would be a very satisfactory one, as many of my friends took a
lively interest in it, and although I have not the least doubt
that you would be anxious to give "Faust" its full value in
Frankfort, yet you see from the above lines of Berlioz that I, to
my regret, dare not risk any further application to him in this
matter. "Faust," moreover, will appear in score this year in
Paris, and I sent Berlioz his manuscript back a short time ago.
Should you be disposed to perform something or other of Berlioz's
in Frankfort, I can recommend you, first of all, most warmly:-
The two Overtures to "Cellini" and the "Carnaval Romain";
Two numbers out of the Symphony "Romeo and Juliet" -the feast at
Capulet's house and the Queen Mab (Scherzo);
And two Marches from the "Harold" Symphony and the "Symphonie
Fantastique"-the March of the Pilgrims and the "Marche de
Supplice" ["March on the Way to Execution"].
But it will be necessary for you to have several rehearsals--and
indeed separate rehearsals for the quartet, and separate
rehearsals for the wind instruments.
The effect of Berlioz's works can only be uncommonly good when
the performance of them is satisfactory.
They are equally unsuited to the ordinary worthy theater and
concert maker, because they require a higher artistic standpoint
from the musician's side.
I looked through Kittl's [1809-68. Director of the Prague
Conservatorium.] opera some years ago in a piano arrangement,
and, between ourselves, I do not think the work will last. Kittl
is a personal friend of mine, and I should have been glad to be
able to give his work here; but...nevertheless...etc., etc.
Raff's "King Alfred" is a much more successful and important
work; and, without wishing to injure Kittl, there is in Raff
quite other musical stuff and grist. [Steckt doch in Raff ein
ganz anderer musikalischer Kern and Kerl: untranslatable play on
words.]
During your last stay in Weymar I spoke to you of Vesque's new
opera "Der lustige Rath." Various local circumstances have
delayed the performance at Vienna of this really pretty, nicely
worked out opera. The mise-en-scene does not require any special
efforts; the piece only requires a somewhat piquant and not
unskillful soprano singer. Altogether the opera appears to me to
be written in a charming style, not too superficially
conservative, and to be one of the best among the new operas
mezzo-carattere. In case you still have time and are not
indisposed to give the opera in Frankfort, I can send you the
score. You would do Vesque an essential service if you could give
the opera soon, and would have friendly relations with him, for
Vesque is a cultivated, intelligent, and first-rate man. [Vesque
von Puttlingen (pseudonym, Hoven), 1803-83, Councillor of the
Austrian Foreign Ministry, composer of songs and operas.] There
are not too many such!
Yours in all friendship,
F. Liszt
Weimar, February 27th, 1853
98. To Heinrich Brockhaus, Bookseller in Leipzig
[Published in a German translation: La Mara, "Letters of
Musicians during Five Centuries, vol. ii., 1887.]
My dear Mr. Brockhaus,
In thanking you for your kind mention of the notice joined to my
name in the Conversations Lexikon, I wish above all things not to
go beyond the limits of most scrupulous delicacy, which in these
sorts of things have always appeared to me all the more desirable
to maintain because they are so very often passed. Consequently I
will only allow myself to point out three misstatements of fact
in the article about myself: firstly, my supposed title of ex-St.
Simonien; secondly, my supposed journey to America; thirdly, my
diploma of the University of Konigsberg, which my biographer
arbitrarily changes into a diploma of Doctor of Music, which was
not the one given to me.--
I have never had the honor of belonging to the association, or,
to put it better, to the religious and political family of St.
Simonisme. Notwithstanding my personal sympathy with this or that
member of it, my zeal has been but little beyond that which
Heine, Boerne, and twenty others whose names are in the
Conversations Lexikon showed at the same period, and they limited
themselves to following pretty often the eloquent preachings of
the Salle Taitbout. Among my numerous tailors' bills, I can
certify that there is not one to be found of a bleu-barbot coat
[The dress of the St. Simonists.]; and, as I have mentioned
Heine, I ought to add that my fervor was far short of his, for I
never thought of wishing to "Commune through space with the
Child-lake Father," by correspondence or dedication, as he has
done!--
Further, I can also assure you that my practical course of the
geography of Europe has not extended beyond it, and that the four
or five other parts of the globe are entirely unknown to me. And
when you come to see me at Weymar I can show you, amongst other
diplomas, that of the University of Konigsberg, in virtue of
which I have the honor to belong, exceptionally, to the class of
Doctors in Philosophy, an honor for which I have always been
peculiarly grateful to this illustrious University.
