serve, as far as in me lies, the good cause of Art, and whenever
I find intelligent men conscientiously making efforts for the
same end I rejoice and am comforted by the good example they give
me. Will you please give my very sincere compliments and thanks
to your brother, who, I suppose, has taken the editorship-in-
chief of, the Musical Gazette, and if he would like to have some
communications from Weymar on what is going on of interest in the
musical world of Germany I will let him have them with great
pleasure through Mr. Pohl, who, by the way, no longer lives in
Dresden (where the numbers of the Musical Gazette were addressed
to him by mistake), but in the Kaufstrasse, Weymar. His wife,
being one of the best harpists whom I know, is, now among the
virtuosi of our orchestra, which is a sensible improvement both
for opera and concerts.--
A propos of concerts, I will send you in a few days the programme
of a series of Symphonic performances which ought to have been
established here some years ago, and to which I consider myself
in honor as in duty bound to give a definite impetus at the
beginning of the year 1855.--Toward the end of January I expect
Berlioz. We shall then hear his trilogy of "L'Enfance du Christ,"
[The Childhood of Christ] of which you already know "La Fuite en
Egypte," [The Flight into Egypt] to which he has added two other
little Oratorios called "Le Songe d'Herode" [Herod's Dream] and
"L'Arrivee a Sais." [The Arrival at Sais]--His dramatic Symphony
of Faust (in four parts, with solos and chorus) will also be
given entire while he is here.
As regards visits of artists last month which were a pleasure to
me personally, I must mention Clara Schumann and Litolff. In
Brendel's paper (Neue Zeitschrift) you will find an article
signed with my name on Madame Schumann, whom I have again heard
with that sympathy and thoroughly admiring esteem which her
talent commands. As for Litolff, I confess that he made a great
impression on me. His Fourth Symphonic Concerto (in manuscript)
is a very remarkable composition, and he played it in such a
masterly manner, with so much verve, such boldness and certainty,
that it gave me very great pleasure. If there is something of the
quadruped in Dreyschock's marvelous execution (and this
comparison should by no means vex him: is not a lion as much a
quadruped as a poodle?), there is certainly something winged in
Litolff's execution, which has, moreover, all the superiority
over Dreyschock's which a biped with ideas, imagination, and
sensibility has over another biped who fancies that he possesses
a surfeit of them all--often very embarrassing!
Do you still continue your intimate relations with old Cognac in
the New World, my dear Mason?--Allow me again to recommend you
measure, which is an essential quality for musicians. In truth, I
am not very much qualified to preach to you the quantity of this
quantity; for, if I remember rightly, I employed a good deal of
Tempo rubato in the times when I was giving my concerts (a
business that I would not begin again for anything in the world),
and again, quite lately, I have written a long Symphony in three
parts entitled "Faust" (without text or vocal parts), in which
the horrible measures of 7/8, 7/4, 5/4, alternate with C and
3/4.--
In virtue of which I conclude that you ought to limit yourself to
7/8ths of a small bottle of old Cognac in the evening, and never
to go beyond five quarters!--
Raff, in his first volume of the "Wagner-Frage," has realized
something like five quarters of doctrinal sufficiency; but that
is an example that can hardly be recommended for imitation in a
critical matter, and especially in Cognac and other spirituous
matters.
Pardon me, my dear Mason, for these bad jokes, which however my
good intentions justify, and try to bear yourself valiantly both
morally and physically, which is the heartfelt wish of
Your very affectionate
F. Liszt
Weymar, December 14th, 1854
You did not know Rubinstein at Weymar. [Liszt was mistaken about
this. Mason had even done the principal honors to Rubinstein at
his first visit to Weimar, in the absence of the Master.] He
stayed here some time, and notoriously cuts himself off from the
thick mass of so-called pianist composers who don't know what
playing means, and still less with what fuel to fire themselves
for composing--so much so that with what is wanting to them in
talent as composers they think they can make themselves pianists,
and vice versa.
Rubinstein will constantly publish a round fifty of works--
Concertos, Trios, Symphonies, Songs, Light pieces--and which
deserve notice.
Laub has left Weymar; Ed. Singer has taken his place in our
orchestra. The latter gives great pleasure here, and likes being
here also.
