Yours in all friendship,
F. Liszt
Weimar, April 18th, 1872
My most affectionate thanks to Count Albert Apponyi for his kind remembrance, with the assurance of my cordial reciprocity.
P.S.—Augusz would give me great pleasure if he would send me a small provision of Hungarian tobacco (to smoke), for my old Weimar friend Grosse, the celebrated Trombonist.
Shall you not go to Bayreuth for the 22nd May? I shall invite you to do so.
116. To Johanna Wenzel
[The lady here addressed was a pupil of Liszt's at the time, and subsequently married Jules Zarembski, and is at present one of the teachers of the pianoforte at the Brussels Conservatoire.]
My Dear Young Lady,
In reply to your friendly lines I beg of you earnestly no longer to think of having the barbarous operation performed upon your fingers; rather all your life long play every octave and chord wrong than commit such a mad attack upon your hands.
With best thanks, I subscribe myself yours respectfully,
F. Liszt
Weimar, June l0th, 1872
117. To Wilhelm von Lenz
Very Honored Friend,
I owe you thanks in the 24 major and minor keys for the remembrance you keep of me, and the ardent style in which you publish it to the world. Your pamphlet ["Die grossen Pianoforte- Virtuosen unsrer Zeit" The Great Pianoforte Players of our Day.] draws down upon itself a capital reproach; it is that you make me out too grand and too fine. I am far from deserving it, and I confess it without any false modesty; but since you have been pleased thus to overwhelm me I can but bow in silence,—and press your hand.
No one possesses less than myself the talent of talking with the pen, and the necessity of receiving more than a hundred letters a month (not counting bills, and the numerous sendings of manuscript or printed works which I have to read) makes correspondence again more than difficult for me. It is all I can do to get through the necessary epistolary work imposed upon me…Moreover the greater part of the things which are easily said is indifferent to me, and those that I wish to say resist ordinary language. On this subject some one well said to me:
"Words seem to me to intercept feeling rather than to express it; and actions, alas! seem to me sometimes like a thick veil thrown over our soul: looks even seem to be trammelled by phantom barriers, and souls which seek one another across the sufferings of life only find one another—such is my belief—in prayer and in music."—
What wit, what sallies and what brilliant sparks in your "Quartet of Pianist Virtuosi!"—Don't let us forget the etymology of the word "Virtuoso," how it comes from the "Cicerone" in Rome—and let us reascend to Chopin, the enchanting aristocrat, the most refined in his magic. Pascal's epigraph, "One must not get one's nourishment from it, but use it as one would an essence," is only appropriate to a certain extent. Let us inhale the essence, and leave it to the druggists to make use of it. You also, I think, exaggerate the influence which the Parisian salons exercised on Chopin. His soul was not in the least affected by them, and his work as an artist remains transparent, marvellous, ethereal, and of an incomparable genius—quite outside the errors of a school and the silly trifling of a salon. He is akin to the angel and the fairy; more than this, he sets in motion the heroic string which has nowhere else vibrated with so much grandeur, passion and fresh energy as in his "Polonaises," which you brilliantly designate as "Pindaric Hymns of Victory."
No need to tell you that I fully share in your admiration and sympathy for Tausig and Henselt. Do you know Wagner's epigraph "Fur Carl Tausig's Grab"?
"Reif sein zum Sterben, Des Lebens zogernd spriessende Frucht Fruh reif sic erwerben, In Lenzes jaherbluhender Flucht—War es dein Loos, war es dein Wagen: Wir mussen dein Loos wie dein Wagen beklagen."
[For Carl Tausig's Grave:—"Ripe for Death's harvest, The fruits of life long tarrying, Full early to pluck them In the fleeting bloom of spring—Was it thy lot, was it thy bourn? Thy lot and thy destiny both must we mourn."]
Allow me to be particularly grateful to you for one very comprehensive expression in your pamphlet (page 4)—"es war thematisch" [it was thematic]—and accept, dear Lenz, the expression of my old and very cordial devotion.
F. Liszt
Weimar, September 20th, 1872
In three weeks I return to Hungary, and shall stay there for the winter. The remainder of my existence will be divided henceforth between Pest and Weimar. When you return to Berlin (in the summer) I invite you to come this way. Are you in touch with the musical young Russia and its very notable leaders—Messrs. Balakireff, Cui, and Rimski-Korsakoff? I have lately read several of their works; they deserve attention, praise and propagation.
