as editor in regard to my Munich letter [To Wilkoszewski]--
although I could maintain good grounds for publishing it.
Certainly it is always the gentlemanly thing entirely to ignore
certain things and people. You may therefore be quite right in
putting aside all other considerations; and as I am convinced of
your most sincere friendship I willingly leave you to decide
whether my coming forward in such matters is of use or not. In
case you had thought it advisable for my letter to be printed in
the "Neue Zeitschrift" (which I left to your judgment), it would
have had of necessity to be printed without the slightest
alteration, because I have purposely written it thus clearly to
Herr W., and any alteration in it might be taken as cowardice
(which is far from me). But probably it is better to abandon the
matter for a while, and to be somewhat more severe on another
occasion. The pack of ragamuffins has richly deserved to be
treated as ragamuffins!
This evening is Wagner's first concert in Paris. I expect little
good to him from it, and consider such a step on Wagner's part as
a mistake. In consequence of this opinion our correspondence is
for the time suspended. More about this viva voce--as well as
about "Tristan and Isolde." A performance of the Opera was
desired--that is to say, commanded for the 8th April (the
birthday of the Grand Duchess). But Frau von Milde cannot
undertake the chief part--and on that account the parts and score
sent to us from Carlsruhe will be sent back again at once!
Has Wagner given his opinion more decidedly about a "Tristan"
performance in Leipzig? Can you let me know the contents of his
letter?
With heartfelt greetings, your
F. Liszt
Weymar, January 25th, 1860
If you should see Schuberth, tell him that I have something to
communicate to him that would perhaps repay him for the trouble
of coming to see me here for a couple of hours. I have no
intention of coming to Leipzig for the present. Tell him that
delays of this kind make me "nervos" [nervous] (He knows what the
word "nervos" means with me.)
233. To Friedrich Hebbel
[Communicated by Dr. Felix Bamberg, from the original]
The words which you write to me bear the two-fold eloquence of
the praiseworthy man in the fore-rank of Art, and of the friend
dearly loved and highly respected by me. Accept my warmest thanks
for it, and please excuse me for not having told you sooner what
a strengthening and healing effect your letter made on me. Work
of all sorts and a long absence from here occasioned this delay.
In the interim I was often with you in thought; only the day
before yesterday I read to the Princess your two glorious Sonnets
an den Kunstler ["To the Artist"], "Ob Du auch bilden magst, was
unverganglich"--"Und ob mich diese Zweifel brennen
müssen?"["Whether thou canst form what is imperishable": "And
whether these doubts must burn me."]--
From Weymar I have nothing interesting nor especially agreeable
to tell you. This winter will pass away pretty quietly and
insignificantly at the theater, with repertoire works and pieces
that will bring in money, and in society with the customary
pleasures. A new drama by Rost, "Ludwig der Eiserne," made some
sensation, as is peculiar to the very popular productions of this
author, who has achieved a public-house notoriety here. The
nobles ought to have appeared in it yoked to the plough, but on
Dingelstedt's advice Rost toned down that scene!--A translation
by Frau Schuselka (who has performed here sometimes) of the "Pere
prodigue" of Dumas fils was to have come on the boards; but it
appears that there are scruples about making such very ominous
demands on the customary powers of digestion of our un-lavish
fathers of families! Amongst other inconveniences the piece also
contains logarithms, to which the respectable German Philistine
cannot attain.
As regards myself, I am quietly waiting for the spring, when I
shall in all probability move on further--of course not to renew
my occupation of conducting, as it is said I shall do in Munich,
Berlin, or elsewhere--an occupation I have gladly given up;--but
in order to be able to pursue my work further than I am able to
do in Weymar, which to me is a more important matter.
Remember me most kindly to your wife, and be assured that I
remain ever in truest devotion yours most faithfully,
F. Liszt
Weymar, February 5th, 1860.
234. To Dr. Franz Brendel
[February 1860]
Dear Friend,
Although as a general rule I consider that it is not the business
of the Neue Zeitschrift to go in for polemics, yet it seems to me
that the little notice that Hanslick has put in No. 49 of the
Vienna Presse, Saturday, the 18th February, is of such a kind
that one must not ignore it.
