B) Wagner. What am I to say to you of Wagner? Have you had any talk with him lately in Leipzig? On what terms are you with him at present?…Ah, it is a pity that we cannot procure a stream of gold for him, or have some palaces of gold built for him! What can he do with admiration, enthusiasm, devotion, and all such non-essential things?
Nevertheless it is our indebtedness and duty to remain faithful and devoted to him. The whole German Musik-Verein shall raise up a brazen wall in his honor!—He is verily worthy of it!
Hence, dear friend, see what can be arranged with Wagner. Since I left Berlin we have not corresponded. But I am surprised almost that I did not receive a line from him after Blandine's death! .—.
Au revoir, therefore, dear friend. In Weimar or in Leipzig only can I tell you what I may be able to accomplish later. I must, however, most urgently beg to be exempted from undertaking to direct the German Musik-Verein for the year '63!—
With cordial and most friendly greetings,
Yours sincerely,
November 8th [1862]
F. Liszt
P.S.—Best thanks for your Sondershausen essays.
10. To A. W. Gottschalg
Dear Friend,
Your kind letter reached me on October 22nd, and this day, which could not pass without sorrow, has this year been brightened by many loving and solemn remembrances. Accept my thanks, and present my best remembrances to all those whose names you mention, and who have so kindly thought of me. Unfortunately there is no prospect of my soon being able to celebrate the 22nd October with Weimar friends; but I may tell you that I intend paying H.R.H. the Grand Duke a visit during the course of the summer. And we two shall then also have a bright and happy day in Tieffurt—and look through a couple of new Organ pieces together. Grosse must not fail to be there likewise, nor his trombone box, which I have specially had in my mind ever since the journey to Paris. [Grosse took his instrument with him on the journey, in order that it might be at hand in case Liszt should want it.] Meanwhile, however, tell dear, good Grosse not to be vexed about the delay in connection with the promised despatch of his "Sonntags-Posaunenstuck." [Sunday piece for trombone.] It is long since finished, also some three or four Organ pieces, which, dear friend, I wrote for you last spring. But the postal arrangements are so little safe, under present circumstances, that I do not care to send manuscripts by this means. In despatching parcels to Vienna or Paris I could, of course, make use of the courtesy of the embassies; but it is more difficult with Weimar…and so the parcel with the "Legend of Saint Elizabeth," the three Psalms instrumented (and essentially remodelled), several Pianoforte and Organ pieces, together with Grosse's "Sunday-piece," must remain in my box till some perfectly reliable opportunity presents itself. If the worst comes to the worst I shall bring the whole lot myself.
The Schneider-Organ-Album, and the one to appear later—the Arnstadter-Bach-Organ-Album (which is to contain the magnificent fugal subject from Bach's Cantata that I arranged for the Organ— and not without difficulty), I beg you to keep in your library till my return.
I am very unpleasantly affected by the hyper-mercantile craftiness of one of my publishers whom you mention in your letter. It would truly be unjust if you were not to receive the usual discount, and indeed an exceptional amount, when purchasing the "Faust Symphony." But who would ever succeed in washing a negro white? And, in addition, one has generally to put up with the inky blackness of his bills!—I could tell many a tale of such doings, and indeed of persons who are afterwards not ashamed to talk braggingly of their friendship for me! "O friends, not these tones, rather let us strike up pleasanter ones," sings Beethoven.
The "Elizabeth," it is to be hoped, contains something of the sort. At least, as far as possible, I have labored carefully at the work, and, so to say, lived it through for more than a year. In No. 3 of the score—the "Crusaders"—you will come across the old pilgrim song from the days of the Crusades which you had the kindness to communicate to me. It has rendered me good service for the second subject of the "Crusaders' March." In the concluding notice of the score I acknowledge my thanks to you for it and give the whole song from your copy.
Among the pleasant bits of news (exceptions to the rule!) which reach me from our quarters is that about the improvement of your pecuniary position, which is probably accompanied by your appointment as teacher at the newly established Seminary classes. In the way of merit you lack nothing, and nothing in zeal and energetic perseverance. Let me hope, dear friend, that you may more and more meet with your due reward!
With kindest greetings,
F. Liszt
Rome, November 15th, 1862
11. To Eduard Liszt
Dearest Eduard,
The feeling of our double relationship is to me always an elevating and comforting one. Truly you abide with me, as I do with you—cum sanguine, corde et mente.
Accept my thanks for your kind lines, and excuse my not having written to you long ago. I might indeed have told you many a thing of more or less interest; but all seemed to me tiresome and insufficient in writing to you. I needed more than ever, and above all things, ample time to compose myself, to gather my thoughts, and to bestir myself. During the first year of my stay here I secured this. It is to be hoped that you would not be dissatisfied with the state of mind which my 50th year brought me; at all events I feel it to be in perfect harmony with the better, higher aspirations of my childhood, where heaven lies so near the soul of every one of us and illuminates it! I may also say that, owing to my possessing a more definite and clearer consciousness, a state of greater peacefulness has come over me.
Blandine has her place in my heart beside Daniel. Both abide with me bringing atonement and purification, mediators with the cry of "Sursum corda!"—When the day comes for Death to approach, he shall not find me unprepared or faint-hearted. Our faith hopes for and awaits the deliverance to which it leads us. Yet as long as we are upon earth we must attend to our daily task. And mine shall not lie unproductive. However trifling it may seem to others, to me it is indispensable. My soul's tears must, as it were, have lacrymatoria made for them; I must set fires alight for those of my dear ones that are alive, and keep my dear dead in spiritual and corporeal urns. This is the aim and object of the Art task to me.
Yon know that I have finished the "Legend of Saint Elizabeth" (200 pages of score—2 and 1/2 hours' duration in performance). In addition to this some other compositions have been produced, such as: the "SunCanticus ("Cantico del Sole") of Saint Franciscus"—an instrumental Evocatio in the Sistine Chapel-two Psalms, etc. I trust you may again find us in these, in mind and feeling.
I am now about to set myself the great task of an Oratorio on Christ. By the 22nd October, '63, I hope to have solved the difficulty as far as my weakness and strength will permit.
As you see, dearest Eduard, it is impossible to get out of my head the idea of writing notes. [Notenkopfe] In spite of all good precepts and friendly counsellors (who mean it much better by me than I can ever understand!) I go so far as to maintain that for several years past and in many yet to come I have not done and shall not do anything more ingenuous than cheerfully to go on composing. And what more harmless occupation could there be? especially as I never force my little works upon any one, nay, have frequently begged persons to refrain from giving certain too unconscientious [Play on words "gewissen" and "ungewissenhaft"] renderings of them,—and that I ask for no further appreciation or approval than can, in fact, be granted according to taste and disposition.
From Pest I have lately received through Baron Pronay, in the name of the Council of the Conservatoire, an invitation to establish my domicile there, and to promote the interests of Hungarian music. Probably you will hear of my excusatory reply.
Between ourselves, and frankly said in plain German, it would be of no advantage to me again to take up any outward musical activity (such as my conductorship in Weimar which came to an end a few years ago, and after September 1861 became a locked door to me through my Chamberlain's key). But possibly I may later find a fitting opportunity for composing something for Hungary. After the precedent of the "Gran Mass" I might, for instance, on some extraordinary occasion, be entrusted, say, with a "Te Deum" or something of the kind. I would gladly do my best, and only on some such terms could I regard my return to Hungary as becoming.
