reckoning on finishing my Elizabeth, and on living more and more
as a recluse--indeed, even a little like a bear--but not in the
style of those estimable citizens of the woods, whom the
impresarii of small pleasures degrade by making them dance in the
market-places to the sound of their flutes and drums! I shall
rather choose a model ideal of a bear--be sure of that--and the
flutes and drums which might lead me into the slightest future
temptation of cutting capers have still to be invented.
Will you be so good, dear Mademoiselle Inga, as to present my
very affectionate respects to Madame, your mother, as well as my
best remembrances and compliments to la Sagesse Olivia--[Liszt's
name for the sister of Ingeborg Stark] and believe me invariably
Your very devoted
F. Liszt
Weymar, November 2nd, 1859
224. To Johann von Herbeck.
Dear Friend,
I only returned a few hours ago from Zwickau, and find your
friendly letter here, in reply to which I must excuse myself for
not having been able to fulfill your wish so soon as I had
intended, in respect to the Schubert Marches. This delay, which
was very unpleasant to me, was occasioned by an indisposition
which obliged me to keep my bed for a whole week at the end of
October. The Weymar and Jena Schiller Festivals, following on the
top of that, made it utterly impossible for me to get on with the
instrumentation of the Marches. But I promise you that you shall
have the score by Christmas at latest.
"Prometheus" will present himself to you by the end of this
month. If after looking through the score, dear friend, you think
the work suitable for a performance in Vienna, I shall be glad.
If not, I beg you to tell me so with perfect candor, and without
the slightest scruple of thereby wounding my vanity. Whether the
stomach of the critics and of the public will be able to digest
such a liver cut out of the vulture as this of my "Prometheus,"
or whether at the very first bars all will not be lost, I cannot
determine; but still less would I prepare superfluous
disagreeables for you by the performance of my "Tonschmiererei;"
[Tone-daubing] of such ill-odor from the beginning!
Decide therefore entirely according to your own judicious
opinion--and, whatever that may be, rest assured of the sincere
acknowledgment and esteem with which I remain
Yours in all friendship,
F. Liszt
November 18th, 1859
225. To Dr. Franz Brendel
Dear Friend,
Of the three prize essays (which I return to you herewith) the
one with the motto "Try all things and maintain the best" is,
according to my opinion, very significant and suitable to the
definite solving of the question. The writer develops his thesis
with so safe, so rightly apprehending, and so far grasping a
logic that it shows convincingly that the now indispensable
practice is in complete union with the results of the theory. It
is to be hoped that our excellent colleague and friend Lobe will
also give his weighty judgment in favor of this prize essay, and
will also scientifically explain his motives for doing so--for I
cannot suppose that Lobe is in agreement with the opponents of
the enharmonic system, whose theory would make us have to do
musical penance.
In the two other essays with the mottoes "Our eyes see, but they
require the light to do so," and "Look, this is what man has
done!" there is much that is true and worthy of consideration
(especially in the former), which might be made prominent after
reading through all the essays sent in.
Come to an understanding next with Lobe about the final business
of the causes for the award of the prize, and let me have a draft
of it. It cannot be otherwise than profitable if the affair is
treated somewhat exhaustively and thoroughly, which you, dear
friend, in conjunction with Lobe and Weitzmann, are much better
able to do than my humble self, since I, as Hauptmann justly
observes, should appear to be too much prejudiced by my own
practice. In matters of harmony, as in other greater matters, I
believe also that Nature is in everlasting union with Genius.
"What one promises, the other surely performs." And Beethoven was
quite right to assert his right to allow that which was forbidden
by Kirnberger, Marpurg, Albrechtsberger, etc.!--Science must only
investigate more and more the nature of things and the freedom of
genius, and become experienced in their further development.-----
-----
Ever faithfully yours,
F. Liszt
[Weimar,] December 1st, 1859
I quite agree with your project of giving two prizes. The first
prize will be awarded to the above-mentioned treatise, unless,
which I doubt, a still more successful one should be sent in.