The Presse is a paper with a tremendous circulation in the
monarchy, and Hanslick counts among the leaders of our opponents;
it would therefore be worth while to make an exception by coming
forward on this occasion, unless (which I cannot as yet believe)
your Vienna correspondent has been guilty of the mischievous
conduct which Hanslick so severely reports. This point must first
be made clear--whether in the third (or possibly an earlier)
concert of Herr Boskowitz an exchange of a Schumann for a Liszt
piece occurred. [Instead of the Liszt piece "Au bord d'une
source," which stood on the programme, Boskowitz had played the
"Jagdlied" from Schumann's "Waldscenen," which did not prevent a
correspondent (namely, the correspondent of the Deutsche
Musikzeitung, as the Neue Zeitschrift of 24th February, 1860,
gave out) from loudly carping at the supposed Liszt composition.]
Possibly also your correspondent made use of the expression "The
Vienna Press" in general, and did not refer specially to the
paper Die Presse, [This was actually the case] or was referring
to other remarks of Hanslick's...
This is only the second time for many years past, dear friend,
that I have drawn your attention to notices in the paper. On the
first occasion, when the Augsburger Allgemeine gave that infamous
correspondence about the venality of the Neue Zeitschrift, your
striking answer gave the most convincing proof of what part the
opponents were studying to play!--I hope it will be possible to
despatch Hanslick's notice (which I enclose) in a similar
fashion. But it is necessary to get at the exact truth before
inveighing against them--for Hanslick is no easy opponent, and if
one once attacks him it must be with suitable weapons and without
giving quarter. The words "denunciation proceedings," "Gessler
caps of the party of the future," and especially the concluding
sentence, "As long as Herr Brendel," etc., are a challenge, which
deserves more than a faint-hearted reproof! I would also advise
you to send a duplicate of your reply to the Presse in Vienna, at
the same time as it is published in the Zeitschrift. The editors
of the Presse will be certain to reject it, according to the
usual method of the clique impartiality of those gentlemen. But
the scandalous examples of the latter will be thus increased by
one more.
It is easy also to see beforehand that Hanslick will not let the
matter rest at this first notice, and will continue the
discussion.
Hearty greetings.
F.L.P.S.--In case your Vienna correspondent should be quite in
the wrong, it would be better simply to be silent and wait for a
better opportunity.
235. To Dr. Franz Brendel
[March or April 1860]
Dear Friend,
Do not blame me if this time I follow Pohl's example and keep you
waiting for the promised article. I have been working at it
pretty continuously during the past week, and the sketch of it is
quite ready; but I am not quite satisfied with it, and about
Berlioz and Wagner I must say the right thing in the right
manner. [No article of the kind by Liszt is contained in the Neue
Zeitschrift for the year in question; probably it was
unfinished.] This duty requires me to spend more time on it, and
unfortunately I have so much on hand this week that it is hardly
possible for me to busy myself with polemics. Tomorrow is again a
grand Court concert; Bronsart and Fraulein Stark arrived
yesterday; Frau von Bulow comes today, and I expect Hans on
Saturday. Besides this, there is still more important work for
me, which will take up my time entirely till the end of this
month.
Well, I will see to it that, if possible, Berlioz and Wagner do
not remain forgotten!--
Let me first of all answer your questions.
Whether it would be desirable to hold the second Tonkunstler-
Versammlung this year, I already left it to you, at our last
meeting, to decide. In my opinion we might wait till next year
without injury to the affair. [This was done.] As long as I
myself have not made a secure and firm footing in Weymar, I
cannot invite you to convene the meeting here. If you hold to the
dates of the 17th, 18th, and 19th June, we are bound to Leipzig,
where I can then tell you with certainty whether Weymar will suit
for the next meeting.
It goes without saying that you, dear friend, must arrange about
everything that I can undertake and do for the Tonkunstler-
Versammlung. Only my personal help as conductor must be excepted.
At our next consultation we shall easily come to an understanding
as to the desirability of one conductor or several.
I would indicate and emphasize, as absolutely necessary, the
performance of new works by Bulow, Draseke, Bronsart, Singer,
Seifriz, etc. I think I understand and can manage the art of
programme-making in a masterly manner. When once matters have got
so far, I will fix with you the programme of the three
performances.
I agree with the choice of the "Prometheus," and at the religious
performance, if the latter is not filled up with one single great
work, I would suggest perhaps the "Beatitudes," or the 13th Psalm
(the former last about ten minutes, the latter twenty-five).
Will you therefore decide definitely where the Tonkunstler-
Versammlung shall be held this year and the date of it, about
which I have nothing further to say? We will then discuss and
settle the rest together.