Cornelius, Pohl, Raff, Pruckner, Schreiber, and all the new
school of new Weymar send you their best remembrances, to which I
add a cordial shake hand. [Written thus in English by Liszt]
F. L.
130. To Rosalie Spohr
Pray pardon me, dear artist and friend, that I am so late in
expressing the hearty sympathy which your Weymar friends take in
the joyful event of your marriage. [To Count Sauerma.] You know
well that I am a poor, much-bothered mortal, and can but seldom
dispose of my time according to my wishes. Several pressing
pieces of work, which I was obliged to get ready by this New
Year's Day, have prevented me up to now from giving you a sign of
life--and I am employing my first free moment to assure you that
the changing date of the year can bring with it no variation in
my sincere, friendly attachment. Remember me most kindly to the
papa and sister, and write to me when you can and tell me where
you are going to live henceforth. Possibly I might happen to be
in your neighborhood, in which case I should hasten to come and
see you.
I have but little news to give you of Weymar. That Litolff has
been to see me here, and played his two Symphony-Concertos
capitally, you doubtless know. Probably he will come back after
his journey to Brussels, in the course of next month, when I also
expect Berlioz here. Our orchestra now also possesses a very
first-rate harpist, Frau Dr. Pohl, with a good double-movement
harp of Erard. It seems that poor Erard is no better, and his
"cure" at Schlangenbad has not had the desired result. I
frequently get very sad tidings of his condition through my
daughter.
I thank you warmly for the friendly reception you accorded to
Herr Wolf as a Weymarer. I hope he did not inconvenience you by
too long visits. His wife brought me some weeks ago the original
sketch of your portrait, which is to become my possession.
The Frau Furstin [Princess] and Princess Marie commission me to
give you their most friendly greetings and wishes, to which I add
once more the expression of my friendly devotion.
A thousand respects and homage.
F. Liszt
January 4th, 1855
131. To Alfred Dorffel in Leipzig
[Writer on music, born 1821; custodian of the musical section of
the town library of Leipzig: the University there gave him the
degree of Dr. phil. honoris causa.]
Dear Sir,
Allow me to express to you direct my most cordial thanks for the
conscientious and careful pains you have taken in regard to my
Catalogue. ["Thematic Catalogue of Liszt's Compositions."] I am
really quite astonished at the exactitude of your researches, and
intend to repeat my warm thanks to you in person in Leipzig, and
to discuss with you still more fully the motives which lead me
not entirely to agree with your proposal, and only to use a part
of your new elaboration of my Catalogue. To avoid diffuseness, I
can for today only state a couple of points.
The standpoint of your new arrangement is, if I have rightly
understood you, as follows:--There are still being circulated in
the music-shops a certain number of copies of my works,
especially of the "Studies," "Hungarian Rhapsodies," and several
"Fantasiestucke" (under the collective title of "Album d'un
Voyageur"), etc., that I have not included in my Catalogue, which
I gave into Dr. Hartel's hands for printing;--and you have taken
upon yourself the troublesome task of arranging these different
and somewhat numerous works in what would be, under other
circumstances, a most judicious manner.
However gratifying to me this interest of yours in the production
of a suitable Catalogue can but be, yet I must declare myself
decidedly for the non-acceptance of the portions added by you
(with certain exceptions).
1. The Hofmeister edition of the twelve Studies (with a
lithograph of a cradle, and the publisher's addition "travail de
jeunesse"!) is simply a piracy of the book of Studies which was
published at Frankfort when I was thirteen years old. I have long
disowned this edition and replaced it by the second, under the
title "Etudes d'execution transcendante," published by Haslinger
in Vienna, Schlesinger in Paris, and Mori and Lavener in London.
But this second edition has now been annulled several years ago,
and Haslinger has, by my desire, put aside my copyright and
plates, and bound himself by contract not to publish any more
copies of this work henceforth. After a complete agreement with
him I set to work and produced a third edition of my twelve
Studies (very materially improved and transformed), and begged
Messrs. Hartel to publish it with the note "seule edition
authentique, revue par l'auteur, etc.," which they did.
Consequently I recognize only the Hartel edition of the twelve
Studies as the SOLE LEGITIMATE ONE, which I also clearly express
by a note in the Catalogue, and I therefore wish that the
Catalogue should make no mention of the earlier ones. I think I
have found the simplest means of making my views and intentions
clear by the addition of the sign (+).
