As Bulow is happily back, the programmes of the Carlsruhe Musical Festival will now soon be finally drawn up. Remenyi, who has played here some half-dozen times in the Teatro Argentina with extraordinary success, has a decided inclination to appear at the Musical Festival; I told him, however, that Conzertmeister Singer had probably already been engaged. Should Singer not be able to come, I would recommend Remenyi with absolute confidence. Of all the violinists I know, I could scarcely name three who could equal him as regards effect. Tell Bulow of Remenyi's friendly offer, and let me know at your convenience whether it is accepted.—
As soon as I hear more definitely about the programme I shall answer Gille's friendly note. Meanwhile (after 4 months' incessant interruptions) I have again set to work, and cannot now leave it till the time comes for my journey.
What a royal and marvellous act is Ludwig of Bavaria's letter to Wagner! It ought verily to be engraved in the Walhalla in letters of gold. Oh that some other Princes would adopt a similar style!—
In all friendship, yours sincerely,
F. Liszt
Rome, May 28th, 1864
28. To Dr. Franz Brendel.
Dear Friend,
Shortly after sending off my letter anent the Peters-Schuberth squabble, I received the programme-sketch of your last letter but one. Exceedingly important and indispensable are the Wagner- numbers. Let me hope he has already given you a favorable reply. Bulow will be the best one to arrange things and to conduct. I wrote to him the day before yesterday to advise him again to be strictly moderate with regard to the number of my compositions. The half of what is given in your sketch of the programme would be amply sufficient. People do not want to hear so much of my things, and I do not care to force them upon them…On this occasion, especially, my wish is only to see some of my friends again—in no way to seek appreciative approval from the public. Such misleading abuses have long since and entirely ceased for me. Hence, dear friend, do not have me playing the braggart on your programme! If a place is to be retained for Remenyi he will fill it brilliantly. For both as a soloist and a quartet player his accomplishments are extraordinary.
You ask me about "definite news of my journey." As already said, I am determined to attend the Tonkunstler-Versamammlung, and afterwards to go to Weimar for a few days. My departure from here depends upon the date of the Carlsruhe concerts. I shall arrange to be there a few days previously, and shall ask Bulow to secure apartments for me. A variety of considerations (among which are economical ones too) compel me not to extend my absence from Rome beyond a month, and before returning I am in duty bound to pay my mother a visit in Paris. Hence I shall have but little time for strolls on the banks of the Ilm or elsewhere…But let me hope that my journey will not prove pure idling, and I shall do my best "to pave the way" to meeting all your wishes in as satisfactory a manner as possible. Further details on this subject I shall give you by word of mouth towards the end of August. All mere reports about my remaining in Germany for some length of time I beg of you to contradict most emphatically. Some newspapers seem anxious that it should be known that I am about to settle in Hungary. There is nothing whatever in this report beyond the anticipated order for my composing a second "Gran Mass", and perhaps publishing an Hungarian translation of the "Elizabeth." These two tasks may, during the course of next year, lead to my revisiting Hungary (?).
Kindly present my excuses to Riedel, who wishes me to attend his concert in the St. Thomas Church (at the beginning of July). I am delighted that the "Seligkeiten" find a place in his programme, and I am sincerely grateful to H. von Milde for having contributed so much to their success by his fine interpretation and inspired delivery. Whether the Psalm ("By the waters of Babylon") is not somewhat too low for Frau v. Milde's voice, I should not like to say. I remember, however, that she sang it on one occasion at the Altenburg gloriously. Of course I can consider it only a very flattering mark of attention and amiability on the part of Frau von Milde to venture anywhere to introduce any one of my compositions under her vocal protection, but especially in Leipzig.
With hearty thanks and kindest greetings yours,
F. Liszt
Rome, June 13th, 1864
29. To the Committee of the Society for the Support of Needy Hungarian Musicians in Pest.
Gentlemen,
You are good enough to invite me in a very flattering manner to take part in the Association that you are starting, with the object of helping needy and infirm musicians in Hungary. Every tie which unites me to our noble country is dear to me. I cordially accept to be entirely yours, and am pleased to hope that the esteem in which you are held, added to your intelligent solicitude for this good work, will secure it speedily and lastingly excellent results.
The good that you propose to realise is not liable to controversy, but is so plainly evident that you will receive on all sides nothing but approbation, encouragement, help and support. Nevertheless, as you do me the honor to ask my explicit opinion with regard to the statutes of your Society, I will venture to observe that it seems to me desirable not to limit oneself exclusively and for ever to helping sick and infirm musicians—and their needy heirs. Those who are in health, when they are at the same time well-deserving, have a claim also on your sympathy…Without enlarging on this point here, I only recommend to your attention, gentlemen, the statutes (published at Leipzig) of the Association which was formed at Weimar in August 1861, under the name of "Allgemeiner Deutscher Musik- Verein," in which the needs of music and of musicians of our day have been taken into consideration simultaneously.
If I had not the sad honor of being poor I should hasten to put a considerable sum at your disposal. Pray pardon me, then, the moderate offering of a hundred florins which you will shortly receive (through my cousin Dr. Eduard Liszt, of Vienna), and I beg you to accept, gentlemen, the assurance of my sincere desire to render in future the best service to your work, as also the expression of my very distinguished and devoted sentiments.
F. Liszt
Rome, June 18th, 1864 (Madonna Del Rosario)
30. To Eduard Liszt
Very dear Eduard,
Assuredly I have not been "complaining" of you to Count Gallenberg nor to anybody else in the world. Quite the contrary, and on every occasion I boast of my beloved cousin, and am happy and proud of his loyal, delicate and noble friendship, which is one of the sweetest kindnesses of Providence to me.
Nevertheless I am much obliged to Count Gallenberg for having somewhat driven you to write to me, extra, so good and tender a letter, for which I thank you from my heart and soul.
The electoral circular you added to it gives me real satisfaction, and I am pleased at the public evidence that has been attained of your "honorableness, firmness of character and great capability." It seems to me that it was not possible, under the actual circumstances, to have obtained a more complete success in the competition with Schuselka; [Eduard Liszt was at that time standing against Schuselka as a andidate for the Reichstag (Parliament), but without success.] but I hope that your turn will come soon. The waiting is painful for you, without doubt, and is also too prolonged as regards your deserts…still one must be resigned to it, and that as simply as possible, by abstaining from useless words and taking useless steps. To be ever deserving, though only occasionally obtaining—much or little—is still the wisest thing to do in this world, where "he who endures little will not endure long!"—
.-. Shall I see you at Carlsruhe at the end of August? I hope so most truly. Before returning here (at the beginning of October) I shall spend a few days with my mother in Paris. You will not be vexed with me for beginning with her first, and for postponing till another year my transient visit to you at Vienna, which I accept in the same manner as you offer it, and for which the occasion will be found when I return to Hungary, supposing that they are inclined (as appears likely) to give me an order similar to that of the "Graner Messe." Otherwise, and unless there be any determining circumstance for me, I am resolved not to tire people with my presence, as also to withdraw myself from the idle fatigue that people cause me. Thank God I have something to work at without disturbing myself at my work further than is necessary for the good conscience I hope always to keep. For this Rome is peculiarly adapted to me, and I shall not go away for the smallest thing without well knowing what it is for.
