have found some interest in the scores. For, however others may
judge of the things, they are for me the necessary developments
of my inner experiences, which have brought me to the conviction
that invention and feeling are not so entirely evil in Art.
Certainly you very rightly observe that the forms (which are too
often changed by quite respectable people into formulas) "First
Subject, Middle Subject, After Subject, etc., may very much grow
into a habit, because they must be so thoroughly natural,
primitive, and very easily intelligible." Without making the
slightest objection to this opinion, I only beg for permission to
be allowed to decide upon the forms by the contents, and even
should this permission be withheld from me from the side of the
most commendable criticism, I shall none the less go on in my own
modest way quite cheerfully. After all, in the end it comes
principally to this--WHAT the ideas are, and HOW they are carried
out and worked up--and that leads us always back to the FEELING
and INVENTION, if we would not scramble and struggle in the rut
of a mere trade.
When is your Method of teaching coming out? I rejoice beforehand
at all the incitement and forcible matter contained in it. You
will shortly receive a circular with a letter from E. Hallberger
(Stuttgart), who asks me to undertake the choice of pieces to
appear in his edition of the "Pianoforte." Do send something soon
to it; it is to be hoped that the establishing and spreading of
this collection will prove quite satisfactory.
Fare you well in your work, dear friend, and think affectionately
of
Yours ever sincerely,
F. Liszt
Weymar, July 9th, 1856.
P.S.--In your next letter send me your exact address.
155. To Hoffmann von Fallersleben
[The well-known poet (1798-1874), who was living at that time in
Weimar; was an intimate friend of Liszt, and in 1854 founded,
with him, the Neu-Weimar-Verein, which, under the presidency of
Liszt, was joined by all the most distinguished musicians,
authors, and painters of Weimar.]
Dear Friend,
In your [The second person singular is employed in this letter]
pleasant villeggiatura, where you will find no lack of the
Beautiful and Good, let yourself also be welcomed by a friend of
the New-Weymar
School, who is truly yours. It is true I have nothing new to tell
you. You already know that the Grand Duke received your poem on
the morning of his birthday, and said the kindest things about it
to me later on. Most of our colleagues of the Neu-Weimar-Verein
are away and scattered in various countries;--Singer in Pesth;
Soupper [Eugen v. Soupper, concert singer, a countryman of
Liszt's, was in Weimar in 1855-56.] in Paris, where he is trying
the solitude of a crowd (according to Chateaubriand's expression,
"the crowd, that vast desert--not dessert--of men"); Stor [Music
director in Weimar; died 1889.] at the bathing-place Heringsdorf,
probably drawn there by a secret affinity between his herring
form and the name of the place; Winterberger in Holland, to
inspect the Haarlem and other organs, which he will certainly do
in a masterly way; and Preller goes today to Kiel. On the
Altenburg no change worth mentioning has taken place: visits of
strangers to me fail not summer or winter, and, still less, works
which have become my life's task. I might almost sing, like
Hoffmann von Fallersleben,
"Hier sitz ich fest, ein Fels im Meer, Woran die Wellen toben; 's
geht drunter, dran and druber her--Ich bleibe fortan oben"--
["Here firm I sit, a rock sea-girt, On which the waves are
dashing, But I remain above, unhurt, Nor heed the waters'
lashing."]
if only there were more waves and less marsh!--
My travelling plans are still somewhat vacillating, because I
cannot yet decide whether I shall go to Hungary or not. In any
case I shall go and see R. Wagner, in the middle of September at
latest, at Zurich, where Stahr at present is with his wife (Fanny
Lewald). Stahr will shortly publish a new volume of Paris Letters
(about the Exhibition), and is translating Suetonius for the
Classical Library coming out at Stuttgart. He told me that there
is a passage in Suetonius which one can quite apply to the
baptism of the Prince Imperial in Paris! After this precedent,
why might not everything in the Horoe belg, and the Weymar Year-
Book be proved as referring to something?
Remember me most warmly to your dear Amphitrion, whom I
unfortunately did not manage to see again before her departure,
and, if the Mildes are in the same house as you, give them my
best greetings, woven into a toast.
Fare thee well, dearest friend, and do not remain too long away.
Thine in heartfelt friendship,
F. Liszt Weymar, July 14th, 1856
156. To Wilhelm wieprecht, General Music Director of the Military
Corps of the State of Prussia
[Autograph in the possession of Herr Otto Lessmann at
Charlottenburg. The addressee (1802-72) was one of the inventors
of the bass-tuba, and improved many of the wind instruments.]