Meanwhile remains quietly in Rome, honestly striving to do his duty as a Christian and an artist,
Thine from his heart,
F. Liszt
Rome, November 19th (St. Elizabeth's Day), 1862
12. To Dr. Franz Brendel
Dear Friend,
The difficulties and troubles of the musical situation of which you speak in your last letter but one, I can, unfortunately, only too well understand. No one is better acquainted with such matters than I am, and hence no one is better able to appreciate and recognise the value of your unselfish, persevering work and efforts, which also show you so sincere in your convictions. And one of the dark sides in my present position, dear friend, is that I can be of so little use to you, that I am compelled to remain in a state of passivity and forbearance that does not at all agree with me. However, you may rely upon my readiness to render any assistance wherever I may still be able to help.—In accordance with your wish I shall take an early opportunity of writing to Prince H[ohenzollern] concerning the Tonkunstler- Verein. It is to be hoped that our amiable, noble-minded patron will show himself no less disposed in our favor than he has done on former occasions. And you, on your part, do not fail to discuss with Seifriz by letter the points and modals of the support expected. It is a pity that Bulow's proposal to hold the next meeting of the T.K. Verein in Lowenberg has not proved feasible. Were it likely to be broached again I should not make any objections to it, because, in fact, the place seems to be precisely a favorable centre at present. But, as already said, it is not my place to express any definite opinion on the subject, and I am entirely satisfied in leaving all that has to be done to your judgment and foresight.
I am delighted to hear of Bulow's extraordinary success in Leipzig, and still more so to hear of your renewed and intimate relations with him. He is the born prototype of progress, and noble-minded to a degree! Without his active co-operation as director and standard-bearer a Tonkunstler-Versammlung at the present time would at least be an anachronism.
From Wagner I lately received a letter in which he informed me of a performance of his "Tristan" in Vienna towards the end of January. Afterwards he intends arranging some concerts in Berlin- -and, it seems, in St. Petersburg also. My endeavors to secure him comfortable quarters in Weimar seem for the time being to be useless, because of his dislike to an insignificant appointment, and the adverse circumstances of life in a small town. Certainly his project of drawing annually 3,000 thalers (*450 British pounds sterling*), by some agreement between the Grand Dukes of Weimar and Baden, is much more to the point. The question is only whether their Highnesses will consent to it? .—.
With heartiest greetings, most sincerely yours,
F. Liszt
December 30th, 1862
13. To Breitkopf and Hartel
Dear Herr Doctor,
The four scores of the Beethoven Symphonies, of which you advised me in your friendly letter, reached me yesterday. My eyes are meanwhile revelling and delighting in all the glories of the splendid edition, and after Easter I shall set to work. Nothing shall be wanting on my part, in the way of goodwill and industry, to fulfil your commission to the best of my power. A pianoforte arrangement of these creations must, indeed, expect to remain a very poor and far-off approximation. How instil into the transitory hammers of the Piano breath and soul, resonance and power, fulness and inspiration, color and accent?—However I will, at least, endeavor to overcome the worst difficulties and to furnish the pianoforte-playing world with as faithful as possible an illustration of Beethoven's genius.
And I must ask you, dear Herr Doctor, in order that the statement on all the title pages—"critically revised edition"—may be complied with, to send me—together with your new edition of the scores of the "Pastoral," the C minor, and A major Symphonies—a copy of my own transcriptions of them. Probably I may alter, simplify, and correct passages—and add some fingerings. The more intimately acquainted one becomes with Beethoven, the more one clings to certain singularities and finds that even insignificant details are not without their value. Mendelssohn, at whose recommendation you formerly published my pianoforte scores of the "Pastoral" and C minor Symphonies, took great delight in these minutiae and niceties!—
With regard to the agreement about the A major Symphony I mean shortly to write to Carl Haslinger, and expect that he will be quite willing to meet my wish. [A pianoforte transcription of this Symphony by Liszt had been published by Haslinger.]
With grateful thanks, dear Herr Doctor, I remain yours in readiness and sincerity,
F. Liszt
Rome, March 26th, 1863
P.S.—The four Symphonies shall be finished before the end of summer and sent to Leipzig. If you are satisfied with my work would you entrust the arrangement of the Overtures to me when I have finished the Symphonies—provided, of course, that you have not made any agreement with any one else?
14. To A. W. Gottschalg in Weimar
Dear Friend,
This year my name-day fell in the middle of Easter week, on Maundy Thursday. Your hearty letter again brought what to me is the pleasantest news in the world. Thank you for it, and let those know of it who share your sincere, friendly, and faithful sentiments! First let me mention Carl Gotze, [A chorister in Weimar (a favorite copyist of the Master's) became a musical conductor in Magdeburg and died in 1886.] whose kindly words I should so gladly like to answer in accordance with his wish, and then my dear Kammer-virtuoso, Grosse. Grosses trombone no doubt officiated brilliantly at Bulow's concert and at the performance of Berlioz's opera! An echo of the former reached me, thanks to your inspired notice in Brendel's paper, where I accidentally came across a little remark which you had addressed to one of the most estimable and graceful of German lady-singers anent my little-heeded songs. I certainly cannot find fault with you for showing some interest in the songs and for thus frankly expressing your opinion. On the contrary, your sympathetic appreciation is always welcome, amid the direct and indirect disparagement which falls to my lot. Unfortunately, however, I must make up my mind that only by way of an exception can I expect to find friends for my compositions. The blame is mine; why should one presume to feel independently, and set the comfortable complacency of other folks at defiance?—Everything that I have written for several years past shows something of a pristine delinquency which is as little to be pardoned as I am unable to alter it. This fault, it is true, is the life-nerve of my compositions, which, in fact, can only be what they are and nothing else.—
In the Psalms I have made some important alterations, and shall shortly send Kahnt the manuscript. A few passages (especially the verse "Sing us one of the songs of Zion") which had always appeared awkward to me in the earlier version, I have now managed to improve. At least they now pretty well satisfy my soul's ear.
The "Christus" Oratorio is progressing but slowly, owing to the many interruptions which I have to put up with this winter. It is to be hoped I may obtain some entire months of work during the summer. I thirst for it.
Of the musical undertakings here you will learn the more noteworthy events from a paper I sent to Brendel last week. Further and fuller news about myself is meanwhile uncertain. Probably I shall in the end not find myself able to do anything better than to put my whole story in the musical notes that I am incessantly writing down, but which need not either be printed or heard.
However that may be, I remain, dear friend, in sincere affection, yours gratefully and in all friendship,
F. Liszt
Rome, April 14th, 1863
P.S.—The Bach-Album and other music which you say you had to send me (e.g., your arrangement of the Dante fugue if it has been printed) please let me have through Kahnt. Enclose also a copy of the Ave Maria for Organ.
