of impressing oneself with intelligence, of kindling hearts with
a sort of communion of the beautiful, the grand, and the true in
Art and Poetry, the sufficiency and the old routine of usual
conductors no longer suffice, and are even contrary to the
dignity and the sublime liberty of the art. Thus, with all due
deference to my complaisant critics, I shall hold myself on every
occasion ulterior to my "insufficiency" on principle and by
conviction, for I will never accommodate myself to the role of a
"Profoss" [Overseer or gaoler.] of time, for which my twenty-five
years of experience, study, and sincere passion for Art would not
at all fit me.
Whatever esteem therefore I may profess for many of my
colleagues, and however gladly I may recognize the good services
they have rendered and continue to render to Art, I do not think
myself on that account obliged to follow their example in every
particular--neither in the choice of works to be performed, nor
in the manner of conceiving and conducting them. I think I have
already said to you that the real task of a conductor, according
to my opinion, consists in making himself ostensibly quasi-
useless. We are pilots, and not mechanics. Well, even if this
idea should meet with still further opposition in detail, I could
not change it, as I consider it just. For the Weymar orchestra
its application has brought about excellent results, which have
been commended by some of my very critics of today. I will
therefore continue, without discouragement or false modesty, to
serve Art in the best way that I understand it--which, I hope,
will be the best.--
Let us then accept the challenge which is thrown to us in the
form of an extinguisher, without trouble or anxiety, and let us
persevere, conscious of right--and of our future.
F. Liszt
Weymar, November 5th, 1853
105. To Wilhelm Fischer, Chorus Director at Dresden
[Autograph in the possession of Herr Otto Lessmann, writer at
Charlottenburg. (Printed in his Allgemeine Musik-Zeitung, 1887,
No. 38.)--The addressee was the well-known friend of Wagner. (See
"Wagner's Letters to Uhlig, Fischer, and Heine."--Grevel & Co.)
Vol. I. 12]
Dear Sir and Friend,
Your letter has given me real pleasure, and I send you my warmest
thanks for your artistic resolve to bring "Cellini" to a hearing
in Dresden. Berlioz has taken the score with him to Paris from
Weymar, in order to make some alterations and simplifications in
it. I wrote to him the day before yesterday, and expect the score
with the pianoforte edition, which I will immediately send you to
Dresden. Tichatschek is just made for the title-role, and will
make a splendid effect with it; the same with Mitterwurzer as
Fieramosca and Madame Krebs as Ascanio, a mezzo-soprano part.
From your extremely effective choruses, with their thorough
musicianly drilling, we may expect a force never yet attained in
the great Carnival scene (Finale of the second act); and I am
convinced that, when you have looked more closely into the score,
you will be of my opinion, that "Cellini", with the exception of
the Wagner operas,--and they should never be put into comparison
with one another--is the most important, most original musical-
dramatic work of Art which the last twenty years have to show.
I must also beg for a little delay in sending you the score and
the pianoforte edition, as it is necessary entirely to revise the
German text and to have it written out again. I think this work
will be ready in a few weeks, so you may expect the pianoforte
edition at the beginning of February. At Easter Berlioz is coming
to Dresden, to conduct a couple of concerts in the theater there.
It would be splendid if you should succeed in your endeavors to
make Herr von Luttichau fix an early date for the "Cellini"
performance, and if you could get Berlioz to conduct his own work
when he is in Dresden. In any case I shall come to the first
performance, and promise myself a very satisfactory and
delightful result. [Dresden did not hear "Cellini" till thirty--
four years later.]
Meanwhile, dear friend, accept my best thanks once more for this
project, and for all that you will do to realize it successfully,
and receive the assurance of the high esteem of
Yours very truly,
F. Liszt
Weymar, January 4th 1841
106. To M. Escudier, Music Publisher in Paris
[Autograph (without address) in the possession of Monsieur
Etienne Charavay in Paris.--The contents show to whom it was
written.]
My dear Sir,
My time has been so absorbed by the rehearsals of a new opera in
five acts, "Die Nibelungen", by Mr. Dorn, musical conductor in
Berlin, the first performance of which will take place tomorrow,
and also by a heap of small and great local obligations which
accumulate for me in particular at the beginning of winter, that
I have never yet had a moment in which to send you my very
cordial thanks for your biographical notice on occasion of the
Alexandre Piano, which [i.e., the biographical notice had just
reached me. [A "giant grand piano" with three keyboards and
pedals and registers, made according to Liszt's own directions.]
