patroness, I have still to add the excuses of our good friend
Brendel to you. When I have an opportunity I will tell you in
person about the Prologue disturbances at the Leipzig Tonkunstler
Versammlung. Pohl had also supplied one--but the choice was given
over to Frau Ritter, and she chose her good "Stern," whose
prologue was indeed quite successful and made a good effect. But
oblige me by not bearing any grudge against Brendel, and let us
always highly respect the author of "Liszt as a Symphonic
Writer"!--
A thousand heartfelt greetings from your faithful
F. Liszt
Weymar, August 23rd, 1859
Princess Marie will thank you herself for the Sonnet, and at the
same time tell you about the musical performances of the 15th
August. Lassen's song, "Ave Maria," of which you gave him the
poem long ago, was especially successful. The Quartet:
"Elfen, die kleinen,
Wollen dich grussen,
Wollen erscheinen
Zu deinen Fussen"
["Elfin world greeting
To thee is sending,
Fairy forms lowly
At thy feet bending."]
composed by Lassen), and
"Wandelnde Blume, athmender Stern,
Duftende Bluthe am Baum des Lebens"
["Swift-changing flowers, pulsating star,
Sweet-scented blossoms on life's living tree."]
(composed by Damrosch), which we had sung together two years ago,
rejoiced us anew and most truly this time.
217. To Dr Franz Brendel
[In this letter, the programme refers to some theater concerts,
which were to be arranged according to Brendel's design. The
sketch was as follows:--
"1st Concert: Paradise and the Peri.
2nd Concert: Eroica, Prometheus.
3rd Concert: Overture of Wagner. Solo (Bronsart). Overture of
Beethoven.
2nd part: L'enfance du Christ of Berlioz.
4th Concert: Festival Song of Liszt. Solo. Draseke. Chorus for
men's voices from his Opera.
2nd part: Walpurgisnacht of Mendelssohn.
5th Concert: Overture of Berlioz, Wagner, or Beethoven.
Solo. Preludes.
2nd part: Manfred.
6th Concert: Overture. Solo. Tasso.
2nd part: B-flat major Symphony."
To this Liszt adds, besides some remarks about getting the parts for
No. 5:
"An orchestral work of Hans von Bulow (possibly the Caesar Overture)
would be suitable for this concert. I would also recommend that
Bronsart's "Fruhlings-Phantasie" ["Spring Fancy"] should be included in
one of the programmes.
"Of Berlioz' works I should recommend the following as the most
acceptable for performance:--
"The festival at Capulet's house (Romeo),
The Pilgrims' March (from Harold),
Chorus and Dance of Sylphs (Faust),
Terzet and Chorus (from Cellini), with the artists' oath,
Overture to Lear.
"N.B.--We can bring out the Terzet from Cellini at the next
Tonkunstler-Versammlung. It is a very important and effective piece."]
Dear Friend,
The sketch for your programme is excellent, and if I have some
doubts as to the entire project, yet your proposed programme
seems to me in any case the most suitable, both as regards choice
of works and their order and grouping. With regard to the doubts
which I have so often mentioned I will only make the general
remark that a competition with the Gewandhaus in Leipzig brings a
good deal of risk with it, and for this winter a passive attitude
on our side would not specially injure our cause (at least not
according to my opinion). Whether Wirsing and Riccius will be
able to give the requisite support to the theater concerts, or
are willing to do so, I cannot undertake to say, as the ground of
Leipzig lies in many ways too far removed from me. In this I rely
entirely on your insight and circumspection, dear friend. In case
you end by deciding in the affirmative I will willingly do
something to help--as, for instance, to undertake the conducting
of the "Prometheus." I would rather not let myself in for much
more than that, because conductings in general become more
burdensome to me every year, and I don't in the least desire to
offer further active resistance to the ill-repute with which I am
credited as a conductor. Indeed I owe my friend Dingelstedt many
thanks for having (without perhaps exactly desiring to do so)
given me the chance of freeing myself from the operatic time-
beating here, and I am firmly resolved not to wield the baton
elsewhere except in the most unavoidable cases! Bülow must now
often mount the conductor's desk. He has the mind, liking,
talent, and vocation for this. If the theater concerts should be
arranged, be sure to secure his frequent co-operation. He will
certainly bring new life into the whole affair, and possesses the
necessary amount of experience and aplomb, [Employed in French by
Liszt] to be their solid representative.