You will find my remarks as to the statute scheme on the last
page of it.
With hearty greetings, your
F. Liszt
P.S.--
A. The revising of the "Leonore" shall be attended to
immediately.
B. I shall welcome Fraulein Brauer most cordially.
C. I recommend to you again the manuscripts of Pasque and
Councillor Muller. Have you replied to Muller?
Herewith is a letter from Weitzmann (14th June, 1859), in which
you will find much worthy of consideration and use.
Important! N.B.--When you convene the Tonkunstler-Versammlung,
add to it at once the following: "For the foundation of the
German Universal Musical Society." This is the principal aim,
toward the accomplishment of which we have to work.
[Liszt was, as Princess Wittgenstein distinctly told the editor,
the actual founder of the "German Universal Musical Society." He
conceived the idea and plan of it, and it was only at his wish
that Brendel gave his name to it, and undertook to be president,
etc.]
236. To Louis Kohler.
My dear, excellent friend,
You have given me a rare pleasure. Your articles on my
"Gesammelte Lieder" are a reproduction, replete with spirit and
mind, of what I, alas! must feel and bear much more than I can
venture to write down! Reviews such as these are not matters of
every-day reviewers--nor must one shame you with such a title.
Accept my warmest thanks for them, and allow me to present to you
herewith a couple of little singable things in manuscript. They
were jotted down after reading your articles, and, if I mistake
not, they spring from the melody of speech. In any case, dear
friend, you have a special right to them--as well as to the
sincere esteem and faithful attachment with which I remain your
F. Liszt
Weymar, July 5th, 1860
Towards the end of October the two Symphonic Poems, Nos. 10 and
11, which have still to be published--"Hamlet" and the
"Hunnenschlacht" [The Battle of the Huns]--will appear at
Hartel's; and when these are out all the twelve monsters will
have appeared. Shortly afterwards will follow Faust, the choruses
to Prometheus, a couple of Psalms, and a new number of songs. I
will send you the whole lot. But if possible arrange so that we
may soon meet again--at the latest at the next Tonkunstler-
Versammlung next year, at which we cannot possibly do without
you.
237. To Eduard Liszt
Dearest Eduard,
You remain perpetually in the home of my heart, not at all in
countless company, but all the more in picked company. When I
think I have done anything pretty good I think of you and rejoice
that what I have done will be a pleasure to you--and in the hours
when sadness and sorrow take hold of me you are again my comfort
and strength by your loving insight into my innermost wishes and
yearnings! My thanks, my warmest and truest thanks, to you for
all the sustaining and soothing friendship that you show to me.
It is to me a special token of Heaven's favor to me, and I pray
to God that He may unite us for ever in Himself!--
Cornelius writes me word that you will probably come to Weymar
towards the end of the summer. That will be a great pleasure to
me; I often feel as if I must have a talk with you out of the
depths of my heart--for with writing, as you know, I don't
exactly get on. I expect the Princess towards the middle of
August. Meanwhile I receive good and satisfactory tidings from
Rome. I hope all will turn out for the best.
In these latter weeks I have been completely absorbed in my
composing. If I mistake not, my power of production has
materially increased, while some things in me are made clear and
others are more concentrated. By the end of October the last two
of the Symphonic Poems will be out ("Hamlet" and the
"Hunnenschlacht"). Then come the Psalms, which you do not yet
know, and which I much want you to know-and also a new number of
songs which will please you. I shall then work at the Oratorio
St. Elizabeth, exclusive of all else, and get it completely
finished before the end of the year. May God in His grace accept
my endeavors!--
I must express myself not entirely in accord beforehand with your
plan for your son, although I consider your way of looking at the
present state of things by no means a wrong one. I am also
convinced that, when it comes to settling definitely, the talents
and capabilities, as well as the bent of mind, of your child will
be satisfactory to you. If the young one has a mind for a
uniform--well, let it be so. To cut one's way through life with a
sabre is indeed for the most part pleasanter than any other
mode...The business paper for the Princess I will keep till her
return, unless you write to me to forward it to her in Rome.