I send herewith my answer to the Committee of the Association in aid of poor musicians in Hungary, [See the foregoing letter of 18th June.] to which I beg the Princess to authorise you to add the sum of 200 florins. Let them be sent at once to the Committee, begging for an acknowledgment, which you will send to me.
Remenyi will come and see you shortly. He has spent nearly two months here, and has been heard very often at the Argentina Theater with extraordinary success. I have invited him to come to Carlsruhe, as I am persuaded that he will succeed no less well there than in Rome. Meanwhile I beg you to give him a cordial reception.
Yours ever affectionately,
F. Liszt
June 22nd, 1864 [Rome]
Greetings and love to your dear ones.
It goes without saying also that I think most affectionately ofCornelius and Tausig, which you will tell them.
31. To Dr. Franz Brendel
Dear Friend,
.—. I can assure you of Remenyi's co-operation. By the middle of July I expect a letter from him with his fuller address. It will be superfluous to mention him in the preliminary programme of the concert-performances. But what about Wagner?—Frau von Bulow sends me very sad news of him…If he definitely refuses to attend the Tonkunstler-Vers. all we can do is to obtain his consent to give the extracts—previously enumerated in the programme—from his "Meistersanger" and other of his works (together with the scores and voice parts). In my opinion these pieces are indispensable for the principal day of the Carlsruhe programme. It would be best if Bulow alone brought the matter to the desired issue. It seems to me impossible that Wagner could give him and all of us the pain of an absolute refusal! At all events everything must be done to avoid such a misfortune—nay, I may even say, such a scandal.
For the future, dear friend, you shall be totally relieved of the trouble of sending me these detailed communications. Frau von Bulow is going to report to me of the further progress of the preliminary arrangements concerning the Tonk.-Vers.; you yourself have more than enough to do with writing, negotiating, deciding, preparing, weighing to and fro, and in thinking things out, etc., etc.
It is settled, therefore, that I am coming, and you will have to look after me during my couple of weeks' stay in Germany, as it is mainly your fault that I am coming. Between ourselves I may tell you that, had it not been for your pressing letters, I should probably have confined myself to giving the Bulows a rendez-vous in Marseilles, and to paying my mother a few days' visit in Paris. Of other roads there are extremely few for me nowadays—and those that I have still to tread are not to be found in journeys, but only indeed at my quiet writing-table!
With hearty greetings and in all friendship, yours,
F. Liszt
July 1st, 1864
Yesterday I received a friendly letter from Seroff. Could not some fragment from his "Judith" be fitted into your Carlsruhe programme?
32. To Walter Bache in London
[The addressee (1842-1888), a pupil of Liszt's, settled in London as teacher, pianist and conductor, devoted his whole life there to making Liszt's music known in England. His annual Recitals and Orchestral concerts were devoted mainly to this object.]
I reply to your letter, dear Mr. Bache, by assuring you once more of my very sincere and affec-* *tionate interest. You will never find me wanting or behindhand when it is a question of proving this to you; be very sure of that.
The good news you give me of Madame Laussot is very welcome to me. I hope she will give me the pleasure of coming again to Rome, for I see no chance of my coming to Florence. Towards the middle of August I shall start for Carlsruhe, where I have promised to be present at the third Tonkunstler-Versammlung. Thence I shall go to Weimar, and shall take Paris on the way in order to see my mother again before returning here at the beginning of October.
Please tell Madame Laussot that she would wrong me if she did not count me amongst her most truly affectionate and devoted adherents. I especially preserve a grateful remembrance of her in connection with the "Ideale," and all that attaches to it. She is of the very small number of noble and intelligent exceptions in the too great number of my friends and acquaintances. I was speaking to this purpose the day before yesterday to a young person of Grecian origin who lives in Florence at the Count de Sartiges' house (and who frequents Madame Laussot's concerts). The Athenian plays the piano marvellously and charmingly.
You will bring me Ehlert's Scherzo with other of his compositions.
Meanwhile I commission you to give my best compliments to Ehlert.
A thousand cordial and affectionate things, and a revoir next winter.
July 2nd, 1864, Madonna del Rosario
F. Liszt
Thanks for the triple photograph, [Probably of Mme. Laussot, Pinelli and Bache, who were taken together.] which is thrice welcome.
33. To ?
[Autograph letter (without address) in the possession of Monsieur Etienne Charavay in Paris. The letter appears to be addressed to a friend in Vienna.]
Dear Friend,
The parcel of music you kindly announce has not yet come; but I will not delay in sending you my thanks, as I am about to leave here for six or seven weeks.
The day after tomorrow I travel to Carlsruhe to attend the Tonkunstler-Versammlung, the concerts there (conducted by Bulow) being given between August 22nd and 26th. Thence I go to Weimar on a visit. By the end of September I shall be with my dear mother in Paris, and back here by the middle of October. You must not be surprised if in newspaper-fashion I leave it undecided whether or not I change my abode and remain in Rome for ever.
The words for ever remind me of the 22nd Psalm (according to the usual Protestant numbering the 23rd) which, in reality, I composed for a tenor, whereas the 137th is meant for a mezzo- soprano (Fraulein Genast, now married to Herr Merian, in Basle).
I am therefore surprised that you should have proposed the latter Psalm and not the 22nd for Herr Erl, and I fear the effect of it will not be good sung by a tenor. The violin accompaniment which on several occasions is in unison, as well as the concluding chorus, "Jerusalem, Jerusalem," are written exclusively for women's (or boys') voices, and thus demand a female soloist. Besides which it seems to me that the sentiment and spiritual tonality of the Psalm do not move in the masculinum. Israelitish gentlemen must not be called upon to sigh, to dream and to abandon themselves to their grief in any such way.
I shall be much pleased to become fully acquainted with the new works by Kremser, Hasel and Ziehrer, which you promise me, on my return.
Meanwhile with best thanks and kind greetings, yours in all friendship,
F. Liszt
Rome, August 7th, 1864 (Madonna del Rosario)
34. To Eduard Liszt
Weimar, September 7th, 1864 (In the blue room of the Altenburg)
It grieved me to have to do without your presence at the Tonkunstler-Versammlung in Carlsruhe, dearest Eduard. Your letter, however, speaks of your having made some advance in your career, and this greatly delights me. I hope you will soon have more definite news to communicate to me on the subject. You know that to see you prosperous is one of the satisfactions I most desire in life!—
As regards the Tonkunstler-Versammlung you will find a kindly and satisfactory resume of the proceedings in the supplement of the Allgemeine Augsburger Zeitung—3lst August, 1st to 3rd September. Bulow was unfortunately prevented by serious illness from conducting. From a personal as well as an artistic point of view I felt his absence very keenly—however no complaint whatever can be made about the performance, and the reception accorded by the audience, especially to my Psalms, was extremely favorable. I assuredly never expected to meet with such sympathetic appreciation, after my experiences of former years. Friend Lowy had, on this occasion, no reason to hide himself in a seat at the back! In the Chamber-music soirees three of my Songs ("Es muss ein Wunderbares sein," "Ich liebe Dich," and "Mignon") were sung by Herr and Frau Hauser, and an encore was demanded. Remenyi played magnificently, and Fraulein Topp [Alida Topp, a pupil of Liszt's.] is a marvel.
