whom I remain deeply attached--must also receive some remembrance
of me; Hans von Bronsart, Peter Cornelius (in Vienna), E. Lassen
(in Weymar), Dr. Franz Brendel (in Leipzig), Richard Pohl (in
Weymar), Alex. Ritter (in Dresden), Felix Draseke (in Dresden),
Professor Weitzmann (in Berlin), Carl Tausig (from Warsaw)--
either a ring with my sign-manual, a portrait, or coat-of-arms.--
May they continue the work that we have begun--the honor of Art
and the inner worth of the artist constrains them to do so. Our
cause cannot fail, though it have for the present but few
supporters.--
One of my jewels set as a ring is to be sent to Madame Caroline
d'Artigaux, nee Countess de St. Cricq (at Pau, France). To the
Princess Constantin Hohenlohe (nee Princess Marie Wittgenstein) I
bequeath the ivory crucifix (cinque-cento) which was given to me
by my kind patron the Prince of Hohenzollern-Hechingen--also a
pair of studs with five different stones, which form the five
initials of my name.
And now I kneel down once more to pray "Thy kingdom come; Thy
will be done on earth as it is in heaven; forgive us our
trespasses as we forgive them that trespass against us; and
deliver us from evil. Amen."
F. Liszt
Written the 14th September, 1860, on the Festival of the raising
of the Holy Cross.
SUPPLEMENT:
To Herr Gross, a member of the Weymar Grand Ducal Royal Orchestra
(trombone and double-bass player), who has for a number of years
looked after the copying of my works and the arranging of the
orchestral and voice parts of them in the library of the
Altenburg, I bequeath a present of one hundred thalers for the
faithful, devoted service he has rendered me.
To the names of my friends of the New German School is to be
added one more, or rather I ought to have mentioned it first; it
is that of Mr. Gaetano Belloni (in Paris).--He was my Secretary
during the period of my concert tours in Europe, from 1841 to
1847, and was always my faithful and devoted servant and friend.
He must not be forgotten. Moreover, whether he will or no, he
belongs to the New German School, by his attachment to me, and
also by the part he took later on in the Berlioz and Wagner
concerts. I wish to be buried simply, without pomp, and if
possible at night.--May light everlasting illumine my soul!
241. To Dr. Franz Brendel
September 20th, 1860
Dear Friend,
I send you by my friend Lassen [Born 1830, became Court music-
director 1858, and Court conductor in Weimar after Liszt's
withdrawal (1861); celebrated as a composer of songs] a little
parcel of songs (eight numbers), which I beg you to give to
Kahnt. Of several of them I have kept no copy--and I therefore
beg Kahnt not to lose them. As regards the numbering of them (the
order of succession), they are to be kept as I noted down some
time ago (on a bit of paper which I gave Kahnt when he was here).
I also add a Quartet for men's voices. It is the Verein song
"Frisch auf zu neuem Leben," ["Uprouse to newer life."] written
for the New Weymar Verein by Hoffmann von Fallersleben. The
passage "von Philister Geschrei;" ["Of Philistine cry."] will
probably amuse you, and the whole thing is kept rather popular
and easy to be performed. If it does not make a bother let it be
tried in Leipzig when you have an opportunity.
N.B.--If you think the designation on the title-page "Written and
composed for the New Weymar Verein" will give offence, it can be
left out, and the title can run simply, "Vereins Lied," by
Hoffmann von Fallersleben, composed for male chorus by F. L. In
any case I shall be glad if Kahnt can bring the little thing out
soon, and will give some sort of illustrated title-page,
expressive of the sense of the poem.
The remarks which I have added in pencil are to be engraved with
it. I hope the printer will be able to read my bad writing--if
not will you be so kind as to make it clear to him?
I am writing to Vienna today. The "Prometheus" parts and score
will be sent to you immediately.
I expect Bronsart here at the end of this month..--.
Your statute-sketch is in all essential points as judicious as it
is practical. It offers a sure basis of operations for the next
Tonkunstler-Versammlung, where assuredly the great majority of
the members will agree with your proposals. Then the point will
be to work on vigorously towards the accomplishment, and to put
aside the much that is "rotten in the State of Denmark."
Before the Euterpe concerts begin I shall in any case see you.