May I bother you with a commission for provisions? Forgive me for
the way in which I am always making use of you, but I do so want
to make a little joke for Bulow, and I have no one now in Vienna
who could help me in it except just you. It is about sending a
pretty considerable amount of Hungarian Paprika [Hungarian,
Turkish, or Spanish pepper from Hungary] and a little barrel of
Pfefferoni (little green Hungarian pepper-plants preserved in
vinegar). Please ask Capellmeister Doppler where these things are
to be procured genuine, and send them me as soon as possible to
Weymar. I won't hide from you that I intend to go shares with
Bulow, as I am particularly fond of Paprika and Pfefferoni. So
take care that there is enough sent, and that it arrives in good
condition.--And as this will give you occasion to see Doppler,
give him my warm thanks for the instrumentation of the Pester
Carnaval (in which musical Paprika and Pfefferoni are not
wanting). He has again been most successful in it, and I intend
to push on in the autumn the publication of the six Rhapsodies
for orchestra, for which indeed I shall have to obtain the
permission or consent of three separate publishers (Schott,
Senff, Haslinger)--a circumstance which may of itself occasion
some delay, especially if the gentlemen behave in regard to my
wish as Spina did in so unpleasantly surprising a manner in
regard to the instrumentation of the Schubert Marches. To tell
you this incident briefly: I wrote to Dachs and asked him to
request Spina in my name either to publish the three Marches
himself in score--without any remuneration for me!--or else to
give me permission to bring them out through another publisher.
Spina's answer, as Dachs gave me to understand, was that he could
not consent to either the one or the other of my proposals (which
were certainly reasonable enough)! And thus I must wait until
Spina can hit on a better plan! When I have an opportunity, I
shall venture to apply to him direct.
For the present, in consideration of the fact that Paprika and
Pfefferoni make one very thirsty, a barrel of Gumpoldskirchner
(with a slightly sharp, flowery after-taste) would be very
welcome to me, if by chance you are able to find a good kind and
cheap.--Forgive me for all these Lucullian extravagances!--
I will write soon to Cornelius. Give him my heartfelt greetings.
Also please remember me kindly to Dr. Kulke. I will give him my
thanks by letter on the first opportunity for his Prometheus
articles, as I would have already done through Cornelius, had he
not started so suddenly.--
Now farewell, dearest Eduard. Spare yourself and take care of
your health. Assure your dear wife of my heartfelt attachment,
and kiss your children for your faithful
F. Liszt
Weymar, July 9th, 1860
238. To Ingeborg Stark
[Summer, 1860]
If a sort of idiosyncrasy against letters did not hold me back I
should have told you long ago what pleasure your charming letter
from Paris gave me, and what a sincere part I have taken in your
late successes, dear enchantress. But you must know all that far
better than I could succeed in writing it.
So let us talk of something else--for instance, Baron
Vietinghoff's [He took the noun de plume Boris Scheel, and in
1885 he performed his opera "Der Daemon" in St. Petersburg, which
originated twenty years before that of Rubinstein.] Overture,
which you were so kind as to send me, and which I have run
through with B[ronsart] during his short stay at Weymar--too
short to please me, but doubtless much too long for you!--The
Overture in question is not wanting either in imagination or
spirit. It is the work of a man musically much gifted, but who
has not yet sufficiently handled his subject. When you have an
opportunity, will you give my best compliments to the author, and
give him also the little scale of chords that I add? It is
nothing but a very simple development of the scale, terrifying
for all the long and protruding ears, [Figure demonstrating a
descending whole-tone scale] that Mr. de Vietinghoff employs in
the final presto of his overture (page 66 of the score).
Tausig makes a pretty fair use of it in his Geisterschaff; and in
the classes of the Conservatoire, in which the high art of the
mad dog is duly taught, the existing elementary exercises of the
piano methods, [Figure: Musical example; a five-finger exercise]
which are of a sonorousness as disagreeable as they are
incomplete, ought to be replaced by this one, which will thus
form the unique basis of the method of harmony--all the other
chords, in use or not, being unable to be employed except by the
arbitrary curtailment of such and such an interval.
In fact it will soon be necessary to complete the system by the
admission of quarter and half-quarter tones until something
better turns up!--
Behold the abyss of progress into which the abominable "Musicians
of the Future" precipitate us!
Take care that you do not let yourself be contaminated by this
pest of Art!
For a week past it has done nothing but rain here, and I have
been obliged to have fires and stoves lighted in the house. If by
chance you are favored with such a temperature at Schwalbach, I
invite you to profit by it to make some new Fugues, and to make
up, by plenty of work for the pedals, for the pedestrian exercise
of which you would be necessarily deprived.