I hope you will excuse this delay in consideration of the short
time left me, and that you feel sure beforehand how kindly I take
it of you for thus taking my part, in divers circumstances, for
the honor of my name and of my reputation--a matter in which I
will endeavour not to render your task too difficult.
With regard to the Schubert opera of which you again spoke to me
in your last letter, I have a preliminary and very important
observation to make to you--namely, that the rights of the score
of "Alfonso and Estrella," in three acts, were obtained some
years ago by Messrs. Hartel of Leipzig. As this work has not
hitherto been performed anywhere they have not been in a hurry to
publish it, and it was only communicated to me (by a copy) in
case of a performance at Weymar. Therefore, before taking any
other steps, it is indispensable that you should apply to Messrs.
Hartel to obtain their authorization, either for a performance,
or for the right to make a foreign edition of this work, and to
make conditions with that firm relative to the matter. I do not
doubt that Messrs. Hartel will be most obliging in the matter;
but you cannot neglect this first step without serious ulterior
disadvantages.
Hartel's consent once given, you must think of adapting to this
charming music a libretto which is worthy of it,--and, if you are
fortunate in doing this, success, and a popular and productive
success, is undoubted.
Allow me to beg you once more to send me a copy of the ballet of
Gluck's "Don Juan" and of the "Dictionary of Music" which you
have just published,--I have already asked Belloni for them, but
he is a little subject to distractions in these matters,--and
accept, my dear sir, together with my best thanks, the assurance
of my affectionate regard.
F. Liszt
Weymar, January 21st, 1854
107. To Monsieur Marie Escudier, Music Publisher in Paris.
[Autograph in the possession of M. Alfred Bovet at Valentigney.]
My Dear Sir,
Mr. Franck [Cesar Aug. Franck, born at Liege in 1822, composer
and professor at the Paris Conservatoire, teacher of Faure,
Chabrie, and d'Indy, the chief representatives of the new French
school of music.] having written to me for a special introduction
to you, I have great pleasure in fulfilling his request by
writing these few lines to you. For many years past I have had a
favorable opinion of Mr. Franck's talent in composition, through
having heard his trios (very remarkable, as I think, and very
superior to other works of the same kind published latterly).--
His oratorio "Ruth" also contains beautiful things, and bears the
stamp of an elevated and well-sustained style. If the opera which
he wants to have performed at the Lyric theater answers to these
antecedents and to what I expect of Mr. Franck, the Lyric theater
could only congratulate itself on its choice, and the best chance
of success would be assured. Being unable to judge of it at a
distance, and the score of this opera being unknown to me, I
confine myself simply to drawing your attention to the very real
talent of Mr. Franck, at the same time recommending him
affectionately to your kindness.
Pray accept, my dear Sir, the expression of my sincere regard.
F. Liszt
Weymar, January 28th, 1854
108. To Dr. Franz Brendel
Dear Friend,
I have lately been over-occupied, and in addition to that I have
been working somewhat, so that I have never had a free half-hour
for correspondence.
I send you today the score and pianoforte edition of my
"Kunstler-Chor." By next autumn I hope that half a dozen other
(longer) scores will be in print. "Ha, der Verruchte!" ["Ah, the
wretch!"] we can then say, as in "Tannhauser." Happily, however,
no journey to Rome is necessary to obtain my absolution. We only
wish to have done with so much outcry and tasteless chatter.
I shall beg David to put off my Leipzig rehearsals for a couple
of weeks, as I cannot well get away from here now, and must also
have the parts written out afresh. If David does not arrange it
otherwise I shall probably come in the latter half of March.--.
Cornelius is telling you more fully, at the same time with this,
what I have talked over with him.--Griepenkerl has been here a
couple of days, and yesterday read his drama "Ideal and Welt"
before our Grand Duke. The company was much the same as at
Schlonbach's reading.--.
About your book I am very curious, and beg that you will send it
me immediately. With regard to the opportunity for the paper I
can tell you something when I come to Leipzig. In the course of
next summer a monthly paper will make its appearance here, out of
which much might grow. This is between ourselves, for the public
will learn about it later.