Dear Friend, I learn from several Berliners, who have passed
through here, that you have had the great kindness to instrument
my march "Vom Fels zum Meer" ["From the Rock to the Ocean."]
splendidly, and have had it performed several times. Permit me to
express my warmest thanks to you for this new proof of your
friendship, and at the same time to remind you of a promise the
fulfillment of which is very much desired by me.
It is that, in my last visit to Berlin, you were so kind as to
say that the Symphonic Poem Tasso would not be amiss arranged by
you for a military band, and you, with your well-known readiness
for action, expressed your willingness to arrange the
instrumentation accordingly. Allow me today to lay claim to half
your kind offer, and to beg you to strike out forty-two pages of
this long score, and so to dispose your arrangement that, after
the last bar of page 5 (score), you make a skip to the second bar
of page 47 (Lento assai), by this means shortening the lamento of
Tasso and of the public also.
[Here, Liszt illustrates with a musical score excerpt of the last
bar of page 5.]
[Here, Liszt illustrates with another musical score excerpt, from
the second bar of page 47.]
By the same post I send you the score and the piano arrangement
(for two pianofortes) for convenience in looking it over. If the
concluding figure (Letter M., Moderato pomposo) seems to make a
better effect in the instrumentation by following the piano
arrangement with the simple quaver figure [Liszt illustrates with
a brief musical score excerpt] instead of the triplets, according
to the score, I have not the slightest objection to it, and beg
you altogether, dear friend, to feel quite free to do as you like
in the matter. The flattering thing for me would be just this--
that the work should please you sufficiently for you to be
allowed to take what liberties you wish with it.
Some years ago Dahlmann gave a lecture at Bonn upon immature
enthusiasm. God preserve us rather from untimely pedantry!
Certainly no one shall have to suffer from this from my side!
I am sending you, together with the "Tasso" score, that of
"Mazeppa" also. Take an opportunity of looking at the concluding
"March" (beginning page 89 of the score):--
[Here, Liszt illustrates with a musical score excerpt]
(N.B--It must begin with the 4/6 chord, perhaps after a couple of
introductory bars roll on the drum--without any distinct tone.)
Perhaps the subject may suit for some occasion or other.
Forgive me, dear friend, for being so pressing, and behold in
this only the joy which the fulfillment of your promise will give
me. Next winter I hope to give you my thanks in person in Berlin.
Meanwhile accept the expression of high esteem of yours truly and
with all friendly acknowledgments,
F. Liszt
Weymar, July 18th, 1856
If, as I imagine, the Finale from "Tasso" could be so arranged
that moderate military bands could play it fairly well, I should
of course be glad. However I leave it entirely in your hands to
do with it whatever seems best to you, and give you my best
thanks beforehand for your kindness.
157. To Concertmeister Edmund Singer
Dear Friend,
In consequence of the definite decision which was made known to
me yesterday by T. R. the Titular Bishop and the Cathedral Cantor
Fekete, my Mass is to be performed on the day of the
consecration. [Of the Cathedral of Gran] I shall therefore get to
Pest by the 11th or 12th August, as I had previously arranged,
and shall be very glad to see you and two or three others of my
friends again. I am also reckoning on you for certain as leader
of the orchestra at the rehearsals and performance of the Mass. I
am writing tomorrow to Winterberger, who is making a tremendous
sensation in Holland, to beg him to undertake the organ part, and
to be in Pest by the middle of August.
While speaking of Holland, I may add that Herr Vermeulen (General
Secretary of the "Maatschappy" ["Maatschappy tot bevordering der
toonkunst."]) is coming to see me here early in August. This
offers me a good opportunity of being of service to you in regard
to your concert arrangements in Rotterdam and Amsterdam, etc., of
which I will not fail to make use. More of this viva voce.
Meanwhile, it would be better for you not to write there.
I enclose several notes of acknowledgment for E., Dr. F., B. and
K., to which I beg you will kindly attend.
And now one more commission, which you can easily fulfill through
Rosavoegly, [Music publisher in Budapest] with my best greetings
to him. In my reply to the official letter of H. R. von Fekete
yesterday I forgot to repeat that, in order to avoid loss of
time, it is easy to have the voice parts (solos and chorus)
written out before my arrival, and as carefully as possible,
clean and clearly. I will willingly discharge the copyist's fee,
and the orchestral parts I will bring with me together with the
score, so that the rehearsals may begin as soon as the performers
taking part in it are assigned to me.