Next Sunday I go to Sondershausen, where Berlioz' "Harold," a new
Oboe Concerto by Stein, Schumann's "Genoveva" Overture, the
Introduction to "Tristan and Isolde," and my "Mazeppa" will be
given. The latter piece is popular to wit...in Sondershausen!--
Very sonderhauslich, [A play on the words Sondershausen and
sonderbar = strange] isn't it?
Hearty greetings to your wife from your
F. Liszt
P.S.--The ninth song by Cornelius is still wanting. [The song
"Wieder mocht' ich Dir begegnen" ("Once again I fain would meet
thee")] But in the meantime the printing can be going on. The
nine numbers form the seventh part of the "Gesammelte Lieder." If
Kahnt wishes, each song can be published separately, especially
the Zigeuner; Nonnenwerth, etc.
Draseke has been with me a couple of days, and is coming shortly
to you. His works captivate me in a special degree, and
personally I am very fond of him, which indeed I also was
formerly, but this time still more. Capacity and character are
there in abundance.
242. To Eduard Liszt
Weymar, September 20th, 1860
The true and loving character of your whole being, as well as of
your letter, dearest Eduard, touches me always with joy, and
fortifies me; but with your letter of today is mingled also
somewhat of sadness. It is conceivable that the ebb of the
Milanese and Hungarian Civil Service employes, with its effect on
Vienna, has acted as a check upon your very justifiable and well-
founded prospects of promotion. This is all the more to be
regretted as, years ago, I was assured many times from a
trustworthy official source that your suitability and deserts
were far above the official position that you hold. Without
wanting to preach to you unseasonably, let me assure you of my
sincere sympathy in the disappointments you have so undeservedly
to bear, and remind you also how things generally go badly in
this world with the better and best sort of men. One must not let
oneself be embittered by bitter experiences, and one must bear
all sorts of mortifications without mortification.
I will also repeat for your amusement a droll saying of General
Wrangel's: "A man should never vex himself;--if there must be
vexation anywhere, let him rather vex somebody else!"--The best
way, in case of extreme necessity to vex others, is to bear
imperturbably many an injury and unpleasantness--without
prejudice to any defense or help that may offer, when opportunity
occurs--for we were not born to sleep our lives away!--
Under the given circumstances one cannot do otherwise than agree
with your resolution to let your son go into the Military Academy
when he is eleven years old. May this young Franz bring you all
the happiness that your older Franziskus wishes you from his
innermost heart.--[He did not become a soldier, but the renowned
Professor of Law now teaching at the University of Halle.]
In the expectation of this we will comfort ourselves by
swallowing Pfefferoni and Paprika together with Gumpoldskirchner.
Have I ever told you how excellent the latter, which you had
chosen just right, tasted?
It is almost impossible to further B.'s affairs. You think it
would be right to let his drama be examined by a "competent
authority." Undoubtedly; but that will not help him, so long as
this competent authority, who here could be none other than
Dingelstedt, is not able to help him any further. As far as I
know our Intendant he will NOT condescend to perform King
Alphonso; but none the less I will speak to Dingelstedt about it,
and will prevail on him first of all to write a few lines to B.,
as the rules of courtesy demand. I scarcely hope to effect more
than this, glad as I should be if it happened so, for you know
that I am glad to show myself obliging. It is doubtful also
whether B. will have much better chances with other Intendants--
for, as it seems, the good man has decidedly bad luck. Please
make my excuses to him if I do not answer his letter other than
by a silent condolence (in German Beleidsbezeugung!).--It has
become horribly difficult nowadays to make a footing on the
boards--"which signify the world"--especially for writers of
classic tragic-plays, whose lot is far more a tragic than a
playing one!--Things certainly are not much better with most of
the Opera composers, although that genre is the most thankful one
of all. Without a strong dose of obstinacy and resignation there
is no doing anything. In spite of the comforting proverb
"Geduldige Schafe gehen viele in den Stall," [The English
equivalent seems to be "Patience and application will carry us
through."] there is for the greater number and most patient of
the sheep no more room in the fold, to say nothing of food!--Thus
the problem of the literary and artistic proletariat becomes from
year to year more clamorous.
Your orchestral concert plan has surprised me very much, and I
thank you from my heart for this fresh proof of your energy and
goodwill. Yet for this year I think it would be more judicious to
pause, for several reasons which it would lead me rather too far
to explain, and which, therefore, I prefer to reserve for a viva
voce talk. They relate to (A) my personal position and something
connected with it socially; (B) the position of musical matters
among artists and in the Press, which not only influence but
intimidate the public, disconcert it, and palm off upon it ears,
with which it cannot hear. This temporary very bad state of
things I think I have, alas! at all times quite rightly
acknowledged, and, if I do not greatly mistake, it must surely
soon perceptibly modify in our favor. Our opponents "triumph far
more than they conquer us," as Tacitus says. They will not be
able to hold their narrow, malicious, negative, and unproductive
thesis much longer against our quiet, assured, positive progress
in Art-works. A consoling and significant symptom of this is that
they are no longer able to support their adherents among living
and working composers, but devour them critically while the
public is so indifferent. The resume of the whole criticism of
the opposition may be summed up in the following words: "All the
heroes of Art in past times find, alas! no worthy successors in
our day." But our time will not give up its rights--and the
rightful successors will prove themselves such!
More of this when we have an opportunity. You have doubtless
heard that a similar plan to yours is in progress in Leipzig. My
friend Bronsart undertakes the direction of the Euterpe concerts
for this winter, and there will be some rows about it. We will
await the result; if it should not be satisfactory, yet the
matter is so arranged that it cannot do us any great harm. As
regards Vienna I think it would be wisest to let this winter pass
by without troubling ourselves about it. Messrs. B., V.B., and
their associates may peacefully have Symphonies and other works
performed there and mutually blow each other's trumpets.
I have still a request to make to you today, dearest Eduard.
Persuade Herbeck to send the score and the chorus and orchestral
part of my "Prometheus" at once to C.F. Kahnt, the music
publisher in Leipzig. The work is fixed for performance at one of
the Euterpe concerts, which will take place before Christmas of
this year; so it is necessary that the choruses should be studied
in time. Kahnt has already written to Herbeck and also to Spina--
but as yet he has received neither an answer nor the parts and
score of Prometheus that he wants.
Take the same opportunity of telling Herbeck that I should like
once to hear the four Schubert Marches which I instrumented for
him, and I beg him to send the score of them to me at Weymar.
Forgive me that I always trouble you with all sorts of
commissions--but my Vienna acquaintances are so lazy and
unreliable that I have no other alternative but to set you on
everywhere..--.
Heartfelt greetings to your wife and children from your faithful
and grateful
F. Liszt
P.S.--I have written something to Cornelius about my latest
compositions, which he will tell you.
I expect the Princess here in October only. I will tell you,
later on, much about her stay in Rome, some of which is
agreeable.
243. To Hoffman von Fallersleben
My dear, honored Friend,
The melancholy tidings were reported to me by Grafe on Monday
evening (in the New Weymar Verein). [Hoffmann, after he had
obtained in May, 1860 the position of librarian to the Duke of
Ratibor at Schloss Corvey, near Hoxter-on-the-Weser, lost his
wife.] It came upon us all with a most mournful shock, and truly
it needs no further words to assure you of my heartfelt sympathy
in your grief!--Thank you for having thought of me. The Princess,
who was always so attached to your dear good wife, has not yet
returned from Rome--and I do not expect her till towards the end
of November. Unfortunately I must remain here entirely until
then--otherwise I should assuredly come at once to you...Forgive
me, therefore, that only from afar can I tell you how sincerely
and truly I remain your faithfully attached friend,
F. Liszt
October 30th, 1860
I have sent your charming birthday gift for October 22nd (text
and music) to the Princess.
244. To Professor Franz Gotze in Leipzig
Dear, honored Friend,
Do not think me indiscreet if I say something to you about which
you yourself must know best. The artistic gifts of your daughter
are as rare as they are pronounced. I have heard her sing and
declaim several times in the last few days, and each time with
increasing interest. Will you not give her carte blanche, and
grant your consent to the artistic career which is hers by nature
and which can hardly be put aside? [Liszt, like others, was
laboring under the mistake (for reasons which cannot be discussed
here) that Gotze did not intend his daughter to pursue the career
of an artiste, though he had had her educated both as a singer
and dramatically.] I know that this may not be a very easy
decision for you,--but, much as I usually refrain from giving
advice of this kind, yet I cannot do otherwise than make an
exception in this case, and intercede with you to let your
daughter come out in public--because I am convinced that you will
not regret having supported her with fatherly compliance in this.
Dr. Gille much wishes to gain your daughter for the next concert
in Jena. I think that a debut there would in any case do her no
harm. Later on I shall ask you whether you will allow Auguste
shortly to appear here at a Court concert.
Excuse my interference in so delicate a matter by reason of the
sincere interest I take in your daughter, and the faithful
friendship with which I remain Your unalterably sincerely
attached
F. Liszt
Weymar, November 4, 1860
Send a telegram to Gille in reply--if possible, "Yes," as the
concert takes place next Sunday.
245. To Dr. Franz Brendel
Dear Friend,
.--. I take a sincere interest in the progress of the Euterpe
concerts--a progress which up to now has been favorable on the
whole; you have the chief merit in this, just because it rests
with you to neutralize difficult and opposing elements.
I rejoice much that Bronsart so thoroughly fulfills my
expectations. He is a director-gentleman ["Gentleman" put in
English by Liszt]. I shall hear more about the concerts through
Weissheimer [A composer; was for some time second director of the
Euterpe concerts], who is advertised here for the day after
tomorrow; until now I have only heard something about them from
Fraulein Hundt [A composer, at that time in Weimar; has since
died] yesterday.
With best greetings, yours in all friendship,
F. Liszt
Weymar, November 16th, 1860
Will you be so kind as to send me at once a couple of copies of
Muller's new brochure?
.--. If it is possible to hurry the bringing out of my seventh
book of songs I shall be glad. Also the "Vereins-Lied."
Give my most friendly greetings to Gotze--and at the same time
tell him that his daughter (of whose great artistic powers there
is no doubt) sang and declaimed last Sunday in Jena with the
greatest success. The vocal numbers were "two songs by Schumann,"
one of which was encored--and at the end of the concert she
declaimed the Ballade Leonore (with my melodramatic pianoforte
accompaniment).
Have you heard anything of Wagner? Rienzi is being studied here,
and I have undertaken to conduct the rehearsals. With regard to
the performance I have at once mentioned decidedly that nothing
will induce me to make an exception and conduct it--consequently
Musik-director Stor will conduct it.
246. To Dr. Franz Brendel
Dear Friend,
Since I have again had a conference with respect to the
Tonkunstler-Versammlung in Weymar next August, I am happy to be
able to tell you that not only will there be no obstacle to it,
but that we may expect that much will be done to further the
matter here. In your next announcement in the Neue Zeitschrift
about the Tonkunstler-Versammlung you are therefore fully
authorized to intimate the readiness of the artists, both vocal
and instrumental, here and in the neighborhood (Jena, Eisenach,
Sondershausen, etc.), as also the favorable disposition of H.R.H.
the Grand Duke, for the matter. This latter point must be
mentioned with some formality, so that I can submit your article
to my gracious master.
According to my opinion it would be well if, in this connection,
you were to touch upon the musical antecedents of Weymar
(performances of Wagner, Berlioz, Schumann), also the founding of
the Academy of Painting by the Grand Duke which took place
lately, and also the protectorate which H.R.H. has undertaken of
the Allegemeine deutsche Schiller-Stiftung [The Universal German
Schiller Scholarship] (the first place of which is to be Weymar
next year).
Yours in all friendship,
F. Liszt
December 2nd, 1860
P.S.--With the next Tonkunstler-Versammlung I join three
principal things:--
(1) The founding and establishing of the Tonkunstler-Vierein.
(2) That the States should take part (according to your idea) in
the principal musical interests to be supported.
(3) The introduction and proposal of the projected music school.
[Liszt was endeavoring at that time to found a music school in
Weimar.]
247. To C.F. Kahnt, Music Publisher in Leipzig
[Kahnt was the publisher of the Neue Zeitschrift fur Musik for
more than thirty years (ever since 1855); also the publisher of
several of Liszt's compositions, co-founder and for many years
cashier of the Allgemeine deutsche Musikvereins, and, after 1873,
Councillor of Commission in Weimar.]
Dear Sir,
I send you herewith the proof-sheets of the seventh book of my
songs, and of the "Vereins-Lied" for the chorus of men's voices.
I quite concur in the new title-page, which can also be employed
for each single song. It is better than the former one, only I
shall be glad if there are no other advertisements on the back
side, and it is left bare.