2. It is the same case with the Paganini "Etudes" and the
"Rhapsodies Hongroises;" and after settling matters with
Haslinger I completely gained the legal right to disavow the
earlier editions of these works, and to protest against eventual
piracy of them, as I am once more in possession both of the
copyright and the entire engraving plates.
These circumstances will explain to you the reappearance (in a
very much altered conception and form) of many of my
compositions, on which I, as piano player and piano composer, am
obliged to lay some stress, as they form, to a certain extent,
the expression of a closed period of my artist-individuality.
In literature the production of very much altered, increased, and
improved editions is no uncommon thing. In works both important
and trivial, alterations, additions, varying divisions of
periods, etc., are a common experience of an author. In the
domain of music such a thing is more minute and more difficult--
and therefore it is seldom done. None the less do I consider it
very profitable to correct one's mistakes as far as possible, and
to make use of the experiences one gains by the editions of the
works themselves. I, for my part, have striven to do this; and,
if I have not succeeded, it at least testifies to my earnest
endeavour.
3. In the "Annees de Pelerinage" (Schott, Mainz) several of the
pieces are again taken from the "Album d'un Voyageur." The Album
brought out by Haslinger must not be quoted in the Catalogue,
because the work has not been carried out according to its
original plan, and Haslinger has given me back, in this case
also, the copyright and plates.
As the natural consequence of what I have said I beg you
therefore, dear sir, not to undertake any alteration in the
disposition and arrangement of my Catalogue, and only to add the
various enlargements and improvements, for which I have to thank
your overlooking and corrections, as I have now given them and
marked them.--
The title of the Catalogue might sound better thus in German:--
F. Liszt
"Thematischer Catalog." ["Thematic Catalogue"]
And the letters of the headings "Etudes--Harmonies--Annees de
Pelerinage--Ungarische Rhapsodien--Fantaisies on Airs from
Operas, etc.," must be rather large, and these headings separated
from the special title of the works.
I cannot agree with the admission of a supplementary Opus-
number,--but it is of consequence to me that the Catalogue should
come out speedily, in order to get as clear a survey as possible
of my works up to the present time (which, however, are by no
means sufficient for me).
Accept once more my best thanks, dear Sir, as also the assurance
of high esteem of
Yours most truly,
F. Liszt
January 17th, 1855.
P.S.--I take the liberty of keeping your edition of the Catalogue
here meanwhile, as it cannot be used for the arrangement of the
Hartel edition.
132. To Anton Rubinstein
Your fugue of this morning, my dear Rubinstein, is very little to
my taste, and I much prefer to it the Preludes that you wrote at
an earlier date in this same room, which, to my great surprise, I
found empty when I came to fetch you for the Berlioz rehearsal.
Is it a fact that this music works on your nerves? And, after the
specimen you had of it the other time at the Court, did the
resolution to hear more of it seem to you too hard to take? Or
have you taken amiss some words I said to you, which, I give you
my word, were nothing but a purely friendly proceeding on my
part? Whatever it may be, I don't want any explanations in
writing, and only send you these few lines to intimate that your
nocturnal flight was not a very agreeable surprise to me, and
that you would have done better in every way to hear the "Fuite
en Egypte" and the "Fantaisie sur la Tempete" of Shakespeare.
Send me tidings of yourself from Vienna (if not sooner), and,
whatever rinforzando of "murrendo" may happen, please don't do a
wrong to the sentiments of sincere esteem and cordial friendship
invariably maintained towards you by
F. Liszt
Weymar, February 21st, 1855.
133. To Louis Kohler
My very dear Friend,
Hans von Bulow will bring you these lines. You must enjoy
yourself in the artist who, above all other active or dying out
virtuosi; is the dearest to me, and who has, so to speak, grown
out of my musical heart.--When Hummel heard me in Paris more than
twenty-five years ago, he said, "Der Bursch ist ein
Eisenfresser." [The fellow is a bravo."] To this title, which was
very flattering to me, Hans von Bulow can with perfect justice
lay claim, and I confess that such an extraordinarily gifted,
thorough-bred musical organism as his has never come before me.
Receive him as an approved and energetic friend, and do all you
can to make his stay in Konigsberg a pleasant one.
Yours in friendship,
F. Liszt
Weymar, March 16th, 1855
The engraving of my Symphonic Poems is in progress, and in the
course of this summer five or six of them will be ready. There is
a good bit of work in it.