[Figure: Musical Score Excerpt]
15. To Dr. Franz Brendel
Dear friend,
The last months brought so many interruptions in my work that I still feel quite vexed about it. Easter week I had determined should, at last, see me regularly at work again; but a variety of duties and engagements have prevented my accomplishing this. I must, therefore, to be true to myself and carry out my former intention, shut myself up entirely. To find myself in a net of social civilities is vexatious to me; my mental activity requires absolutely to be free, without which I cannot accomplish anything.
How things will turn out later about my proposed journey to Germany I do not yet know. Probably my weary bones will be buried in Rome. Till then their immovability will serve you better than my wandering about on railways and steamboats. On the other hand, there is but little for me to do in Germany. War is at the door; drums and cannon will come to the fore; God protect the faith of heroes and give victory to the righteous among humanity! .—.
Where is Wagner, and what about the performances of "Tristan", the "Nibelungen", and the "Meistersinger" in Weimar or elsewhere? Tell me of this. I have not written to Weimar for long, and have also not had any news from there. My only German correspondent (Frau von Bulow) is suffering from some eye-trouble, which has interrupted our exchange of letters…so I am absolutely ignorant of what is going on. The February numbers of the "Neue Zeitschrft" are the last I have received. Your articles on Criticism are excellent, and, indeed, nothing else was to be expected. Give Louis Kohler my most friendly thanks for his kind perseverance in "paving the way for my scores to receive more kindly appreciation." The more thankless the task the more heartily grateful do I feel to my friends.
Most sincerely yours,
F. Liszt
Rome, May 8th, 1863
16. To Eduard Liszt
Dearest Eduard,
Weariness or something of the sort carried my thoughts back to my "Berceuse." Various other "Berceuses" rose up in my dreams. Do you care to join my dreams? It shall not cost you any trouble; without touching the keyboard yourself, you will only need to rock yourself in the sentiments that hover over them. A really amiable and variously gifted lady will see to this. She plays the little piece delightfully, and has promised me to let it exercise its charms upon you. I shall, therefore, ere long send you a copy of the new version of the "Berceuse" addressed "to the Princess Marcelline Czartoryska, Klostergasse 4." [A pupil of Chopin's] Wend yourway thither—and, in case you do not find the Princess at home, leave the manuscript with your card. I have already told her of your contemplated visit, and have spoken of you as my heart's kinsman and friend. You will find the Princess Cz. possessed of a rare and fine understanding, the most charming figure in society, and a kindly and enthusiastic worshipper of Mozart, Beethoven, and Chopin, and, above all this, the illuminating faith of the Catholic Church reflected in Polish blood.
"Patria in Religione et Religio in patria" might be the motto ofPoland. God protect the oppressed!
One other commission for the Princess Cz. please undertake for me. During her residence here she on several occasions expressed the wish to become acquainted with some of my compositions (to which, whether intentionally or not, she had hitherto not paid much attention). I played with her my arrangement of the Symphonic Poems for 2 pianofortes—the "Heroide funebre," "Tasso," and the "Preludes"—which she received with kindly and courteous tolerance. Without desiring more—for ample experience has taught me that my compositions more readily rouse estrangement than attraction—I should, nevertheless, like the musical threads of our pleasant relations not to be entirely dropped, and wish therefore to present her, first of all, with various pieces of music by way of making amends. In the badly stocked music shops of Rome I could not find anything suited to her talent, and promised to ask your help in the matter. I beg you, therefore, dearest Eduard, to get the following works simply and neatly bound in one volume (in the following order), and to present them soon to the Princess Cz.:—
1. "Glanes de Woronice" (Leipzig, Kistner). 2. "Melodies de Chopin", transcrites par Liszt (Berlin, Schlesinger). 3. "Mazurka" (Senff, Leipzig). 4. "2 Polonaises" (idem). 5. "2 Ballades" (1 and 2. Kistner, Leipzig.) 6. "Consolations" (Hartel, Leipzig).
If the volume is not too thick with the above you might add the "Valse melancolique" and "Romanesca" (second edition of Haslinger). Of course let all this, contents and binding, be put down to my account, and given to the Princess-artist as a present from me. If the pieces cannot be procured in Vienna, order them speedily from Leipzig through Haslinger or Spina.
A propos of Spina: has the arrangement for 2 pianofortes of my orchestral setting of Schubert's magnificent C major "Fantasia" not yet been published? This delay, or, more properly, this remissness, is by no means a pleasant matter to me. With all my heart, thine,
F. Liszt
Rome, May 22nd, 1863
17. To Dr. Franz Brendel
Dear Friend,
I had to remain in bed all last week—and am still pretty weak on my legs. But there is nothing further wrong: my head is free again; the rest can be imagined. The day after tomorrow I quit my rooms in the Via Felice and move to Monte Mario (an hour's distance from the city). Father Theimer is kind enough to allow me to occupy his apartments in the almost uninhabited house of the Oratorian. The view is indescribably grand. I mean now, at last, to try and lead a natural kind of life. I hope I may succeed in approaching more closely to my monastico-artistic ideal…Meanwhile you may laugh at me about it. In my next letter I will tell you where to address me.
Pastor Landmesser will bring you further news about me to Leipzig, before the end of July, on his way back to Dantzig. I shall get him to take you the manuscript of the Psalms (of which I spoke to you). They are now ready for publication, and will not disgrace Kahnt's house of business.
The corrected copy of the Faust Symphony, too, I will send you by this opportunity, for Schuberth.
With regard to performances of my works generally, my disposition and inclination are more than ever completely in the negative. My friends, and you more especially, dearest friend, have done their part in this respect fully and in the kindest manner. It seems to me now high time that I should be somewhat forgotten, or, at least, placed very much in the background. My name has been too frequently spoken of; many have taken umbrage at this, and been uselessly annoyed at it. While "paving the way for a better appreciation," it might be advisable to regard my things as a reserve corps, and to introduce new works by other composers.
This will sufficiently intimate that the "Legend of St. Elizabeth" may quietly go on slumbering in my paper-box. As may also the work upon which I am now engaged, and which to my regret is making but very slow progress, owing to the many interruptions which perpetually plague me.
Should any one of the programmes be filled with one of my compositions, it would be best to select one of those already published, in order that, at all events, the publisher's approval may, in some measure, be held up to view.
In my opinion you have made a good choice in Porges. The young man is reliable, intelligent, and capable of inspiration, and what he may still lack in skilfulness he will easily acquire. The essential point in a task of this kind is a modest, honest, and not too dry effort. What I have heard and know of Porges makes me feel assured that he will best fulfil the various demands made by the editorial office.
What is one to think of the marvels which Pohl has brought back from Lowenberg? I haven't sufficient imagination to form any clear idea about them from the preliminary hints you communicated to me. Let me have a fuller report, therefore, if you think that, under certain conditions, I should mix myself up with the matter. And also tell me frankly, without periphrase, what the Musik- Verein wishes and expects from the patronage of the Grand Duke of Weimar?—One ought not to shoot about at random with Royal Highnesses! It would only lead to a vexatious loss of powder.
How is Kap[ellmeister] Wehner? Is he still in his King's good graces? [He was in the service of the King of Hanover; and is long since dead.] Kapellmeister Bernhard Scholz was here last month—but he did not honor me with a visit.