226. To Anton Rubenstein
Certainly, my very honored friend, I shall not leave off taking a
very sincere and loyal part in the unfolding of the career that
you are pursuing with such rare prowess, and all that you can
tell me of your doings in composition and musical conducting will
always find in me a lively interest. Thank you, therefore, for
your nice letter, which contains also a promise which I shall be
very much pleased to see you fulfill--namely, that of your visit
next spring, in company with your Opera in four acts--and
probably also with your "Song of Songs," which you do not mention
to me, but which I am none the less desirous, on that account, of
knowing.
Have you thought well to give your "Paradise Lost" at St.
Petersburg? I urged you strongly to do so, for it is a capital
work, which does you great honor, and the place of which seems
fixed in your concerts. And on this subject allow me to
compliment you very sincerely upon the idea (all the less
frequent as it is just) which has been uppermost in the
distribution of the programme of these concerts. If it continues
to predominate, and if in effect they take it into their heads at
St. Petersburg to do justice (as you tell me) "to all the masters
of all schools and of all times" (not excepting our own!), the
famous verse
"'Tis from the North that light comes to us today"
will be justified, and even by Music! In France and Germany we
are far from this--and classical Pharisaism swells its voice
there to make a diversion to Mercantilism, that rich disgraceful
one, who succeeds perfectly well in making the principal papers
and their numerous readers dance to the sounds of his harsh
flute, whilst his antagonist (Pharisaism) only ends in
"Improperias" and "Jeremiads"...not composed by Palestrina!
Your choice of the introduction to the second act of the
Fliegender Hollander seems to me an excellent one, and I shall
get the score (of this scene) copied for you, as it is very
difficult to get a complete score of the Opera, and as I only
possess the autograph, with which it would be a matter of
conscience to me to part. In about a fortnight I will send you
what you want for your programme.
Princess Marie Hohenlohe is at the present time at St.
Petersburg, and will be much delighted to see you again. Her
husband does a good deal in the way of music, and plays several
"Lieder ohne Worte" of his own composition very nicely. He and
his wife will assuredly have pleasure in being amongst the first
to applaud at the time of the performances of your Opera in
Vienna.
A revoir then, my dear Rubinstein, in the spring--and ever yours
in sincere esteem and affection,
F. Liszt
Weymar, December 3rd, 1859
P.S.--When you see Mademoiselle Ingeborg Stark, please give her
my very affectionate remembrances. If her journey from Paris
should bring her back by Weymar she would be sure to find me
there; for, in spite of what the papers say, which, among other
fancies, have taken it into their heads to make me travel hither
and thither, I shall not stir from here for several months, but
continue to work my best--if only to prove to the "kindly critic"
and the idlers that it is very much to be regretted that I should
have taken it into my head to turn composer!--This recalls the
proverb, "On devient cuisinier, mais on nait rotisseur!"
[There does not seem to be any equivalent to this proverb in
English: the nearest approach to it is, perhaps, "A poet is born,
not made."]
227. To Dr. Franz Brendel
Dear Friend,
It is of great consequence to me not to delay any longer the
publication of my "Gesammelte Lieder." Forgive me, therefore, if
today I am somewhat troublesome to your friendship..--.
It seems to me that the best plan would be if, before you confer
with Herr Schulze, you would first have a consultation with
Klemm, and come to a thorough understanding on the matter with
him. [Liszt evidently wished to have the songs engraved first at
his own cost, and to let Klemm undertake the sale on commission.]
Beg him also, in my name, to show a friendly sympathy to the
work. The songs can hold their ground in their present form
(regardless of the criticism of our choking and quarrelling
opponents which will infallibly follow!); and if a few singers
could be found, not of the raw and superficial kind, who would
boldly venture to sing songs by the notorious non-composer, Franz
Liszt, they would probably find a public for them.
I think I told you that a couple of them made a furore in certain
salons which are very much set against me, as posthumous songs of
Schubert, and were encored!--Of course I have begged the singer
to carry the joke on further.
Klemm need not therefore be in the least ashamed of undertaking
the publication of the work in a friendly spirit.
