied out clean and clearly on an extra sheet.--
Probably Hartels will not show themselves disobliging. If they
undertake the publication I should still like to read through the
last proof-sheets.
The most charming recollection remains to me of Carlsruhe.
[Namely, of the "Tonkunstler-Versammlung" of the "Allgemeine
Deutsche Musikverein," from the 27th May to the 1st June, 1885.]
The Grand Duke was so gracious and truly kind!--
Assure your wife of my sincere attachment.
Faithfully yours,
F. Liszt
Hotel Alibert, Rome, November 4th, 1885
369. To Breitkopf and Hartel
[This is Liszt's last autograph letter to the Firm; a later one
on the same subject (on the 16th June, 1886) is only signed by
him]
My dear Sirs,
Although your shop is already saddled with two editions of my
"Concerto pathetique," I recommend you most particularly the
excellent orchestral arrangement of the same piece, [By Eduard
Reuss. It was published by Breitkopf and Hartel.] to which I have
added some bars for more completion, which should also be
included in the possible (?) later piano editions.
The poet and the writer often make alterations. With the
engraving of music this is more difficult, though not entirely to
be put aside.
With esteem,
F. Liszt
Rome, November, 1885
370. To Walter Bache
My very dear Friend,
Certainly your invitation takes precedence of all others. So
choose the day that suits yourself and I will appear. Without
Walter Bache and his long years of self-sacrificing efforts in
the propaganda of my works my visit to London were indeed not to
be thought of.
Do you know your namesake (without the final E), Herr Emil Bach,
Prussian Court-pianist? I enclose herewith a second letter, which
I have answered, as I did the first, that I must not be the
occasion of expense and inconvenience to any one. Orchestral
concerts are expensive everywhere, especially in London.
Consequently I cannot encourage Emil Bach's project, and can only
dissuade him from putting it into execution. Send me word about
this.
Gratefully and faithfully yours,
F. Liszt
Rome, Hotel Alibert, November 17th, 1885
Mr. Stavenhagen, [Now one of the most celebrated pianists] a
pianist and musician of real talent, wants to come out in London,
and is writing to you on this subject.
370a. To Walter Bache
My very dear Friend,
It is fixed then: Thursday, 8th April, Ricevimento [Reception] at
Walter Bache's house. Enclosed is the letter of the Philharmonic
Society, together with the rough copy of my reply which I send
off today. Please observe the postscript:
"If, in the concert at which one of my Symphonic Poems will be
performed, Mr. Walter Bache would play some Pianoforte
composition of mine, that would give me great pleasure. I permit
myself to give this simple hint without the slightest desire of
influencing your programme, which it is for you to fix."--
I am quite of your opinion, dear friend. The accented poaht of my
coming to London is to be present at the "Elizabeth" performance.
It was this that decided my coming, and it is to be hoped it will
be a success. [It was given on the 6th April, 1886, under the
conductorship of Mackenzie. Bache had already given it in London
in 1876.]
I have answered Emil Bach's first and second letters to the
effect that I should not wish to involve any one in expense, and
that consequently I must dissuade him from giving an orchestral
Liszt concert. Beg Littleton personally to make my wish quite
clear to Herr Emil Bach, that his proposed concert should not be
given. .--.
Faithfully yours,
F. Liszt
November 26th, 1885
I have just received a second letter from the "Philharmonic
Society."--To my answer to the first (sent yesterday) I have
nothing to add.
370b. To the Philharmonic Society
Very honored Directors,
Much flattered with your kind intention to admit one of my
"Poemes Symphoniques" on to the programme of the Philharmonic
Society, during my stay in London, I beg you to accept my sincere
thanks.
Will you please choose, according to your own pleasure, the work
which suits you best, and also ask your "conductor," Sir Arthur
Sullivan, from me, to direct it?
For twenty years past I have been quite outside of any work as
orchestral conductor and pianist.
Distinguished consideration and loyal devotion.
F. Liszt
Rome, November 26th, 1885
P.S.--If, in the concert at which one of my Symphonic Poems will
be performed, Mr. Walter Bache would [etc., see quotation in
previous letter].
371. To Countess Mercy-Argenteau
Dear admirable Propagandist,
Herewith is a different rendering of the shake, with an
indication to the left hand of the motive which is then taken up
again in full. This new shake is a little awkward to do, but not
too troublesome. Will you be so kind as to send it to Cui, and
beg him to be my emissary to the editor of the original of Cui's
brilliant "Tarantelle," for the publication of the transcription?