Today's post has brought me some very friendly lines from my worthy precentor Gottschalg in Tieffurt. He tells me of a concert in Denstedt, where several pieces of mine were performed—among others one of the Psalms (which I shall shortly send to Kahnt by Landmesser, an essentially improved version); they were sung by Fraulein Genast. This lady, so Gottschalg writes, is to be married today. Do you know to whom? I am so entirely cut off from all my Weimar connection that I had not heard anything about this. But as I still retain a very friendly recollection of this excellent lady-exponent of my songs, I beg you, dear friend, to let me have her new name and to tell me whether her husband resides in Weimar or elsewhere.
I am perfectly satisfied with my new abode at Monte Mario.—Pastor Landmesser will give you a description of it—and perhapsI may find a photograph of the place—if not I shall order onefor you later.
Your sincerely devoted
F. Liszt
Rome, June 18th, 1863
18. To Dr. Franz Brendel
Dear Friend,
You will receive these lines in the lovely Sondershausen Park. One gladly accustoms oneself to the place, and the admirable performances of the Loh-concerts—I derive the word from "Lohe" [flame]—give the atmosphere a certain spiritual stimulus. My friendly greetings to Stein—and present my warm thanks to the courageous orchestra, which has not been scandalised by the "Symphonic Poems"! . . .
The parcel from Kahnt reached me safely a few days after your letter (of 26th June). Mililotti [Director of the Classical Music Association in Rome; he had requested Professor Riedel to send him the programmes of his concerts.] intends writing to Riedel to thank him for his kindness in forwarding his programmes. When Mililotti's concerts prove more of a success he may, by way of a return, send his Roman programmes to Leipzig. But at present the musical doings here are of but small interest to other countries.
By sending me the score edition of "Mignon" and "Loreley" Kahnt has given me peculiar pleasure. It seems to me correct, and I am foolish enough to find the instrumentation pretty. By the way, other instrumental settings occur to me: those of several of Schubert's songs ("Erlking," "Gretchen," "The Young Nun," and a few others) that I wrote for Fraulein Genast. They are not mere manufactured arrangements, and might not altogether displease musicians of fine feeling. The manuscript of the scores was left with Seifriz in Lowenberg. If any publisher should feel inclined to accept them they are at his disposal. .—.
In answer to an important point in your letter, I quite agree about presenting the Grand Duke of Weimar with a Report describing the object and aims of the Allgemeine Deutsche Musik- Verein. And on this occasion H.R.H. should be respectfully and graciously invited to address an appeal to his illustrious relatives to take some interest in the progress and success of the Association; in plain language, to strengthen his protectorship by letters of recommendation, or in some other way. In presenting the Report (which might most appropriately be undertaken by Pohl and Regierungsrath Muller) the Grand Duke or His Excellency Count Beust might be addressed directly by word of mouth, and be distinctly given to understand the desirability of obtaining the sympathy of the Grand Duchess, the Queen of Prussia, the King of Holland, T.R.H. the Grand Duchesses Helene and Marie (of Russia), the Grand Duke Peter of Oldenburg (in St. Petersburg), the Grand Duke and Grand Duchess of Baden, the Hereditary Prince of Meiningen, the Dukes of Altenburg and Coburg, etc. I give these names because, owing to their near relationship with the Grand Duke and their own personal fondness for music, they should stand first as patrons and supporters of the Allgemeine Deutsche Musik-Verein.
Gladly would I have undertaken the duties of diplomatist to the Association in Weimar, and endeavored to obtain the Grand Duke's active intervention…But at this distance I cannot, for the time being, accomplish anything. My gracious Master has no leisure for lectures on artistic subjects that I might concoct in the Eternal City; and if I tried to enlighten him in any such way his first and only word in reply would be "Why does not Liszt come back, in place of writing such allotria?" [Observations beside the mark.]- -A short time ago I received from him a very kind, monitory letter, calling upon me to return to Weimar for the Kunstler- Versammlung in August. .—. I would advise you to make use of your stay at Sondershausen by getting an introduction to the Prince, and by obtaining his support as regards the Musik-Verein. Discuss this matter with Stein, for he is best able to attend to it. Possibly a larger performance in the Loh might be got up for the benefit of the Association. .—.
This letter is so filled up with Royal Highnesses, Majesties, and illustrious personages, that it offers me a natural transition to tell you of an extraordinary, nay, incomparable honor I received last Saturday evening, the 11th of July. His Holiness Pope Pius IX. visited the Church of the Madonna del Rosario, and hallowed my apartments with his presence. After having given His Holiness a small proof of my skill on the harmonium and on my work-a-day pianino, he addressed a few very significant words to me in the most gracious manner possible, admonishing me to strive after heavenly things in things earthly, and by means of my harmonies that reverberated and then passed away to prepare myself for those harmonies that would reverberate everlastingly.—His Holiness remained a short half-hour; Monsign. de Merode and Hohenlohe were among his suite—and the day before yesterday I was granted an audience in the Vatican (the first since I came here), and the Pope presented me with a beautiful cameo of the Madonna.—
I must add one other princely personage to this letter, and with this I am obliged to close. A visit at this very moment is announced from the Principe della Rocca, who has driven up with his photographic apparatus. You shall, therefore, ere long have a little picture of the Madonna del Rosario which, since the Pope's visit here, has been the talk of Rome.
A thousand hearty greetings.
July 18th, 1863
19. To Breitkopf and Hartel.
Rome, August 28th, 1863
My Dear Sir,
The work that you were good enough to entrust to me is almost finished, and by the same post you will receive the Piano score of 8 Symphonies of Beethoven, whilst awaiting the 9th, which I propose to send you with the proofs of the preceding ones. Nos. 1, 2, 3, 4, and 8 are bound in one volume; there is only the "Funeral March" from the "Eroica Symphony" wanting, which is published in the Beethoven-Album by Mechetti, Vienna. I shall require to see this arrangement again (which you will oblige me by sending with the next proofs), for probably I shall make numerous corrections and modifications in it, as I have done in the Symphonies in C minor, in A, and the "Pastoral," which were edited some twenty years ago. The copies of these are returned to you today with a great many alterations, errata and addenda, inasmuch as—in order to satisfy my own criticism—I have been obliged to apply to them the torture of red pencil and gum, and to submit them to a very considerable alteration.
Whilst initiating myself further in the genius of Beethoven, I trust I have also made some little progress in the manner of adapting his inspirations to the piano, as far as this instrument admits of it; and I have tried not to neglect to take into account the relative facility of execution while maintaining an exact fidelity to the original. Such as this arrangement of Beethoven's Symphonies actually is, the pupils of the first class in the Conservatoires will be able to play them off fairly well on reading them at sight, save and except that they will succeed better in them by working at them, which is always advisable. What study is deserving of more care and assiduity than that of these chefs d'oeuvre? The more one gives oneself to them the more one will profit by them, firstly in relation to the sense and aesthetic intelligence, and then also in relation to the technical skill and the attaining of perfection in virtuosity—of which one should only despise the bad use that is sometimes made.