At the conclusion of the Tonkunstler-Versammlung I started early on Sunday morning for Munich with Cosima (who remained with me the whole week of the concerts). Hans was confined to bed at the Bairischer Hof; his nervous rheumatic complaint has now settled in his left arm, which he will probably be unable to move for several weeks to come. In addition to the physical pain he suffers most grievously from this enforced state of inactivity. To endure things patiently is to some natures an absolute impossibility. He travelled back to Berlin, ill as he was, last Saturday, accompanied by his wife, and I have promised to go and spend a couple of days with him after my visit to Prince Hohenzollern in Lowenberg, where I go in a day or so.
Of Wagner's wondrous fortune you are sure to have heard. No such star has ever before beamed upon a tone-or a word-poet. N.B.— H.M. the King of Bavaria addresses his communication, "To the Word-and Tone-Poet, Richard Wagner." More by-and-by about this remarkable affair of Wagner's. I saw him in Munich on several occasions, and spent one day alone with him in his villa on the Starnberger See.
I have been here since the day before yesterday. .—.
Continue to love me—as I do you.
With all my heart your
F. Liszt
Address me to Weimar (at the Altenburg). I must return here from Lowenberg (between the 15th and 8th September) in order to await the Grand Duke at the Wartburg.
35. To Breitkopf and Hartel
Dear Herr Doctor,
Together with the corrected proofs of the Pastoral and the C minor Symphonies (in which I found one or two errors) I sent you (from Weimar) my pianoforte arrangement of the 3rd instrumental movements of the 9th Symphony. After various endeavors one way and another, I became inevitably and distinctly convinced of the impossibility of making any pianoforte arrangement of the 4th movement for two hands, that could in any way be even approximately effective or satisfactory. I trust you will not bear me any ill-will for failing in this, and that you will consider my work with the Beethoven Symphonies as concluded with the 3rd movement of the 9th, for it was not a part of my task to provide a simple pianoforte score of this overwhelming 4th movement for the use of chorus directors. Arrangements of this kind have already been made, and I maintain that I am not able to furnish a better or a more satisfactory one for helpless pianofortes and pianists, and believe that there is no one nowadays who could manage it.
In my edition of the 9th Symphony for two pianos, prepared for Schott, the possibility was offered to me of reducing the most essential parts of the orchestra-polyphony to ten fingers, and of handing over the chorus part to the second piano. But to screw both parts, the instrumental and vocal, into two hands cannot be done either "a peu pres or a beaucoup pres!"
In case other proofs of the remaining Beethoven Symphonies are ready, you might send me them to Weimar before Tuesday, 20th September. I should be glad at the same time to receive the splendid 6 Mottets of Bach in eight-voice parts (among which is "Sing unto the Lord a new song"). I am all the more in need of reading such works, as I am at present unable to hear a performance of them.
Next week I shall again spend a few days in Weimar (or Wilhelmsthal); thence I go to pay my mother a visit in Paris, and by 18th October, at latest, I shall be back in Rome.
Yours respectfully and sincerely,
F. Liszt
Schloss Lowenberg, September 14th, 1864
I requested Herr Kahnt to return to you with my best thanks the copy of the Symphonic Poems which was kindly forwarded to me in Carlsruhe.
36. To Breitkopf and Hartel
Dear Herr Stadtrath, [Town Councillor]
In compliance with the wish you so kindly express, I will again make an attempt to "adapt" the 4th movement of the 9th Symphony to the piano, and soon after my return to Rome will set to work upon the required tentative. Let us hope that the variation of the proverb: "Tant va la cruche a l'eau qu'a la fin…elle s'emplit"—may prove true. [So often goes the pitcher to the water that at last it is filled.]
While talking of various readings allow me to draw your attention to an exceptionally valuable collection. A very carefully and well-trained musician with whom I have been acquainted for many years past—Herr Franz Kroll (in Berlin)—has, with industrious and unceasing perseverance, been collecting, copying and arranging for publication the noteworthy various readings of Bach's manuscripts of the "Wohltemperiertes Clavier." [The well- tempered Piano] Last week he showed me several of them, and I became convinced of the substantial interest of the collection and encouraged friend Kroll to send you a full account of them. In now enclosing his letter to you—written at my instigation—I take upon myself, with pleasure and the fullest conviction, the musical duty of advocating the publication of these various Bach readings, and of heartily recommending Kroll's work as an essentially useful, complementary addition to your admirable edition of the "Bach-Gesellschaft" [The Bach Society].
Pray accept, dear Herr Stadtrath, the assurance of my sincere esteem and devotion.
F. Liszt
Wilhelmsthal, October 1st, 1864
37. To Madame Jessie Laussot
You will be good enough to excuse me, dear Madame, for having delayed replying to your kind letter. Amongst your many rare qualities there is one that I particularly admire; it is the prowess of your musical sympathies. Nevertheless I must scruple to expose you to too harsh trials, and, knowing by experience with how little favor my works meet, I have been obliged to force a sort of systematic heedlessness on to myself with regard to them, and a resigned passiveness. Thus during the years of my foreign activity in Germany I constantly observed the rule of never asking any one whatsoever to have any of my works performed; more than that, I plainly dissuaded many persons from doing so who showed some intention of this kind—and I shall do the same elsewhere. There is neither modesty nor pride in this, as it seems to me, for I simply take into consideration this fact—that Mr. Litz [Liszt quotes the very common misspelling of his name which has frequently been seen since he was "le petit Litz" in Paris.] is, as it were, always welcome when he appears at the Piano (—especially since he has made a profession of the contrary—) but that it is not permitted to him to have anything to do with thinking and writing according to his own fancy. The result is that, for some fifteen years, so-called friends, as well as indifferent and ill-disposed people on all sides, sing, enough to split your head, to this unhappy Mr. Litz, who has nothing to do with it, "Be a pianist, and nothing but that. How is it possible not to be a pianist when, etc., etc."
Possibly they are right—but it would be too much to expect me to sign my own condemnation. Far from that, I confess that contradiction ends by tempting me seriously, and that I am resolved to pursue it to the end, without any illusion or approbation whatever. Only at certain moments I fancy that that judicious maxim of Champfort is somewhat applicable to me "Celebrity is the punishment of talent and the chastisement of merit."
Our friend Sgambati is happily in a fair way to incur this punishment and chastisement—and certainly with very good reason. He has done wonders this winter at his four concerts, which have had a success both of fashion and of real good taste. I, for my part, have gained a thorough affection for Sgambati, and the remarkable development of his talent of so fine and noble a quality interests me keenly.
A thousand very cordially affectionate and devoted things.