I have just written to Klitzsch [Music-conductor at Zwickau] and
promised him to conduct the "Prometheus" in Zwickau. The concert
will take place at the end of October (perhaps on my birthday,
the 22nd). Although you have heard the Prometheus choruses in
Dresden, I wish very much that you could come to Zwickau this
time. I have again worked most carefully at it, have amplified
some things, and have arranged others in a simple and more
singable manner, etc. Now I hope that it will thoroughly hold its
ground and stand the test of proof. So do come to Zwickau.
I have still one more request to make to you today, dear friend.
P. Lohmann [A music colleague of the Neue Zeitschrift fur Musik,
living in Leipzig] was so kind as to send me his drama some weeks
ago. I have read The Victory of Love with much interest, but I
have not yet been able to get so far as the other, and as little
have I been able to express my thanks to him in writing. Kindly
undertake my excuses to him, and tell him that I am exceedingly
obliged by his letter and what he sent me. On the occasion of my
journey to Zwickau I will call on Lohmann in Leipzig, and tell
him personally what an impression his dramas make on me. I
specially take notice of his article in the paper.
I thank you most truly for the kindness which you have shown to
B. He is in many things somewhat awkward, impractical--and almost
looks as though he could not devote himself to any productive and
consistently carried-out form of activity. None the less is there
in him a certain capacity and worth which, in a somewhat more
regular position than he has yet been able to attain, would make
him appear worth more. A more frequent application of a few
utensils such as soak tooth-brush, and nail brush might also be
recommended to him!--I expect much good to result from your
influence on B.'s further work and fortunes, and hope that your
store of patience will not be too sorely tried by him.
With heartfelt greetings, your
F. Liszt
Weymar, September 2nd, 1859
Herewith the programme scheme with two or three little remarks
appended. Weigh again the pros and cons of the matter, and keep
the right balance between the risk and the possible gain. Motto:
"First weigh, then risk it!"--[The nearest English equivalent
seems to be "Look before you leap."
.--. I have had so much of notes [musical] to write lately that
my writing of letters [of the alphabet] has got still worse. But
where you can't read what I have written, you can guess it all
the easier.--
218. To Louis Koehler
Dear Friend,
Your letter was a real joy to me, for which I thank you heartily.
You are far too honorable, brave, and admirable a musician for
our paths to remain long sundered. For the very reason that
people cannot (as you so wittily remark) immediately "label and
catalogue me correctly and place me in an already existing
drawer," I am in hopes that my efforts and working will
eventually prove in accordance with the spirit of the time, and
will fructify. I promise you also that I am not wanting in pains
and labour in honor of my friends. But I certainly cannot
recognize weaklings and cowards as such. It is only with high-
minded, brave, and trusty comrades that we move forwards, no
matter though the number remain small. In matters of intelligence
the majority always follows the minority, when the latter is
sufficiently strong to hold its own.--Welcome, therefore, dear
friend, welcome most truly. If there is still a lot of scandal
which we have to bear quietly and without mortification, we will
by no means let ourselves be confounded by it!
I have written at once to Hartel to send you the arrangements for
two pianofortes of the Symphonic Poems that you wished for. But
there is a better way for the scores than that of a bookseller.
Fraulein Ingeborg Stark is going to St. Petersburg on the 20th of
this month, and will stay a day in Konigsberg. She will bring you
the Dante Symphony, etc., and if there should be an opportunity
she will play the things through with Bronsart (who is also going
to Konigsberg at the same time). I have grown very much attached
to Fraulein Stark, as hers is a very particularly gifted artistic
nature. The same will happen to you if you hear her striking
Sonata. Ingeborg composes all sorts of Fugues, Toccatas, etc.,
into the bargain. I remarked to her lately that she did not look
a bit like that. "Well, I am quite satisfied not to have a fugue
countenance," was her striking answer.