By the title of Pianoforte score (which must be kept, and translated into German by Clavier-Partitur or Pianoforte- Partitur?) I wish to indicate my intention of associating the spirit of the performer with the orchestral effects, and to render apparent, in the narrow limits of the piano, sonorous sounds and different nuances. With this in view I have frequently noted down the names of the instruments: oboe, clarinet, kettle- drums, etc., as well as the contrasts of strings and wind instruments. It would certainly be highly ridiculous to pretend that these designations suffice to transplant the magic of the orchestra to the piano; nevertheless I don't consider them superfluous. Apart from some little use they have as instruction, pianists of some intelligence may make them a help in accentuating and grouping the subjects, bringing out the chief ones, keeping the secondary ones in the background, and—in a word—regulating themselves by the standard of the orchestra.
In order to be perfectly satisfied with regard to my work allow me, my dear sir, to beg you to let Mr. Ferdinand David and Monsieur Moscheles see it before it is printed. The minute familiarity they have acquired with the Symphonies of Beethoven will show them in a moment any errors, oversights, faults and misdeeds of which I, very unwittingly, may have been guilty. Will you please assure them that any information from them in these respects will be most valuable to me, and that I shall not fail to profit by it for the honor of your edition. In particular I should like to know from Mr. David whether the N.B. placed on page 78 of the manuscript (Finale of the 8th Symphony—"the execution of the principal figure, etc.") is authorised,—and I should be very grateful to him for any other particulars he is kind enough to give me. As to Mr. Moscheles, I hope he will not disapprove of my having followed his example in putting a profuse fingering for the greater ease of the mass of performers; but perhaps he would be so kind as to suggest a better fingering himself, and to let me know his observations upon such and such an artifice of "piano arrangement" of which he is a consummate master. There is only one point on which I would venture even to an act of rebellion—it is that of the pedals, a bass [base] passion of which I cannot correct myself, no matter how annoying the reproaches it may draw upon me!—["Even if one may presuppose," he writes on another occasion (27th August, 1861) to Breitkopf and Hartel, "a correct use of the pedal on the part of piano-players, I am nevertheless, through manifold unpleasant experiences to my ears, brought back to giving the most minute indications of it."]
If, as I venture to flatter myself, my arrangement of the Symphonies satisfies you, I should be tempted to propose to you, for next year, a similar work on the Quartets, those magnificent jewels in Beethoven's crown which the piano-playing public has not yet appropriated in a measure suitable to its musical culture.
But I really fear to exhaust your patience by giving you proofs of mine…consider therefore this project of the Quartets as not having been proposed if it seems to you inopportune, and pray accept, my dear sir, the expression of my very sincere and devoted sentiments.
F. Liszt
(Monte Mario, Madonna del Rosario)
P.S.—As it has been impossible for me to hunt out here a copyist who will fulfil the conditions that may reasonably be exacted (the one whom I employed pretty much last year divides his time between the prison and the public-house!), I am compelled to send you the manuscript such as it is, with many apologies for its badly written appearance. To make a fair copy of it someone with plenty of experience is needed; and I can safely recommend you such an one in Mr. Carl Gotze ("Member or Vice-director of the theater chorus") at Weimar. He is accustomed of old to my writing, and would make the copy of the Symphonies with intelligence and care.
N.B.—A copy of the Orchestral Score of the Symphonies will be a great help to the work of the copyist of my manuscript, for exactness in nuances, division of parts and indication of the instruments.
In any case it will be necessary for me to revise the final proofs. .—.
Let me add, in conclusion, that I shall be glad to receive, with the proofs or even sooner, a copy of my "Etudes d'execution transcendante," and also those "d'apres Paganini" (Breitkopf and Hartel edition), which I have promised to give to an excellent pianist here, Mr. Sgambati, who is most capable of playing them well in public;—and, besides these, a copy of my "Ave Maria" (for chorus with Organ accompaniment) which is shortly to be performed here.
20. To Dr. Franz Brendel
Dear Friend,
This morning I sent off manuscripts and corrections to Hartel and Schuberth—and thus had to write the word Leipzig several times. It struck me as a reproach as regards yourself, and I mean forthwith to get rid of it. You shall not hear of me through others without having the trouble of reading my own bad handwriting yourself. I have not, however, anything very special to relate. The summer has passed quietly and I have not wandered abroad much; have, in fact, been pretty constantly sitting at my work. My abode continues to suit me more and more, so I intend to spend the winter here. You no doubt received with my last letter the photograph of the "Madonna del Rosario." Unfortunately I cannot send you a picture of the grand, truly sublime view that can be enjoyed from every window. So you must imagine it to embrace all Rome, the wondrous Canmpagna, and all the past and present glories of the district.
For some time past I have had no other news of you than your excellent articles on "artistic individuality," etc., in which, among many other right and fine observations, I was specially pleased with the axiom: "The artistic temperament, when genuine, corrects itself in consequence of the change of contrasts." May it prove so in my case;—this much is certain,—that in the tiresome business of self-correction few have to labor as I have, as the process of my mental development, if not checked, is at all events rendered peculiarly difficult by a variety of coincidences and contingencies. A clever man, some twenty years ago, made the not inapplicable remark to me: "You have in reality three individuals to deal with in yourself, and they all run one against the other; the sociable salon-individual, the virtuoso and the thoughtfully-creative composer. If you manage one of them properly, you may congratulate yourself."—Vedremo! [We shall see!]
Weitzmann's "Carnival in Rome towards the Middle of the Seventeenth Century," I read with great pleasure in the "Neue Zeitschrift." It is a pleasant, lively sketch, spiced with learning but without pedantic lead. Did a very remarkable "History of the Pianoforte," etc., by the same author, appear in your paper? Frau von Bulow wrote to me lately that Hans is busy with some essays for the N. Z. Probably he is writing a review of Weitzmann's "History of the Pianoforte," which would be most appropriate; if this is not the case I would advise you to get one of your staff to undertake the work and to give several quotations from it. The confounded pianoforte has its unmistakable significance, were it only because of the general abuse to which it is put!—In honor of Hartel's edition of Beethoven I have been occupying myself again with studies and experiments in pianoforte pieces. The arrangements of the 8 Beethoven Symphonies which I am about to send to Leipzig are, I trust, successful. They cost me more trouble, in attempts of various sorts, in corrections, eliminations and additions, than I had anticipated. As we grow old we deliberate more and are less readily satisfied…
To Schuberth I have sent the corrections of the 2-pianoforte arrangement of the "Faust Symphony," together with a pretty, tuneful arrangement of the "Preludes" by Herr Klauser (of New York), and was thus induced to play the hackneyed piece through again, to touch up the closing movement and give it new figuration. In the hands of a skilful player it will prove brilliantly effective.