F. Liszt
Rome, March 6th, 1865
38. To Dr. Franz Brendel
Dear Friend,
While awaiting from you definite word about the next Tonkunstler- Versammlung in Dessau, let me, meanwhile, thank you for your last communication. The main interest of the musical performances is, of course, on this occasion centred in Riedel and his Verein. In the programme-sketch I notice my Psalm 137 at the very beginning. What lady takes the solo?—mind and soul are indispensable in it.
Bronsart wrote to me at the beginning of March that he entertained the idea of a concert-tour to the Russian provinces on the Baltic. I should be glad to hear that the Euterpe squabble and quarrel in connection with the T.K.V. in Dessau were at an end, and that Bronsart was to undertake the conductorship.
As a supplement to this I send you herewith the programme of the concert held in the hall of the Capitol, where for some years past no special festivities have been given, and probably never anything of this kind before. For the first time the different orchestras in Rome (the Sistine, St. Peter's, Lateran and Liberian) all united to give a performance which upon the whole may be said to have been as successful as it was well received.
The concert was proposed to the Holy Father, and approved of by him. Owing to the exceptional character of the undertaking, which, like that of last year, was made to fit in with the plan of the detailed arrangements—(some ladies belonging to the aristocracy, and commissionaires distributed the tickets which were sold at a minimum, no advertising, etc.), I determined to give my co-operation. I played the "Cantique" (the last number of the "Harmonies poetiques et religieuses" published by Kistner), and, as there was no end to the applause, I added my transcription of Rossini's "Charite" (published by Schott). Everybody in Rome with any claim to culture was present, and the hall was more than full.
With friendliest greetings, your sincerely devoted
F. Liszt
April 3rd, 1865
P.S.—Please get Kahnt to inquire of Hartel as soon as possible, how far the printing of my arrangement of the Beethoven Symphonies has progressed, and whether I may rely upon his sending—during Easter week as already settled—the orchestral parts (autographed) of several of my Symphonic Poems,—more especially of the Dante Symphony? It is possible that the Dante Symphony may be performed here towards the end of April. But you shall have further news of me before that.
Bote and Bock will shortly publish a very simple Hymn of mine (for pianoforte) entitled "The Pope's Hymn."
39. To Prince Constantine of Hohenzollern-Hechingen
Monseigneur,
Your Highness will understand that it is a necessity of my heart to speak to you of a very happy juncture that assures me henceforth, in full degree, the stability of feeling and of conduct to which I aspired. It seems to me that I should be guilty of ingratitude and wanting in respect to the condescending friendship with which you are good enough to honor me, did I not let you know of the determination I have taken. On Tuesday the 25th April, the festival of St. Mark the Evangelist, I entered into the ecclesiastical state on receiving minor orders in the chapel of H.S.H. Monseigneur Hohenlohe at the Vatican. Convinced as I was that this act would strengthen me in the right road, I accomplished it without effort, in all simplicity and uprightness of intention. Moreover it agrees with the antecedents of my youth, as well as with the development that my work of musical composition has taken during these last four years,—a work which I propose to pursue with fresh vigor, as I consider it the least defective form of my nature.—
To speak familiarly; if "the cloak does not make the monk" it also does not prevent him from being one; and, in certain cases, when the monk is already formed within, why not appropriate the outer garment of one?—
But I am forgetting that I do not in the least intend to become a monk, in the severe sense of the word. For this I have no vocation, and it is enough for me to belong to the hierarchy of the Church to such a degree as the minor orders allow me to do. It is therefore not the frock, but the cassock that I have donned. And on this subject Your Highness will pardon me the small vanity of mentioning to you that they pay me the compliment of saying that I wear my cassock as though I had worn it all my life.
I am now living at the Vatican with Monseigneur Hohenlohe, whose apartment is on the same floor as the Stanze of Raphael. My lodging is not at all like a prison cell, and the kind hospitality that Monseigneur H. shows me exempts me from all painful constraints. So I shall leave it but rarely and for a short time only, as removals and especially journeys have become very burdensome to me for many reasons…It is better to work in peace at home than to go abroad into the world,—except in important cases. One of these is awaiting me in the month of August, and I shall fulfil my promise of going to Pest at the time of the celebration of the musical fetes that are being got up for the 25th anniversary of the establishment of the Conservatoire. My Oratorio of "Saint Elizabeth" and the Symphony of the "Divina Commedia" form part of the programme.
Next year, if Your Highness still thinks of realising your noble project of a musical congress at Lowenberg, I should be very happy to take part in it, and place myself entirely at your orders and service.
Permit me, Monseigneur, to express anew to you my most grateful thanks for the evidences of sympathy you have so generously accorded to myself and to my works; and graciously accept the homage of unchanging sentiments of most respectful devotion with which I have the honor to be
Your Highness's most humble and affectionate servant,
F. Liszt
Vatican, May 11th, 1865
40. To Breitkopf and Hartel
Dear Herr Doctor,
My old musical weaknesses have not left me! The weakest and worst thing about them is perhaps that I never cease composing; but such wondrous things go wandering about in my head that I cannot help putting them down on paper. And I have wanted to hear something about the fate of the manuscripts I sent you for printing. Have the pianoforte scores of the Beethoven Symphonies been published? How has the printing of the Concerto for 2 pianos (in E minor) [Concerto pathetique] progressed? Would you kindly let me have a few copies soon?
With regard to the autographed orchestral parts of my "Symphonic Poems," I should be glad if they could be out by the end of July. Probably at the beginning of August I go to Pest, where several of my compositions (more especially the "Dante Symphony") are to be performed in connection with the festivities at the Conservatoire. If the parts should be ready, please, dear Herr Doctor, forward them to me to Pest. At present I do not require them here; but should the "Preludes" be ready you would greatly oblige me by sending all the orchestral parts, with four copies of the quartet, if possible by the beginning of next month, to Dr. R. Pohl (571, Hirschgasse, Baden-Baden). I have been asked for the loan of them for some festival in Baden conducted by Monsieur Reyer.
Pray kindly excuse all the trouble I am giving you, and receive the expression of my most sincere esteem.
F. Liszt
The Vatican, May 27th, 1865
41. To Dr. Franz Brendel
Dear Friend,
Your favorable accounts of the Tonkunstler-Versammlung in Dessau delighted me greatly. Owing to the crooked way in which my works have been listened to in past years, I have felt oppressed; and in order that my freedom in my work might remain unaffected, I was obliged wholly to disregard their outward success. Hence my absolute distrust of performances of my own compositions, and this was not to be accounted for by any exaggerated modesty on my part. As to the "Battle of the Huns" I was specially doubtful; the Christian significance of Kaulbach's picture—as represented in the "Chorale"—seemed to me a stumbling-block in the way of favorable criticism. Kaulbach had indeed suggested this interpretation by having thrown a special light upon the cross…yet there are neither mendicant friars nor bishops in the picture…and, besides, at the time of the "Battle of the Huns" the organ was not yet invented! This last sweeping argument was triumphantly hurled at me in Weimar by the infallible censors. Since then I have hesitated to allow the work to be performed, and have remained satisfied with sending Kaulbach the arrangement for 2 pianofortes. And in that form it was executed [Executirt.] in his salon, whereupon, of course, there were loud lamentations about my squandering my time upon such an abominable jumble of sounds, when I might be charming people in a more agreeable fashion with my piano-playing!…So if the Dessau Meeting really derived some pleasure from the "Battle of the Huns" I feel richly rewarded for my small amount of suffering.