Best thanks beforehand for your kind trouble in this matter--and
ever faithfully yours,
F. Liszt
Weymar, December 6th, 1859
P.S.--I have just received your letter. The two K.'s--Kompel and
Kahnt--shall be made most welcome. Pohl had already told me of
Kahnt's coming; it will be a pleasure to me not to verlangweilen
[To make the time hang heavily] his visit here (if that word is
not quite German, still I consider it is comprehensible!). Julius
Schuberth had also the intention of rescuing something [Namely,
Liszt's composition] from Kuehn. [Music publisher] Your idea of
giving Bronsart the conductorship of the Euterpe Concerts is a
most excellent one. I suppose the letter which I wrote about this
to P. Fischer (to your address) came to hand (?). The day before
yesterday I also let Bronsart know that possibly some favorable
openings might occur for him in Leipzig, and recommended him not
to neglect them. Bronsart would be just in his right post in
Leipzig, and I do not doubt that he would in every respect
maintain it in the most honorable manner. In addition to this, it
would be especially agreeable to me to begin constant intercourse
with him as my next neighbor. He is now working at his Opera, and
sent me a little while ago the libretto which he has himself
composed to it, and which seems to me very successful in the most
important scenes, as well as in the dialogue. [It was afterwards
composed by his wife ("King Hiarne").]
Address your letters to "Herr von Bronsart, c/o Herr General von
Bronsart, Commandant of Dantzig, Dantzig."
In consequence of the performance of my Mass in Munich (on the
King's birthday, at the end of November), which, as I am told on
many sides, was well given and--which seems wonderful--was
acknowledged by many musicians there to be a work of importance--
so that even Lachner spoke favorably of it--the "Allgemezne"
Zeftung again breathes forth poison and gall (supplement of 3rd
December), without forgetting therewith the "Neue Zeitschrift fur
Musik." I should like to take the opportunity of making this pack
of critics, such as W., B., G., B., and whatever all the
assistants' assistants are called, understand the following
thoughts as Xenie:--[Epigram]
"Ye break your staff over me, but your staff has indeed long
since become rotten from all the dust and dirt that stick to it,
and it scarcely serves any longer to cut the air!"
Tell this idea to Lohmann--perhaps he may be inspired with a
happy rhyme for it.
I cannot say anything better to you about Pohl than what you tell
me.--
Herewith, for your private delectation, is a copy of some lines
from my letter to Herr Gustav Eggers (in Berlin), brother of the
well-known Art-journal Eggers, now very much concerned in the
Prussian paper. Gustav E. was here at the September Festival
(1857), when he heard the Faust Symphony, and sent me lately a
very pretty book of songs, begging me to recommend them to
Hartel.--Send me the little paper back soon.
228. To Eduard Liszt
By the loving friendship which you have shown me, especially
during the last decade in which so many trials have been laid on
me, our close relationship in heart and character has been for
ever firmly sealed, dearest Eduard. You are, and will ever be to
me, a support and a courage-giving comforter in the battles and
straits of my life. God grant me grace to go through them without
wavering, as a faithful servant of the truth in Christ!
You have decided upon just what is most right and suitable in the
arrangement of the funeral ceremony of my son. [He died in
Vienna, where he was studying law.] The selection of Terziani's
Requiem was a very suitable one under the existing conditions. I
thank you for everything from the depths of my soul!
I shall write a couple of lines to Herbeck tomorrow, and send him
at the same time the score and parts of the "Prometheus," as well
as two Marches of Schubert which I have instrumented for him. The
sending off of this parcel has been delayed by the circumstance
that it was necessary to have the whole score of the "Prometheus"
written out afresh, and to make some alterations in the parts.
The earlier score was indeed sufficient for me--but any strange
conductor would scarcely find his way through it. I hope Herbeck
will be pleased with the instrumentation of the Schubert Marches.
I fancy I have been successful in this little work, and I shall
continue it further, as it offers much attraction to me. The four
other Marches will follow shortly, which should make the half-
dozen complete.
Cornelius arrived here the day before yesterday. His friendly
attachment to you is a very warm and sincerely devoted one. On me
Cornelius's pure mind and thoroughly honorable disposition always
have the most beneficial effect; but it is especially welcome to
me just now to hear more of you from him, and thus to be more
with you.
Be as good to me as you are dear to my heart!