But enough of all this pianoforte stuff! I feel forced to set to work again in blackening score-sheets—and first of all the "Christus Oratorio" shall be proceeded with.—Write and tell me whether Kahnt is publishing the two Psalms which Pastor Landmesser took him, and advise him to request Herr von Bulow to revise the last proofs. There is nothing more vexatious to me than careless editions, full of errors, such as Schuberth would like to have if one gave free reins to his good nature! From the Committee of the Association for the Completion of Cologne Cathedral I have received an invitation to the Festival arranged for the 14th and 15th October. The letter reminds me, in the most courteous terms, that in the year '42 I had the honor of being a member of the Council. I had not forgotten this peculiar distinction; but the worthy gentlemen seem absolutely not to have considered how my activity could now appropriately be of service, and they wisely guard against mentioning any of my ecclesiastical compositions, although it might have occurred to them that I could manage something in that species of music. However, the worthy Committee find the old story of the "period of my brilliancy," and the "bewitching strains I drew from the keys," etc., more voluble and convenient. Besides which some small sum would have to be forthcoming were I to agree in considering myself what the good folks would like to consider me. Fortunately the determination of my work does not lie in their hands, and on account of this very evident conviction I answered their communication most courteously, modestly referring to my present occupation in Rome, and enclosing an extract from one of the Hymns of St. Ambrosius, from the Liturgy of the "Three Holy Kings," an incident intimately connected with Cologne Cathedral. At the same time I feel satisfied that I have not shown any intention to give annoyance, and declared myself as perfectly content to fulfil my duties as an honorary member of the Council, in quietude, by composing a work specially for the Cathedral (which I shall not fail to do), but without laying the slightest claim to the sympathy—much less to the patronage—of the worthy gentlemen of Cologne.—I flatter myself that I am not in the bad graces of the Three Holy Kings, consequently do not need to trouble myself about the rest of the Cologne folk!
Now my Leipzig parcels can be despatched with an easy mind.
With heartiest greetings,
Yours devotedly,
F. Liszt
September 7th, 1863
Monte Mario (Madonna del Rosario)
P.S.—Sgambati, an excellent Roman pianist, wishes to study my A major Concerto. Schott has as yet omitted to send me the complimentary-copy of this piece, to which I am entitled, so I beg you to enclose in Kahnt's next sending a duplicate copy (arranged for 2 pianofortes, as there can be no thought of an orchestral performance of it here). From Hartel I have also ordered for Sgambati and Bach [This is no doubt meant for Bache.] my Etudes, the Paganini ones, and my "Ave Maria" (chorus-score and voice parts, for a performance at the Classical Concerts conducted by Mililotti). It would be advisable, owing to the expense of forwarding music, to send the things all in one parcel; please be kind enough to suggest this to Hartel, and to get the 3 opus from him, and I do not wish to have to wait beyond the end of October for them. Gottschalg will soon have some copy to send me which might come at the same time.
21. To Justizrath Dr. Gille of Jena
Dear friend,
I trust you will forgive my long silence. I could not excuse myself in any other way than by a worse lamentation about the variety of circumstances, moods and occupations that have more and more encouraged my habitual dislike to letter-writing. Unless some definite object demands it of me, I do not write to any one in Germany, with the exception of Bulow, my cousin Eduard in Vienna, and Brendel, to whom I am very grateful for the kindness with which he looks after the more important details connected with my musical affairs. As regards my Weimar friends, my inclination to communicate with them is spoilt by my imagining that they would as gladly see me among them as I should feel at home among them. And as I cannot write to them and say: "I am coming to remain with you," I get more and more silent.
My stay in Rome is not an accidental one; it denotes, as it were, the third part—(probably the close) of my life, which is often troubled, but ever industrious and striving upwards. Hence I require ample time to bring various long works and myself to a good ending. This requisite I find in my retirement here, which will probably become even more emphatic; and my present monastic abode provides me not only with the most glorious view over all Rome, the Campagna and the mountains, but also what I had longed for; quiet from without and peacefulness.—Enclosed is a photograph of the "Madonna del Rosario," as an illustration to the notices that have lately appeared in the newspapers in connection with the Holy Father's visit here.
Your friendly lines came strangely in conjunction with the "Dettingen Te Deum" to which you refer, and which I was playing through at the very moment your letter was handed to me. A very amiable English lady delighted me a little while ago by presenting me with the praiseworthy London edition-"Novello's Centenary Edition"—of the Oratorios of Handel, Haydn, Mendelssohn, etc. (and all sold at from 1 to 3 shillings each); these works are always welcome society to me. The number containing the "Dettingen Te Deum" also contains the "Coronation Anthem" (composed in 1741). "Zadok the priest, and Nathan the prophet, anointed Solomon King." [This sentence is written in English by Liszt.]
The commencement is wonderfully grand and powerful, like theBible itself.—
However notwithstanding all my admiration for Handel, my preference for Bach still holds good, and when I have edified myself sufficiently with Handel's common chords, I long for the precious dissonances of the Passion, the B minor Mass, and other of Bach's polyphonic wares.
Remember me kindly to your wife, and with heartiest greetings toM. Gille, junior, I am Your sincerely attached
F. Liszt
Rome, September 10th [1863]
(Monte Mario, Madonna Del Rosario.)
Do not omit in your next letter to tell me something about your musical Jubilee in Jena.
22. To Dr. Franz Brendel
Dear Friend,
I am deep in my work. The more we sow a field the more it spreads. One would need to live to the age of a Methuselah to accomplish anything plentiful!
Your letters, unlike so many others, are always so welcome, and I thank you most sincerely for all the goodness, kindness, honesty and warmth of feeling that the continuance of our friendship brings with it. For even though you may not always be able to communicate pleasant or enjoyable news, still things disagreeable I can tolerate more readily from you, because of your ever moderate and characteristically steadfast interpretation. The experience you had lately to make with Y.Z. I regret sincerely, and would gladly make you some compensation for a loss that is as unexpected as it is unfortunate. But I am sorry to say I do not know of any one who would exactly suit you. There is truly a great dearth of men [Menschen] in this world! When they are put to the test they prove themselves useless. My ten years' service in Weimar gave me abundant proof of this!
Probably you will just have to drag on with your contributors, till we finally get into smoother water again. It is more than three months since I received any numbers of the Neue Zeitschr.; do not forget to enclose the numbers in the next sending (together with the music I want from Hartel), and address always to "Madonna del Rosario (of which a photograph herewith), Monte Mario—Rome."
Kahnt's willingness to publish the score of the two Psalms is very flattering to me. He shall have the manuscript soon, and I should like to enclose the instrumentation of the Songs from Wilhelm Tell. Should a convenient opportunity occur some kindly- disposed singer might be found to bring them into notice (perhaps Schnorr?). The instrumental-fabric is not plain or ordinary, and enhances the effect of the vocal part. My critical ex-colleague Stor praised it formerly when performed at one of the Court- Concerts at which Caspari sang the songs,—and since then I have added some dainty little bits. One must praise oneself, especially when others too often fail in doing so!—
With regard to the Tonkunstler-Versammlung, it seems to me that the choice of Leipzig is most advantageous for the purpose at present, and I would advise you to adhere to this. In the course of the winter we will have an "exchange of thoughts" ("un echange d'idees," as Prince Gortschakoff is ever saying) about the programme and arrangements, and this will assuredly lead to more harmonious results than the Russian notes. Fortunately we do not need to quarrel about the extent of the treaties of 1815!
Hearty greetings from your sincerely devoted
F. Liszt
October 10th, 1863
P.S.—About six weeks ago there appeared in the Leipzig "Illustrirte Zeitung" a biographical notice of F. Liszt, together with a portrait. Let me have the number, and tell me who wrote the article.
.—. Has anything new in the way of scores or pianoforte pieces been published that is likely to interest me? Here people speak of Mendelssohn and even Weber as novelties!
