If I know that it will be agreeable to his Grace [The former Hereditary Grand Duke and present Grand Duke of Saxony.] to see me in Weimar this summer, I shall come, in spite of the upset which this journey will occasion to me. You know how I am, heartily and personally, in his favor without any interest. I should like also to tell him many things, and for this a stay there in the summer with walks (which as a rule I can't abide, as you know) would be pleasanter and more convenient.
My stay in Pest might bear serious fruit, were it not that the Byronic element, which you combat in me, becomes ever more and more predominant.
Farewell and work hard! I cannot arrange any meeting with you. Iam not my own master. In August I mean to make a peregrination toOedenburg, and thence to Leo and Augusz (the latter in Szegzard).If I come to Weimar it will be in July.
Address always to Haslinger's.
Adieu, my dear excellent Schober. Remain as good to me as you are dear!
Yours ever affectionately,
F. Liszt
Remember me most kindly to Ziegesar and Wolff.
51. To Alexander Seroff
[Russian musical critic and composer (1820-71)]
I am most grateful, my dear sir, for the kind remembrance you keep of me since Petersburg, [Seroff was at that time in the Crimea.] and I beg you to excuse me a thousand times for not having replied sooner to your most charming and interesting letter. As the musical opinions on which you are kind enough to enlarge have for long years past been completely my own, it is needless for me to discuss them today with you. There could, at most, be only one point in which we must differ perceptibly, but as that one point is my own simple individuality you will quite understand that I feel much embarrassed with my subject, and that I get out of it in the most ordinary manner, by thanking you very sincerely for the too flattering opinion that you have formed about me.
The Overture to "Coriolanus" is one of those masterpieces sui generis, on a solid foundation, without antecedent or sequel in analogous works. Does it remind you of Shakespeare's exposition of the tragedy of the same name (Act i., Scene I)? It is the only pendant to it that I know in the productions of human genius. Read it again, and compare it as you are thinking of it. You are worthy of those noble emotions of Art, by the fervent zeal with which you worship its creed. Your piano score of the Overture to Coriolanus does all honor to your artist conscience, and shows a rare and patient intelligence which is indispensable to bringing this task to a satisfactory end. If I should publish my version of the same Overture (it must be among my papers in Germany) I shall beg your permission to send you, through Prince Dolgorouki [Prince Argontinski-Dolgorouki, a devoted lover of music. A friend of Liszt's: had rich property in the Crimea.] (I can't tell you half the good I think of him), an annotated copy, which I will beg you to add to the insignificant autograph which you really estimate too highly in attaching so affectionate a price to it! Accept once more, my dear sir, my most affectionate regards.
F. Liszt
Elisabethgrad, September 14th. 1847
52. To Carl Haslinger in Vienna
[The original (without address) in the possession of M. Alfred Bovet at Valentigney.—There is no doubt that it was written to the above music publisher (son of the well-known Tobias H.), who was a pupil of Czerny, and at the same time a pianist and composer (1816-68), and friend of Liszt]
Woronino, December 19th, 1847
My dear Karolus,
I am delighted to hear from you of the arrival of my box from Galatz. Will you be so good as to send it off speedily and safely to Weymar, so that I may find it when I arrive there (at the end of this month)? and, as I am away, address it to M. le Baron de Ziegesar, Chamberlain to H.R.H. the Hereditary Grand Duchess. Beg Lowy to take the same opportunity of sending me the other boxes belonging to me, which remained behind, whether with him or elsewhere, to my Weymar address, unless he prefers to bring them with him when he comes to see me.
In my last letter to my uncle I gave him a commission for you— namely, to beg you to send me the Melodies and Rhapsodies Hongroises complete; also the Schwanengesang and the Winterreise (transcriptions), large size edition, made into a book. As you have had some proofs made of my new Rhapsodies, make up a parcel of it all, which will be an agreeable surprise to me on my arrival.
I have worked pretty well these last two months, between two cigars in the morning, at several things which do not displease me; but I want to go back to Germany for some weeks in order to put myself in tune with the general tone, and to recreate myself by the sight and hearing of the wonderful things produced there by…Upon my word I don't know by whom in particular, if not the whole world in general.
If you want me to…[editor's note: impossible to decipher this word in Liszt's original letter] anything for you, tell me, and give me your ideas as to cut and taste.
Send me also the Schumann Opus (Kreisleriana, etc.) published by yourself and Mechetti, together with Bach's six Pedal Fugues, in which I wish to steep myself more fully. If the three Sonnets (both voice and pianoforte editions) are already re-corrected, kindly send me also an author's copy.
Adieu, dear Karolus. I commend my box to you, and commend myself to you also
As your sincere friend,
F. Liszt
I need not say that of course you shall be repaid immediately for sending the box—only hurry on the sending.
Best regards to your wife.
Lowy will tell you what I wish in regard to the credit for my uncle Eduard.
53. To The Hochwohlgeboren Herr Baron von Dornis, Jena.
[Autograph in the possession of Herr C. Geibel, bookseller inLeipzig.—The addressee was a sculptor.]
The confidence which you place in me, most esteemed Herr Baron, is naturally very flattering; but in order to meet it according to your wishes, I ought to have quite other means at my disposal than those I have.
It would of course be very gratifying to me to possess one of your valued works; yet I cannot help taking this opportunity of remarking that, in view of the far too many busts, medallions, statuettes, caricatures, medals, and portraits of all kinds existing of my humble self, I long ago resolved not to give occasion to any further multiplication of them.
Accept, esteemed Herr Baron, my expressions of great regret that I cannot meet your kind proposal as you wish, and with the assurance of my highest esteem,
Believe me yours very truly,
F. Liszt
Weymar, March 6th, 1848
54. To Franz von Schober, Councillor of Legation at Weimar.
Castle Gratz, April 22nd, 1848.
My Dear and Honored Friend,
Your dear letter has brought me still nearer to you in the crisis of the estro poetico, which the "Hungaria" [One of Liszt's symphonic poems.] brought forth in me; and, thanks to this good influence, I hope you will not be dissatisfied with the composition.
Since my Beethoven Cantata I have written nothing so striking and so spontaneous. One of these next days the instrumentation will be completed, and when we have an opportunity we can have it performed in Weimar in your honor and that of "Weimar's dead." [Refers to a poem entitled "Weimar's Todten."]
Regardless of the blocking of the Russian frontier the Princess Wittgenstein has safely passed through Radziwillow and Brody with a special official outrider, and established herself at Castle Gratz four days ago with her very charming and interesting daughter. As it is still somewhat early for the German bath season, I should like to persuade her to spend a couple of weeks in Weimar before her Carlsbad "cure" (which, alas! is very necessary for her). If my wishes should be successful I shall arrive at Weimar between the 10th and 15th of May, in order to prepare a suitable house or suite of apartments for the Princess.