118. To Otto Lessmann in Charlottenburg
[Lessmann, a pupil of Bulow's and F. Kiel's, was at one time a teacher in Tausig's School for the Higher Instruction in Pianoforte Playing, and is now well known as editor of the Allgemeine (deutsche) Musikseitung, representing the party of musical progress with energy and success.]
Very Dear Sir and Friend,
My best thanks for presenting me with your admirable edition of Bach's "Preludes." Such works are among the pleasant signs of the musical Present; inasmuch as they will drive away the old jog- trot style of pianoforte playing. Bulow's edition of Beethoven outweighs in the matter of instruction a dozen Conservatoires. And the editions by Kroll and Lebert also deserve praise and ought to be widely circulated; and to your Bach Preludes I wish plentiful successors in the "Suites," "Inventions" and "Variations" (especially the 30 in G major) of grand old Herr Johann Sebastian—of Eisenach.
Allow me also to add that reading over your Songs enables me more and more thoroughly to enjoy them when I hear them—intelligent singers shall be found for them—and accept, dear friend, the expression of my sincere esteem and affection.
F. Liszt
Eisenach, September 26th, 1872
119. To Eduard von Liszt
Horpacs, November 6th, 1872
Dearest Eduard,
My stay here has been somewhat prolonged, and I shall not reachPest till next Sunday.
Szechenyi's [Count Szechenyi was Austrian ambassador in Berlin up to 1892.] residence here is most decidedly pleasant and convenient, without noise. In the chapel attached to the house, the house-chaplain (a cultured and estimable priest) daily reads Mass. At table an old house-physician, Dr. M., contributes a good deal to the entertainment. Among other amusing things he said one day: "As to the cholera, no one knows anything definite about it yet except myself, for I have fathomed its nature. And its nature consists solely and wholly…of nothing but cholera!"
The day before yesterday we drove with Szechenyi and Mihalovich to Raiding, [Liszt's birthplace.] in less than two hours. A Herr Wittgenstein (probably an Israelite), who lives in Vienna, now rents this Esterhazy estate, and sublets it again. I found no perceptible changes in the house where I was born since my last visit there 24 years ago. The peasants recognised me at once, came to pay me their respects at the inn, and rang the church bell as we drove away.
.—. I wrote to Kahnt from here that he was to send you immediately the 9 "Kirchen-Chorgesange" and my Mass for men's voices ("Editio nova").
The three Patronatsscheine [tickets of membership] for the Nibelung performance in Bayreuth (Bayern. N.B.—The King has commanded that henceforth Baiern [Bavaria] shall be spelt with a y), and your letter to Herr Feustel, please attend to without delay.
All cordial greetings to you and yours—from your faithfully attached
F. Liszt
Augusz I shall meet in Pest-Ofen.
Give Bosendorfer my friendly greetings, and at the same time tell him how I praise the excellent piano upon which I have been practising a little here.
If Zumbusch goes to Vienna, commission him—as we arranged—to make a bust of me in marble and a pedestal for Bosendorfer.
120. To Princess Caroline Sayn-Wittgenstein
[Printed by "order" in the Signale, 1873 (after the death of Napoleon), in which form the letter is reproduced here, as the original could not be procured. This letter does not indeed show us Liszt as a far-sighted politician, but simply as a man of noble impulses.]
Pest, January 10th, 1873
Napoleon III. is dead! A great soul, an all-embracing intelligence, experienced in the wisdom of life, a gentle and noble character—with a disastrous fate! He was a bound and gagged Caesar, but still closely related to the Divine Caesar who was the ideal embodiment of earthly power. In the year 1861, when I had a pretty long interview with Napoleon, he said, "Sometimes it seems to me as if I were over a hundred years old." I replied, "You are the century yourself, Sire!"—And, in fact, I honestly believed at the time, and do so still, that Napoleon's reign was the one most in keeping with the requirements and advances of our era. He has set noble examples, and accomplished or undertaken great deeds: amnesties which were more complete under him than under other governments; the protection of the Church in Rome and in other countries; the rejuvenescence of Paris and other great cities in France; the Crimean war and the Italian war; the great Paris Exhibition, and the rise of local exhibitions; the earnest attention paid to the lot and to the interests of the country people, and of the working classes; the generosity and encouragement to scholars and artists,—all these things are historical facts, and are things in which the Emperor took the initiative, and which he carried out in spite of all the difficulties that stood in his way.