As to the summary judgment passed upon my person and my works in
this article, you will easily understand that I only accept it as
transitory and with due reserve, much obliged though I am besides
to the author for his kind intentions. After having attained,
according to my biographer, the first aim of my youth,--that of
being called the Paganini of the Piano,-it seems to me it is
natural that I should seriously have the ambition of bearing my
own name, and that I should count somewhat on the results of a
desire and of persevering work, so far as to hope that in one of
the later editions of the Conversations Lexikon I may have a
place more in accordance with my aims. [The article in question,
which was published at a time when Liszt's greater works had
partly not yet been written, and partly were not yet known in the
wider circles, speaks of poverty of invention, and considers his
compositions rather those of a virtuoso than of imaginative
significance.]
Accept, my dear Mr. Brockhaus, the expression of my most sincere
regard, and believe me
Yours very truly,
F. Liszt
Weymar March 22nd, 1853
99. To Dr. Franz Brendel in Leipzig
[Autograph of the letter to Brendel in the possession of Frau Dr.
Riedel in Leipzig.--Brendel (born 1811, died November 25th, 1868,
in Leipzig) rendered great services to the New German (i.e., the
Wagner-Liszt) musical tendencies, as a writer on music
(Geschichte der Musik, History of Music), and as editor of the
Neue Zeitschrift fur Musik (founded by R. Schumann). He also,
together with Liszt, originated the "Allgemeine Deutsche
Musikverein" (the "German Universal Musical Union"), and was its
president up to his death.]
Dear Friend,
A little trip to Gotha, where the Duke had invited me to be
present at the performance of his opera "Casilda" the day before
yesterday, must bear the blame of my delay in writing to you.
After duly thinking over and considering your letter, I must tell
you first and foremost my exact opinion with regard to the
immediate appearance of the proposed paper. In my opinion at
least two or three months are requisite to establish the
necessary relations with the chief co-operators, and to give due
weight to the whole undertaking. Without complete agreement as to
means and aims we should compromise rather than help the matter.
We must have the positive agreement and assurance of Semper,
Stahr, Hettner, Hauenschild, and others (among whom Vischer of
Tübingen must be sure not to be forgotten), before the first
number appears. We have to struggle for a far higher and more
difficult end than, for instance, the Unterhallungen am
hausliehen Herd [Entertainments at Home] or the Fliegende Blatter
fur Musik. [Fly-leaves for Music.] The most important step for us
is the very first, at the house door; and if we do not weigh this
step with due reflection we shall run a great risk of winning
only imaginary future subscribers for the Art Work of the Future,
and of seeing our best wishes for its feasibility shipwrecked.
Whether also the title Kunstwerk der Zukunft [Art Work of the
Future.] should be employed, or what other definition should
be the axis of our united efforts in the opening number, I will
put on one side for the present. The full discussion of this and
other things I will keep for your next visit to Weymar. Raff's
opera is announced for this day fortnight (Sunday, April 17th).
If it is agreeable to you to come here sooner, you will be most
welcome at any moment. This time and every time that you come to
Weymar, I beg you to stay with me, both for your own convenience
and mine.
Förster's exact address I will send you very soon, although I
conclude that letters addressed Herr Hofrath Ernst Forster would
be safely delivered by the post office. Stahr is the best person
to give you information about Herr von Hauenschild (Max Waldau--
not Count, as far as I know), and Hettner is a Professor in Jena.
Further, it is my opinion that you had better not send your
communications to these gentlemen until we have settled some of
the chief points in this matter.
I shall undertake a security of four hundred thalers on this
proposed agreement between us, in return for a receipt from the
management which you will give me. I cannot at present hold out
the prospect of further support; yet it is possible that I may
succeed in getting three to five hundred thalers annually, under
certain conditions, for which there is no personal ground
whatever (and which I hinted to you in our last conversation in
Leipzig), for the pages of The Present and Future.