I confidently hope that we shall have a very fine performance,
without trouble and worry, and one in which musicians as well as
audience will find pleasure and edification. The length of the
Mass will also fulfill the required dimensions, and yesterday I
hunted out a couple of "cuts," which could be made, if necessary,
without any essential harm to the work. You know, dear Singer,
that I am a special virtuoso in the matter of making cuts, in
which no one else can easily approach me!--
I am simply not disposed, in spite of much prudent advice, to cut
my Mass and myself altogether, all the less so as my friends and
countrymen have on this occasion shown themselves so kind and
good to me. I therefore owe it to them to give them active proof
that their confidence and sympathy in me are not wholly
undeserved--and with God's help this shall be irrefragably
proved!
For the rest I want to keep very quiet and private this time in
Pest. Composers of my sort write, it is true, plenty of drum and
trumpet parts, but by no means require the too common flourish of
trumpets and drums, because they are striving after a higher aim,
which is not to be attained by publicity.
"Auf baldiges Wiedersehen," ["To a speedy meeting"] dear friend--
I leave here by the 9th August at latest. Meanwhile best thanks
for your letter,--and
Ever yours,
F. Liszt
July 28th, 1856.
158. To Joachim Raff
[Raff (1822-82) lived, as is well known, for some years in Weimar
(first of all as Liszt's secretary), and at that time joined the
Liszt tendencies as a composer, afterwards going other ways.]
Dear Sir and Friend,
It is very pleasant to me to find from your letter that you have
taken aright the recognition in my article on the "Sleeping
Beauty," and see unequivocally in its attitude a fresh proof of
the high estimation in which I hold your artistic powers, as well
as of my readiness to be of use to you as far as my insight and
loyalty in Art matters will permit me. In this first discussion
of a work so much thought of and so widespread, it was most
important that I should draw the attention of Art-fellowship to
your entire works and higher endeavors during the past six years.
You will still give me the opportunity, I hope, later on, of
spreading much deserved praise and of placing more in the shade
any chance differences in our views. If I have not placed you
this time so completely as I should have wished among the musical
fellowship of the time, like a Peter Schlemihl,[The man without a
shadow--German fable.] this was partly in consequence of your own
oft-repeated advice that "one should not exclusively praise men
and works if one wishes to be useful to them."[Neue Zeitschrift
fur Musik. Later "Gesammelte Schriften," vol. v.]
I do not always agree with you in this view, but on this occasion
I hope I have hit the happy medium.
Accept my best thanks for the friendly interest you have shown in
my orchestral compositions in the concert direction of Wiesbaden.
Whether I shall be able to comply with several invitations for
concerts in the coming winter depends on a good many
circumstances which I cannot quite settle beforehand. But in any
case I shall be glad if my compositions become more widely
spread, and perhaps during your present stay in Wiesbaden the
opportunity may offer of conducting one or two numbers of the
Symphonic Poems, in accordance with your previous intentions.
At the end of next week at latest I set out for Gran, to conduct
my Mass on the 31st of August (in celebration of the consecration
of the Basilica). Toward the middle of September I go to Zurich,
where, if I am not prevented by any special hindrances, for which
I always have to be prepared, I think of spending a couple of
weeks with Wagner.
Fare you well, dear Raff, and send soon some tidings of yourself
to
Yours most truly,
F. Liszt
Weymar, July 31st, 1856.
Hans von Bulow has been with me a couple of days, and goes to
Baden-Baden the day after tomorrow. Winterberger is scoring an
extraordinary triumph by his organ-playing in Holland, and played
the Prophete and BACH Fugue [Fugue on the name of Bach] before an
audience of two thousand people with immense success.
Do not forget to give my friendly greetings to Genast [the
celebrated Weimar actor, afterwards Raff's father-in-law] and my
homage to Mademoiselle Doris [Afterwards Raff's wife, an
excellent actress].
159. To Anton Rubinstein
It is a very great regret to me, my dear Rubinstein, to have to
miss your visit the day after tomorrow, of which you sent me word
by Mr. Hallberger. You know what a sincere pleasure it always is
to me to see you again, and what a lively interest I take in your
new works. This time in particular I am at high tension about the
completion of your Paradise Lost. If the continuation and the end
correspond with the beginning which you showed me, you have
reason to be really and truly satisfied with yourself, and you
may sleep in peace conscious of having written a grand and
beautiful work.