These things will not be eclipsed by the misfortunes that befell him, however terrible these may have been, and, on the day of judgment, France will fetch the coffin of Napoleon III. and place it in all honor beside that of Napoleon I. It can be affirmed without adulation that throughout life the Emperor unswervingly practised those great virtues which are in reality one and the same thing and are known by the names of benevolence, goodness, generosity, nobility of mind, love of splendor and munificence. One of the fine traits of his character that he is acknowledged to have possessed, was his never-failing kindheartedness and his deep gratitude towards those persons who had ever done him a service. In all humility and lowliness of spirit I will imitate him in this, and begin with himself by blessing his memory and addressing my prayers for him to the God of Mercy who has so ordered things that nations may-recover from their wounds. .—.
121. To Eduard von Liszt
Dearest Eduard,
Long since you ought to have heard from me…However, I have not been altogether idle, and during the last weeks have been busy blackening some sheets of music paper which you shall see in print and hear me play. Bosendorfer heard some of it last night, and will bring you word about it to Pest. Be good enough to pay Zumbusch a visit, and beg him to have my bust done in good marble, and to have it finished and ready by the 2nd April (Franciscus di Paula). I intend to spend this name-day of mine with you quietly, [This was an established custom of Liszt's for many years, and one to which—even after his cousin's death—he adhered, and spent the day with the family up to the time of his death.] and to take the bust to Bosendorfer "in persona."
I am told that the Gran Mass is to be performed on Easter Sunday in Pressburg. If so, we will go there together to hear it, with your wife, Marie [Eduard von Liszt's daughter, now Baroness Saar in Vienna.] and Franz.
As to the Bayreuth affair, I have already told you what my wish and will is. It must remain thus. .—.
Probably Cosima will be going to Vienna in February.
God's blessing abide with you and yours. Thine, with all my heart,
F. Liszt
Pest, January 13th, 1873
122. To Dr. Emil Thewrewk von Ponor, Professor at the University of Budapest.
[A classical philologist who published a little Hungarian work entitled "Die ungarische Rhythmik," the German edition of which was to be dedicated to Liszt. The two men differed in their opinion respecting the origin of Hungarian music; however, in consequence of Von Ponor's contribution to the subject, Liszt did in the end agree with the proof Von Ponor brought forward—with this reservation, that "the gypsies did bring harmony into Hungarian music," a point which—Ponor thinks—"may readily be conceded."]
Much-Esteemed and Dear Herr Professor,
I regret that my reply to your request about the Elizabeth-motive can only be somewhat unsatisfactory. It was sent to me together with some others—referring to Saint Elizabeth—about 13 years ago, by Mosonyi and Baron Augusz, and the Hungarian text is published in the concluding notice to the score of my Oratorio. A copy of the "Lyra Coelestis" I did not need; probably this (to me unknown) printed work will be readily found here, and is sure to be in the Library of the Martinsberg monastery.
If not inconvenient to you I should be glad to receive the honor of a visit from you; it would interest me greatly to hear of and to become acquainted with your researches concerning Hungarian rhythmic forms.
Meanwhile I thank you warmly for your friendly lines, and for communicating the Volkslied in the 5/4 time:—
[Here, Liszt illustrates with a musical score excerpt]
Yours with much esteem and sincerely,
F. Liszt
Pest, January 14th, 1873
123. To Dr. Franz Witt
January 20th, 1873
Much-Esteemed Friend,
At New Year I sent you a copy of the Stabat Mater by Palestrina "for the lecture arranged by R. Wagner." The inaccuracies and errors of this copy I have carefully corrected, for in such a masterly and exemplary arrangement every iota is of importance. Wagner gave me his manuscript 18 years ago in Zurich, and forgot afterwards where it was. As regards its publication, which is much to be desired, it is not for me to interfere in the matter in any way, and I beg you to come to some understanding with Wagner about it. If he should wish to correct his old manuscript (the paper of which has become rather yellowish) I will gladly place it at his service.
124. To Eduard von Liszt
Dearest Eduard,
Having considered the matter about the certificate of death which Rothschild wished to have, I shall not make use of Belloni in connection with it. If Emile Ollivier were still in Paris it would be his place to procure the certificate. My dear good mother died in his house (Rue St. Guillaume, Faubourg St. Germain) at the beginning of January 1866. He looked after her and took tender care of her for several years; and finally had her body taken to the Church of St. Thomas d'Aquin for the funeral service, and followed it thence to its last resting-place in the cemetery of Montparnasse. This noble conduct and his speech at the grave I cherish in my innermost heart.