Remember me most kindly to your wife, and remain good to
Your very sincere and grateful friend,
F. Liszt
Weymar, February 20th, 1854
P.S.--If you see Count Tyskiewicz please repeat my invitation to
him to come for a couple of days to Weymar. If he is free next
Thursday, that would be a good day. We have a concert here at
which the "Kunstler-Chor" and a new orchestral work of mine ("Les
Preludes"), the Schumann Symphony (No. 4.), and his Concerto for
four horns will be given.
109. To Louis Kohler
My very dear Friend,
I come late--yet I hope you have not forgotten me. I am sending
you, together with this, the score and pianoforte arrangement of
my chorus "an die Kunstler," ["To the artists."] and also those
numbers of the Rhapsodies which have been brought out by
Schlesinger. The "Lohengrin" score you have no doubt received two
months ago from Hartel, whom I begged to send it you direct--also
the "Harmonies" from Kistner, and the last number of the
"Rhapsodies" from Haslinger. At the end of the year you shall get
some still greater guns from me, for I think that by that time
several of my orchestral works (under the collective title of
"Symphonische Dichtungen" [Symphonic Poems.]) will come out.
Meanwhile accept once more my best thanks for the manifold proofs
of your well-wishing sympathy, which you have given me publicly
and personally. You may rest assured that no stupid self-conceit
is sticking in me, and that I mean faithfully and earnestly
towards our Art, which in the end must be formed of our hearts'
blood.--Whether one "worries" a bit more or a bit less, as you
put it, is pretty much the same. Let us only spread our wings
"with our faces firmly set," and all the cackle of goose-quills
will not trouble us at all.
That your article has been rudely and spitefully criticized need
not trouble you. You presuppose your reader to have refinement
and educated feeling, artistic acuteness, a fine perception, and
a certain Atticism. These, my dear friend, are indeed rare
things--and only to be found in very homoeopathic doses among our
Aristarchuses. Sheep and d[onkeys] have no taste for truffles.
"Good hay, sweet hay, has not its equal in the world," as the
artist-philosopher Zettel very truly says in the "Midsummer
Night's Dream"! Moreover, dear friend, things didn't and don't go
any better with other better fellows than ourselves. We need not
make any fancies about it, but only go onward quietly,
perseveringly, and consistently.
"Lohengrin" will be given here on the Grand Duchess's next
birthday, April 8th. Gotze is coming this time from Leipzig, and
sings the part of the Knight of the Swan. I hope that in May
Tichatschek will undertake the role; he has already been studying
the complete work for a long time past, and has had a splendid
costume made for it. Perhaps you will be inclined to hear this
glorious work here either in April or May. That would be very
delightful of you, and I need not tell you how pleased I should
be to see you among us again.--
Rafi is working hard at his "Samson," and tells me that he will
have finished it by Christmas. Cornelius, whom I think you do not
know (a most charming, fine-feeling and distinguished nature),
has likewise a dramatic work, poem and music, in readiness for
next season. We gave a good performance of Gluck's "Orpheus"
lately, and for the last performance of this season (end of June
I think we shall still give the Schubert opera "Alfonso und
Estrella," if those same theater influences which already made
themselves prominent by the "Indra" performance when you were at
Weymar do not decide against this work, so interesting and full
of intrinsic natural charm!--Farewell, dear friend, and send
speedy tidings of yourself to
Yours most sincerely,
F. Liszt
Weymar, March 2nd, 1854
110. To Dr. Franz Brendel
Dear Friend,
Herewith an article which I send you for your paper. "Euryanthe,"
which I conduct here tomorrow, is the occasion of it. Still a
more general question is aroused in it, which I am to a certain
extent constrained "to agitate" from Weymar.["Gesammelte
Scriften" vol. iii., I.] I flatter myself that our ideas will
meet and harmonize in it. At first I had prefaced it by a couple
of introductory lines, which I now erase. Will you be so good as
to introduce me yourself in the Neue Zeitschrift by a few words?
You will be the best one to make up this little preface. My name
can be put quite openly with its five letters, as I am perfectly
ready to stand by my opinion.