23. To Madame Jessie Laussot
Herewith, dear Madame, are a few lines that I beg you to forward to Madame Ritter (mere), as I do not know where to address to her. [She had lost her daughter Emilie, the sister of Carl and Alexander Ritter.]
The melancholy familiarity with death that I have perforce acquired during these latter years does not in the least weaken the grief which we feel when our dear ones leave this earth. If at the sight of the opening graves I thrust back despair and blasphemy, it is that I may weep more freely, and that neither life nor death shall be able to separate me from the communion of love.—
She whom we are mourning was especially dear to me. Her bodily weakness had perfected the intuitive faculties in her. She took her revenge inwardly and lived in the beyond…At our first meeting I thought I should meet her again. It was at Zurich at Wagner's, whose powerful and splendid genius she so deeply felt. During several weeks she always took my arm to go into the salle a manger at the hour of dinner and supper,—and she spread a singular charm of amenity, of sweet and conciliatory affection in that home to which a certain exquisite degree of intimacy was wanting. She possessed in a rare degree the secret of making her presence agreeable and harmonious. Everything in her, even to her very silence, was comprehensive, for she seemed to understand, or rather to determine the thoughts which words render in only an unformed manner, and worked them out in her noble heart.
May her soul live for ever in the fulness of the light and peace of God!—
Very cordially yours,
F. Liszt
October 15th, 1863
(Madonna Del Rosario, Monte Mario.)
Pray excuse my delay in these few lines. It was only yesterday that I learned your address through Mr. Sgambati.
24. To Dr. Franz Brendel
Dear Friend,
Kahnt's last sending that reached me last week brought me much that I found pleasant and encouraging in the numbers of the Neue Zeitschrift. I could verily not have imagined that so mild and kindly a ray of light could have been shed over my compositions discussed there, as is given under cipher 8. Let me know who writes under cipher 8—I promise not to divulge the secret—and meanwhile present my as yet unknown reviewer with my sincerest thanks for his appreciation of my nature, which he manifests in so kind and sympathetic a manner in his commentary to the "Seligkeiten" [Beatitudes] and the instrumentation of "Mignon's Song." [The review was written by Heinrich Porges.] He has formed the most correct estimate of my endeavors by pointing to the result, namely, to throw life into the truly Catholic, universal and immortal spirit—hence to develop it—and to raise the "culture that has been handed down to us from the remote Middle Ages, out of the heavy atmosphere of the monasteries and, as it were, to weave it into the life-giving ether of the free spirit pervading the universe."
I also perfectly agree with the extremely applicable close of the same article: "Our age has not yielded its right to feel itself connected with the Infinite," and I intend to set to work in earnest to comply, as far as possible, with the kindly expectations of my reviewer. His reference to my Psalms leads me to wish that I might soon see the four Psalms published in score (they are very diverse, both as regards feeling and musical form). Kahnt's willingness to publish them is, therefore, welcome news to me, and I beg he will give me a proof of his goodwill by kindly having them ready for next Easter's sale.
He can settle everything about the form and equipment "al suo commodo" (as people say here).
Still the Psalms should be published in the same form, and should Kahnt decide upon retaining the form of the Prometheus score (as he writes to me) I shall be quite content and satisfied. The day after tomorrow I shall send him the instrumentation of the 23rd and 137th Psalms together with the score of the 13th. The latter is one of those I have worked out most fully, and contains two fugue movements and a couple of passages which were written with tears of blood. Were any one of my more recent works likely to be performed at a concert with orchestra and chorus, I would recommend this Psalm. Its poetic subject welled up plenteously out of my soul; and besides I feel as if the musical form did not roam about beyond the given tradition. It requires a lyrical tenor; while singing he must be able to pray, to sigh and lament, to become exalted, pacified and biblically inspired.—Orchestra and chorus, too, have great demands made upon them. Superficial or ordinarily careful study would not suffice…
Pardon me, dear friend, for having troubled you to such an extent with marginal comments to my manuscripts. I will only add that I should be glad to see the short Choral Psalm for men's voices ("The Heavens declare the glory of God") printed in time for the Easter's sale, in score-form from the copy I left Kahnt before I went away;—and now to return to the Articles in the Neue Zeitschrift, I feel specially grateful, in the first place, for the communications concerning the Hungarian orchestra in Breslau.
To hear again of my Ex-Chamber-Virtuoso Josy in so friendly a way pleased me extremely, and I beg you to send my sincerest thanks to the author of the article for having so carefully studied my Rhapsodies and the less well-known book (not to speak of the erroneous interpretation it has had to endure at other hands!) on "Hungarian Gipsy Music"; at the same time will you beg him to accept the enclosed photograph of my humble self, in return for the one he gave Josy?
[An extremely musical gipsy boy of this name was presented to Liszt in Paris in 1844 by Count Sandor Teleki. Liszt's endeavors to train the boy as an artist failed, however, owing to the impossibility of accustoming the child of nature to engage in earnest study, as Liszt himself relates in "Die Zigeuner und ihre Musik in Ungarn" [The Gipsies and their Music in Hungary] (Ges. Schriften, Bd, vi.)]
In your next let me have some account of the position and work of this worthy Breslau correspondent, for I have not before met with anything from his pen in the Neue Zeitschrift. I herewith send you a second photograph of my present abode, "Madonna del Rosario," as the first one went astray, but to prevent a like accident in the post I shall register this letter.
Bulow's searches into and out of the subject are splendid, and his farewell words in memory of Fischl show the noblest beat of heart. When are the articles on Offenbach, etc., from the same intellectual region, to appear?…I am curious also to see what news there will be of the Berlin Orchestral concerts, instituted and conducted by Bulow.
You mention cursorily some new programme-form concerning which "you rather flatter yourself." Tell me more about this and send me a few of the programmes.
From Pohl I lately received a very cordial letter which I answered forthwith. His Vorschlag zur Gute, etc., in the N. Z. I have not yet read, and this is the case with many other articles in the last numbers, which, however, I mean ere long to overtake. In spite of my retirement and seclusion I am still very much disturbed by visitors, duties of politeness, musical proteges— and wearisome, mostly useless correspondence and obligations. Among other things the St. Petersburg Philharmonic Society has invited me, during the Lent season, to direct two of their concerts, giving performances of my own compositions. The letter certainly reads somewhat more rationally than that of the Cologne Cathedral Committee (of which, I told you); but the good folks can nevertheless not refrain from referring to the trash about "my former triumphs, unrivalled mastery as a pianist," etc., and this is utterly sickening to me—like so much stale, lukewarm champagne. Committee gentlemen and others should verily feel somewhat ashamed of their inane platitudes, in thus unwarrantably speaking to my discredit by reminding me of a standpoint I occupied years ago and have long since passed.—Only one Musical Association can boast of forming an honorable exception to this since my departure from Germany, namely the Society "Zelus pro Domo Dei," in Amsterdam, which, in consequence of the approval and performance of my Gran Mass last week, has conferred on me their diploma by appointing me an honorary member, in addition to a very kind letter written in a becoming tone.
The diploma is headed: "Roomsch Catholiek Kerkmusiek Collegie," and the Society was founded in 1691.
For your wife's amusement and as a piece of French reading I send a copy of my answers to the letters from St. Petersburg and Amsterdam. When you have read them please send both copies to my daughter in Berlin, as an addition to her small collection of my miscellaneous correspondence.
Most cordial greetings.—Yours in all friendship,
F. Liszt
November 11th, 1863
25. To Breitkopf And Hartel
Dear Sirs,
.—. Pray present my kindest thanks to Conzertmeister David for his consent to the N.B. in the Finale of the 8th Symphony. The method of execution, as indicated, was the one important question to me; by the satisfactory solution of this I am now perfectly content, and it is pleasant to me, therefore, to be able to agree to your wish to undertake the publication of the 9 piano-scores forthwith, without asking advice elsewhere. My former request on this subject was meant only to serve as a proof of my sincerest conscientiousness; as soon as you consider it superfluous let it be so.
Your letter also settles the copyist-difficulty. Still, notwithstanding all the model-works that issue from the House of Breitkopf and Hartel, I could scarcely expect that the printers would worry over my bad musical writing, that is rendered even more indistinct by my numerous erasures and corrections—and for this reason I recommended Herr Carl Gotze of Weimar by way of help; he is very quick at deciphering my untidy manuscripts. But of the best copyists it may be said "Better none," to use Beethoven's words in pronouncing his verdict upon Malzel's metronome.
Permit me therefore, dear sirs, to reduce all these preliminaries and details to the simplest form, by giving you absolute power concerning the publication of the 9 Symphonies—provided that the last proofs are sent to me for revision.
While awaiting the Beethoven scores (Quartets, Egmont, and "Christ on the Mount of Olives") I send you my best thanks in advance, and shall hope to send you later a specimen of my small savoir-faire in the matter of Quartet arrangements to look at. If it should meet with your approval I would gladly, next summer, proceed in working out a former pet idea of mine; to make pianoforte transcriptions of Beethoven's Quartets "for the home circle," and, as it were, to make them a link in the Master's catena aurea, between his Sonatas and Symphonies.—No considerations in the way of honorarium need form any hindrance to this project, especially as in such matters not the smallest difficulty has ever arisen in our relations with one another, which have now lasted over 20 years. Besides, the way and manner you accept my proposal offers the best prospect for its realisation, to our mutual satisfaction in tempore opportuno.
.—. I beg you, dear sirs, to accept my sincere thanks as well as the assurance of my respectful attachment.
F. Liszt
Rome, November 16th, 1863
(Monte Mario, Madonna Del Rosario.)
26. To Dr. Franz Brendel
Dear Friend,
By way of excusing my delay in writing I must tell you at once of an indisposition, which during Christmas week prevented my undertaking any other occupation or amusement than that of keeping in bed. For several weeks after that there were other things, entirely unconnected with musical doings and affairs, which, however, urgently demanded attention. Your admirable New Year's letter I received yesterday. It perfectly confirms my opinion of the state of affairs (as became clear to me long since), and my agreement with you as regards our "Debit and Credit." The latter, unfortunately, does not show the right equilibrium—but must be made to do so. In the first place three points have to be secured; and to save useless explanations between us, I shall describe these in geographical style, under the names of Weimar, Lowenberg, Carlsruhe. They at present embrace and solve all the essential questions: division of work, appointment of suitable persons, procuring adequate means, active organisation of the Musik-Verein, etc., etc. And, granted that you are not deceiving yourself about my very limited influence, my personal presence and intervention would seem indispensable. Still I will not conceal the fact that it is, at least, inconvenient for me to leave Rome even for a short time, and people should not object to my finding more satisfaction in my retirement here than in the barren unpleasantries of a so-called "circle of activity." But if, as you assure me, the question affects the good cause, and I could really be of service to a few dear friends,—well in that case every other consideration shall give way and my willingness be put to the proof. Although it will be very difficult for me to make up my mind to start, I will towards the beginning of June have my passport vise'd for Carlsruhe, in order that I may attend the Musical Festival there, provided that Bulow conducts. In the intervals between the rehearsals and performances we should discuss with active friends the Whys and Wherefores connected with the Musik-Verein which, first of all, requires to be placed on a firm footing. And so far as I can assist in doing this (especially by advocating its cause with our patron and the Hohenzollern princes) it certainly shall be done.
Pohl seems to have put on wrong spectacles if he reads in my letter that I have no greater wish than to return to unique Germany! People may think about it what they please; the positive truth is that I do not bother myself about fools of any species, whether German, French, English, Russian or Italian, but am peacefully industrious in my seclusion here. "Let me rest, let me dream," not indeed beneath blossoming almond trees, as Hoffmann sings, [A song which Liszt set to music] but comforted and at peace under the protection of the Madonna del Rosario who has provided me with this cell. My German friends would certainly be acting much more reasonably were they to come and visit me here, instead of tempting me abroad. However you may assure the rest of my acquaintances that I will not inconvenience them with my presence for any length of time, and that my interference at the Musical Festival in Carlsruhe is only a temporary one and altogether harmless. By the middle of July, at latest, I intend to be back here again, or earlier if possible.
The Pro memoria of the A. D. Musik-Verein, addressed to the Grand Duke, together with the protocol of the audience on the 17th of November, I received through Gille. My thanks and reply I shall send shortly. Likewise also the programme of a very exceptional solemnity which takes place on the 5th February, and which is already engaging my attention in a variety of ways.
In all friendliness,
Your cordially devoted
F. Liszt
January 22nd, 1864
To Kahnt my best thanks for having sent the last parcel of music correctly. Postage and dues cost over 13 Prussian thalers. By the way, do not offend me any longer by franking your letters. I on my part frank my letters only when I send you a letter-parcel containing copies, etc.
Last postscript. .—. Do me the one other favor of seeing that my enclosed answer safely reaches Herr B. I do not know his address- -and, although we may have met in Weimar, as he once wrote to me, I have scarcely any recollection of the fact.
Do not be vexed at the apparent presumption and vain-glory of this last communication for today…My modesty will sufficiently come to my rescue to prevent my putting too many feathers in my cap! [The German proverb of which Liszt makes use is "allzugrosse Rosinen im Kopfe tragen." Besides, thank God, I am too honest and truth-loving to fall a victim to vanity.
27. To Dr. Franz Brendel
Dear Friend,
Excuse an intermezzo on music-publishers today. I have received from Julius Schuberth and from Peters' Bureau de Musique contradictory letters about some right or unrighteous edition of my arrangement of Beethoven's "Septet". Schuberth's communication is many-sided, the other very one-sided, but neither of them enlightens me in the least, for it is a question of long since, and I scarcely remember where and for whom I arranged the "Septet", now more than 20 years ago. And although Schuberth has given me but little cause to be satisfied with his editions, still I should not wish to do him any injury by this piece of business, [An untranslatable pun on the words Handel and Handel] and hence I have not sent him any reply. For the same reason I shall leave Peters' communication unanswered, and must get you, dear friend, to make these two gentlemen understand that I cannot mix myself up with any of their disputes as publishers. And in order that you may obtain an insight into the matter I send you, herewith, Peters' letter, with regard to which I can only say that I have no recollection of having made a duet arrangement of Beethoven's "Septet"…Yet this is precisely what I do not wish to say. Let the two gentlemen settle the matter amicably between themselves and ignore my existence altogether.