The Pohls are both still in Baden-Baden (whence I hear the
excerpts from Berlioz' manuscript opera Les Troyens [The Trojans]
spoken of with enthusiasm). Madame Viardot sang a grand scena and
a duet from it in the concert conducted by Berlioz--and Fraulein
Emilie Genast is staying a couple of weeks longer with her sister
Frau Raff in Wiesbaden. On her return I will give her your
greetings, and Emilie will certainly be glad to make known the
concert song which you mention to her. In her performance a
beautiful and sympathetic "melody of speech" is reflected. As I
write this word I can't help at the same time wishing that you
may find in my "Gesammelte Lieder" something that appeals to your
feelings, which you have so cleverly represented in the "melody
of speech." You will receive a proof-copy of the six numbers at
the same time as the Dante Symphony. I wanted to dedicate the
last number, "Ich mochte hingehn" (poem by Herwegh), specially to
you, and when next you have occasion to come to Weymar, I will
look for the manuscript for you on which your name is put. But as
I have left out all other dedications in this complete edition, I
propose to dedicate something else to you later--probably some
bigger and longer work.
A Ballade of Draeseke's--"Koenig Helge"--has just appeared, which
pleases me extremely. You must look closely into this wonderful
Opus 1.
In conclusion one more request, dear friend. Do me the kindness
to be perfectly free and open and regardless of consequences in
the discussion of my works. Do not imagine that the slightest
vanity comes over me or impels me. I have long ago done with all
that sort of thing. So long as you allow that I possess the
necessary musical equipments to create freely in Art, as I gather
from your letter that you do, I can but be grateful to you for
all else, even were it severe blame. I have often expressed my
opinion to my friends that, even if all my compositions failed to
succeed (which I neither affirm nor deny), they would not on that
account be quite without their use, owing to the stir and impetus
which they would give to the further development of Art. This
consciousness so completely satisfies me that I can consistently
persevere and go on composing.
With all respect and attachment I remain,
Yours most sincerely,
F. Liszt
Weymar, September 3rd, 1859
If the Koenigsberg Academy does not take alarm at my name (as has
indeed been the case in other places, owing to the foolish
prattle of the critics), they might try the "Prometheus" choruses
there by-and-by. They are to be given almost directly (at the end
of October) at Zwickau, and probably later on in Leipzig, where I
shall then also have them published.
In the matters of the prize-subject we will wait and see what
comes. You very justly remark that it hinges now upon enharmony.
It is a pity that you do not bring something. Perhaps you will
still find time to do so.
219. To Dr. Franz Brendel
Dear Friend,
I beg you to send me by return of post a copy of the intricate
biography ("Liszt's Life and Work"--if I am not mistaken) by
Gustav Schilling. Siegel and Stoll in Leipzig have taken the work
from the Stuttgart publisher, and there will surely be some way
of getting a copy in Leipzig. Ask Kahnt to be so good as to see
after one and to send it me immediately by post, for I require
the work in connection with a special and pressing question which
I can best answer by a quotation from Schilling's book.
With friendliest greetings, your
F. Liszt
Weymar, September 8th, 1859
Why does not Schuberth send me my dedicatory copy of Draeseke's
Ballade "Koenig Helge"?
220. To Johann von Herbeck
Dear Friend,
Warmest thanks for your persevering and well-wishing sympathy. It
is a great pleasure to me that you are bringing about the
performance of the Mass for men's voices on the 23rd October, and
I hope that, as you have once "made your way through it," we
shall also not succeed ill.
The "sneaking brood" (as you well name the people) can henceforth
growl as much as they like. What does that matter to us, so long
as we remain true and faithful to our task? In the performance
last year at Jena (at the secular celebration of the University)
I had the opportunity of convincing myself how capital your
instrumentation of the Mass sounds, and I especially beg that you
will not leave out one iota of it in the oboes or trombones. The
organ alone is not sufficient, especially if there is a large
chorus, and the completion of the accompaniment could not have
been better accomplished than you have done it.