Tuesday morning I go to Gotha. The Duke's opera is to be given at
the end of this month, or at latest on the 2nd April, and from
the day after tomorrow till the first performance I shall be
quartered at Gotha. In consequence of this I must unfortunately
give up my excursion to Leipzig for the moment,--but I hope that
David will allow another rehearsal in the Gewandhaus in the
course of April, after the "Lohengrin" performance here with Gaze
(on April 7th and 8th), which I must of necessity conduct. The
news, which it appears some papers have published, that I was
thinking of arranging a concert in Leipzig, belongs to the
generation of ducks [geese?] who amuse themselves in swimming
around my humble self. My visit to Leipzig has no other object
than to make some of the musicians acquainted with one or two of
my symphonic works. Should they be pleased with them, they might
perhaps be given there next season. In any case, however, several
of them will appear in score next autumn.
My time is exceedingly limited, and I must see about a great many
things today which do not put one in the mood for correspondence.
Yours in friendship,
F. Liszt
Saturday, March 18th [1854]
111. To Louis Kohler.
[Weimar, April or May, 1854]
My very dear friend,
I am extremely glad that you liked my article on "Euryanthe" and
theater direction, and I thank you most truly for your warm and
very encouraging letter. For many weeks past I have been
imitating you (as you and others always set me a good example),
and am publishing several views on Art-subjects and Art-works in
the Weimar official paper. By degrees these articles will swell
into a volume, which shall then contain the complete set.
For the present I allow myself to send you my Sonata, which has
just been published at Hartel's. You will soon receive another
long piece, "Scherzo and March," and in the course of the summer
my "Annees de Pelerinage, Suite de Compositions pour le Piano"
will appear at Schott's; two years--Switzerland and Italy. With
these pieces I shall have done for the present with the piano, in
order to devote myself exclusively to orchestral compositions,
and to attempt more in that domain which has for a long time
become for me an inner necessity. Seven of the Symphonic Poems
are perfectly ready and written out. I will soon send you the
little prefaces which I am adding to them, in order to render the
perception of them more plain. Meanwhile I merely give you the
titles:--
1. "Ce qu'on entend sur la Montagne" (after V. Hugo's poem in the
"Feuilles d'Automne").
2. Tasso. "Lamento e Trionfo"
3. "Les Preludes" (after Lamartine's Meditation poetique "Les
Preludes").
4. "Orphee."
5. "Promethee."
6. "Mazeppa" (after V. Hugo's Orientale "Mazeppa").
7. "Festklange."
8. "Heroide funebre."
9. "Hungaria."
By Christmas I intend to bring out the scores of all these--which
would make about fifteen hundred plates in octavo size.
The post affair in regard to your letter with the article on
Raff's "Fruehlingsboten" is very unpleasant to me. Neither has
come into my hands, or else I should assuredly have let you know
much sooner. What has become of it cannot now be traced; a
similar thing happened also with a manuscript sent to me from
Dresden, which was never able to be found. Excuse me, dear
friend, for the carelessness which you supposed I had shown, of
which I am in this case not guilty, as Pohl has already written
to you by my request--and continue to keep for me always your
sympathetic friendship, with which I remain, in complete
harmonious unison,
Yours most truly and gratefully,
F. Liszt
112. To Dr. Franz Brendel
Dear Friend,
Whilst you are trotting about in Leipzig aus Rand und
Band,[Uncontrolledly; a pun on the words Rand and Band (edge of
the paper and volume), Brendel being editor of a paper.] I have
been obliged to keep my bed, owing to a slight indisposition. The
reading of your article in the Jahrbuchern [Year-books] has given
me a pleasant hour, and I thank you heartily for the value and
significance which you accord to my influence and endeavour here,
both in this article and in the topographic section of your book.
As long as I remain here we will take care that Weimar does not
get into a bad way.
I hope to be quite on my legs again in a few days. My present
indisposition is nothing but an overstrain and knock-up, which a
couple of days' rest and some homoeopathic powder will easily set
right. Probably we shall see one another in the early days of
next week at Leipzig; but don't let us speak of it before-hand,
as I have already been three times prevented from making this
little trip.