At the present time I am exclusively engaged in the composition
of a "Missa Solemnis." You know that I received, from the
Cardinal Primate of Hungary, the commission to write the work for
the consecration of the cathedral at Gran, and to conduct it
there (probably on the 15th of August).
134. To Dr. Franz Brendel
Sunday, March 18th, 1855
A few words in haste, dear friend, for I am over head and ears in
work. First and foremost, my best thanks for your communications,
with the request to continue them, even if I cannot always answer
the different points thoroughly.
I send you herewith the title of "The Captive" [Song, by Berlioz,
for alto voice with orchestra or piano.]--the words must be
written under the notes both in French and German. There can be
no copyright claimed for this Opus in Germany, as it appeared
years ago in Paris. It is to be hoped, however, that Kahnt will
not lose by it, as he has only to bear the cost of printing--and
in any case it is a suitable work for his shop..--.
To be brief--Panofka's [A well-known teacher of singing and
writer on music (1807-88); collaborator of the Neue Zeitschrift.]
letter, in your last number, must be regarded as a mystification.
In the first few lines a glaring falsehood, founded on facts, is
conspicuous, for the Societe de Ste. Cecile has been in existence
for years, and was formerly [1848-54] conducted by Seghers [Pupil
of Baillot (1801-81)]--not to mention that Berlioz conducted the
Societe Philharmonique, where "many Symphonies were performed,"
for at least a season (of something like four years)--and then as
regards Scudo, [Musical critic and journalist in Paris (1806-64)]
it must appear incredible to see a man like that mentioned with
approval in your paper. It is well known that Scudo has, for
years past, with the unequivocal arrogance of mediocrity, taken
up the position of making the most spiteful and maliciously
foolish opposition, in the revue des Deux Mondes (the
"Grenzboten" only gives a faint impression of it), to our views
of Art, and to those men whom we honor and back up. (I can tell
you more about this by word of mouth.) If Panofka calls that
"persuasion and design," I give him my compliments...on his
silliness.--
Your views on the characteristic motives are right, and for my
part I would maintain them very decidedly against the bornes
attacks which they have to bear--yet I think it is advisable not
to discuss Marx's book ["The Music of the Nineteenth Century,"
1855.] at present.
Yours ever,
F. Liszt
135. To Dr. Franz Brendel
April 1st, 1855
Dear Friend,
The question of criticism through creative and executive artists
must some time come on the tapis, and Schumann affords a
perfectly natural opportunity for it. [Liszt's article on Robert
Schumann, "Gesammelte Schriften," Vol. iv.] By the proofs of the
second article (which I thank you much for having corrected with
the necessary exactitude) you will observe that I have modified
several expressions, and have held them in more just bounds.
Believe me, dear friend, the domain of artists is in the greater
part guilty of our sluggish state of Art, and it is from this
side especially that we must act, in order to bring about
gradually the reform desired and pioneered by you.
Tyszkiewicz's [Count Tyszkiewicz, writer on music, collaborator
of the Neue Zeitschrift.] letter gave me the idea of asking you
to make him a proposal in my name, which cannot be any
inconvenience to him. In one number of Europe artiste he
translated the article on "Fidelio." [By Liszt, "Gesammelte
Schriften," Vol. iii., I.] Should he be disposed to publish
several of my articles in the same paper, I am perfectly ready to
let him have the French originals, [Liszt's articles were, as
already mentioned, written in French and translated into German
by Cornelius.] whereby he would save time and trouble. He has
only to write to me about it; for, after his somewhat capricious
behaviour towards me, I am not particularly inclined to apply to
him direct, before he has written to me. I am in perfect
agreement with his good intentions; it is only a question how far
he is able and willing to carry them out, and how he sets about
it. His "Freischutz-Rodomontade" is a student's joke, to which
one can take quite kindly, but which one cannot hold up as a
heroic feat. If he wishes to be of use to the good cause of
musical progress, he must place and prove himself differently.
For my part I have not the slightest dislike to him, only of
course it seemed rather strange to me that, after he had written
to me several times telling me that he was coming to see me at
Weymar, and had also allowed Wagner to write a letter of
introduction for him, which he sent to me, he should ignore me,
as it were, during his long stay in Leipzig. This does not of
course affect the matter in hand, and I am not in the least angry
at his want of attention, but I simply wait till it occurs to him
to behave like a reasonable man.