N.B.--At the Jena performance I hit upon the following
alterations at the conclusion of the Gloria:
[Here, Liszt illustrates with a vocal score musical excerpt]
If you are agreed with this, then let this simplification serve
for Vienna. I can only send you the score and parts of the
"Prometheus" choruses towards the middle of November, as Klitzsch
(in Zwickau) has arranged a performance of this work on the 12th
to the 14th November, and I have already placed the parts at his
disposal. If this delay does not hinder your kind intention of
having the "Prometheus" choruses performed in Vienna, I will send
the whole packet of parts to your address in Vienna, free,
immediately after the Zwickau Concert. For the poem belonging to
it, which I will also send with the rest, it is desirable that
you should get an adequate tragic declaimer. In Dresden Davison
undertook this, and in Zwickau Frau Ritter will declaim it. I am
writing today to Herr von Bulow, but rather doubt whether he will
be able to accept your invitation for this winter. According to
what he told me lately, he thinks of going to Warsaw and Paris in
the latter part of the winter. With regard to the eventual choice
of a piece you may, moreover, pacify the strict gentlemen of the
Committee. In case Bulow should make his appearance at the
Philharmonic Concert he will, on my advice, not play my A major
Concerto (nor any other composition of mine), but just simply one
of the Bach or Beethoven Concertos. My intimate friends know
perfectly well that it is not by any means my desire to push
myself into any concert programme whatever...With regard to the
scores and parts that you want, I have noted on a separate sheet
which ones I have at my disposal, and where you can obtain the
rest. In conclusion allow me once more to beg you kindly to let
me have a couple of lines about the performance of the Mass.
Perhaps some things may occur to you which might still be altered
and simplified. Do not deprive me, dear friend, of your good
advice, which I shall be glad to make use of in the score edition
of the Mass which must shortly ensue. Naturally your name will
stand on the title-page, and the responsibility of the
instrumentation will be remitted to you.
With friendly thanks and highest regard, I am
Yours most truly,
F. Liszt
Weymar, October 11th, 1859
221. To Felix Draseke
Dear excellent friend,
Your surmise that I could not go away from Weymar at present was
quite correct. The Altenburg is indeed very deserted, as Princess
Marie went away directly after her marriage on the 15th October,
and the Princess went to Paris yesterday for several days--yet I
will not leave my own hearth so soon, even if my outward activity
be much limited henceforth (as I have already intimated to you)
both here and elsewhere.--I require my whole time for my further
works, which must go on incessantly--consequently I have resolved
to keep at a distance all the delights of conductorship, and to
give the baton a rest equally with the piano.--
On the 9th November the festival play by Halm, "A Hundred Years
Ago," will be given here with the music I have composed to it--
and on the 11th the "Kuenstler-Chor" is to introduce the
Festival-oration by Kuno Fischer at Jena. Damrosch writes to me
also from Berlin that he intends to include the "Kuenstler-Chor"
in the programme of the Schiller Festival there. The Zwickau
Concert is fixed for the 15th November--and I am delighted to
think of meeting the Ritters there. By the way, I am of opinion
that Sasch [Sasch, i.e., Alexander, Ritter's Christian name] will
undertake two numbers of the programme, and will fulfill
Klitzsch's wish with the "Chaconne" as well as mine with the
original Concerto, on the same evening. Zwickau chances to belong
to the few towns where the "Chaconne" (so Klitzsch writes me
word) has never been heard in public. Sasch can take this fact
into consideration, and without doing anything derogatory can
grant the public the enjoyment of the "Chaconne." The assured
success which he will have with it may also act beneficially on
the receptiveness of the audience in connection with his
Concerto. Tell our dear friend this, with the proviso that, if he
only undertakes one number on the programme, I advise him in any
case to choose his Concerto. The piece has much that is
interesting and effective in itself, and it will be useful to
Sasch to test the relation of the orchestra to the solo part by a
public production. If necessary, therefore, force him to do it,
by my order.
With regard to the causes and excuses for your pretended
"obstinacy, dogmatism," and imaginary "arrogance," I beg you,
dearest friend, to rest assured that you will never find any such
suspicion in me. What you think, feel, compose, is noble and
great--therefore I take a sympathetic interest in it.--The next
time we are together I will merely endeavour to make "amputation"
more bearable to you by chloroform!--
With highest esteem I remain,
Yours in all friendship,
F. Liszt
[Weimar,] October 20th, 1859
222. To Heinrich Porges in Prague.
Dear Friend,
Your letter for the 22nd October gave me heartfelt pleasure, and
you need not be in doubt as to the correctness of the
affectionate and deep perception of my endeavour, which "has
proceeded both from man's need of freedom as well as of love,"
and which, by and with the grace of God, has been impelled to
raise itself toward the "Divine."--I cannot say much on this
subject; but may my works only remain no dumb witnesses, and may
your intimate understanding of them give you some satisfaction.