Unfortunately, whatever curiosity I have to be quite assured of
this, I cannot stay here any longer, and must start tomorrow
morning for Gran, where, in spite of a lot of useless talk, the
thread of which you have perhaps followed in the papers, they
will end after all by giving my Mass on the 31st of August (the
day of the consecration of the Basilica). You see that I have
only just time to set the thing on foot, and cannot, without the
risk of unpleasantness, defer my arrival beyond the day which,
moreover, I officially fixed about a week ago.
Please excuse me then, my dear Rubinstein, for my involuntary
fugue, and allow me to make up for it without too much delay. On
my return from Hungary I shall come through Stuttgart (towards
the middle of September). Perhaps I shall find you still there,
which would be a very great pleasure. We would sing together the
choruses, solos, and orchestra of your new score with all our
might! And Winterberger (who has just had a fabulous success at
Rotterdam, Haarlem, etc., where he has given several organ
concerts largely attended) might also be one of the party, for I
expect to make the journey from Zurich with him, and on our way
we shall explore the organs of Ulm, Stuttgart, Friburg, and
Winterthur.
Will you let me know by a few lines what your plans are for the
end of the summer and autumn? Shall you return to Leipzig? Will
it suit you to try your Oratorio first at Weymar? In this latter
case, which you may be sure will be the most agreeable to me, I
will try to facilitate the arrangements that have to be made as
regards copies, and to save you the expense of copying. Toward
the end of October, at latest, I shall be back here; and, if we
do not meet before, I count on your not letting this year elapse
without coming again for a few days to your room at the
Altenburg, where you are certain of being always most cordially
welcome, for we shall make no changes.
If you have a quarter of an hour to spare do write a piece of a
few pages for Hallberger, without making him wait any longer, for
I especially want one of your loose works to appear in the first
copy of the "Pianoforte."
The Princess bids me give you her best compliments, to which I
add the expression of frank and cordial friendship of your very
devoted
F. Liszt
August 6th, 1856.
Have you received my things in score? Continue to address me at
Weymar.
160. To Joachim Raff
You would be making a great mistake if you put any mistrust in my
conduct, and I can assure you with a perfectly good conscience
that to me there is nothing more agreeable and more to be desired
than to rely entirely on one's friends. With regard to the
Wiesbaden affair, I must necessarily await a definite invitation
from the concert directors before I can give a definite answer. I
think I have too often shown that I am ready and willing, for it
to be necessary for me to say more on that point. I was again at
Sondershausen last Sunday, and promised to go there again in the
course of next winter. The orchestra there, under its conductor
Stein (whose acquaintance I had not made until now), has
performed two of my Symphonic Poems--"Les Preludes" and
"Mazeppa"--with really uncommon spirit and excellence. Should
there be a similar willingness in Wiesbaden, it will of course be
a pleasure to me to accept the invitation of the concert
directors; so also I am greatly obliged to you for being so
helpful toward the spread and sympathetic understanding of my
works. But from your letter I see that you will not be staying
much longer in Wiesbaden, and as I am not acquainted with the
present circumstances there I cannot reckon beforehand on the
friendly reception without which public performances always prove
very unfruitful for composers. According, therefore, to whether
these circumstances show themselves favorable or unfavorable to
my honest endeavors, I will come, or I will remain at home.
I give you my heartiest good wishes for the performance of your
"King Alfred" [an opera of Raff's]. Your two "Tanz-Capricen"
(bolero and valse) have been sent me by Hallberger, and I have
already recommended a speedy edition of both.
This afternoon I start for Gran. In the middle of September I
shall get to Stuttgart and go to Zurich. Letters can be always
addressed to me at Weymar, and before the end of October I shall
be back here again.
With best greetings and thanks, yours very truly,
F. Liszt
Weymar, August 7th, 1856
161. To Anton Rubinstein
I much regret, dear Rubinstein, to have missed your visit to
Weymar, and, while thanking you most sincerely for your kind
intention, I am going to beg you to grant me full reparation by a
second visit when I return.
By the news which reaches me from the Altenburg I learn that you
think of spending part of the winter in Berlin, and will there
give your "Paradise Lost," which will doubtless be a piece well
found, and from which you will derive benefit. Please do not fail
to let me know in good time which day it is to be performed, for
I am set upon being present at this first performance, and shall
certainly come to Berlin unless anything absolutely unavoidable
prevents me.