Since the winter of 1866 I have never been back in Paris, and my relations with trustworthy persons there are as good as entirely broken off. Hence I yesterday went and got good advice from friend Augusz, and have accepted his proposal, namely, to address a request to Count Alexander Apponyi—son of and Secretary to the Austrian ambassador in Paris—to procure the certificate of death of my mother and to send it to you. Let Rothschild know of this matter, which, let us hope, will soon be satisfactorily settled.
Many thanks for the trouble you are taking about the bust by Zumbusch, and which I very much wish personally to present to Bosendorfer in Vienna as an Easter egg. I know I can rely wholly upon your ever faithful and incomparable readiness to do me a favor.
Allow me one other request, which will cost you only half an hour's time and a visit. The visit is to an extremely interesting, learned and distinguished man—Dr. Ambros, formerly Imperial Solicitor-General in Prague, now professor and referendary to the Officielle Zeitung in Vienna, always an eminent writer on aesthetics, history, the history of music, a polygraphist, composer—in fact, a good friend of mine. Be kind enough to tell him that I am awaiting his answer in the affirmative, respecting a lecture by him on Robert Franz at the extra Soiree arranged in honor of and for the benefit of Robert Franz; Dr. Ambros was at my request respectfully invited by Herr Dunkl ("Firma Roszavolgyi") to give us his assistance. I take part too as pianist, collector and arranger of the Soiree, and hope that Dr. Ambros—who is so specially competent for the task, owing to his eloquent and valuable treatise on Robert Franz—will give us brilliant assistance, and give us a speech there without talking himself out. The warmest welcome and appreciation will await him on all sides. But obtain his kind consent as soon as possible, together with a written yea to Dunkl (Musikverlag Roszavolgyi, Christoph-Platz, Pest).
Heartiest greetings to your wife and children, and au revoir on the 2nd April.
Thine,
F. Liszt
Pest, January 28th, 1873
125. To Eduard von Liszt
My Dearest Friend,
Zumbusch's letter seems to me pretty comforting, and if you would have the kindness to write to him again I hope the bust will reach Vienna by April 1st. Have you asked what it costs? If not do so in your next letter. Of course I do not mean to bargain with Zumbusch (that is a thing I do only in case of dire necessity—and even then am a bad hand at it). We must simply pay what he asks, and leave ourselves to his friendly feelings of moderation, which will not fail…
In spite of all your endeavors and persuasive powers Dr. Ambros is not coming to the Robert Franz Soiree in Pest. He wrote to Dunkl that he is unusually busy in Vienna with urgent affairs connected with the Zeitung—and hence cannot find any time to prepare an address—and besides this is afraid of taking cold on the journey…To all this we can raise no remonstrance, so I must just accept this refusal of Ambros, much as I should have liked a different answer. Some day I will tell you the preliminaries of this business. Last week I received from Freiherr Suttner, President of the Vienna Singakademie and Imperial Chamberlain, an invitation to play a few pianoforte pieces in the concert arranged for Robert Franz's benefit. I replied that an interval of 25 years separated me from my last public appearance as a pianist, andthat I considered it advisable for me to remain within the interval. As I told you last October, it is not my intention to officiate in any way this winter in Vienna.
Herewith I send you an extract from the sitting of the Chamber of the day before yesterday, the result of which is almost as unexpected as it is important. The deputies of the conservative party and of the opposition voted almost unanimously in favor of raising the funds for establishing a new Musik-Akademie. And an unusual honor was conferred upon me on the occasion,—for, although I have never come forward in the matter, it was nevertheless brought forward in my name, and this certainly puts rather a heavy burden upon me. I will endeavor conscientiously to do justice to the honor as well as the burden. For the last couple of days a stupid feverish cold in the head has kept me in bed. Tomorrow, however, I shall be up and about again.