I beg you to present my best thanks to Fraulein Wigand. [Emilie Wigand, studied under Prof. Gotze in Leipzig.] It is a good deed of hers to have obtained willing ears for my Psalm—and if I am in Germany again next year I shall want to hear it.
I will with pleasure take Weitzmann's place as examiner of the manuscripts sent in. Send them to me in parcel form to Rome; I promise to look through them quickly and to let you have my good or bad opinion of them. For such work I am always inclined, and am, perhaps, not an awkward hand at it.
.—. From the Committee in Pest I have not had any news for some time past. I shall, however, hold myself in readiness to start from here by the beginning of August. Meanwhile let nothing be sent to me to Rome. As soon as I know anything definite about my stay in Hungary I will let you know.
With all friendly greetings to your wife, I am your sincerely attached
F. Liszt
July 21st (Villa d'Este-Tivoli), 1865
Any probable performance of the "Elizabeth" in Coburg we can discuss later. I should consider it advisable to have my name but little mentioned in the programme of the next Meeting of the Tonkunstler-Versammlung. As regards a larger work (one to occupy a whole concert) it would be well for Gille to leave the choice of it to the Duke. The local taste would be a very important point in the matter, and, for my own part, I know only too well that people do not want to know or to hear too much of me—in Coburg as well as in many other places!—
42. To Abbe Schwendtner in Buda-Pest
[Autograph in the possession of Frl. Therese v. Lavner in Pest.— Liszt became acquainted with the Abbe in 1865, and frequently enjoyed his hospitality when visiting Pest, up to the time when he himself became connected with the Musik-Academie there.]
Right Reverend Sir and Friend,
Having returned to my abode here, I cannot refrain from again thanking you most heartily for all the goodness and kindness you showed me in so unusually abundant a measure, during my stay in the town-vicarage of Pest. The five weeks I spent there in the pleasantest way—owing to your considerate care and attention— will remain an unextinguishable point of light in my life. You admonish, and at the same time encourage and strengthen me, to carry out further the artistic task that is set me. In the hope that your Reverence will in the future continue to show me the sympathy so kindly and generously expressed, I pray you to implore God's blessing to keep me ever a good child of the State and Church.
May I add another request? On the 22nd October (my birthday) for some years past a Mass has been read in the Franciscan Church in Pest, and at the words: "Memento Domini" I [am] held in remembrance…I would ask your Reverence to remember my wish that this may be done also on the same day in the parish church.
In sincere veneration and gratitude, I remain cordially and faithfully
Your Reverence's devoted
F. Liszt
The Vatican, September 20th, 1865
My respectful compliments to the amiable lady president of the morning coffee—Fraulein Resi [A niece of the Abbe's.]—who conducts and beautifies the real Magyar hospitality at the Vicarage in an incomparably graceful manner. I shall take the liberty one day of sending Fraulein Resi a few Roman trifles. Bulow has undertaken to send you the medallion of my humble self, a masterly piece of work by Rietschel. As you will know, Rietschel is the sculptor who made the Lessing statue in Brunswick, the Goethe and Schiller group in Weimar, etc.—
43. To Dr. Franz Brendel
Dear Friend,
Accept my best thanks for having admitted into your Neue Zeitschrift Bulow's account of the Musical Festival in Pest. These three articles are a masterly piece of work, and, as your paper has for several years past followed the difficult process of my development as a composer in so kind and careful a manner, I wished specially that the very successful performances of the "Elizabeth" and of the "Dante Symphony" in Pest should receive confirmation in the Neue Zeitschrift.
With regard to the "Elizabeth" I have received offers from Vienna and a few other places; but it is in no way my intention to wage war in a hurry with this work. I shall, therefore, decline the invitations with thanks, and await an opportunity more convenient to myself for the next performance. Whether this may be at the Tonkunstler-Versammlung in Coburg I do not know, and, frankly said, this will depend upon the Duke's bon plaisir. [It was not performed at a Tonkunstler-Versammlung in Coburg.] For my own part I am in no great hurry, as I have heard enough of the work in Pest, and found no alterations to make in it. Then also there is no hurry with regard to its publication, and my reply a short time ago to a willing publisher (who, curiously enough, offered me a respectable honorarium for it!) was, that only by next summer could I decide whether to have it published or not.
Gille has the kind intention of arranging a performance of the "Elizabeth" in Jena as soon as possible. I don't want to enter into a fuller correspondence with him on the subject; but please tell him, in all friendliness, that I regret to be obliged somewhat to check his admirable zeal. Apart from certain considerations of propriety (which I will never disregard in the slightest degree) there is an irremovable difficulty in the matter of the performance itself. It cannot be given in Jena without the co-operation of the Weimar performers. And why plague our dear and excellent Weimar singers and artists, and how—with their many theatrical engagements—could they find the necessary time for studying the parts, for rehearsals?—etc., etc.—
Hence let us give a simple no as regards Jena, and put a sign of interrogation? nay, even two or more??? as regards the Tonkunstler-Versammlung in Coburg, for (as I told you in my last letter but one) we shall there have entirely to submit to the Duke's opinion concerning the larger (or longer) work which is to fill the first day's programme.
(N.B.—"Elizabeth" lasts about three hours, including the intervals. Bulow's conductorship would be indispensable.)
For ten days past I have again been back in the Vatican, and think of remaining here over the winter. At the present moment I am engaged in arranging the Pope's Hymnus, published last month by Bote and Bock for pianoforte as a solo and in duet-form, for chorus (with Italian words). I think something of this piece, for which Kaulbach has made a splendid drawing. If it is performed here you shall hear about it. As soon as possible I mean to set to work with my "Christus Oratorio." Unfortunately I have had to set it aside for a year, as the "Vocal Mass" and other smaller works prevented my doing anything to it. I shall require from six to eight months before I get the "Christus" finished, for I am scarcely half-way through yet.
My health is good, and I can unconcernedly allow people the pleasure of referring to me as "physically broken down" and a "decayed wreck" (as I have been described in the Augsburger Allgemeine Zeitung).
One favor do me at once, dear friend. Request Kahnt to purchase for me the steel-plates (or woodcuts) of Schwind's "Elisabeth- Galerie" in the Wartburg, published in Leipzig by Weigel or Brockhaus, and let them be sent safely, quickly and correctly, addressed to "Herr Baron Anton von Augusz—Szegzard" (Tolnaer Comitat—Hungary). If I am not mistaken, the drawings are published in two parts. The first part contains the pictures of St. Elisabeth's arrival at the Wartburg, the miracle of Roses—up to her death. The second part gives the medallions depicting her works of charity. I wish to send the complete "Elisabeth-Galerie" to Baron Augusz. The price is not high, and the money shall be refunded to Kahnt as soon as I get the bill.