I should be so pleased if you had an opportunity of getting to know the P. W. She is without doubt an uncommonly and thoroughly brilliant example of soul and mind and understanding (with immense esprit as well).
It won't take you long to understand that henceforth I can dream of very little personal ambition and future wrapped up in myself. In political relations serfdom may have an end, but the dominion of one soul over another in the region of spirit, is not that indestructible?…You, my dear, honored friend, will assuredly not answer this question with a negative.
In three weeks I hope we shall see each other again. Be so good as to present my respects to our young Duke. What you tell me of him pleases me. As soon as possible you shall hear more, and more fully, from me, but do not write to me till then, as my address meanwhile will be very uncertain. But continue to love me, as I love and honor you.
F. Liszt
55. To Bernhard Cossmann in Baden-Baden
[The addressee became in 1850 solo-violoncellist and chamber virtuoso in Weimar, and, later, in Moscow, and has been, since 1878, a Professor at the Hoch Conservatorium at Frankfort-on- Maine.]
Circumstances! Conditions! My dear sir, these are now the very ceremonious expressions and excuses of theatrical and directorial beings. Unfortunately that is the case here too, although our dear Weymar continuing free, not only from the real cholera, but also from the slighter, but somewhat disagreeable, periodical political cholerina, may peacefully dream by its elm, yet…yet…I am sorry to say I am obliged not to answer your kind letter affirmatively. Should circumstances and conditions, however, turn out as I wish, then the Weymar band would consider it an honor and a pleasure to possess you, my dear sir, as soon as possible as one of its members.
Meanwhile accept the assurance of high regard of yours very sincerely,
F. Liszt
Weymar, September 18th, 1848
56. To Carl Reinecke
[The present conductor of the Gewandhaus Concerts in Leipzig (born 1824), and celebrated composer, pianist, and conductor]
Dear Sir,
Your kind letter has given me much pleasure, and the prospect which you hold out to me, of seeing you soon again at Weymar, is very agreeable to me. But come soon, and if possible for a few days; I on my side shall certainly do all I can to prolong your stay here and make it seem short to you. The promised Concerto interests me keenly; it will be sure to give us ample material for musical talks, and perhaps after many a talk we shall set to work again and both write a new Concerto.
Would not the best results of criticism altogether be to incite to new creation?
However that may be, do not put off too long taking up your quarters at the Erbprinz, and rest assured that your visit is much desired by me.
Yours very sincerely,
F. Liszt
Weymar, March 25th, 1849
My very best thanks for the splendid stuff for the coat, which will give me quite an important, well-to-do, stately appearance!
57. To Count Sandor Teleky(?)
[The original (without address) in the possession of Count Albert Amadei in Vienna.—The recipient of this letter was presumably Count Teleky, a friend of Liszt's, who often accompanied the latter on his triumphal European journeys, and who was himself an active musician and literary man. He died in June, 1892.]
I have to give you threefold thanks, dear Count, and I feel that I can undisguisedly do so! Your verses, in addition to your prose and music, are three times welcome to me at Weymar, and the Fantaisie dedicated to the royal hours of leisure of H.R.H. has also charmed my leisure hours, as rare as they are modest.
If it would not be a trouble to you to come to Weymar, it would be most kind of you to give us the pleasure of your company for a day or two during our theatrical season, which concludes on the 15th of June. We could then chat and make music at our ease (with or without damages, ad libitum), and if the fantasy took us, why should we not go to some new Fantasie of leisure on the "Traum- lied (dream song) of Tony, [No doubt meaning Baron Augusz, Liszt's intimate friend at Szegzard, who died in 1878.] for instance, at the hour when our peaceable inhabitants are sleeping, dreaming, or thinking of nothing? We two should at least want to make a pair.
May I beg you, dear Count, to recall me most humbly to the indulgent remembrance of your charming and witty neighbor [Nachbarin, feminine.] of the Erbprinz, and accept once more my most cordial expressions for yourself?
F. Liszt
Weymar, May 5th, 1849
58. To Belloni(?)
[The letter written apparently to Belloni (who has already been mentioned) was, like the present one, published by Wilhelm Tappert, in a German translation and in an incomplete form, in the Neue Musik-Zeitung (Cologne, Tonger) of October 1st, 1881. The editor unfortunately could not obtain possession of it complete and in the original. According to Tappert, a Belgian musical paper pronounced it spurious, for reasons unknown to the former.]
Weimar, May 14th, 1849
Dear B.,
Richard Wagner, a Dresden conductor, has been here since yesterday. That is a man of wonderful genius, such a brain- splitting genius indeed as beseems this country,—a new and brilliant appearance in Art. Late events in Dresden have forced him to a decision in the carrying out of which I am firmly resolved to help him with all my might. When I have had a long talk with him, you shall hear what we have devised and what must also be thoroughly realized. In the first place we want to create a success for a grand, heroic, enchanting musical work, the score of which was completed a year ago. [Lohengrin.] Perhaps this could be done in London? Chorley, [Chorley (1808-72) had considerable influence in London as author, critic, and writer in the Athenoeum.] for instance, might be very helpful to him in this undertaking. If Wagner next winter could go to Paris backed up by this success, the doors of the Opera would stand open to him, no matter with what he might knock. It is happily not necessary for me to go into long further discussions with you; you understand, and must learn whether there is at this moment in London an English theater (for the Italian Opera would not help our friend!), and whether there is any prospect that a grand and beautiful work from a master hand could have any success there.
[It was not in London, but in Weimar, as is well known, that the first performance of "Lohengrin" took place (on August 28th, 1850). It was not until twenty-five years later that London made acquaintance with Wagner's work on the stage, in the Italian Opera and with Nicolini in the title-role; and the composer himself heard it for the first time in Vienna on May 15th, 1861.]
Let me have an answer to this as quickly as possible. Later on— that is, about the end of the month—Wagner will pass through Paris. You will see him, and he will talk with you direct about the tendency and expansion of the whole plan, and will be heartily grateful for every kindness. Write soon and help me as ever. It is a question of a noble end, toward the fulfillment of which everything must tend.
59. To Carl Reinecke
Weymar, May 30th, 1849
Thank you much, dear M. Reinecke, for your welcome lines, and I am glad to hope that you are happily arrived at Bremen, which ought to be proud to possess you. The musical taste of that town has always been held up to me, and I feel assured that the inhabitants will have the good taste to appreciate you at your full value, and that you will create a good and fine position for yourself there without many obstacles.
Wagner, who will probably be obliged to lose his post at Dresden in consequence of recent events, has been spending some days with me here. Unluckily the news of the warrant against him arrived the day of the performance of "Tannhauser", which prevented him from being present. By this time he must have arrived in Paris, where he will assuredly find a more favorable field for his dramatic genius. With the aid of success he will end, as I have often said, by being acknowledged as a great German composer in Germany, on condition that his works are first heard in Paris or London, following the example of Meyerbeer, to say nothing of Gluck, Weber, and Handel!