Faithfully thine,
F. Liszt
Pest, February 10th, [1873]
126. To Eduard von Liszt
My Dear Friend,
Bosendorfer brings you tidings of the Robert Franz Soiree of yesterday. [At this soiree Liszt played Beethoven's A-flat major Sonata, Op. 26, No, 4; his own "Soirees de Vienne" (after F. Schubert); Schumann's "Wie aus der Ferne"; and R. Franz's "Lied."] In a fortnight's time I shall have a similar work before me as pianoforte player, at a charity concert which Countess Anna Zichy is patronising. Then follows, further, a matinee of the Liszt-Verein at the Stadtpfarrei [The town parsonage], and the performance of Witt's Mass, of which I undertake the conducting on the 25th March (in the church). At the beginning of April I shall be with you.
Heartfelt greetings to you and yours from your faithful
F. Liszt
[Pest] March 3rd, 1873
127. To Madame Jessie Laussot
Dear, Excellent Friend,
Your ideas are always very wise, practical and noble; I participate in them beforehand, and esteem myself happy to have them communicated to me direct. With regard to Robert Franz's little capital, I presume that his zealous friends have already taken decisive measures; on my return to Weimar (before the end of April) I will learn whether it is possible to carry out your idea…You know that a thousand thalers have been sent from here, the result of a soiree arranged in Franzs honor. Perhaps I shall find an opportunity to send him more soon.—
Walter Bache writes me word of his "Ninth Annual Concert" in London, with my 13th Psalm. Bache behaves "eroicamente" with regard to me, and takes rank in the very small group of my friends who are the most determined to show the public—in spite of the contrary opinion, much believed by influential papers— that my music is not absolutely void of sense. I should like to make the task of these friends a little easier, and I try not to increase the merit of their devotion by my faults.
Enclosed is the programme of the concert of our friend Mihalovich yesterday evening. "Romeo and Juliet" was encored, and the "Geisterschiff" did not founder. The audience, very aristocratic, was more select than numerous, which is a good sign for our friend. Item the squashing of some learned articles in the papers.
Will you kindly give my grateful acknowledgments to Mr. Hillebrand for his friendly remembrance, and for sending me his new volume on the French? I had read bits of it in the Augsburg Gazette, and shall take a double pleasure in reading the entire work. Hillebrand, like Alexander von Humboldt, has a passionate attachment to France;—I am proud to feel that I am in accord with him also on this point.
The day after tomorrow I shall be in Vienna, and shall spend a fortnight with my near relative and friend Eduard Liszt. After that I return to Weimar, and hope to see you there in the summer. I will write to you in good time about the performance of the Oratorio Christus…
Respectful homage and cordial friendship,
F. Liszt
Pest, March 30th, 1873
128. To Casar Cui
[Russian composer and musical critic.]
Sir,
Pray excuse my delay in thanking you for your very kind letter that Mr. Bessel brought me with the piano score of your Opera William Ratcliff. It is the work of a master who deserves consideration, renown and success, as much for the wealth and originality of the ideas as for the skilful handling of the form. As I am persuaded that all intelligent and honest musicians will be of this opinion, I should like to add to it some assurance on the next performance of your Ratcliff in Germany. It should be done at once at Weimar were I in active function at the theater as in the preceding years (from 1848 to '59); but since my retirement I am not any longer in a position to take definite steps, and must confine myself to recommendations—more often counteracted than followed.
Accept, sir, my sincere thanks, and with every expression of high esteem I am, yours truly,
F. Liszt
Weimar, May, 1873
129. To Franz Servais.
Dear Monsieur Franz,
My best wishes accompany you "into your cage." [This usually means "in durance vile," but the word "cage" is preserved here on account of the context.—Trans.] You do well to put yourself there, and, if the flight of your genius should find itself somewhat trammelled, for the time being, before the tribunal of counterpoint and fugue, it will soar all the more proudly afterwards. I hope you will come out of your cage glorious and crowned; in case of bad luck do not be too much disappointed; more skilful and more valuable men than you and I, dear Franz, have had to have patience, and to have patience yet again. M. de Buffon, when he said "genius is patience," did but make the mistake of an incomplete definition; he took a part for the whole; but that part is absolutely necessary in the practice of Art, as in that of earthly life.
Please remember me very affectionately to your mother; give a shake of the hand to your brother from me,—and depend ever on my devoted and affectionate feelings.
F. Liszt
Weimar, June 5th, 1873
130. To the Canoness Adelheid von Schorn
Dear Excellent One,
My little travelling plans have been upset by a letter from Cosima. I did not stop either at Salzungen (where I had arranged to meet Schuberth) or at Meiningen, and came straight here on Saturday, in accordance with an invitation from Cosima to a little fete of the workpeople of the theater of the Nibelungen.
Many idle and gossiping people everywhere are troubling their heads about this theater, and are asking when and how it will be finished building. Instead of descanting foolishly or maliciously about it (the two things sometimes go together), it would be better to get a "Patronats-Schein" [a receipt of membership], and thus to join in the grandest and most sublime work of art of the century. The glory of having created, written and published it is Wagner's intact; his detractors have only to share the disgrace of having thwarted it and delayed the bringing of it to the full light of day, by performance.—
Next week I go to Schillingsfurst, and towards the middle ofAugust I shall be back at Weimar.
A thousand very cordially affectionate and devoted regards.
F. Liszt
Bayreuth, July 30th, 1873
131. To Eduard von Liszt
Dearest Eduard,
After an absence of 3 weeks I returned here yesterday. I remained first to days in Bayreuth, from August 26th to September 5th, [The dates here ought certainly to be from July 26th to August 5th—as Liszt's letter is dated the 19th of August.] and then the same length of time in Schillingsfurst (with Cardinal Hohenlohe) and at Langenburg (with Prince Hermann Hohenlohe), whither I had the honor of accompanying the Cardinal.
Cosima, Wagner and the five children are in the best of health. The building of the Nibelungen-Theater is progressing famously; if the necessary sum of 300,000 thalers [some 45,000 pounds] of which as yet only about 130,000 have been forthcoming, is got together in time, the performance of the "Festival Drama"—"The Ring of the Nibelung"—is to take place in the summer of '75.
.—. Simultaneously with his theater, Wagner is building a beautiful and exquisitely situated house close to the Hofgarten. The King of Bavaria has given him 20,000 thalers [some 3,000 pounds] for this. Next spring Wagner will take up his abode there.
My intercourse with Cardinal Hohenlohe is always pleasant. He leads a very retired life in Schillingsfurst, receives but few visits and pays only a few, and occupies himself principally in building and arranging a large schoolhouse and an institution for girls under the superintendence of a Benedictine Sisterhood.
Great festivities are being arranged here in honor of the marriage of the Hereditary Grand Duke. On September 6th the entry of the bridal pair, on the 7th a Court concert, on the 8th a Festival-play by Devrient in the theater and a performance of Beethoven's 9th Symphony, etc., etc. I have undertaken to conduct the Symphony and also to play a couple of pianoforte pieces at the Court concert. A second Festival-play, entitled "The Bride's Welcome to the Wartburg," written by Scheffel and set to music by me, is to be given on September 2lSt in the Minnesanger Hall in the Wartburg, where you heard the "Elizabeth" Oratorio.
A few days after this I shall travel to Rome, and remain there 3 or 4 weeks. Before the end of October I shall come to you again for a couple of days before returning to Pest on November 1st.
The dedication-copies of the "Szoszat" and the "Hymnus" for Count Andrassy are not yet ready, it seems. Roszavolgyi (Dunkl) has sent me only a fete ordinary copies of the pianoforte version, and not one of the score. I shall therefore have to wait till November before sending or presenting it to Count Andrassy.
From the Grand Duchess I received 1,000 thalers—but these together with your 500 have all been spent. Be so good as to send me another 300 thalers next week! For my journey to Rome I shall probably, towards the middle of September, again have to ask you for a note of 500 francs. Although I do not go in for any luxuries, money vanishes quickly and readily in my hands.
Heartiest greetings to your wife and children, and au revoir inVienna at the end of October.
Faithfully thine,
F. Liszt
Weimar, August l0th, 1873
132. To Franz Servais
Dear Victorious One,
Your letter had been travelling several days in Bavaria before it reached me here yesterday morning. I thank you for letting me take an affectionate part in the success you have obtained, and I wish to keep that part throughout your future successes—and even failures. The latter will not do you any great harm, provided that you know how to keep that attachment to work, and that perseverance in noble ideas, which are the chief heirloom of the artist. Lassen tells me that we are shortly to hear your "Tasso" here: my attentive sympathy is wide awake; so fulfil your promise, dear Franz, by coming before the end of this month, and we will talk at our ease at the Hofgartnerei of our aims and plans.
Please give my respects to your mother, and my cordial remembrances to Joseph and Godebski.
Your affectionate and devoted
F. