"Lamento" it seems a "Trionfo" is now about to be sounded. That
gives me heartfelt pleasure. Your Murl-connection and Murl-
wanderings [The Society of "Murls" (Moors, Devil-boys--that is to
say, Anti-Philistines) was started at that time in Weimar. Liszt
was Padischah (i.e. King or President); his pupils and adherents,
Buelow, Cornelius, Pruckner, Remenyi, Laub, Cossmann, etc., etc.,
were Murls.] with Remenyi [A celebrated Hungarian violinist.] are
an excellent dispensation of fate, and on July 6th, the day of
your concert at Leicester, the Weimar Murls shall be invited to
supper at the Altenburg, and Remenyi and Klindworth shall be
toasted "for ever!"--[Liszt writes "for ever hoch leben lassen."]
On July 8th I go from here to Rotterdam. The days of the
performances are July 13th, 14th, and 15th. The last number but
one of Brendel's paper (June 16th) contains the complete
programme. The principal works will be Handel's "Israel in
Egypt," Haydn's "Seasons," the Ninth Symphony, and a newly
composed Psalm by Verhulst (the royal conductor of the
Netherlands, director of the Euterpe Concerts in Leipzig about
twelve years ago, and at present director of the Rotterdam
Festivals). Roger, Pischek, Formes, Madame Ney, Miss Dolby, etc.,
have undertaken the solos, and the programme announces nine
hundred members. It would be very-nice if you and Remenyi and
Hagen [Theodor Hagen, a writer, known as a witty critic of his
time under the name of "Butterbrod" [bread and butter] in the
signale; died subsequently in America.] could come; in that case
you would have to start at once, for on the 13th it begins, and
on the 16th I leave Rotterdam--and go for a couple of days to
Brussels, where I shall meet my two daughters.
A couple of Murls would look well in Rotterdam, and would make up
to me in the best possible way for a lot of Philistinism which I
shall probably have to put up with there (by contact with many
honorable colleagues and companions in Art)...So, if you possibly
can, come. We will then have a Murl-Musical Festival in my room.
(N.B.--I shall be staying with Mr. Hope, the banker.)
One has to get accustomed to the London atmosphere, and make
one's stomach pretty solid with porter and port. For the rest,
musical matters are not worse there than elsewhere, and one must
even acknowledge some greatness in bestiality. If you can stand
it, I am convinced that you will make a lucrative and pleasant
position for yourself in London, and also gain a firm footing for
the Murl propaganda ("une, indivisible et invincible") on the
other side of La Manche, "ce qui sera une autre paire de
manches." (In case you don't understand this joke, Remenyi must
explain it to you.) So be of good courage and among good things!
However things may be, never make capitulation with what is idle,
cowardly, or false--however high your position may become-and
preserve, under all circumstances, your Murldom!--
The two pieces from Raff's "Alfred" [Arranged by Liszt for the
piano.] have been brought out by Heinrichshofen (Magdeburg), and
are dedicated to Carl Klindworth. Write me word how I can send
them to you in the quickest and most economical manner--together
with the Sonata. [It bore the title, in Liszt's handwriting, "Fur
die Murlbibliothek" (for the Murl Library).] The Dante Fantasia
will appear in the autumn, with the other pieces of the "Annees
de Pelerinage," at Schott's, and I will tell him to reserve a
copy for you.
Since you went away I have worked chiefly at my Symphonic Poems,
composing and elaborating. The nine numbers are now quite ready,
and seven of them entirely copied out. Next winter I intend to
publish the scores, which ought to make about a thousand engraved
plates. Immediately after my return from Rotterdam I shall set to
work on the Faust Symphony, and hope that I shall have it ready
written out by February.
Hartel is publishing also a couple of transcriptions from
"Lohengrin" (the Festal March before the third act, with the
Bridal Chorus, Elsa's Dream and Lohengrin's rebuke to Elsa),
which I wrote lately.
A propos of Hartel, haven't you heard anything of your
arrangement of the Schubert Symphony? The matter is being delayed
rather long, and when I go to Leipzig I will inquire at Hartel's.
[The arrangement for two pianos of the C major Symphony was
brought out by them.] I have nothing new to tell you of Wagner.
Joachim and Berlioz came to see me in May. Hoffmann von
Fallersleben has settled here, and we see each other pretty
often. His last poems, "Songs from Weymar," are dedicated to me.
Mason went to London a fortnight ago, and will probably come to
Rotterdam. Laub is getting married in Bohemia, and brings his
wife here in September. Schulhoff was also with me for a day.
Of Rubinstein I will tell you more when there is an opportunity.
That is a clever fellow--the most notable musician, pianist, and
composer, indeed, who has appeared to me from among the newer
lights, with the exception of the Murls. Murlship alone is
wanting to him still. But he possesses tremendous material, and
an extraordinary versatility in the handling of it. He brought
with him about forty or fifty manuscripts (Symphonies, Concertos,
Trios, Quartets, Sonatas, Songs, a couple of Russian Operas,
which have been given in Petersburg), which I read through with
much interest during the four weeks which he spent here on the
Altenburg. [Liszt's home] If you come to Rotterdam you will meet
him there.
Now farewell, my dear Klindworth, and let me soon hear from you.
Your
F. Liszt
July 2nd, 1854
From the 10th to the 15th of July letters will find me in
Rotterdam--Poste restante. N.B.--Remenyi gives me no reply about
the manuscript of Brahms' Sonata (with violin). Probably he has
taken it with him, for I have, to my vexation, rummaged through
my entire music three times, without being able to find the
manuscript. Don't forget to write to me about this in your next
letter, as Brahms wants this Sonata for printing.
116. To Dr. Franz Brendel
Dear Friend,
I send you herewith a long article on "Harold" and Berlioz, which
Pohl will translate, and adopt in his intended book on Berlioz.
Be so good as to see that Pohl gets the manuscript as soon as
possible, as he is probably in Leipzig now.
[The article appeared in the "Neue Zeitschrift" in 1855
(afterwards "Gesammelte Schriften," vol. iv), whereas it did not
appear in Pohl's book on Berlioz, which only saw the light thirty
years later, in 1884.]
Tonight I go to Rotterdam for the Musical Festival, and thence
for a couple of days to Brussels. On the 22nd--24th of July I
shall come to Leipzig for a few hours, before I get back to
Weimar.
I suppose you have given up your Rotterdam journey. If you have
anything to send for from there, write me a line immediately to
Poste restante, Rotterdam.
Two articles are ready for your paper, "Die weisse Frau" [The
White Lady] and "Alfonso and Estrella." As soon as the
"Montecchi" and the "Favorita" appear you shall receive them [the
complete "Gesammelte Schriften," vol. iii, 1]. The "Fliegender
Hollander" is also ready, but must be copied.["Gesammelte
Schriften," vol. iii., 2.] This article is a very long one, and
will take up several of your numbers.
Remember me kindly to your wife, and bear me in friendly
remembrance as your willing collaborator and attached friend,
F. Liszt
Weymar, July 7th, 1854
117. To Anton Rubinstein.
[Rubinstein (born 1830, at Wechwotynetz in Russian Bessarabia)
gave concerts as early as 1839 in Paris, and Liszt, who was
there, welcomed in the boy the future "inheritor of his playing,"
and helped him in his studies, both during his stay in Paris, and
during his stay in Vienna later on, by giving him lessons. When
Rubinstein, in 1854, after a long sojourn in Russia, came back to
Germany, Liszt gave him a most hospitable reception at the
Altenburg at Weimar.]
What are you doing with yourself, my dear Van II.? [From
Rubinstein's likeness to Beethoven Liszt jokingly called him Van
II. (that is, Van Beethoven)] Are you settled according to your
liking at Bieberich, and do you feel in a fine vein of good-humor
and work, or are you cultivating the Murrendo[This must refer to
some witty joke.] of your invention?
Your luggage van of manuscripts was sent off to you the day after
my return, and will have reached you in good condition, I think.
I acquit myself herewith of my little debt of one hundred
thalers, with many thanks for your obligingness, until the case
arises again. A propos of obligingness, will you please send me
the letter of introduction for Cornelius's sister, who is about
to begin her theatrical career in the choruses of the Italian
opera at St. Petersburg? I told Cornelius that you had promised
it to me. And I should be very glad to send it him without too
much delay. His sister is an excellent young person, not too
pretty, but well brought up, and whom one can introduce with a
good conscience. It is to be feared that she will feel herself
very isolated there, and will get "Heimweh" [homesickness]!
Let me hear from you soon. As regards myself I have very little
to tell you at this moment. Weymar is deserted, as the Court is
absent. Schade alone is radiant, for he has already got a heap of
subscribers to his "Weymar'sche Jahrbucher" [Weimar Year-books],
the first number of which is half printed and will definitely
appear on the 28th August. Mr. de Beaulieu will not be back for
three weeks; in spite of this send me your scenario of the
Russian opera as soon as ever you have finished it, for I will
see that he has it, and, if there is no political obstacle (which
is a very exceptional circumstance in these matters), your work
shall be given next November. [The opera "The Siberian Hunters"
was, in point of fact, given at Weimar through Liszt's
instrumentality.] When you have sufficiently enjoyed the charms
of Bieberich, come and see me at the Altenburg. It seems to me
that you will be at least as comfortable here as elsewhere
(Baden-Baden with Madame * * * excepted!), and Van II may be
certain of being always welcome
To his very affectionate friend,
F. Liszt
Weymar, July 31st, 1854
For the translation of your opera I again recommend Cornelius,
but you will have to pass some weeks here to hasten the work.