Wagner expressed his regret to me that he had not been able to send a better reply to the few lines of introduction which I had given you for him. If ever you should be in the same place with him do not fail to go and see him for me, and you may be sure of being well received.
I am very much obliged to you for having spoken of me to Schumann in such a manner as he at least ought to think of me. It interested me much to make acquaintance with his composition of the epilogue to "Faust". If he publishes it I shall try to have it performed here, either at the Court or at the theater. In passing lately through Frankfort I had a glance at the score of "Genoveva", a performance of which had been announced to me at Leipzig for the middle of May at latest. I am very much afraid that Schumann will have a struggle with the difficulties and delays which usually occur in trying to get any lofty work performed. One would say that a bad fairy, in order sometimes to counterbalance the works of genius, gives a magic success to the most vulgar works and presides over the propagation of them, favoring those whom inspiration has disdained, in order to push its elect into the shade. That is no reason for discouragement, for what matters the sooner or the later?
A thousand thanks for your exact and obliging packet of cigars. If you should have the opportunity of sending me some samples of a kind neither too thin nor too light, at about twenty to twenty- five thalers the thousand, I shall willingly give an order for some, which might be followed by a larger order.
Schuberth of Hamburg has just sent me your transcriptions of the Schumann songs, which have given me real pleasure. If you publish other things kindly let me know, for you know the sincere interest I feel both in yourself and in your works,—an interest I hope to have the opportunity of showing you more and more.
Meanwhile believe me yours affectionately,
F. Liszt
P.S.—I have not forgotten the little commission you gave me relative to the "Fantasie-Stucke," and in a few weeks I will let you have a copy of the new edition.
60. To Robert Schumann
[original in the Royal Library in Berlin]
Dear, esteemed Friend,
Before everything allow me to repeat to you what, next after myself, you ought properly to have known best a long time ago— namely, that no one honors and admires you more truly than my humble self.
When opportunity occurs we can certainly have a friendly discussion on the importance of a work, a man, even a town indeed. For the present I am specially rejoicing in the prospect of an early performance of your opera, and beg you most urgently to let me know about it a few days beforehand, as I shall most certainly come to Leipzig on that occasion, and then we can also arrange for it to be studied in Weymar as soon as possible afterwards. Perhaps you will also find time there to make me acquainted with your "Faust." For this composition I am anxiously waiting, and your resolution to give this work a greater length and breadth appears to me most judicious. A great subject demands generally a grand treatment. Although the Vision of Ezekiel attains in its small dimensions the culminating point of Raphael's greatness, yet he painted the School of Athens and the entire frescoes in the Vatican.
"Manfred" is glorious, passionately attractive! Don't let yourself be stopped in it; it will refresh you for your "Faust"— and German art will point with pride to these twin productions.
Schuberth has sent me your "Album fur die Jugend" [Album for the Young], which, to say the least, pleases me much. We have played your splendid trio here several times, and in a pretty satisfactory manner.
Wagner stayed some days here and at Eisenach. I am expecting tidings from him daily from Paris, where he will assuredly enlarge his reputation and career in a brilliant manner.
Would not your dear wife (to whom I beg to be kindly remembered) like for once to make a romantic country excursion into the Thuringer Wald [the Thuringian Forest]? The neighborhood is charming, and it would give me great pleasure to see her again at Weymar. A very good grand piano, and two or three intelligent people who cling to you with true sympathy and esteem, await you here.
But in any case there will appear in Leipzig as a claqueur [clapper (to applaud)]
Your unalterably faithful friend,
F. Liszt Weymar, June 5th, 1849
61. To Robert Schumann
[original in the Royal Library in Berlin]
Best thanks, dear friend, for your kind information about the performance of your "Faust" on the 28th of August.
To draw "das Ewig-Weibliche" rightly upwards ["Das Ewig-Weibliche zicht uns hinan" ("The Eternal-Womanly draws us upwards").— Goethe's "Faust"] by rehearsing the chorus and orchestra would have afforded me great pleasure—and would probably have succeeded. ["Gelangen" and "gelingen"—untranslatable little pun.] But unfortunately obstacles which cannot be put aside have intervened, and it will be utterly impossible for me to be present at the Goethe Festival, as I have to betake myself in a few days' time to an almost unknown but very efficacious bath resort, and my doctor's orders are most strict that I must not make any break in my "cure" during six weeks.
Notwithstanding this very deplorable contretemps for me, I immediately informed Herr Councillor A. Scholl, as head of the Goethe Committee, of your friendly proposal. Herewith his answer.
Allow me meanwhile to refresh your memory with an old French proverb, "Ce qui est differe n'est pas perdu" [What is put off is not given up], and give me the hope that soon after my return to Weymar we may occupy ourselves seriously with the performance of your "Faust."…
Hearty greetings to your dear wife, and believe me yours ever most sincerely,
F. Liszt Weymar July 27th, 1849
62. To Robert Schumann
[autograph in the Royal Library in Berlin]
Dear Friend,
A summons which cannot be put off obliges me to be present at the Goethe Festival here on the 28th of August, and to undertake the direction of the musical part.
My first step is naturally to beg you to be so good as to send us soon the score of your "Faust." If you should be able to spare any of the voice or orchestral parts it would be a saving of time to us; but if not we shall willingly submit to getting the parts copied out as quickly as possible.
Kindly excuse me, dear friend, for the manner in which this letter contradicts my last. I am very seldom guilty in such a way, but in this case it does not lie in me, but in the particulars of the matter itself.
For the rest I can assure you that your "Faust" shall be studied with the utmost sympathy and accuracy by the orchestra and chorus.—Herr Montag, the conductor of the Musik-Verein [Musical Union], is taking up the chorus rehearsals with the greatest readiness, and the rest will be my affair!—Only, dear friend, don't delay sending the score and, if possible, the parts.
Sincerely yours,
F. Liszt
Weymar, August 1st, 1849
If your opera is given not later than the 1st of September I shall certainly come to Leipzig.
63. To Carl Reinecke
Heligoland, September 7th, 1849
I am very sorry, my dear M. Reinecke, not to have met you at Hamburg. It would have been such a real pleasure to me to make acquaintance again with your Nonet, and it seems to me, judging from its antecedents in the form of a Concerto, that by this decisive transformation it ought to be a most honorably successful work.
The "Myrthen Lieder" have never been sent to me. If you happen to have a copy I should be very much obliged if you would send it me to Schuberth's address.
With regard to the article which has appeared in "La Musique" I have all sorts of excuses to make to you. The editors of the paper thought fit, I do not know why, to give it a title which I completely disavow, and which would certainly have never entered into my mind. Moreover the printer has not been sparing of changing several words and omitting others. Such are the inevitable disadvantages of articles sent by post, and of which the proof correctors cannot read the writing.