On the 17th of this month the Neu-Weymar-Verein intends to give a
little Beethoven-Festival, and the "Vereins-Lied" is included in
the programme. I beg, therefore, that you will send me some
proof-copies by the 12th December--if it is not possible to get
the edition ready so soon.--.
The three Chansons and arrangement of the three Quartets for
men's voices (published in Basle) are all completed in my head;
you shall have them as a new manuscript at the end of the week.
There is no hurry about the publishing of the Chansons and
Quartets (probably I shall entitle them "Aus dem Zelt," or "Aus
dem Lager," three songs, etc.). ["From the Tent," or "From the
Camp." They were eventually entitled "Geharnischte Lieder"
("Songs in Armour").] But as you are kind enough to place some
reliance on my songs, I should like to commit to you next a
little wish of mine--namely, that my Schiller Song (which
appeared in the Illustrated in November last) may soon be
published, and also a somewhat repaying (rather sweet!) Quartet
for men's voices, with a tenor solo--"Huttelein, still and
klein." It has been already sung with success by the Vienna
Manner-Gesangverein, and by some Liedertafeln. I add the two
manuscripts to the parcel of proofs--perhaps you will take an
opportunity of trying both the little things in a small circle.
If Herr Professor Gotze would have the kindness to undertake the
solo-part in the "Huttelein" I should be very much obliged to
him. Herr Wallenreiter might make a good thing of the baritone
solo-part in the "Schiller Song."
In case you should be disposed to acquiesce in my wish, and to
undertake the publishing of the two or three men's choruses, I
would propose to you to bring them out as the opening numbers of
a short succession of "Compositions for Male Voices," and also,
as with the Songs, to give them a title page (with a statement of
the different numbers--to which the Basle Quartets might also be
added; thus six numbers up to now). Do not fear, dear sir, an
over-productiveness in this genre on my part! But if by chance
one or other number of these Quartets should have some spread, I
should not dislike to write a couple more, either secular or
sacred. Among the latter I hope that the Psalm "The Heavens
declare," which will be performed next summer at a great Festival
of Song, will produce a good effect.
Pray pardon my verbosity--it is not usually my way to indulge in
unnecessary words; and accept, dear Sir, the assurance of the
well-known sentiments with which I remain,
Yours most truly,
F. Liszt
Weymar, December 2nd, 1860
The first performance of "Rienzi" is announced for the second day
of the Christmas holidays. I have engaged to conduct the
rehearsals, but at the same time have positively refused to
conduct the performances. Herr Musik-director Stor undertakes
that. [After the opposition of a coterie that was inimical to
Liszt, to which, as is well known, Cornelius's "Barber of
Baghdad" fell a sacrifice, Liszt had finally resigned his post as
conductor of the theater.]
248. To the Music Publisher C.F. Kahnt
.--. With regard to the publishing of my Songs for men's voices I
do not wish in the least to hurry you, dear sir--yet I should be
glad if you could advertise the things soon--and possibly on the
back of the title-page of my songs (?), if that does not seem
impracticable to you. The two collections (the songs and the
men's songs) have a certain connection, and that is why I make
this suggestion, about which you must decide. A couple of months
ago Louis Kohler wrote to me in his witty, friendly manner, "You
really owed us some Quartets for men's voices, which Bierbruder
["Beer-drinkers," "brothers of the glass"] metamorphosed into
demi-gods!" and when the songs were published, I was already
intending to let the men's songs follow shortly after. As most of
these latter are tolerably short, I think that the score of the
twelve will not require more than forty, or at the most fifty,
plates (small size). Economy might be employed in publishing the
parts by having them well copied. Of course engraving is always
the best, but I do not want to precipitate you into a too ruinous
outlay--and if the copying is done by an experienced copyist it
looks very well, and is quite easy to read.
I am writing to Schuberth by the next post to tell him (what he
might know without that) how unwillingly and how seldom I meddle
with dedications--especially dedications to people and societies
that I don't at all know, as he would like me to do! In the
somewhat numerous works of mine that have appeared of late years
you will find very few dedications. The twelve Symphonic Poems
have none. The Gran Mass is also without one--and in the Songs I
have left out the earlier dedications. Therefore, before I try in
America a method which I have almost given up in Europe, some
time may yet elapse. Schuberth means thoroughly well by me, for
which I am obliged to him--but he means well in his own way,
which cannot always be mine.