118. To Dr. Franz Brendel
You would have greatly deceived yourself, dear friend, if you had
attributed any sort of personal aim to my last intimation
regarding the conduct of the critical part of your paper. By no
means could that be the case, and I think I even said to you in
the course of conversation that, so long as my set of articles on
various operas, which provisionally closes with the "Flying
Dutchman", is going on in the Neue Zeitschrift, it seems to me
more becoming not to bespeak any other musical productions of
mine. None the less do I consider it desirable and quite in the
interest of our cause that, for the future, the more important
productions, especially the works of R. Schumann, Hiller, Gade,
etc., should be brought into consideration more fully and oftener
than has been the case of late years. The bookseller's views, as
regards the sending or non-sending of works, appear to me
unimportant and even injurious for the higher position which your
paper maintains.--
I send you herewith Cornelius's article on the Prize Symphony and
the "Girondistes" Overture. It is very nicely written, and will
probably suit you. If possible put it into your next number.
I cannot now undertake the discussion about the Schumann
collective writings, as I am prevented by musical work for a long
time. Still, if I write later on a couple of articles on the
work, that need not prevent you from bringing out very soon one
or more articles discussing the same work. There is much to take
in and to bring out in it, which one critic alone is scarcely
capable of conceiving. The best plan of all would be if you
yourself will undertake the discussion of the Schumann writings.
Should you, however, not have time for it, then Pohl would be the
best man for this work. His predilection for Schumann, and his
familiarity with Schumann's views, qualify him thoroughly for
this.
My articles on the "Flying Dutchman" must not wait so long as you
propose to me in your letter. I wish explicity that the two
articles on the "Weisse Dame" and "Alfonso and Estrella" should
appear as soon as possible, and immediately afterwards the
"Flying Dutchman", so that by the end of September this series of
twelve opera discussions may have all appeared in the Neue
Zeitschrift.
At the same time with the proofs of the article on the "Weisse
Dame" you will receive the "Alfonso and Estrella" article, and,
as soon as these are out, the "Flying Dutchman", which must be
published in September--for various reasons, which cannot well be
explained in a letter.
Raff's book "Die Wagnerfrage" [The Wagner Question] has arrived
here today, and I have already read it. The author is so pleased
with himself that it would be a miracle if his readers were
joined to him in the same proportion, and Raff is specially at
variance with miracles!--
This book makes on me the effect of a pedagogic exuberance. Even
the occasional good views (on harmony, for example) that it
contains are obscured by a self-sufficiency in the tone and
manner of them, of which one may well complain as insupportable.
What Raff wishes to appear spoils four-fifths (to quote the time
which he adapts so ridiculously to "Lohengrin" of what he might
be. He is perpetually getting on scientific stilts, which are by
no means of a very solid wood. Philosophic formulas are sometimes
the envelope, the outside shell, as it were, of knowledge; but it
may also happen that they only show empty ideas, and contain no
other substance than their own harsh terminology. To demonstrate
the rose by the ferule may seem a very scientific proceeding to
vulgar pedants; for my part it is not to my taste; and without
being unjust to the rare qualities of Raff's talent, which I have
long truly appreciated, his book seems to me to belong too much
to the domain of moral and artistic pathology for it to help in
placing questions of Art in their right light.
I beg you, dear friend, not to repeat this to anybody, for I
could not go against Raff in any but the most extreme case, for
which I hope he will not give me any occasion. Against the many
charges to which he has exposed himself I even intend to shield
him as far as possible, but I am very much grieved that he has
mingled so much that is raw and untenable in his book with much
that is good, true and right.
Farewell, dear friend, and give most friendly greetings to your
wife from
Yours most sincerely,
F. Liszt
August 12th, 1854
In the "Favorita" article a great error has been allowed to
remain. "No lover, no knight behaves thus"--and not "A lover
behaves thus," etc. Send me at once the proofs of the "Weisse
Dame", and in September bring the "Fliegende Hollander", which
must not wait any longer.
I am now working at my Faust Symphony. The three-keyboard
instrument arrived yesterday from Paris. It might be well to take
the opportunity of my Catalogue appearing at Hartel's to see
about a special article on it in your paper.
119. To Anton Rubinstein
[August, 1854]
My dear Van II.,
Whatever scruple I may have in making the shadow of an attempt on
the liberty of your determinations and movements,--a scruple of
which I gave you a pertinent proof by not insisting any further
on your choosing Weymar instead of Bieberich as your villegiatura
during this last month,--yet duty (and a theatrical duty!)
obliges me to snatch you from your Rhine-side leisure, to set
yourself to work afresh at your business on the banks of the
Ilm,--
"Non piu andrai, farfalone," etc. [Aria from Mozart's "Figaro"]
We have to hunt the Siberian bear; ["The Hunters of Siberia", an
opera of Rubinstein's.] and whether it is the season or not, I
don't trouble myself about that. Mr. de Beaulieu has just
answered me in the affirmative about the proposition I made to
him to give your "Hunters of Siberia" at the beginning of
November (the 9th, a date already made famous by the "Homage to
Art" a Prologue which will be again given this season), and asks
me particularly to push on as fast as possible the copying of all
the parts. Now one must kill the bear before selling his skin--
that is to say, translate the libretto, fit it to the music, and
arrange the score for the performance at Weymar.
According to what we arranged verbally, I spoke about it to
Cornelius, who accepts the work of translator with pleasure, and
will fulfill it promptly, and, I am persuaded, to your
satisfaction. The only thing wanting is for you to come at once,
and spend a fortnight at Weymar to finish everything. I give you
then rendez-vous at the Altenburg, where your former quarters
await you. No one will bother you there, and you can give
yourself up to cultivating murrendos [La Mara thinks there was a
joke in connection with this; I cannot help thinking it is a
corruption of morendo, and that perhaps Rubinstein joked about
cultivating a particular touch or nuance.--Translator's note] to
your heart's content whenever the fancy takes you. Try therefore
not to be too long over your farewells to the Tannhausers of the
banks of the Rhine (and if by chance Madame S. is there, pack
yourself off secretly so as not to provoke a scene of too much
frenzy), so as to get to Weymar by 1st to 3rd September, for your
score must be given to be copied by the 15th to the 20th. I will
keep your three books till you come, and will give them you back
at the Altenburg, and I take great pleasure in advance in your
success on our stage.
A revoir then, my dear Rubinstein, in a week's time.
Yours ever in friendship,
F. Liszt
Write me simply a word to fix the date of your arrival, so that I
may let Cornelius know, as he is gone for a week to his mother, a
few hours away from here.
In the matter of news I will tell you that my instrument with
three keyboards is installed in the second etage of the
Altenburg, and that I have finished the first part of my Faust
Symphony (a third of the whole)--the two other parts will be
ready in November, I hope.
I shall also have a little friendly quarrel to pick with you,
which I reserve for our after-tea conversations.
A bientot!
120. To Alexander Ritter in Dresden.
[Ritter at this time joined the Weimar Hofcapelle (Court
orchestra); was afterwards music director at Stettin, and lives
now in Munich; is celebrated as the composer of the operas "Der
Faule Hans" and "Wem die Krone."]
Hearty good wishes on your marriage, dear friend. I reproach
myself for disturbing you in your honeymoon. Well, a little music
to it won't hurt anybody. So come as soon as it is agreeable to
you. The matter is not so very pressing; I only beg you to send a
few lines in reply to Herr Jacobi, the secretary of the Court
theater, who wrote to you previously, and to tell him the date of
your arrival in Weymar. As your marriage takes place on the 12th
of this month, you are quite justified in asking for a few days'
respite. If it suits you to stay a fortnight longer in Dresden,
then fix the 1st of October for your coming to Weymar. With
regard to your quarters, I am quite ready to help you in word and
deed.
In case Pohl is in Dresden you can tell him that his wife is also
engaged from the 15th of September (on which date the theater
here reopens). I wrote yesterday to Brendel, in order to get
Pohl's exact present address. I expect the answer tomorrow, and
Herr Jacobi will immediately write to Frau Pohl.