Anyhow, such as it is, I am glad to think that it cannot have done you any harm in the mind of the French public, which has customs and requirements that one must know well when one wishes above all things to serve one's friends by being just to them.
Two numbers of your "Kleine Fantasie-Stucke" have been distributed, up to about a thousand copies, with the paper "La Musique," under the title of "Bluettes,"—a rather ill-chosen title to my idea,—but, notwithstanding this title and the words "adopted by F. Liszt," which the editors have further taken the responsibility of putting, I am persuaded that this publication is a good opening (in material) into the musical world of France, and, looking at this result only, I am charmed to have been able to contribute to it.
I shall return to Hamburg by the last boat from Heligoland on the 27th of September, in order to go to the baths of Eilsen, where I expect to spend all the month of October. In November I shall be back in Weymar for the rest of the winter.
If you would have the kindness to send to Schuberth's address a case of 250 cigars of a pretty good size from the Bremen Manufactory, I should be very much obliged to you, and would take care to let you have the money (which in any case will not be a very great sum) through Schuberth. The samples you sent me to Weymar did reach me, but at a moment when I was extremely occupied, so that I forgot them. Pray let me hear from you from time to time, my dear M. Reinecke, and regard me as a friend who is sincerely attached to you.
F. Liszt
64. To Breitkopf and Hartel
My dear Sir,
The arrival of your piano is one of the most pleasant events in my peacefully studious life at Weymar, and I hasten to send you my best thanks. Although, to tell the truth, I don't intend to do much finger-work in the course of this year, yet it is no less indispensable for me to have from time to time a perfect instrument to play on. It is an old custom that I should regret to change; and, as you kindly inquire after the ulterior destination of this piano, allow me to tell you quite frankly that I should like to keep it as long as you will leave it me for my private, personal, and exclusive use at Weymar. In being guilty of the so-called indiscretion I committed in claiming of your courtesy the continued loan of one of your instruments I thought that, under the friendly and neighborly relations which are established between us (for a long time to come, I hope), it would not be unwelcome to your house that one of its productions should play the hospitable to me, whilst receiving my hospitality at the same time. However retired and sheltered I live from stir and movement at Weymar, yet from time to time it does happen that I receive illustrious visitors, or curious and idle ones who come and trouble one for this or that; henceforth I shall be delighted to be able to do the honors of your piano both to the one and to the other, and that will be, besides, the best proof of the strength of the recommendation that I have had the pleasure of making, for a long time past, of your manufactory. If however, contrary to expectation, it should happen that you were in pressing need of an instrument, very little played upon, the one at Weymar would be at your disposal at any moment.
With regard to the Beethoven Lieder-Cyclus I have just received a letter from Mr. Haslinger which I do not communicate in full because of the personal details it contains, but this is the passage, as laconic as it is satisfactory, with regard to this publication:—
"I give you with pleasure my fullest consent to the edition of the Beethoven Liederkreis by Breitkopf and Hartel."
So by tomorrow's post I shall have the honor of returning you the proofs of the Lieder-Cyclus, which forms a continuation to the Beethoven Lieder which you have already edited, and which you will publish when you think well. .—.
With the proofs of my third piece on the "Prophete" I will also send you all the pieces on it (piano and voice) which you have been so good as to lend me, as well as the piano score, which I don't require any more; for, unless I should have a success which I dare not hope for (for these three pieces), and an express order from you for another series of three pieces, which I could easily extract from that vast score, I shall make this the end of my work on the "Prophete." I come at last to a question, not at all serious, but somewhat embarrassing for me,—that of fixing the price of the manuscripts that you are so good as to print. I confess that this is my "quart d'heure de Rabelais!" [The "quart d'heure de Rabelais" refers to an incident in his life, and means, in round terms, the moment of paying—i.e., any disagreeable moment.] In order not to prolong it for you, allow me to tell you without further ceremony that the whole of the six works together, which are as follows:—
Lieder of Beethoven, Lieder-Cyclus of Beethoven, Consolations (six numbers), Illustrations of the "Prophete" (three numbers), published by your house, are worth, according to my estimation, 80-100 louis d'or.
If this price does not seem disproportionate to you, as I am pleased to think it will not, and if it suits you to publish other pieces of my composition, I shall have the pleasure of sending you in the course of the year:—
1. A "Morceau de Concert"(for piano without orchestra), composed for the competition of the Paris Conservatoire, 1850.
2. The complete series of the Beethoven Symphonies, of which you have as yet only published the "Pastorale" and the "C minor." (In the supposition that this publication will suit your house, I will beg you to make the necessary arrangements from now onwards with Mr. Haslinger; perhaps it will even be expedient that the Symphony in A (7th), which Haslinger published several years ago from the arrangement that I had made, should reappear in its proper place in the complete series of the symphonies.)
3. Bach's six fugues (for organ with pedals), arranged for piano alone.
In the middle of February I shall send you the complete manuscript of my little volume on Chopin, and a little later in the same month we shall set ourselves to work here on the study of Schubert's opera, the performance of which will take place in the first days of April. If, as I do not doubt, the performance of the "Prophete" draws you to Dresden, I shall certainly have the pleasure of seeing you there, for I have just begged Mr. de Luttichau to be so good as to reserve me a place for that evening, and I shall not fail to be there. Meanwhile, my dear M. Hartel, believe me,
Yours sincerely and affectionately,
F. Liszt Weymar, January 14th, 1850
On the occasion of Schubert's opera I shall probably set to work on the arrangement of the symphony, of which, meanwhile, I hold the score.—Compliments and best regards to Madame Hartel, which I know you will be kind enough to convey to her.
65. To Breitkopf and Hartel
February 24th, 1850
My dear Sir,
.—. With regard to Schubert's opera ["Alfonso and Estrella." It was given for the first time on June 24th, 1854, the birthday of the Grand Duke (but not without some necessary cuts)], a recent experience has entirely confirmed me in the opinion I had already formed at the time of the first rehearsals with piano which we had last spring—namely, that Schubert's delicate and interesting score is, as it were, crushed by the heaviness of the libretto! Nevertheless, I do not despair of giving this work with success; but this success appears possible only on one condition—namely, to adapt another libretto to Schubert's music. And since, by a special fate, of which I have no reason to complain, a part of Schubert's heritage has become my domain, I shall willingly busy myself, as time and place offer, with the preparatory work and the mise-en-scene of this opera, for which it would be advantageous, in my opinion, if it could be first produced in Paris. Belloni informs me that it will be pretty easy for you to ensure me the entire rights of this work for France. If such be the case I would take suitable measures for the success of this work, on occasion of which I should naturally have to make a considerable outlay of time and money, so that I should not be disposed to run any risk without the guarantee of proportionate receipts from the sale of the work in France, and author's rights which I shall have to give up to the new poet.