B., to whom I beg you to give my cordial and kind remembrances,
led me to hope that you will stay a couple of days at Weymar
after your cure. If this could be so arranged I for my part
should be delighted, and should pick a quarrel with you (even if
it were a German quarrel!) if you were not completely persuaded
of it!
Remember me most affectionately to la Sagesse, and do me the
kindness to count, under all circumstances, on
Your very sincerely devoted
F. Liszt
239. To Dr. Franz Brendel
Dear Friend,
Your last proposition is the best. Come quite simply to me at
Weymar. As I am now quite alone at home we can hold our
conference and arrange matters most conveniently at the
Altenburg. I am writing at the same time to Bulow at Wiesbaden
(where he is giving a concert tomorrow, Friday), to beg him to
arrange with you about the day on which the meeting shall be held
here. You two have to decide this. Of course you will stay with
me. There shall also be a room in readiness for Kahnt.
With regard to Wagner's pardon [Wagner had been exiled from
Germany for political reasons.] I am expecting reliable
information shortly. It seems strange that the Dresden papers
should not have been the first to give the official announcement,
and that an act of pardon of H.M. the King of Saxony should be
made known through the "Bohemia" (in Prague). Wagner has not yet
written to me.
To our speedy meeting. Heartily your
F. Liszt
August 9th, 1860
240. To Princess Caroline Sayn-Wittgenstein.
[Portions of the above were published in the Neue Zeitschrift fur
Musik of 4th May, 1887.]
Weymar, September 14th, 1860
I am writing this down on the 14th September, the day on which
the Church celebrates the Festival of the Holy Cross. The
denomination of this festival is also that of the glowing and
mysterious feeling which has pierced my entire life as with a
sacred wound.
Yes, "Jesus Christ on the Cross," a yearning longing after the
Cross and the raising of the Cross,--this was ever my true inner
calling; I have felt it in my innermost heart ever since my
seventeenth year, in which I implored with humility and tears
that I might be permitted to enter the Paris Seminary; at that
time I hoped it would be granted to me to live the life of the
saints and perhaps even to die a martyr's death. This, alas! has
not happened--yet, in spite of the transgressions and errors
which I have committed, and for which I feel sincere repentance
and contrition, the holy light of the Cross has never been
entirely withdrawn from me. At times, indeed, the refulgence of
this Divine light has overflowed my entire soul.--I thank God for
this, and shall die with my soul fixed upon the Cross, our
redemption, our highest bliss; and, in acknowledgment of my
belief, I wish before my death to receive the holy sacraments of
the Catholic, Apostolic, and Romish Church, and thereby to attain
the forgiveness and remission of all my sins. Amen.
I thank my mother with reverence and tender love for her
continual proofs of goodness and love. In my youth people called
me a good son; it was certainly no special merit on my part, for
how would it have been possible not to be a good son with so
faithfully self-sacrificing a mother?--Should I die before her,
her blessing will follow me into the grave.
I owe it to my cousin Eduard Liszt (Dr. and Royal County
Councillor of Justice in Vienna) to repeat here my warm and
grateful affection for him, and to thank him for his faithfulness
and staunch friendship. By his worth, his talents, and his
character he does honor to the name I bear, and I pray God for
His blessings on him, his wife, and his children.
Among our Art-comrades of the day there is one name which has
already become glorious, and which will become so ever more and
more--Richard Wagner. His genius has been to me a light which I
have followed--and my friendship for Wagner has always been of
the character of a noble passion. At a certain period (about ten
years ago) I had visions of a new Art-period for Weymar, similar
to that of Carl August, in which Wagner and I should have been
the leading spirits, as Goethe and Schiller were formerly,--but
unfavorable circumstances have brought this dream to nothing.
To my daughter Cosima I bequeath the sketch of Steinle
representing St. Francois de Paul, my patron saint; he is walking
on the waves, his mantle spread beneath his feet, holding in one
hand a red-hot coal, the other raised, either to allay the
tempest or to bless the menaced boatmen, his look turned to
heaven, where, in a glory, shines the redeeming word "Caritas."--
This sketch has always stood on my writing-table. Near it there
is an ancient hour-glass in carved wood with four glasses, which
is also for my daughter Cosima. Two other things which have
belonged to me are to be given as a remembrance to my cousin
Eduard Liszt and to my much-loved and brave son-in-law Hans von
Bulow.