To my regret the smallness of my income obliges me to leave no
stone unturned to make money out of my transcriptions, [La
modicite de man revenu m'oblige a faire fleche, non pas de tout
bois, mais de fagots de mes transcriptions. The literal
translation is, "Obliges me to utilise, not the wood, but the
faggots of my transcriptions," the point of the sentence turning
upon the French idiom "faire fleche de tout bois," which in
English is rendered by a totally different idiom.--Trans.] for
which I am now paid in Germany, Russia, France, at the rate of
from twelve to 1500 marks apiece, for the copyright in all
countries.
Observe that I choose works to be transcribed, and refuse myself
to any other demands. This year, for instance, I have confined
myself to the volume that you condescend to accept--and that you
will, I hope, bring to the light by the diamonds and pearls of
your fingers.
Mr. Bessel therefore only has either to send me 1200 marks in
payment, or else to return me the manuscript without being
ashamed.
Most humble and constant homage.
F. Liszt
Rome, November 21st, 1885
When you have sent me word of the result of the negotiation with
Bessel, I will write my thanks and acknowledgments to Cui.
N.B.--The new shape should be printed as an Ossia, above the old
one.
372. To Camille Saint-Saens
Very honored Confrere and very dear Friend,
I shall certainly be in London the first week in April. With
regard to my visit to Paris I am still very undecided, as I do
not wish to expose myself to discomfiture like that which I had
to go through in '66. [Liszt's scruples were removed; as is well
known, he went to Paris, and found himself indescribably feted
there. The triumphs of his youth were repeated once more in the
evening of his life.]
Everywhere and always I shall be happy and proud of your
collaboration, and remain your sincere admirer and devoted
friend,
F. Liszt
Rome (Hotel Alibert), November 28th, 1885
I shall remain here till the middle of January. This summer Mme.
Montigny [Mme. Montigny-Remaury, an excellent pianist; retired
into private life on her second marriage in Vienna] spoke to me
of her marriage, which has now taken place. M. de Serres gave me
the impression of an honest man who adores his wife. I have no
news of the newly married couple.
There is nothing more witty than your remark on the perpetual
youth of composers in Paris. In your company, dear friend, I
would gladly be of the party, in spite of my seventy-four years.
373. To Eugen d'Albert
[The most important and many-sided of the younger pupils of
Liszt]
Admired, Dear "Albertus Magnus,"
Thank you for the dedication of your worthy, noble, effective
Concerto, which I have again read through with special pleasure,
and heard played by Stavenhagen.
Is no edition of it for two pianofortes come out? I think such
editions are desirable--almost indispensable. They are also much
used now.
Congratulating you on your happiness in becoming a father, with
best regards to your wife,
Yours most truly,
F. Liszt
Rome, December 26th, 1885
370. To Sophie Menter
Kind Diplomatist and Very Dear Friend,
I am writing my most humble thanks to the Grand Duke Constantine
for his gracious invitation, together with the very kindly
intentioned consideration of my age and failing eyesight--and
especially my unfitness for pianoforte playing and orchestral
conducting. This deters me from making any pretensions to a fee;
but you know, dear friend, that my small income would not be
sufficient to pay for lodging and a carriage in Petersburg. From
the 1st to the 12th April I am detained in London. If it is not
too late then, to Petersburg comes
Yours ever most faithfully,
F. Liszt
Rome, December 30th, 1885
In the middle of January I return to Budapest. Friendly greetings
to the New School, whom I will beg to assist me as a veritable
privy council in Petersburg. From the next letter of the Grand
Duke Constantine I await the decision whether my journey to
Petersburg in the middle of April is accepted or not.
375. To Eduard Reuss
My Dear Friend,
Still some slight alterations and amplifications in the "Concerto
pathetique."
The drum rhythm
[Here, Liszt illustrates with a 2-bar musical score excerpt]
appears to me too risky; if the drummer comes down plump on it
he will spoil the whole piece. Let's therefore put
[Here, Liszt illustrates with 3-bar musical score excerpt]
This rhythm will serve us twice as a transition,--and at the end.
Before the end of this month I shall be in Budapest, and at the
beginning of April in London, for the "Elizabeth" performance
(St. James's Hall) under Mackenzie's conducting.