This matter, however, is not at all pressing, for I shall only be able to set to work in the matter in the course of next year (1851); but I shall be very much obliged to you not to lose sight of it, and to put me in possession, when you are able, of the cession of the French and English rights, in consideration of which I will set to work and try to get the best possible chances of success.
Many thanks to you for so kindly sending the score of Schubert's Symphony. That of the "Prophete" not being wanted by me any longer, I enclose it in the parcel of proofs and manuscripts which I beg you to undertake to send off to Mr. Belloni's address in Paris.
On Easter Monday we shall give the first performance of "Comte Ory." [By Rossini] Would you not feel tempted to come and hear it? It is a charming work, brimming over and sparkling with melody like champagne, so that at the last rehearsal I christened it the "Champagner-Oper" ["Champagne Opera."] and in order to justify this title our amiable Intendant proposes to regale the whole theater with a few dozens of champagne in the second act, in order to spirit up the chorus.
"Qu'il avait de bon vin le Seigneur chatelain!"
Cordial remembrances from yours affectionately,
F. Liszt
I should be glad for the publication of No. 3 of the pieces on the "Prophete," and the "Consolations," not to be put off long.
66. To Professor J. C. Lobe in Leipzig
[Autograph in the possession of M. Alfred Bovet at Valentigney.—The addressee (1797-1881), a writer on music (formerly CourtMusician at Weimar), lived from 1846 in Leipzig.]
My esteemed Friend,
It is with much pleasure I send you the good news that H.R.H. the Grand Duchess has graciously accepted the dedication of your "System of Composition." [Published in 1850.] Our gracious protector [feminine] started yesterday for The Hague, and will not be back till towards the middle of August.
I hope you will be sure not to fail us at the Herder Festival in Weymar (August 25th), as well as at the "Lohengrin" evening (28th); we have been already waiting for you so long!
Between the performances of the "Messiah" and "Lohengrin" (to say nothing of my "Prometheus" choruses) will also be the best opportunity for you to present your work in person to the Grand Duchess.
Remember me kindly to your dear family, and remain my friend as I am yours
Most truly,
F. Liszt Weymar, July 10th, 1850
67. To Friedrich Wieck in Dresden
[published in the "Neue Musik-Zeitung" in 1888.—The addressee was the well-known pianoforte master, the father of Clara Schumann (1785-1873).]
Esteemed Sir,
It will be a real pleasure to me to welcome you here, and your daughter [Marie Wieck, Hohenzollern Court Pianist in Dresden], whom I have already heard so highly commended. Weymar, as you know it of old, offers no brilliant resources for concerts; but you may rest assured beforehand that I, on my side, shall do everything that is possible in this connection to make things easy for you. To me it seems especially desirable that you should wait until the return of H.R.H. the Grand Duchess, which will be within a fortnight; should you, however, be tied by time and come here before that date, I bid you heartily welcome, dear sir, and place myself at your disposal.
Yours truly,
F. Liszt
Weymar, August 4th, 1850
68. To Simon Lowy in Vienna.
[Autograph in the Royal Library in Vienna. Printed in a German translation, La Mara, "Letters of Musicians during Five Centuries," vol. ii.]
Weymar, August 5th, 1850
Dear Friend,
My cousin Edward writes me word that you are a little piqued at my long silence,—and I, shall I tell you frankly? am a little piqued that you have not yet thought of coming to see me, and of transferring your bath season to some place in the neighborhood of Weymar. Will you make peace with me?—
Accept as a friend the invitation I give you in all friendship. Arrive at Weymar the 23rd of August, and stay till the 30th at least. You will find several of your friends here,—Dingelstedt, Jules Janin, Meyerbeer (?), etc.,—and you will hear, firstly, on the evening of the 24th, a good hour and a half of music that I have just composed (Overture and Choruses) for the "Prometheus" of Herder, which will be given as a Festal Introduction to the inauguration of his statue in bronze by Schaller of Munich, which is fixed for the 25th; secondly, on the evening of the 25th, Handel's "Messiah"; thirdly, on the 28th, the anniversary of Goethe's birth, a remarkably successful Prologue made, ad hoc, for that day by Dingelstedt, followed by the first performance of Wagner's "Lohengrin." This work, which you certainly will not have the opportunity of hearing so soon anywhere else, on account of the special position of the composer, and the many difficulties in its performance, is to my idea a chef-d'oeuvre of the highest and most ideal kind! Not one of the operas which has entertained the theaters for the past twenty years can give any approximate idea of it.
So don't be piqued any longer, or rather, dear friend, be piqued with curiosity to be one of the first to hear such a beautiful thing. Sulk with Vienna, for a few weeks at least, instead of sulking with me, which is all nonsense, and believe me always and ever your most sincerely attached, but very much occupied, very much pre-occupied, and oftentimes very absorbed friend,
F. Liszt
69. To Mathilde Graumann
[Given by the addressee, subsequently celebrated as MathildeMarchesi, teacher of singing, in "Aus meinem Leben" (Bagel,Dusseldorf)]
Mademoiselle,
Here is the letter for the Grand Master de Luttichau, which M. de Ziegesar has just written in your honor and glory, with all the good grace and obligingness which he keeps for you.
As regards introductions to Berlin there is a provoking contretemps for you. H.R.H. the Princess of Prussia will pass the winter at Coblentz.
Meyerbeer, to whom I beg you to remember me respectfully, will certainly be your best patron with the Court, and I have no doubt that he will receive you with sympathy and interest.
I will also send you, in the course of the week, a letter for the Chamberlain of H.R.H. Princess Charles of Prussia, which Ziegesar has promised me.
As to our concert, fixed for the 19th (Saturday next), I assure you frankly that I should not have ventured to speak to you of it, and that I hardly venture now.
The receipts are to be devoted to some pension fund, always so low in funds in our countries; consequently I am not in a position to propose any suitable terms. Now as, on the occasion of the performance of the "Messiah," you have already been only too kind to us, it really would not do for me to return to the charge, unless you were to authorize me to do so quite directly and positively, by writing me an epistolary masterpiece somewhat as follows:—
"I will sing in a perfunctory manner, but with the best intentions and the best will in the world, the air from…(here follows the name of the piece), and the duet from "Semairamide" with Milde or Mademoiselle Aghte, next Saturday; and in order not to put anybody out, I will arrive at the exact time of the rehearsal, on Friday at four o'clock."
If any such idea as this should come into your head please let me know (by telegram if need be), so that by Monday night, or, at latest, Tuesday midday, I may be able to make the programme, which must appear by Wednesday morning at latest.
With homage and friendship,
F. Liszt
Friday, October 11th, 1850 Be so kind as to give a friendly shake of the hand from me to Joachim; recommend him not to be too late in arriving at Weimar, where we expect him for the evening of the 14th.