F. Liszt
Weymar, December 28th, 1859
229. To Josef Dessauer
[Autograph in the possession of Herr Von Hannen, painter in
Venice.--The addressee ("Maitre Favilla," as George Sand named
her friend) was known as the composer of refined songs (1798-
1876). Three of these Liszt transcribed (1847, Berlin,
Schlesinger).]
Dear honored Friend,
It is possible that the delicacy of your perception may have
brought you much trouble, but it assures you a soft place in the
better region of the heart of your friends. This I again felt in
reading your dear letter.
Accept, therefore, the heartfelt thanks of your old friend, whose
"manly formed nature" must further prove itself; he has still
many duties to fulfill and more than one battle to fight. May the
Cross remain his support, his strength, and his shield!
Whatever fatality also may hang over me, be assured of the
faithful attachment of your
F. Liszt
Weymar, December 30th, 1859
The crucifix from you (after the Gran Mass) has grown still
dearer to me!--
When I have finished with some works which cannot be postponed
any longer, Daniel shall receive his Requiena.
230. To Wilkoszewshi, Secretary of the Concerts of the
"Hofcapelle" in Munich.
[From a copy in Liszt's own handwriting (amongst the letters to
Brendel)]
Dear Sir,
The performance of new works on the part of so renowned an
orchestra as that of Munich must ever remain a mark of special
attention for the composers. But I must rate it still higher
that, in face of the strong prejudice against my name, one of my
ill-famed Symphonic Poems should have been included in the
programme of the concerts of the Munich Hofcapelle.
It is ill preaching to deaf ears, and it is well known that there
is no worse deafness than that of people who will not hear. Hence
it is that the Festklange, as well as the Mass and everything
that I and others better than my humble self have been able to
compose, is prejudiced. But the more unseemly and malicious
factiousness may show itself against new works, the more am I
laid under a grateful obligation to those who do not accept as
their artistic criterion the injustice inflicted on me.
Time levels all things, and I can quietly wait until people are
more occupied in learning to know and to hear my scores than in
condemning and hissing them. Mean-spirited, blackguard tricks,
even when played in concert-rooms and newspaper reports, are no
arguments worthy of a lasting import.
I beg you, dear sir, to convey to General Music-Director Lachner
my best thanks for his well-meant sentiments towards me, and I
remain, with high esteem, yours very sincerely,
F. Liszt
Weymar, January 15th, 1860.
231. To Johann von Herbeck.
[Received, according to him, on January 26th, 1860]
Dear Friend,
On getting back from Berlin yesterday evening I find your letter,
which has given me especial pleasure by the assurance that the
"Prometheus" choruses and, the instrumentation of the "Schubert
Marches" fulfill your expectations. You shall very shortly
receive two more "Schubert Marches" (the "Funeral March" in E
flat minor, and the "Hungarian March" in C minor out of the
"Hungarian Divertissement". [Op. 40, No. 5, and "Marcia" from Op.
54] They could be played one immediately after the other.
The "Prometheus" choruses, together with the "Symphonic Poem"
which goes before them (and which has been published by Hartel as
No. 5), were composed in July 1850 for the Herder Festival, and
were performed in the theater here on the eve of that festival.
My pulses were then all beating feverishly, and the thrice-
repeated cry of woe of the Oceanides, the Dryads, and the
Infernals echoed in my ears from all the trees and lakes of our
park.
In my work I strove after an ideal of the antique, which should
be represented, not as an ancient skeleton, but as a living and
moving form. A beautiful stanza of Andre Chenier,
"Sur des pensers nouveaux faisons des vers antiques," ["On modern
thoughts let us fashion verses antique."]
served me for precept, and showed me the way to musical plastic
art and symmetry.
The favorable opinion you have formed of the work in reading it
through is a token to me that I have not altogether failed--I
hope that the performance will not spoil your sympathy for it. I
leave the direction, with the utmost confidence, entirely in your
hands.--You always hit on the right thing, and navigate
satisfactorily with your entire forces the occasional
difficulties of the dissonant entries, and of the pathetic
delivery which is absolutely essential in several places. It
would certainly be a great pleasure to me, dear friend, if I
could be present at the performance in Vienna on the 26th
February, to enjoy your intelligent and inspired performance, but
I am prevented from doing this by various circumstances (an
explanation of which would lead me too far).