By the way Kahnt would be doing me a favor by presenting "Remenyi," through Roszavogli (Pest), with a copy of Pflughaupt's arrangement for pianoforte and violin of my "Cantique d'amour" and "Ave Maria"—and by granting my humble self a copy also, at his convenience. Remenyi will be glad to play the pieces with Plotenyi and thus make them known, and I would get Sgambati and Pinelli [A Roman violin virtuoso (born 1843), was appointed in 1872 Director of the "Societa musicale romana," in Rome.] to do the same here.
With hearty greetings to your wife,
Your unchangeably sincere and devoted
F. Liszt
The Vatican, September 28th, 1865
Let me know of the despatch of the "Elisabeth-Galerie," and also send me a few copies of Bulow's three articles.
Why have my organ-pieces (from Korner, Erfurt) not yet reached me? Please remind Kahnt or Gottschalg of this.
44. To Eduard Liszt
Dearest Eduard,
My heartiest thanks to you for remembering the 22nd October. The day was celebrated quietly and happily like last year in my former residence (Madonna del Rosario)—and you were present with me in my inmost heart.
Before I received your lines I had already answered Dunkl's and Herbeck's letters relating to the "Elizabeth" Oratorio. You know how much against my wish it is to put this work into circulation. And, however flattering it may be to me (perhorrescised composer!) to receive offers from various places about it, still I think it advisable to avoid precipitancy, and not to expose my friends so soon again to unpleasantnesses such as my earlier works brought upon them. Lowy's empty stalls (with the Preludes) are significant…and, considering the various kinds of abuse which my works have had to endure, silence would seem to be most becoming.
Therefore be good enough, dearest Eduard, to tell those kindly disposed "Musical Friends," emphatically that I cannot make up my mind to the proposed performance of the "Elizabeth," and beg them to pardon this small-mindedness in me. Besides the score is no longer at my disposal, as I have sent it to Bulow, who requires it for a performance desired by H.M. the King, for which I have already invited Herbeck. Bulow is giving some concerts this month and next in Berlin, Dresden, Prague, etc. Hence he cannot begin rehearsing the Elizabeth till later. Of the Munich performance you shall hear details when the time comes.
With regard to your communication to the Princess, I assure you again that as soon as and as often as it is possible for me to do you a service, as certainly shall it be done.
Kindest greetings to your wife from
Your truly devoted
F. Liszt
[Rome,] November 1st, 1865.
45. To Dr. Franz Brendel
Dear friend,
My answer to you has been delayed in order that I might at the same time tell you of a variety of things.
A) At the beginning of March I intend going to Paris. The Gran Mass is to be given on March 15th in the Church of St. Eustache at the anniversary "de l'oeuvre des ecoles" to which the Maire of the 2nd Arrondissement, M. Dufour, sent me an official invitation the other day.
B) The report spread in various newspapers about the Hungarian Coronation-Mass which I am to compose, is for the present only officiously correct. Probably it may become true shortly. [This did occur, as is well known.]
C) At the opening of the Dante Gallery here at the end of the month my "Dante Symphony" is to be performed. I enclose the article from the Osservatore Romano in which this extraordinary event is discussed in detail—also another number of the same paper containing a short notice on the "Stabat mater speciosa" (a very simple chorus from my "Christus Oratorio"), that was sung last Thursday in the Franciscan Church Ara Coeli (on the Capitol).
D) I am quite determined to attend the Tonkunstler-Versammlung in Coburg, and expect to hear from you shortly more about it. It is to be hoped that Bulow will conduct. If there should be any thought of giving the "Elizabeth," Bulow will be indispensable.—
As regards the Elizabeth, pray make my best excuses to Kahnt. I did not reply to his friendly request, because I have made up my mind not to have this work published meanwhile, and hold fast to this negative determination. Do not let Kahnt take this ill of me, and let him be assured of my sincere willingness to meet his wishes in all other matters.
.—. I am in want of a great many things, but most of all in want of more time!
With friendliest greetings, sincerely and devotedly yours,
F. Liszt
The Vatican, January 14th, 1866
46. To Dr. Franz Brendel
Dear Friend,
So there is to be no Tonkunstler-Versammlung this year; in place of it war-cries, and symphonies of bayonets and cannon! Here, probably, we shall remain in peaceful quietude under the protection of France.—As regards my humble self, I mean to try, during the second half of this 66th year, to overtake what I was compelled to neglect during the first half of it. My "Christus Oratorio" shall be finished by Christmas.—Prince Hohenlohe, with whom I have been residing since April 1865, has been made Cardinal and shortly leaves the Vatican. Last Sunday I returned to my old quarters at Monte Mario, Madonna del Rosaraio, where I am as comfortable as possible. Next year I think of going to Germany, first to Munich. As you know, the King of Bavaria has conferred upon me the title of Knight of the Grand Cross of the Order of St. Michael. And the Emperor Maximilian that of the Guadeloup order.—
My stay in Paris will not prove unfruitful. People may say of it what they like.—I must mention to you the name of Camille Saint- Saens in Paris, as specially deserving of notice in the Neue Zeitschrft as a distinguished artist, virtuoso and composer. Last year he was in Leipzig, so he told me, and played his Concerto at the Gewandhaus there. But people could not make anything out of him, and in dignified ignorance allowed him to pass. Langhans [A Berlin musical composer and critic who died in 1892.] sees him frequently and could give you fuller information about him for the Zeitschrift.
Give Kahnt my grateful thanks for carefully carrying out the orders from Paris. I mean to wait another year before publishing the "Elizabeth." I also want several illustrations for it, for, as the work is dedicated to the King of Bavaria, I wish it to present the choicest and noblest appearance.
If Kahnt should be disposed to take it next year, I shall be glad to come to some arrangement with him about it. Still I am determined not to have the "Elizabeth" published till then; to several publishers who have offered to undertake the publication I have already replied,—may every kind of printing long be held at a distance from this score.—
Allow me to recommend to your friendly interest a few other things I have at heart.
Ask Kahnt, in my name, not to be sparing in supplying Bulow with copies of the Liszt-compositions he has published. I should more especially like my Quartets for male voices circulated, and a few complimentary copies from Kahnt would be useful in this respect. No fear need be entertained of Bulow's making indiscreet demands, and one may confidently grant him all he wishes.
.—. Hartel will shortly be sending me some music. Please enclose the last numbers of the Neue Zeitschrft in the parcel in order that my ignorance on matters musical may be relieved.
In sincere attachment I remain in unalterable friendship,
Yours,
F. Liszt
Rome, June 19th, 1866
The score of the Gran Mass presumably reached Riedel safely (6 weeks ago). The vocal parts I have meanwhile left with Giacomelli. Later an edition of the choral and orchestral parts will become a necessity.