P.S.—At the moment when I was going to send my letter to the post the following lines reached me. I send them to you intact, and you will see by them that you could not have friends better disposed towards you than those of Weimar.
Please do not fail to write direct to Ziegesar to thank him for his kindness, of which you have been sensibly informed by me (without alluding to his letter, which you will return to me), and at the same time say exactly which week you will arrive in Berlin; unless, however, you prefer to come and tell him this verbally on Friday or Saturday evening at the Altenburg, after you have again chanted to us and enchanted us. [Literal translation, on account of play on words.]
70. To Carl Reinecke
Dear Reinecke,
Here are the letters for Berlioz and Erard that I offered you. I add a few lines for the young Prince Eugene Wittgenstein, with whom you will easily have pleasant relations; he is an impassioned musician, and is remarkably gifted with artistic qualities. In addition, I have had a long talk about your stay in Paris, and the success which you ought to obtain, with Belloni, who came to me for a few days. You will find him thoroughly well disposed to help you by all the means in his power, and I would persuade you to have complete confidence in him. Go and look for him as soon as ever you arrive, and ask him for all the practical information you require. Make your visit to Messrs. Escudier with him. (N.B.—He will explain why I have not given you a letter for Brandus.)
The greater number of your pieces have hitherto been printed exclusively by Escudier, and in my opinion you would do well to keep well with them in consequence. In your position it is not at all necessary to make advances to everybody—and, moreover, it is the very way to have no one for yourself. Look, observe, and keep an intelligent reserve, and don't cast yourself, German-wise, precipitately into politeness and inopportune modesty.
In one of your leisure hours Belloni will take you to Madame Patersi, who is entrusted with the education of my two daughters, for whom I beg a corner of your kind attention. Play them your Polonaise and Ballade, and let me hear, later on, how their very small knowledge of music is going on. Madame Patersi, as I told you, will have much pleasure in introducing you to her former pupil, Madame de Foudras, whose salon enjoys an excellent reputation.
Need I renew to you here the request of my four cardinal points?- -No, I am sure I need not!—Accept then, dear Reinecke, all my heartiest wishes for this new year, as well as for your journey to Paris. Let me hear of you through Belloni, if you have not time to write to me yourself, and depend in all circumstances on the very cordial attachment of
Yours sincerely and affectionately,
F. Liszt January 1st, 1851 My return to Weymar is unfortunatelyagain postponed for twenty days, by the doctor's orders, to whichI submit, although not personal to myself. [They referred toPrincess Wittgenstein, who was ill.]
71. To Leon Escudier, Music Publisher in Paris
[autograph in the possession of M. Arthur Pougin in Paris.—The addressee was at that time the manager of the periodical "La France Musicale," in which Liszt's Memoir of Chopin first appeared in detached numbers (beginning from February 9th, 1851).]
Weymar, February 4th, 1851
My dear Sir,
The proofs of the two first articles of my biographical study of Chopin ought to have reached you some days ago, for I corrected and forwarded them immediately on my return to Weymar. You will also find an indication of how I want them divided, which I shall be obliged if you will follow. Both on account of the reverence of my friendship for Chopin, and my desire to devote the utmost care to my present and subsequent publications, it is important to me that this work should make its appearance as free from defects as possible, and I earnestly request you to give most conscientious attention to the revision of the last proofs. Any alterations, corrections, and additions must be made entirely in accordance with my directions, so that the definitive publication, which it would be opportune to begin at once in your paper, may satisfy us and rightly fulfill the aim we have in view. If therefore your time is too fully occupied to give you the leisure to undertake these corrections, will you be so good as to beg M. Chavee [an eminent Belgian linguist, at that time a collaborator on the "France Musicale"] (as you propose) to do me this service with the scrupulous exactitude which is requisite, for which I shall take the opportunity of expressing to him personally my sincere thanks?
In the matter of exactitude you would have some right to reproach me (I take it kindly of you to have passed it over in silence, but I have nevertheless deserved your reproaches, apparently at least) with regard to Schubert's opera ["Alfonso and Estrella," which Liszt produced at Weimar in 1854]. I hope Belloni has explained to you that the only person whom I can employ to make a clear copy of this long work has been overwhelmed, up to now, with pressing work. It will therefore be about three months before I can send you the three acts, the fate of which I leave in your hands, and for which, by the aid of an interesting libretto, we may predict good luck at the Opera Comique. I will return to this matter more in detail when I am in the position to send you the piano score (with voice), to which, as yet, I have only been able to give some too rare leisure hours, but which I promise you I will not put off to the Greek Calends!
As far as regards my opera, allow me to thank you for the interest you are ready to take in it. For my own part I have made up my mind to work actively at the score. I expect to have a copy of it ready by the end of next autumn. We will then see what can be done with it, and talk it over.
Meanwhile accept, my dear sir, my best thanks and compliments.
F. Liszt
The proofs of the third and fourth articles on Chopin will be posted to you tomorrow.
Has Belloni spoken to you about F. David's "Salon Musical" (twenty-four pieces of two pages each, very elegantly written and easy to play)?—I can warmly recommend this work to you, both from the point of view of art, and of a profitable, and perhaps even popular, success. [Presumably Ferdinand David's "Bunte Reihe," Op. 30, which Liszt transcribed for piano alone.]
72. To Carl Reinecke
My dear Mr. Reinecke,
I am still writing to you from Eilsen; your two kind and charming letters found me here and have given me a very real pleasure. You may rest quite assured during your life of the sincere and affectionate interest I feel for you, an interest of which I shall always be happy to give you the best proofs as far as it depends on me.
Madame Patersi is loud in her praises both of your talent and of yourself,—and I thank you sincerely for having so well fulfilled my wishes with regard to the lessons you have been so kind as to give to Blandine and Cosima. [Liszt's daughters. Blandine (died 1872) became afterwards the wife of Emile Ollivier; Cosima is the widow of Wagner.] Who knows? Perhaps later on these girls will do you honor in a small way by coming out advantageously with some new composition by their master Reinecke, to the great applause of Papa!
Hiller shows tact and taste in making sure of you as a coadjutor at the Rhenish Conservatorium, which seems to be taking a turn not to be leaky everywhere. Cologne has much good, notwithstanding its objectionable nooks. Until now the musical ground there has been choked up rather than truly cultivated! People are somewhat coarse and stupidly vain there; I know not what stir of bales, current calculations, and cargoes incessantly comes across the things of Art. It would be unjust, however, not to recognize. the vital energy, the wealth of vigor, the praiseworthy activity of this country, in which a group of intelligent men, nobly devoted to their task, may bring about fine results, more easily than elsewhere.
At any rate I approve of what you have done, and compliment you on having accepted Hiller's offer, [Namely, a position as Professor at the Conservatorium of Cologne, which Reinecke occupied from 1851 to 1854.] and shall have pleasure in sending to your new address some of my latest publications, which will appear towards the end of May (amongst others a new edition, completely altered and well corrected, I hope, of my twelve great Etudes, the Concerto without orchestra dedicated to Henselt, and the six "Harmonies Poetiques et Religieuses"). I have also written a very melancholy Polonaise, and some other trifles which you will perhaps like to look over.