Remember me kindly to your wife, and be assured of the entire
willingness of
Yours truly,
F. Liszt
Weymar, April 3rd, 1853
100. To Dr. Franz Brendel
Dear Friend,
Good advice is seldom cheap, and I must honestly confess that in
my present very fluctuating circumstances I am not rich enough to
help you efficaciously by lending you a helping hand, however
much I might wish to do so. Stahr's refusal is very much to be
regretted, for, in order to attain your end and to influence the
world of literature, you positively require more literary men of
great note to join you. Next to the money question the formation
of the nucleus of management is the most important matter in this
undertaking. However zealous and self-sacrificing you and
Schlonbach [Arnold Schlonbach, journalist, died long ago.] may be
in devoting your talents and powers to the paper, yet I doubt
whether you will be able to keep it going unless you get some
further capable men of talent as co-operators. This brings us,
however, again to the money question, which I unfortunately am
not in a position to solve. To be obliged to give it up after six
months would be a far worse fate than not to begin it at all.
Therefore, before everything, the moral guarantee must be
forthcoming for its continuance, and for the constantly
increasing spread of the paper, and these depend principally on
the guarantee which the first five or six co-operators warrant.
You remark quite truly that, if Wagner would take an interest in
the matter, it would be of the greatest help. Perhaps he might be
persuaded to do so, and I will willingly start the subject to
him.
The title, size (as well as the limits of the paper, and cover),
and fortnightly issue give me thorough satisfaction, and
according to my opinion nothing more need be altered in these
three particulars. A weekly issue has its advantages--
nevertheless I have always thought that two papers per month are
on the whole better than four. But whether it is possible and
advisable to make the first start as early as July I much
question. "Tout vient a point a qui sait attendre," says the
French proverb. It certainly is important to seize the right
moment, and that must be decided by you. Let me only beg you not
to give too much weight to passing and local influences, and only
to come forward when you can hold your ground with quiet,
deliberate courage. Retreat belongs to the enemy. For us it is
"Gradatim vincimus."
The matter of the security remains as promised. If you should not
be ready by July, October would be just as favorable, if not more
so--only, in Heaven's name, no backward step when once started!--
Some articles of provision and ammunition seem to me to be
absolutely necessary before you begin. Two months are a short
time to get them ready, and I scarcely think it will be possible
for you to be ready for action by July. Have you written yet to
Wagner? You must not expect much from Hettner without Stahr. But,
through Hinrichs or Franz, Hauenschild might perhaps be won over.
I advise you to stick fast to Schwind. One of his last pictures,
"Beethoven's Fancy," bought by the King of Greece, points to him
above all others as the representative of painting in your paper.
May I beg you also to send a few lines to Kurnberger to tell him
that I have given you his manuscript? It would be discourteous if
I were to leave him without any answer, and, as I cannot say
anything further to him, we should save useless circumlocution if
you would be so good as to correspond with him direct.
Incidentally you would also save me another letter about nothing,
if you would write to Lenz (on the subject of this conference).
Whilst I am talking with you, Senora Pepita Oliva is doing her
favorite tricks at the theater, which are more prized and rated
higher than they deserve, so I am assured. "J'aime mieux y croire
qu'y aller voir." [I would rather take it for granted than go and
see it.] The brothers Wieniawski have also been here some days.
The violinist is a virtuoso of importance,--that is to say, in
the ordinary, but not quite correct, sense of this word; for
Virtuoso comes from Virtu, and should neither be so falsified nor
so misapplied.
Yours very truly,
F. Liszt
April 30th, 1853.
101. To Louis Kohler
Dear Friend,
You have again given me a real pleasure by your article on the
Romanesca (in the last numbers of the Signale), for which I would
gladly requite you. The best way to do this would be by a
performance of "Lohengrin"; unfortunately there is very little
prospect of that. Still it is not impossible that between the
19th and 26th of this month there may be a performance of this
one work by royal command; and, as you are already so kindly
disposed towards me, and have promised me to come to Weymar, do
make yourself ready, and give me the great pleasure of your
company for a few days--if possible, from the 19th to the 26th of
this month. The marriage festivities of Princess Amalie of Sachs-
Weymar and Prince Henry of the Netherlands, which will take place
then, will be the occasion of a grand court concert on the 20th,
and the performance of Marx's oratorio "Moses" on the 22nd or
24th, and probably a couple of other musical performances.