I beg you therefore not to induce the directors to invite me,
because I might not be in a position to make my excuses. So
please do you undertake the office of unchaining Prometheus in
Vienna; this labour of Hercules will become you well [Footnote
below]. There are certainly no powerful eagles to hack and rend
in pieces the Titan's liver--but there is a whole host of ravens
and creeping vermin ready to do it.--Once more best thanks and
greetings from your most highly esteeming and very devoted
F. Liszt
[It took place on the 26th February, 1860. Herbeck notes as
follows about it in his diary: "Prometheus, Symphonic Poem,
pleased fairly. Chorus of Tritons pleased extremely. The
Vintagers' and Reapers' choruses and concluding chorus pleased,
but of course there was a formally organized opposition hissing.
They had sworn the overthrow of this music, without even
knowing a note of it."]
232. To Dr. Franz Brendel.
So then it has happened well that the editor of the Neue
Zeitschrift has also become the editor of my "Gesammelte Lieder."
Best thanks, dear friend, for the means you have taken to promote
this. Kahnt has only to come to an understanding with
Schlesinger; I on my side do not wish to place any limitation on
his rights. Whether a transcription of this or that song may be
made I do not know; if this should be the case I will only beg
Kahnt to let me know of any such chance transcriptions before
allowing them to appear, mainly because it would not be pleasant
to me if any really too stupid arrangements should come out. This
is only a matter of artistic consideration--beyond that I have
neither restriction nor reservation to make to the proposed
edition. As soon as Kahnt is in order with Schlesinger I am
satisfied with everything. This or that song may then appear
singly, or transcribed for guitar or zither; so much the better
if Kahnt can thereby make it pay. N.B.--I should be glad if, in
bringing out the songs singly, the same outside cover could be
employed as in the complete edition, on account of the index.
Probably Kahnt will say nothing against this, as the back of the
cover serves as an advertisement of the entire collection of
songs.
Yesterday evening Fraulein Berghaus (a daughter of the Potsdam
professor) sang two numbers, Freudvoll and leidvoll and Es muss
ein Wunderbares sein (out of the sixth part), at a concert given
by Singer and Cossmann. I had indeed forbidden it, because this
winter I will not have my name put on any concert programme at
all--but her exquisite delivery of these songs, which were also
received with approbation, reconciled me to it.
At the last Court concert in Berlin Fraulein Genast [A highly
gifted singer, afterwards Frau Dr. Merian in Weimar] selected the
"Loreley" as her concluding song, and the Frau Princess Victoria
expressed herself very favorably about it, remarking that a
Schubert spirit breathed in the composition. One of these days
Fraulein Genast is again singing the "Loreley" at the
Philharmonic Concert in Hamburg. Otten has specially begged her
to do so. The same gentleman wrote about eighteen months ago to
Frau von Milde that he must beg to remark "that in regard to the
choice of compositions to be performed Robert Schumann is the
extreme limit to whom his programme could extend!"
I cannot quite remember whether I sent Gotze a copy of my songs.
Please ask him, and if I have not yet done so let me know. Gotze
has a special claim to them, for in earlier years he had the
courage to sing several of my nonentities--and I will see that he
has a copy at once. At the same time ask Fraulein Gotze also
whether she has received the copy of the Ballade Leonore. [Liszt
had composed this melodrama for Auguste Gotze, and frequently
performed it, as well as his later melodramas, with her.] From
several places (and quite lately from Carlsruhe and Brunswick)
orders for this Ballade have come to me, which--between
ourselves--are not convenient to me. My copyist has already had
to make at least nine copies of it, which is a pretty good
expense. Nevertheless a tenth shall willingly be made, if the one
which was intended for Fraulein Gotze did not reach her, of which
I am somewhat in doubt, owing to the many demands which the
Leonore has brought with it, and which have made me somewhat
confused.
It would really be the best for me if Kahnt or Schuberth would
save me the trouble of making further copies by publishing the
"Leonore". But I should not wish in any way to incommode the
publisher, and certainly not to offer anything without knowing
that it would be welcome. Under present circumstances a very
pronounced reserve has become my rule. My business is simply to
continue working unremittingly, and quietly to await the rest.