Let me hear from you soon, my dear Mr. Reinecke, and depend, under all circumstances, on the faithful attachment of
Yours affectionately and sincerely,
F. Liszt
Eilsen, March 19th, 1851
73. To Dr. Eduard Liszt in Vienna
[An uncle of Liszt's (that is, the younger half-brother of his father), although Liszt was accustomed to call him his cousin: a noble and very important man, who became Solicitor-General in Vienna, where he died February 8th, 1879. Franz Liszt clung to him with ardor, as his dearest relation and friend, and in March, 1867, made over to him the hereditary knighthood.]
[Weimar, 1851]
Dear, excellent Eduard ,
It will be a real joy to me to take part in your joy, and I thank you very cordially for having thought first of me as godfather to your child. I accept that office very willingly, and make sincere wishes that this son may be worthy of his father, and may help to increase the honor of our name. Alas! it has been only too much neglected and even compromised by the bulk of our relations, who have been wanting either in noble sentiments, or in intelligence and talent—some even in education and the first necessary elements—to give a superior impulse to their career and to deserve serious consideration and esteem. Thank God it is otherwise with you, and I cannot tell you what a sweet and noble satisfaction I derive from this. The intelligent constancy which you have used to conquer the numerous difficulties which impeded your way; the solid instruction you have acquired; the distinguished talents you have developed; the healthy and wise morality that you have ever kept in your actions and speech; your sincere filial piety towards your mother; your attachment, resulting from reflection and conviction, to the precepts of the Catholic religion; these twenty years, in fine, that you have passed and employed so honorably,—all this is worthy of the truest praises, and gives you the fullest right to the regard and esteem of honest and sensible people. So I am pleased to see that you are beginning to reap the fruits of your care, and the distinguished post to which you have just been appointed [He had been made Assistant Public Prosecutor in 1850.] seems to justify the hopes that you confided to me formerly, and which I treated, probably wrongly, as so much naive ambition. At the point at which you have arrived it would be entirely out of place for me to poke advice and counsel out of season at you. Permit me, for the sake of the lively friendship I bear you, and the ties of relationship which bind us together, to make this one and only recommendation, "Remain true to yourself!" Remain true to all you feel to be highest, noblest, most right and most pure in your heart! Don't ever try to be or to become something (unless there were opportune and immediate occasion for it), but work diligently and with perseverance to be and to become more and more some one.—Since the difficult and formidable duty has fallen upon you of judging men, and of pronouncing on their innocence or guilt, prove well your heart and soul, that you may not be found guilty yourself at the tribunal of the Supreme Judge,—and under grave and decisive circumstances learn not to give ear to any one but your conscience and your God!—
Austria has shown lately a remarkable activity, and a military and diplomatic energy the service of which we cannot deny for the re-establishment of her credit and political position. Certainly by the prevision of a great number of exclusive Austrians—a prevision which, moreover, I have never shared—it is probable that the Russian alliance will have been a stroke of diplomatic genius very favorable to the Vienna Cabinet, and that, in consequence of this close alliance, the monarchical status quo will be consolidated in Europe, notwithstanding all the democratic ferments and dissolving elements which are evidently, whatever people may say, at their period of ebb. I do not precisely believe in a state of tranquility and indefinite peace, but simply in a certain amount of order in the midst of disorder for a round dozen of years, the main spring of this order being naturally at Petersburg. From the day in which a Russian battalion had crossed the Austrian frontier my opinion was fixed, and when my friend Mr. de Ziegesar came and told me the news I immediately said to him, "Germany will become Russian, and for the great majority of Germans there is no sort of hesitation as to the only side it remains to them to take."
The Princess having very obligingly taken the trouble to tell you my wishes with regard to my money matters, I need not trouble you further with them, and confine myself to thanking you very sincerely for your exactness, and for the discerning integrity with which you watch over the sums confided to your care. May events grant that they may prosper, and that they may not become indispensable to us very soon.—
Before the end of the winter I will send you a parcel of music (of my publications), which will be a distraction for your leisure hours. I endeavour to work the utmost and the best that I can, though sometimes a sort of despairing fear comes over me at the thought of the task I should like to fulfill, for which at least ten years more of perfect health of body and mind will be necessary to me.
Give my tender respects to Madame Liszt; you two form henceforth my father's entire family; and believe in the lively and unalterable friendship of
Your truly devoted,
F. Liszt
74. To Count Casimir Esterhazy
[Autograph (without address) in the possession of Herr AlbertCohn, bookseller in Berlin.—The addressee was presumably CountEsterhazy, whose guest Liszt was in Presburg in 1840.]
Let me thank you very sincerely for your kind remembrance, dear friend, and let me also tell you how much I regret that my journey to Hohlstein cannot come to pass during your short stay there. But as by chance you already find yourself in Germany, will you not push on some fine day as far as Weymar?—I should have very great pleasure in seeing you there and in receiving you—not in the manorial manner in which you received me at Presburg, but very cordially and modestly as a conductor, kept by I know not what strange chance of fate at a respectful distance from storms and shipwrecks!—
For three weeks past a very sad circumstance has obliged me to keep at Eilsen, where I had already passed some months of last winter. The reigning Prince is, as you have perhaps forgotten, the present proprietor of one of your estates,—the Prince of Schaumburg-Lippe. If by chance you are owing him a debt of politeness, the opportunity of putting yourself straight would be capital for me. Nevertheless I dare not count too much on the attractions of the grandeur and charms of Buckeburg! and I must doubtless resign myself to saying a longer farewell to you.
Let me know by Lowy of Vienna where I shall address to you some pieces in print which you can look over at any leisure hour, and which I shall be delighted to offer you. I will add to them later the complete collection of my "Hungarian Rhapsodies," which will now form a volume of nearly two hundred pages, of which I shall prepare a second edition next winter. Hearty and affectionate remembrances from
Yours ever,
F. Liszt
Eilsen, June 6th, 1851
75. To Theodor Uhlig, Chamber Musician in Dresden
[Autograph in the possession of Herr Hermann Scholtz, Chamber virtuoso in Dresden.—The addressee, who was an intimate friend of Wagner's (see "Wagner's Letters to Uhlig, Fischer, Heine"— London: H. Grevel & Co., 1890), gained for himself a lasting name by his pianoforte score of Lohengrin. He died January, 1853.]
The perusal of your most kind and judicious article in Brendel's Musical Gazette on the "Goethe Foundation" [By Liszt, 1850. See "Gesammelte Schriften," vol. v.] confirms me in the belief that I could not fail to be understood by you in full intelligence of the cause. Allow me then, my dear Mr. Uhlig, to thank you very cordially for this new proof of your obligingness and of your sympathy—in French, as this language becomes more and more familiar and easy to me, whereas I am obliged to make an effort to patch up more or less unskillfully my very halting German syntax.