Faithfully yours,
F. Liszt
Rome, January 10th, 1886
376. To Walter Bache
My Very Dear Friend,
They seem determined in London to push me to the Piano.
I cannot consent to this in public, as my seventy-five-year-old
fingers are no longer suited to it, and Bulow, Saint-Satins,
Rubinstein, and you, dear Bache, play my compositions much better
than what is left of my humble self.
Perhaps it would be opportune if friend Hueffer would have the
kindness to let the public know, by a short announcement, that
Liszt only ventures to appear as a grateful visitor, and neither
in London nor anywhere else as a man with an interest in his
fingers.
In all friendship yours,
F. Liszt
Budapest, February 11th, 1886
77. To the Countess Mercy-Argeneau
Very Admirable and Admired One [Tres admirable et admiree],
Your most amiable letter did not reach me without some delay, for
I took about ten days to make the journey from Rome to Budapest.
Madame Falk writes to me also of the concert at Liege, but I fear
I shall only have excuses to offer. On the 20th March I shall be
in Paris, where the "Gran Mass," too much criticised, and even
hissed by some low fellows (at the Pasdeloup concert in '66), is
to make its reappearance at St. Eustache on the 25th March. This
time M. Colonne will conduct it, and I am assured that it will be
better understood now...
Invariable homage,
F. Liszt
Budapest, February 17th, 1886
Very affectionate thanks for the invitation of Argenteau. Whether
I can avail myself of it must remain in abeyance for your very
humble servant, old and enfeebled.
378. To Sophie Menter
Dear and Respected Diplomatist,
Eight days before the 19th April (Russian style) I will be in
Petersburg. I entreat you to make as little ceremony as possible
for my humble self. The two programmes appear to me all right; I
will tell you when I get to Petersburg what my small part in them
will be. On the 19th April, then, "Elizabeth;" on the 23rd a
concert.--Tell the Committee to address their invitation to me,
for the two performances, to "Novello and Co., Music Publishers,
1, Berners Street, London." From the 1st to the 12th April I am
Novello's guest. How does it stand with regard to my lodging in
Petersburg, for which my inadequate means will not suffice?--From
you, dear friend, I shall expect to hear something definite in
London.--However honorable for me were the invitation to Warsaw I
could not comply with it now. My return to Weimar is requisite
before the end of May, on account of the Tonkunstler-Versammlung
at Sondershausen.
Heartily and truly yours,
F. Liszt
Argenteau [Liege], March 18th, 1886
Enclosed are some lines and the photographs that friend Zet
wished for.--To write anything further under the photographs for
the use of the newspaper I consider quite superfluous. Excess
does not suit me at all.--
379. To the Countess Mercy-Argenteau
Westwood House, Syndenham (Near London, Where Everything is
Distant).
Wednesday, April 14th, 1886
Very Dear President and Brave Russophile Propagandist,
The second performance of the "Elizabeth," which is fixed for
next Saturday, at the Crystal Palace, detains me here some days
longer than I had anticipated.
From Tuesday next till Easter Tuesday I have asked for the kind
hospitality of the Lynens (at Antwerp).
There is still some talk of the "Elizabeth" at the Trocadero on
the 30th April. If you were not to be there it would be an
affront to your very humble and admiring old servant,
F. Liszt
This time I shall stay at the Munkacsys' (Avenue Villiers, 53).
(In great haste.)
359. To Alexander Ritter in Meiningen
Antwerp, April 20th, 1886
My Very Dear Friend,
Heartfelt thanks for the dedication. Your "fauler Hans" [Ritter's
Opera, "Der faule Hans"--"Lazy Hans"] has nothing lazy in it.
With its graceful, refined wit it is excellent company for our
dear "Barber of Bagdad," which I shall shortly recommend Baron
Loen (Weimar) to take up again in conjunction with the "fauler
Hans."
Faithfully,
F. Liszt
In the middle of May I shall be back in Weimar. Give my
respectful greetings to your wife.
381. To Frau Amalie von Fabry
My Dear Friend,
I wish my rooms in Budapest to remain closed during my absence.
[Many inquisitive people were fond of going and having a look
round, so that Liszt was obliged to prohibit it.] For the rest,
His Excellency Minister Trefort must give his own commands. There
is no risk of his meeting with any opposition from my humble
self. I shall not pass this summer much quieter than the winter
and the spring. Next week I shall be at the Musical Festival at
Sondershausen; then here again until the 30th June.