I thank you for your tidings about Dietrich--although I am
accustomed to expect less, rather than more, from people.
On the 9th April Schumann's "Genoveva" will be given here--and I
think I may venture to promise before-hand that the performance
will be a far better one than that at Leipzig. Fraulein Riese
will tell you about the "Transfiguration of the Lord." [Oratorio
by Kuhmstedt] Of this kind there should certainly be no more
[oratorios The word is missing in the original, as the corner of
the letter is cut off] composed.
Yours in friendship,
F. Liszt
136. To Anton Rubinstein
My dear Rubinstein,
Gurkhaus has just sent me a copy of your "Persian Songs," on the
title-page of which there is a mistake which I beg you to get
corrected without delay. The Grand Duchess Sophie is no longer
"Hereditary Grand Duchess," but "Grand Duchess" pure and simple,
and I think it would not do to send her the dedicatory copy with
this extra word. Please write therefore to Gurkhaus to see to it.
In the number of the Blatter fur Musik which has come to me I
have read with great pleasure and satisfaction Zellner's article
on your first concert in Vienna. It is not only very well written
but thoroughly well conceived, and of the right tone and manner
to maintain for criticism its right and its raison d'etre. I
second it very sincerely for the just eulogy it gives to your
works; and, if you have the opportunity, make my compliments to
Zellner, to whom I wrote a few lines the other day. This article
coincides rather singularly with that which appeared in the Neue
Zeitschrift (No. II.) on Robert Schumann, in which I probed
rather deeply into the question of criticism. If you believe me,
my dear Rubinstein, you will not long delay making yourself of
the party; for, for the few artists who have sense, intelligence,
and a serious and honest will, it is really their duty to take up
the pen in defense of our Art and our conviction--it matters
little, moreover, on which side of the opinions represented by
the Press you think it well to place yourself. Musical literature
is a field far too little cultivated by productive artists, and
if they continue to neglect it they will have to bear the
consequences and to pay their damages.
With regard to Weymar news, I beg to inform you that this evening
Kulhmstedt's oratorio "The Transfiguration of the Lord" will be
given at the theater, under the very undirecting direction of the
composer. I cannot, unfortunately, return him the compliment he
paid you at Wilhelmsthal--"Young man, you have satisfied me";
for, after having heard it at three rehearsals, I found no
satisfaction in it either for my ears or my mind: it is the old
frippery of counterpoint--the old unsalted, unpeppered sausage,
[Figure: Musical example]
etc., rubbish, to the ruin of eye and ear! I will try to leave it
out in my Mass, although this style is very usual in composing
Church music. In five or six weeks I hope to have finished this
work, at which I am working heart and soul (the Kyrie and Gloria
are written). Perhaps I shall still find you at Vienna (or in the
outskirts, which are charming), when I come to Gran in the month
of July.
If not, we shall see each other again at Weymar, for you owe me a
compensation for your last fugue, which is no more to my taste
than Kuhmstedt's counterpoint. When are you going to send me the
complete works of Anton Rubinstein that you promised me, and
which I beg you not to forget? Your idea of a retrospective
Carnival seems to me excellent, and you know how to write
charming and distinguished pieces of that kind.
Farewell, dear friend; I must leave you to go and have a
rehearsal of Schumann's "Genoveva," which is to be given next
Monday. It is a work in which there is something worthy of
consideration, and which bears a strong impress of the composer's
style. Among the Operas which have been produced during the last
fifty years it is certainly the one I prefer (Wagner excepted--
that is understood), notwithstanding its want of dramatic
vitality--a want not made up for by some beautiful pieces of
music, whatever interest musicians of our kind may nevertheless
take in hearing them.
A thousand cordial greetings, and yours ever,
F. Liszt
Weymar, April 3rd, 1855
When you write to me, please add your address. I beg you will
also return my best compliments to Lewy. [Pianist in St.
Petersburg; a friend of Rubinstein's.]
A thousand affectionate messages to Van II. from the Princess.
137. To Freiherr Beaulieu-Marconnay, Intendant of the Court
theater at Weimar
[Autograph in the possession of Herr Hermann Scholtz, Kammer-
Virtuosos in Dresden. The addressee died in Dresden.]
Dear Baron,