Joachim is also coming at the same time, and there will be no
dearth of entertainment for us. Once more best thanks-and a safe
journey--and a revoir--which will be a great pleasure to your
very affectionate and obliged.
F. Liszt
Weymar, May 6th, 1853
102. To Louis Kohler
Dear Friend,
A safe journey--and "auf Wiedersehen" next year in Weymar at a
chance performance of "Lohengrin"! There is now no probability of
a Wagner performance here for a week or ten days, and probably
the "Flying Dutchman" will then be chosen.
You ought to keep all my scribblings which appear henceforth.
Meanwhile I send you only the score of the Weber Polonaise, in
which the working-out section (pages 19, 20, 21) will perhaps
amuse you.
I am writing to Wagner today that he should himself offer you a
copy of the "Nibelungen." You ought to receive it soon.
You will find a little packet of Plantaja cigars in your cloak.
May it help you to recall your Weymar visit, and think with warm
remembrance of
Yours in all friendship,
F. Liszt
Weymar, May 24th, 1853
If you should stay some days in Berlin, ask Dorn why he has not
yet sent me his score of the "Nibelungen"? Perhaps he has not had
my letter in reply to his in which he mentioned that the score
was coming.
When you have half an hour to spare, ask my pupil Winterberger
[Composer, piano and organ virtuoso; born at Weimar 1834; was for
a long time a Professor at the St. Petersburg Conservatorium;
since then lives at Leipzig.] (through Schlesinger) to play you
my "Prophete" Fugue on the organ. I consider this opus as one of
my least bad productions--if you have not got a copy of it I will
send you one on the first opportunity through Hartel.
Your box and cloak are just sent off "Station restante."
103. To Louis Kohler
"Kiraschio! Plimaschio!"
[The refrain of a journeyman's song, given by L. Kohler in his
work "The Melody of Speech," in which "The cry of the natural man
gives vent to itself in unbridled pleasure."]
Dear friend! Your work [The same work, "The Melody of Speech"
(Leipzig, J. J. Weber, 1853).] has given me a refreshing draught
to quaff,--not exactly a theoretical "cure" water, such as the
people promenading past my window are constrained to take, and
which, thank Heaven, I neither require nor take; but a finely
seasoned, delightfully comforting May drink,--and I thank you
warmly for the lively, pleasant hours I have passed with you in
reading and singing your work. The objections with which the
Philistines and pedants will arm themselves against you don't
interest me in the least. You have certainly brought forth a
fresh and exciting little book, and that is a great service not
easily attained!--Be satisfied not to please the worse half of
brave musicians, among which I might count myself, and write on
cheerfully, regardless of shops and shopkeepers!--Specially do I
give you my best thanks for the "Weymarasche Zeilen," and the
very friendly quotation of my earlier songs. Later on, when I
bring out a couple more numbers, I must make a somewhat remodeled
edition of these earlier songs. There must, in particular, be
some simplifications in the accompaniment. But that you have
thought favorably and indulgently of these things, with a due
regard to the inner impulse which brought them forth (in my
"storm and stress" period), is very pleasant to me. The Lenau
concluding song is charmingly composed--only publish some more
like that, with or without comment!
I have just received a letter from Wagner for you, which he sends
to me as he does not know your address. Take this opportunity of
sending me your street and number; for I always address to Putzer
and Heimann, which is too formal. At the beginning of July I
enjoyed several Walhalla-days with Wagner, and I praise God for
having created such a man. Of my further summer projects I will
only say that at the end of September I shall conduct the Musical
Festival at Carlsruhe, and at the beginning of October shall
return to Weymar (where I shall spend the winter).
I have written to Haslinger and Spina to send you the "Hungarian
Rhapsodies" and the "Soirees de Vienne" (songs after F. Schubert,
in nine parts). The next time I pass through Leipzig I will tell
Kistner that you must not fail to have a copy of the "Harmonies
Poetiques et Religieuses." The previously mentioned pieces you
will have without delay. I have sent my Mass and Ave Maria to
Marpurg by Raff. If you approve of these compositions I will
gladly get a couple more copies in your honor. My Catalogue will
not come out till next winter, as I have not yet had any time to
revise it.
Let me hear soon from you, dear friend, and keep ever in friendly
remembrance
Yours sincerely and with many thanks,
F. Liszt
Carlsbad, August 1st, 1853
Address to me always at Weymar.