The very lucid explanation that you have made of my pamphlet, as well as the lines with which you have prefaced and followed it, have given me a real satisfaction, and one which I did not expect to receive through that paper, which, if I am not mistaken, had hitherto shown itself somewhat hostile to me personally, and to the ideas which they do me the small honor to imagine I possess. This impression has been still further increased in me by reading Mr. Brendel's following article on R. Wagner, which seems to me a rather arranged transition between the former point of view of the Leipzig school or pupils and the real point of view of things. The quotation Brendel makes of Stahr's article on the fifth performance of "Lohengrin" at Weymar, evidently indicates a conversion more thought than expressed on the part of the former, and at the performance of "Siegfried" I am persuaded that Leipzig will not be at all behindhand, as at "Lohengrin."
I do not know whether Mr. Wolf (the designer) has had the pleasure of meeting you yet at Dresden; I had commissioned him to make my excuses to you for the delay in sending the manuscript of Wiland. Unfortunately it is impossible for me to think of returning to Weymar before the end of July, and the manuscript is locked up among other papers which I could not put into strange hands. Believe me that I am really vexed at these delays, the cause of which is so sad for me.
If by chance you should repass by Cologne and Minden, it would be very nice if you could stay a day at Buckeburg (Eilsen), where I am obliged to stay till the 15th of July. I have not much pleasure to offer you, but in return we can talk there at our ease of the St. Graal…
My pamphlet "Lohengrin and Tannhauser" will appear in French at Brockhaus' towards the end of July. It will have at least the same circulation as the "Goethe Foundation," and I will send you by right one of the first copies.
Kind regards to Wagner, about whom I have written a great deal lately without writing to him; and believe me yours very sincerely,
F. Liszt
Eilsen (Buckeburg), June 25th, 1851.
76. To Rosalie Spohr in Brunswick
[niece of Louis Spohr, and an incomparable harpist,—"The most ideal representative of her beautiful instrument," according to Bulow; after her marriage with Count Sauerma she retired from public life and now lives in Berlin.]
After your amiable authorization to do so, Mademoiselle, I have had your concert announced at Eilsen for Tuesday next, July 8th, and you may rest assured that the best society of Buckeburg and of the Badegaste [visitors who go for the baths] will be present.
The price of the tickets has been fixed for 1 florin, which is the maximum customary in this country. With regard to the programme, I await your reply, in which I shall be glad if you will tell me the four or five pieces you will choose, amongst which will be, I hope, Parish Alvars' Fantaisie on motives from "Oberon" and the "Danse des Fees."
A distinguished amateur, Monsieur Lindemann of Hanover, has promised me to play one or two violoncello solos, and the rest of the programme will be easily made.
As to your route, you had better take the Schnellzug [express] next Monday, which starts about 11 in the morning from Brunswick, and brings you to Buckeburg in less than three hours. From here it will only take you thirty-five minutes to get to Eilsen. The most simple plan for you would be not to write to me beforehand even, but to improvise your programme according to your fancy here. Only let me beg you not to arrive later than Monday evening, so that the public may be free from anxiety, and to set my responsibility perfectly at rest in a corner of your harp- case.
May I beg you, Mademoiselle, to remember me affectionately to your father? and be assured of the pleasure it will be to see you, hear you, and admire you anew, to your sincere and devoted servant,
F. Liszt
Eilsen, July 3rd, 1851
I beg you once more not to be later than next Monday, July 7th, in coming to Eilsen.
77. To Rosalie Spohr
I am deeply sensible of your charming lines, Mademoiselle, the impression of which is the completion for me of the harmonious vibrations of your beautiful talent,—vibrations which are still resounding in the woods and in your auditors at Eilsen. While expressing to you my sincere thanks I should reproach myself were I to forget the piquant and substantial present that your father has sent me, and I beg you to tell him that we have done all honor to the savory product of Brunswick industry. The Buckeburg industry having a certain reputation in petto in the matter of chocolate, the Princess, who sends her best regards to you and your family, wishes me to send you a sample, which you will receive by tomorrow's post. The chocolate, in its quality of a sedative tonic, will, moreover, not come amiss in the intervals of your study.
May I beg you, Mademoiselle, to give my affectionate compliments to your parents as well as to the clever drawing-historiographer [The younger sister of the addressee, Ida Spohr, at that time sixteen years old, who was a most gifted creature, both in poetry, painting, and music. She died young, at the age of twenty-four] whom you know? and receive once more the best wishes of yours most truly,
F. Liszt
Eilsen, July 22nd, 1851
78. To Breitkopf and Hartel
Allow me, my dear Mr. Hartel, to make known to you, as a kind of curiosity, a very long piece I composed last winter on the chorale "Ad Nos" from the "Prophete." If by chance you should think well to publish this long Prelude, followed by an equally long Fugue, I could not be otherwise than much obliged to you; and I shall take advantage of the circumstance to acquit myself, in all reverence and friendship, of a dedication to Meyerbeer, which it has long been my intention to do; and it was only for want of finding among my works something which would suit him in some respect, that I have been obliged to defer it till now. I should be delighted therefore if you would help me to fill up this gap in the recognition I owe to Meyerbeer; but I dare not press you too much for fear you may think that my Fugue has more advantage in remaining unknown to the public in so far that it is in manuscript, than if it had to submit to the same fate after having been published by your care.
In accordance with your obliging promise, I waited from week to week for the preface that Mr. Wagner has added to his three opera poems. I should be glad to know how soon you expect to bring them out, and beg you to be so good as to send me immediately three copies.
Believe me, my dear Mr. Hartel,
Yours affectionately and most truly,
F. Liszt
Weymar, December 1st, 1851
P.S.—Would it perhaps do to bring out my Fugue on the "Prophete" as No. 4 of my "Illustrations du Prophete"? That was at least my first intention. [It was published in that form by Breitkopf and Hartel.] In the same parcel you will find the piano score of the "Prophete," which I am very much obliged to you for having lent me.
79. To Louis Kohler in Konigsberg
[An important piano teacher and writer on music, and composer of valuable instructive works (1820-86).]
Dear Sir,
The friendly kindness with which you have spoken of a couple of my latest compositions lays me under an obligation of warm thanks, which I must no longer delay having the pleasure of expressing to you. I should be very glad if you find anything that suits you in my next impending piano publication (the new, entirely revised edition of my Studies, the "Harmonies Poetiques et Religieuses," and the two years of "Annees de Pelerinage, Suite de Compositions," etc.). In any case I shall venture to send this work, with the request that you will accept it as a token of my gratitude for the favorable opinion which you entertain of my artistic efforts.