I expect to be back at Weymar towards the end of October, and to
set seriously to work again, a thing which is not possible
elsewhere. The rehearsals of my Mass are going on here admirably,
and I expect we shall have a very fine performance at Gran on the
31st, where, moreover, there will be so many other things and
people of quite a different importance to be seen and heard, that
they will scarcely hear three bars of my Mass. Happily my work
has the good luck to have two general preliminary rehearsals,
public ones, at Pest next week, and a final rehearsal at Gran
itself. Zellner will probably be there, and you will hear about
it from him. Possibly also the same Mass will be given on the
28th September (the day of St. Wenceslas, the patron saint of
Bohemia) at Prague, whence they have just written to me to that
effect. You will give me great pleasure, my dear Rubinstein, if
you will write me something about your autumn and winter plans;
and if by chance I can be of use to you in any way show me the
friendship of disposing entirely of me, as of one who is your
very sincerely affectionate and devoted
F. Liszt Pest, August 21st, 1856
Address always to Weymar.
I am still expecting to go by Stuttgart to Zurich towards the
middle of September, but it is possible that Prague may occasion
me a fortnight's delay.
162. To Eduard Liszt
[Pest,] Friday, September 5th, 1856
Dearest Eduard,
Yesterday's performance of my Mass was quite according to my
intentions, and was more successful and effective by far than all
the preceding ones. Without exaggeration and with all Christian
modesty I can assure you that many tears were shed, and that the
very numerous audience (the church of the Stadtpfarrei [I.e., the
parish church] was thronged), as well as the performers, had
raised themselves, body and soul, into my contemplation of the
sacred mysteries of the Mass...and everything was but a humble
prayer to the Almighty and to the Redeemer!--I thought of you in
my heart of hearts, and sought for you--for you are indeed so
very near and dear to me in spirit!--Next Monday, the 8th
September, at the consecration of the Hermine-Kapelle (which the
Cardinal Prince Primate of Hungary will consecrate), my Mass for
four men's voices will be sung. Winterberger will accompany it on
a Physharmonica of the organ genus. On the same evening (Monday)
the concert for the benefit of the Pension Fund will take place
at the theater: Singer and Pruckner will play at it, and two of
my Symphonic Poems--"Les Preludes" and "Hungaria" (Nos. 3 and 9)-
-will be given.
On the 14th September at latest I shall get to Vienna, and I will
write to Haslinger more definitely about it. Meanwhile will you
please tell Haslinger, as I cannot write to him until the concert
in the Hungarian theater is over.
.--. I expect to leave here before the end of next week.
God be with you and with your
F. L.
At the rehearsal this morning I was told that you have got such
an excellent article on the Mass in the Wanderer. I suppose you
sent the number to Weymar? If possible let me have one here also.
163. To Louis Kohler
Bravo, dear friend, for the three very graceful and charmingly
conceived melody-dialogues! I have pleasure in them, and am
certain of the success of this charming selam. [Meaning a musical
bouquet.] As an old laborant [Worker in a laboratory] at piano
music allow me merely to lay before you a slight alteration in
the two bars before the return of the motive (No. I). According
to my conception one bar more would have a beneficial effect
there, thus:--
[Here Liszt writes out a 5-measure excerpt of piano music]
If you agree with this version, write me simply Yes to the
address of Richard Wagner, Zeltweg, Zurich. I shall get there
next Sunday, and stay some days with our great friend. At the
beginning of November I shall be back in Weymar.
Hearty greetings from yours in all friendship,
F. Liszt
Stuttgart, October 8th, 1856.
In No. 3 (in the first two bars) the F seems to me the right
sound in the bass, and that was what you had first written:--
[Here, Liszt illustrates with a musical score excerpt]
instead of:--
[Here, Liszt illustrates with another musical score excerpt]
Will you leave these little alterations to me in the proof?
164. To Dr. Gille, Councillor of Justice at Jena
[An ardent friend of Liszt's, a promoter of musical endeavors, a
co-founder and member of the Committee (General Secretary) of the
Allgemeine Deutsche Musikverein, is at the head of the Liszt
Museum in Weimar, and lives in Jena, where he is Prince's Council
and Councillor of Justice.]
Zurich, November 14th, 1856
My very dear Friend,
I am heartily rejoiced at the honorable proof of the sympathy and
attachment of our Circulus harmonicus Academiae Jenensis, which
was prepared for me for the 22nd October by your kindness, and I
give you my warmest thanks for it, begging you to be so good as
to pass them on also to our friends Stade and Herr Schafer, whose
names strengthen the diploma.