104. To Richard Pohl in Dresden
[Printed in Pohl's pamphlet "The Carlsruhe Musical Festival in
October, 1853" (by Hoplit). Leipzig, Hinze, 1853.--The addressee,
a writer on music (born 1826), one of the oldest and most
faithful adherents of Liszt and Wagner, lived in Weimar after
1854, his wife Jeanne (nee Eyth) having a post there as a harp
virtuosa: after Liszt's departure he was, as he still is,
occupied as editor in Baden-Baden.]
In various accounts that I have read of the Festival at
Carlsruhe, there is one point on which people seem pretty much
agreed--namely, the insufficiency of my conducting. Without here
examining what degree of foregone judgment there may be in this
opinion, without even seeking to know how much it has been
influenced by the simple fact of the choice of myself as
conductor, apart from the towns of Carlsruhe, Darmstadt, and
Mannheim, it certainly would not be for me to raise pretensions
quite contrary to the assertion which it is sought to establish
if this assertion were based on facts or on justice. But this is
precisely what I cannot help contesting in a very positive
manner.
As a fact one cannot deny that the ensemble of the Carlsruhe
programme was very remarkably performed, that the proportion and
sonority of the instruments, combined with a view to the locale
chosen, were satisfactory and even excellent. This is rather
naively acknowledged in the remark that it is really surprising
that things should have gone so well "in spite of" the
insufficiency of my conducting. I am far from wishing to deck
myself in the peacock's feathers of the Carlsruhe, Mannheim, and
Darmstadt orchestras, and am assuredly more disposed than any one
to render full justice to the talents--some of them very
distinguished--of the members of these three orchestras; but, to
come to the point, whatever may be said to the contrary, it is
acknowledged, even by the testimony of my adversaries, that the
execution was at times astonishing, and altogether better than
there had been reason to expect, considering that I was
conductor.
This fact placed beyond discussion, it remains to be seen whether
I am so completely a stranger there as they try to make out, and
what reasons there can be for thus crying down a conductor when
the execution was satisfactory, especially if, as is just, one
bears in mind the novelty of the works on the programme for
almost the entire audience. For, as every one knew at Carlsruhe,
the Ninth Symphony, as well as the works of Wagner, Berlioz,
Schumann, etc., were not well known by any one but myself, seeing
that they had never been given before in these parts (with the
exception of the Berlioz piece, which a portion only of the
Carlsruhe orchestra had played under the direction of the
composer).--
Now as regards the question of right--to know whether in good
conscience and with knowledge of the matter one can justly accuse
me of being an insufficient conductor, inexperienced, uncertain,
etc.: without endeavoring to exculpate myself (for which I do not
think there is any need amongst those who understand me), may I
be permitted to make an observation bearing on the basis of the
question?
The works for which I openly confess my admiration and
predilection are for the most part amongst those which conductors
more or less renowned (especially the so-called "tuchtigen
Capellmeister" [ Qualified conductors.]) have honored but little,
or not at all, with their personal sympathies, so much so that it
has rarely happened that they have performed them. These works,
reckoning from those which are commonly described nowadays as
belonging to Beethoven's last style (and which were, not long
ago, with lack of reverence, explained by Beethoven's deafness
and mental derangement!)--these works, to my thinking, exact from
executants and orchestras a progress which is being accomplished
at this moment--but which is far from being realized in all
places--in accentuation, in rhythm, in the manner of phrasing and
declaiming certain passages, and, of distributing light and
shade--in a word, progress in the style of the execution itself.
They establish, between the musicians of the desks and the
musician chief who directs them, a link of a nature other than
that which is cemented by an imperturbable beating of the time.
In many cases even the rough, literal maintenance of the time and
of each continuous bar |1,2,3,4,|1,2,3,4,| clashes with the sense
and expression. There, as elsewhere, the letter killeth the
spirit, a thing to which I will never subscribe, however specious
in their hypocritical impartiality may be the attacks to which I
am exposed.
For the works of Beethoven, Berlioz, Wagner, etc., I see less
than elsewhere what advantage there could be (which by-the-bye I
shall contest pretty knowingly elsewhere) in a conductor trying
to go through his work like a sort of windmill, and to get into a
great perspiration in order to give warmth to the others.