I send you herewith Dingelstedt's Festal Song for the Schiller
Celebration, which I have purposely composed in a very simple,
national manner. Perhaps there might be an opportunity of
bringing the thing to a hearing during the Schiller Festival in
Prague. Will you ask Apt whether he would be disposed to do it?
The studying of it would not give the least trouble. It requires
only a baritone or bass for the solo part, and an ordinary chorus
of men's voices without any accompaniment.--
Leaving it entirely in your hands to act about it as you may
think best, and either to promote the performance or to let it
alone, I remain, with best thanks and high esteem,
Yours very truly,
F. Liszt
October 30th, 1859
My composition to Halm's festival play has been sent through H.
von Dingelstedt to Herr Thome, and will probably be performed on
the 9th or 10th November. [The festival play was given in Prague
under the theater conductor Thome. The music to it was never
published. The Weimar archives probably possess the score.] Write
and tell me how the matter is settled.
223. To Ingeborg Stark
[A pupil of Liszt's, who afterwards married Liszt's pupil Hans
von Bronsart, now General Manager of the Weimar Court theater:
she was also known as a composer.]
It is very charming and graceful of you, dear Mademoiselle Inga,
to remember the 22nd October so kindly, and I should have thanked
you sooner for your letter, which gave me sincere pleasure, had I
not been kept to my bed for nearly a week in consequence of much
emotion and fatigue.
Through our friend Bronsart I have had some preliminary good
tidings of you; you have fulfilled your role of charmer in the
best possible manner, and Bronsart is full of raptures about you.
But all this is ancient history for you, something like a chapter
of Rollin on the history of the Medes,--after whom come the
Persians, the Greeks, and the Romans...
For the present it is the turn of Russia, which you are in the
way of conquering, and I see from here the enchantment of your
admirers of St. Petersburg, who are all ears and all eyes around
the piano where you are enthroned.
Will you remember me affectionately to Prince Odoyewski, and give
a friendly shake hand [Written in English by Liszt] from me to
Mr. Martynoff. As for our dear Tartar, [The composer Alexander
Seroff] tell him how much I am attached to him; he will be all
the more agreeably persuaded of this if you tell him. Ask him
also to write to me after your first concert, for I would not
risk offending your modesty so far as to beg you to send me an
exact account of your undoubted successes. But I don't intend on
that account to let you stand still as regards letter-writing,
and you will give me great pleasure if, for example, you will
continue your history of the musical prowess of Rubinstein (that
you have begun so well).
You know that I am truly interested in what he is doing,
considering that he has all that is wanting to compose good and
beautiful things, provided that he does not persist in writing
straight off too hurriedly, and guards a little against excess in
the very exercise of these grand qualities.
The "Ocean" of which Rubinstein has sung might serve as his model
in this; he knows how to restrain his waves in their liberty and
power--and I hope Rubinstein would not be offended by the
comparison!--Let me know then about his artistic actions and
attitudes, of which, I presume, he will have every occasion to be
satisfied and proud. Our little Weymar has remained, as usual,
pretty tame since you left; but in a week's time we shall be
celebrating here the centenary of Schiller's birth with all the
enthusiasm of which we are susceptible (which is not saying
much).
On the 9th November the music that I have composed for Halm's
Festival-play, "A Hundred Years Ago," will be given at the
theater, and Jena has put on its festival programme my chorus "An
die Kuenstler," which will terminate the ceremony of the 11th
(Friday next).
In addition you will find in the Schiller number of the Leipzig
Illustrirte Zeitung, which will appear on the 12th November, a
Festival song "im Volkston" [In the style of a folk-song] of my
composition. Do not be shocked at the extreme simplicity of this
song; it was not the occasion to make a display of musical
knowledge--but simply to write forty bars or so which could be
quite easily sung and remembered by tutti quanti. In order to do
this I had to dress my Muse in a blouse, or, if you prefer a more
German comparison, "ich habe der Dame eine bayrische Joppe
angezogen!" ["I have dressed the lady in a Bavarian jacket."]
How are you getting on with your truly Samsonic Variations--and
with your Fugue "Martha"? Don't make too great a martyr of
yourself over it, and reserve for yourself also the better
part...that of Mary. [She had written a fugue on the musical
letters of the names Martha and Maria [Mary]--the names of her
friends, the sisters Von Sabinin.]
As I have mentioned this name I will tell you that Princess Marie
Hohenlohe will spend her winter in Vienna.