47. To Dr. Franz Brendel
Dear Friend,
Your last letter but one, the registered one, has reached me safely. As it contained more in the way of answers than was wanted I hesitated to write to you. As already said, I have made up my mind to wait another year before publishing the "Elizabeth." In the first place it is necessary that I should correct the frequent errors in the copy of the score—a piece of work that will take a couple of weeks.—Then, before its appearance, I should like an opportunity of quietly hearing the work once in Germany, and this perhaps might occur next year. Meanwhile give Kahnt my best thanks for his ready consent, of which, however, I cannot make use till later, provided that an honorarium of a couple of thousand francs (which has been offered me elsewhere) does not frighten him. .—. So far as one can plan a journey nowadays, I intend to be in Germany again for a few weeks during the summer of 1867.—Tomorrow I shall write to Dr. Hartel and tell him that you have kindly expressed yourself ready to discuss with him the small matter about the Draseke brochure. It would please me greatly to hear that some amicable arrangement had been made.
With regard to the publications of the Allgemeine Deutsche Musikverein, I would vote for the Overture by Seifriz. Likewise for the continuation of the Chamber music performances in Leipzig—and, of course, for the compensation from the Society's purse due to you.
Stade's article on the "Faust Symphony" I have not yet received. My last number of the Zeitschrift is that of July 6th. I am glad that Stade does not disapprove of these Faust-things.— Schondorf's Polonaise, Impromptu, etc., which Kahnt has sent me, I have read through with pleasure and interest. With the next sending to Rome please enclose the "Petrus" Oratorio by Meinardus (the pianoforte score). In case the pianoforte score has not appeared, then let me have the full score. And together with the "Petrus" Oratorio please also send me the fragment of the "Christus" Oratorio by Mendelssohn (published by Hartel).
My "Christus" Oratorio has, at last, since yesterday got so far finished that I have now only got the revising, the copying and the pianoforte score to do. Altogether it contains 12 musical numbers (of which the "Seligkeiten" and the "Pater Noster" have been published by Kahnt), and takes about three hours to perform. I have composed the work throughout to the Latin text from the Scriptures and the Liturgy. After a time I shall ask Riedel for his assistance and advice with regard to the German wording.
Please give Alex Ritter my cordial thanks for his Amsterdam report.
I cannot, at present, promise you any literary contributions for the proposed Annual of the D. M. If the instrumental Introduction to the "Elizabeth" (for piano-forte) would suit you I would gladly place it at your disposal, reserving the copyright for the subsequent publisher of the score, that is, his right to publish the same Introduction again.
As far as I can foresee I shall remain here the whole winter. My address is simply: To Commandeur Abbe Liszt—Rome.
Fuller performances of the Beethoven Symphonies and of the DanteSymphony are to be given next Advent in the Dante Gallery.Sgambati is to conduct them, and I have promised to attend therehearsals.
Heugel of Paris (Director of the Menestrel) is shortly to publish a new edition of my Franciscus-legends.
With friendliest greetings, your attached
F. Liszt
October 2nd, 1866
48. To Breitkopf and Hartel
Much Esteemed Herr Doctor,
It is very mortifying to me to have to confess that I have most awkwardly come to a standstill with the transcription of the Beethoven Quartets. After several attempts the result was either absolutely unplayable—or insipid stuff. Nevertheless I shall not give up my project, and shall make another trial to solve this problem of pianoforte arrangement. If I succeed I will at once inform you of my "Heureka." [Discovery (from a Greek word).- TRANS.] Meanwhile I am occupied exclusively with the "Christus Oratorio," which has, at last, advanced so far that all I have now to do is to put the marks of expression in the score and the pianoforte score.
Pray kindly excuse me if a small piece of vanity leads me to address you with a wish. My "Symphonic Poems" have, as you know, had a regular deluge of halberds hurled at them by the critics. After all these murderous and deadly blows that have been aimed at them, it would be very gratifying to me if the analyses of these "Symphonic Poems" in which, a few years ago, Felix Draseke discussed them severally in the Anregungen [Notices] could now be published by you all together in the form of a brochure, for they are written with a thorough knowledge of the subject, yet in a kindly spirit.
On this account I begged Dr. Brendel to discuss the matter with you, and now take the liberty of addressing you personally on the subject of my wish.
With much esteem, yours sincerely,
F. Liszt
Rome, October 4th, 1866
Will you kindly send Cantor Gottschalg in Tieffurt a good copy of my pianoforte scores of the nine Beethoven Symphonies? 49. To Dr. Franz Brendel
Dear Friend,
My heartfelt sympathy in the grievous loss which you have sustained. [On November 15th, 1866, Dr. Brendel lost his wife, Elizabeth nee Trautmann (born in St. Petersburg 1814). She was a pianist and a pupil of Field and Berger. Dr. Brendel survived her only two years.] It is an immeasurable sorrow on which one can only be silent!—
Let us pass over to the business part of your letter. Our Grand Duke informs me that there is to be a Wartburg Festival this summer (a Jubilee in celebration of the 800th year of the Wartburg's existence). And for this fete he wishes a performance of the "Elizabeth-Legend" under my personal direction. I have agreed to this, for, as the occasion is an exceptional one, I too am enabled to make an exception to meet his commands. Now as the Duke is Patron of the Tonkunstler-Verein, it seems to me appropriate that this year's T. K. Versammlung should be brought into some connection with the Wartburg Jubilee. Think the matter over and discuss it with Gille. The date of the Wartb. Festival has not been announced to me, and will probably not be settled till later. As for myself I could not promise to remain more than one month in Germany. Hence it would be agreeable to me personally if the T. K. Versammlung were not kept apart from the Wartburg Jubilee, and were arranged for about the same date; I could then attend both. In case Bulow cannot undertake to act as conductor, those to be mentioned as substitutes would be, no doubt, Seifriz, Riedel, Damrosch, Lassen.— Seifriz's hesitation with regard to the publication of his Overture I consider to be scrupulous beyond measure, and am of the opinion that he should not hold to it any longer. Gille's circular (of December 9th) I, of course, agree with, only the compensation of 50 thalers [about 71 British pounds sterling, 0s., 0d.] is somewhat too modest. I should like to see an 0 added to the 50.—
The full score and pianoforte score of the "Elizabeth" contain a mass of errors. The revising will take me a couple of weeks. At the beginning of February I will send you the manuscript for Kahnt's disposal, that is, if he is willing to comply with my conditions about the publication (which I will write out carefully for you). You know that I should have preferred to postpone the publication of the "Elizabeth" for some time longer- -still I understand Kahnt's difference of opinion, and desire to prove myself willing, provided that you approve of my willingness.
.—. Kindly, when you have an opportunity, remind Hartel about sending the dedication-copy of my pianoforte scores of the Beethoven Symphonies to Bulow. The copy ought to be properly bound (in three volumes—3 Symphonies in every volume), and addressed to Bulow, Johanniss-Vorstadt 31, Basel.
With sincere thanks and hearty good wishes for the year 1867, I remain in unchanging friendship, yours,
F. Liszt
Rome, January 6th, 1867
The Neue Zeitschrift has not come for more than six months.