Meanwhile remember me most kindly to your wife, and dispose
entirely--without ceremony--of
Yours most sincerely,
F. Liszt
Weymar, September 6th, 1854
121. To Bernhard Cossmann, Schloss Chanceaux bei Loches in
Touraine
Weymar, September 8th, 1854
Dear Friend,
Whilst you are promenading at your leisure beneath the fine oaks,
beeches, birches, horse-chestnuts, etc., of Chanceaux, I have the
sotte chance [Silly opportunity] of gaping chanceusement
[doubtfully] to the crows of Weymar, where we have certainly no
Chanceaux, but pretty well of gens sots [stupid people] im Loch
[In this hole. All plays upon words, and given therefore in the
original.] (near Loches!!). This almost attains to the height of
punning of our friend Berlioz, does not it?--I should not be able
to keep on such heights, and therefore I hasten to descend to
more temperate regions (des regions plus temperees),-"le Clavecin
bien tempere of J. S. Bach," for example, or to some "Beau lieu"
with or without marque au nez (Marconnay). [A play on words. The
name of the Intendant of the Weimar Court theater was Beaulieu-
Marconnay.] (I implore you to keep this execrable improvisation
to yourself, for, in my position as Maitre de Chapelle, I should
run the risk of being fined by the "Hofamt" [office in the royal
household] for allowing myself such an application of Berlioz's
treatise on instrumentation--but I really don't know what
tarantula of a pun is biting me at this moment!)
Mr. de Beaulieu has just done two graceful acts for me, for which
I am very grateful. Madame Pohl is engaged as harpist to the
Weymar Kapelle, and A. Ritter of Dresden--the brother of Hans de
Bulow's friend--as violinist in place of little Abel, who is
leaving us to go and probably assassinate some Cain at a second
or third desk in an orchestra, somewhere!
A. Ritter is going to marry Mdlle. Wagner on the 12th of this
month (the sister of Johanna), who has played in comedy at the
Breslau theater, and who, by her husband's orders, will not
continue playing when she has her home to keep. Let us hope so at
least! These two new engagements are a great pleasure to me, and
I shall willingly console myself for the loss of the innocent
Abel.
And as Mr. de Beaulieu is just in such a good temper, I advise
you to profit by the circumstance to write him a letter,
artistically turned, to beg for a prolongation of your holiday,
which he will grant you with a good grace, I am sure.
The theater will reopen the 15th September. The 16th "Ernani"
will be given. In the course of October we shall have the
"Huguenots", with a new singer from Prague, Mdlle. Stoger, of
whom one hears wonders.
For the 9th October (fiftieth anniversary of the entry of H.I.H.
the Grand Duchess Marie Paulowna into Weymar) a rather curious
performance will be arranged:--
1st. The Homage to Art by Schiller.
2nd. One of my Poemes Symphoniques.
3rd. "The Hunters of Siberia", Opera in one Act--Music by
Rubinstein.
4th. The Finale of "Lorelei" by Mendelssohn.
For the winter season they are thinking of giving the two
"Iphigenies", "in Aulis" and "in Tauris", by Gluck, and
Schumann's "Genoveva".
Rubinstein and Wasielewski (of Bonn) have been here some days.
Raff has published his volume "The Wagner Question." I would
neither answer nor vindicate it!--My monster instrument with
three keyboards has also arrived a fortnight ago, and seems to me
to be a great success--and on your return I shall pretty nearly
have finished my Faust Symphony, at which I am working like a
being possessed.
This is all my news from here, to which I add the expression of
the old and sincere friendship of your very affectionate
F. Liszt
P.S.--I, on my side, will also write to Mr. de Beaulieu about
you, but it is the thing for you to write him a few lines. The
matter in itself will not present any difficulty.
122. To Gaetano Belloni in Paris
[autograph in the possession of M. Etienne Charavay in Paris]
[September 9th, 1854]
My dear Belloni,
Will you do me the kindness to tell Mr. Escudier that on my last
visit to H.R.H. the Duke of Gotha I gave Monseigneur the volume
on Rossini, and spoke to him at the same [time] of the desire
that Mr. Escudier had mentioned to me in his last letter to be
admitted into the order of H.R.H., before putting himself at his
command? It goes without saying that I warmly recommended Mr.
Escudier to the Duke; but nevertheless he seemed to turn a little
deaf, at any rate with one ear, to the side of the ribbon. In the
course of this month I shall probably see the Duke again, and
will speak to him again about it. On your side do not neglect
Oppelt [a Belgian writer; translated the Duke's opera], who
frequently corresponds with Gotha, and rest assured that I shall
not fail to be agreeable to your friends on this occasion.
Yours ever,
F. Liszt
Nothing new here. The theatrical season will open with "Ernani"
on the 16th September at latest; they talk of mounting
"Rigoletto" or the "Foscari." Unfortunately the German
translations of Verdi's operas are not worth a straw, and we are
great purists at Weimar. In November the "Huguenots" will also be
given, for the first time at Weymar, the late Grand Duke never
having permitted the performance of this work on account of his
respect for Luther, whom his ancestors had specially protected.