The Orpheus article was sent to you yesterday. Perhaps it would
still be possible to let it appear in the next number of the
paper; if not, then it can appear the following week. The order
of succession which I gave you by letter appears to me the right
one, and begins with the Orpheus. This article is moreover as
good as new, for, as your paper allowed me more space, I profited
by it to make the earlier articles twice as long.["Gesammelte
Schriften." vol. iii., 1.]
There are several points in your writing that we will soon talk
over viva voca. I am still really very weak today, and merely
wanted to write to thank you, and to tell you of my speedy advent
in Leipzig (probably next Tuesday or Wednesday).
Yours in friendship,
F. Liszt
Wednesday, April 26th, 1854
Your commissions to Cornelius and letter to Cotta have been
attended to.
113. To Louis Kohler
Dear Friend,
I am going once more to give you a pleasure. By today's post you
will receive Richard Wagner's medallion. A friend of mine, Prince
Eugene Sayn-Wittgenstein, modeled it last autumn in Paris, and I
consider it the best likeness that exists of Wagner.
A thousand thanks for all the kind things you write and think of
me. I very much wish that you should be in agreement with my
present and my next work. If I could only dispose of my time
better! But it is a wretched misery to have to spend one's time
upon so many useless things and people, when one's head is quite
full of other things!--Well, it must be so. God grant only
patience and perseverance! I cannot remember for certain whether
I have already sent you the Avant-propos to my Symphonic Poems,
which I have in the meantime had printed on the occasion of their
performance here. In any case I send them, together with the
portrait for which you asked. I am now working at the ninth
number (Hungaria)--the eight others are perfectly ready; but it
will certainly be next spring before they appear in score.
Of pianoforte music I have nothing more to send you (until the
"Annees de Pelerinage" appear at Schott's), except the little
"Berceuse," which has found a place in the "Nuptial Album" of
Haslinger. Perhaps the continuous pedal D-flat will amuse you.
The thing ought properly to be played in an American rocking-
chair with a Nargileh for accompaniment, in tempo comodissimo con
sentimento, so that the player may, willy-nilly, give himself up
to a dreamy condition, rocked by the regular movement of the
chair-rhythm. It is only when the B-flat minor comes in that
there are a couple of painful accents...But why am I talking such
nonsense with you?--Your very perspicuous discovery of my
intention in the second motive of the Sonata--
[Here, Liszt illustrates with a 2-measure score excerpt from his
Sonata]
in contrast with the previous hammer-blows--
[Here, Liszt illustrates with another 2-measure score excerpt
from his Sonata, similar to the first excerpt above except the
melody is transposed and the rhythm is slightly different]
perhaps led me to it.
Farewell, my dear friend, and remain good to your
F. Liszt
Weymar, June 8th 1854
114. To Dr. Franz Brendel
Dear Friend,
I have had to alter a good deal in the "Robert" article,
especially in the division of the subjects. Do not be angry about
it. It will only make a very little trouble, and it pleases me
better like this. Ergo my present Varianten [various readings]
must be printed word for word in the next number.
If you have a couple of hours to spare, come next Saturday to
Halle. Schneider's "Weltgericht [Last Judgment] is to be given
there by the united Liedertafel [Singing Societies] of Dessau,
Magdeburg, Berlin, Halle, etc. (on Saturday afternoon at 3
o'clock), and I have promised to be there. It would give me great
pleasure to meet you at Halle; I shall put up at the Englischer
Hof there. I hope you will accept my invitation, and therefore I
shall say, Auf Wiedersehen [Au Revoir]!
Yours in friendship,
F. Liszt
June 12th, 1854
It will be easy for you to find out for certain about the
performance at Halle. In any case I shall come for the day fixed
for the "Weltgericht" (a peculiar work, written, as it were, from
a pedestal of his own!). At present it is announced for next
Saturday. Should there be any alteration, I shall arrange
accordingly, and come later.--.
P.S.--The proofs must be very carefully revised, as there are a
great many little alterations. Be so good as to revise the whole
thing accurately yourself. When the article has appeared, please
send me today's proofs back. ["Gesammelte Schriften," vol. iii.,
I.]
115. To Karl Klindworth in London
[A pupil of Liszt's, eminent both as a pianist, conductor, and
musical editor; born at Hanover in 1830, lived in London, Moscow,
and America; has, since 1882, been director of a music school in
Berlin.]