50. To Doctor Cuturi, Pisa
[From a rough copy of Liszt's in possession of Herr AlexanderRitter in Munich]
Sir,
I am told that you would be good enough to take into consideration my recommendation of Mr. Alexander Ritter. I hasten therefore to assure you of the sincere esteem in which I hold his remarkable talent as a violinist and his capability as an orchestral conductor. His very extensive musical knowledge, his frequent and close connection with virtuosi and celebrated composers, and his practical experience of the best-known works and orchestras qualify him in a high degree for the post that would be offered to him at Pisa. The best judges discern in Mr. Ritter not merely a brilliant virtuoso, able to obtain everywhere applause and approbation, but also—which is more rare—a consummate musician, endowed with the most noble feeling for Art, and possessing the most perfect understanding of the works of the great masters.
Besides this, sir, I am sure that you will find much pleasure in your personal relations with him. All who know him bear testimony to his honorable character as well as to his gentlemanly manners; and I will merely add that amongst all my German friends there are few of whom I preserve so affectionate a remembrance.
Pray accept, Monsieur le Docteur, the expression of my esteem and distinguished consideration.
F. Liszt
Rome, January 22nd, 1867
51. To Julius von Beliczay in Vienna
[Hungarian composer, living in Budapest since 1871]
Dear Sir,
Accept my sincere thanks for your very friendly letter and for the dedication of the Beethoven Cadenza. It sounds well and is pleasant to play. Of course somewhat more might have been made of the thing, and a different key taken at the outset than C minor. But it is easier for me to play the critic than to do things myself, and so today I will merely thank you and assure you of my interest in your efforts and your success.
Very truly yours,
F. Liszt
Rome, April 29th, 1867
52. To Madame Jessie Laussot
Dear Madame,
I cannot tell you how your generosity of mind and heart touches me. The favorable reception you have obtained at Florence for the "Beatitudes" and the "Pater noster" is a link the more in the chain of my musical obligations to you, dear and valliant Maestra. Will you kindly convey my best thanks to your co- operators. .—.
As a slight musical indication observe that in the "Pater noster"I simply modulate and develop somewhat,—in the somewhat confinedlimits of a sentiment of trusting and pious submission,—theGregorian intonation as sung in all our churches—
[Figure: Musical score excerpt setting the words "Pater noster qui es in coelis"]
following the traditional intonations for each verse. This framework was naturally adapted to the arranging of my Oratorio— "Christ",—in which I employed two or three other intonations of the plain-song, without considering myself guilty of a theft by such a use.
You know that the rehearsals of the "Christ" have begun. With the help of our dear and admirable Sgambati it will be able to be given here at the end of June. I shall invite you to come and hear it, and shall send you shortly the programme of the whole work, which is going to be published previously.
But since you interest yourself with so rare a zeal in my poor works and in making them known, I am tempted to propose to you the 23rd and 137th Psalms for your Florence programmes. The latter has been sung here this winter with some success. It is not very troublesome to study; provided that the singer understands what she has to say the rest goes of itself. The accompaniment is limited to four instruments,—Harp, Violin, Harmonium and Piano; and, as in the Magnificat of the Dante Symphony, the chorus is written for Soprano and Alto voices (without Tenors or Basses). The text is excessively simple, and is reduced to the one word, Jerusalem!
Perhaps you may also meet with a kind soul who is willing to translate into Italian the Chorus of Reapers ("Schnitterchor") from the Prometheus, which could be performed quite simply with piano accompaniment.
I will permit myself to send you the two Psalms next week by Mrs. Pearsoll (of New York), to whom I have sung your praises, a matter in which I yield to no one. Happily the opportunity for practising this recurs often: Mme. d'Usedom (whom I met the other evening at Bn. Arnim's) will speak to you of it. .—.
As soon as I receive positive tidings about the coronation at Pest you shall know. I shall certainly not stir from Rome this time without coming to spend some hours with you at Florence.
Continue your friendship to me, and believe in mine, very cordial and grateful.
F. Liszt
Rome, May 24th, 1867
The success of Bronsart's Trio delights me. You will give him great pleasure if you will write him a couple of lines, which you must address simply "H. v. B. Intendant des Hoftheaters. Hannover." Tell him about Sgambati and his Trio at Rome and Florence. I, on my side, will write to Bronsart as soon as my summer plans are fixed.
53. To Eduard Liszt
Very dear Eduard,
You know that the Coronation Mass has met with the most kind reception. [At its performance at Ofen (Budapest)] None of my works up to the present time had been so favorably accepted. I have begged Franz Doppler in particular to let you know about it, knowing that you would like to hear me praised, even with some exaggeration, by a friend as competent as he is affectionate. Since the performance of the "Gran Mass" Doppler has always shown the kindest feelings towards me. Tell him that I am very sincerely grateful to him. I am anxious to thank Schelle [Musical critic of the Vienna Presse, since dead] for his excellent article in the Presse, and send you herewith a few lines which you will be good enough to give him…
The rehearsals of my Oratorio "Le Christ" are progressing. It will probably be performed in the early part of July, and I will have the programme sent to you.
Towards the end of July I shall go to Weimar. The "Wartburg Festival" is fixed for the 28th August. On that day the Elisabeth will be heard in the hall of the Minnesingers. A fortnight before that the concerts of the Tonkunstler-Versammlung will take place at Meiningen. Possibly you may be able to come and look me up in the course of this same month of August.
Yours ever from heart and soul,
F. Liszt
Rome, June 20th, 1867
54. To William Mason in New York
Dear Mr. Mason,
Your kind letter gives me a very cordial pleasure, and I beg you to be assured of the continuance of my very affectionate feelings. I frequently hear your success in America spoken of. You deserve it, and I rejoice to know that your talent is justly appreciated and applauded. Your compositions have not yet reached me, but I am fully disposed to give them a good reception. In about a fortnight I shall start for Weimar. The Tonkunstler- Versammlung is to take place at Meiningen this year from the 22nd to the 25th August. I shall be present at it, as also at the Jubilee Festival at the Wartburg, at which my Oratorio "Saint Elizabeth" will be performed on the 28th August. Perhaps I shall meet there Mr. Theodore Thomas and Mr. S.B. Mills, of whom you speak. I have heard the highest praises of the capability of Mr. Thomas, whom I have to thank particularly for the interest he takes in my Symphonic Poems. Artists who are willing to take the trouble to understand and to interpret my works cut themselves off from the generality of their fraternity. I, more than any one, have to thank them for this, therefore I shall not fail to show my thanks to Messrs. Thomas and Mills when I have the pleasure of making their acquaintance.
The news which reaches me from time to time about musical matters in America is generally favorable to the cause of the progress of contemporaneous Art which I hold it an honor to serve and to sustain. It seems that, among you, the cavillings and blunders and stupidities of a criticism adulterated by ignorance, envy and venality exercise less influence than in the old continent. I congratulate you on this, and give you my best wishes that you may happily pursue this noble careerof an artist,—with work, perseverance, resignation, modesty, and the imperturbable faith in the Ideal, such as was indicated to you at Weimar, dear Mr. Mason, by your very sincerely affectionate and attached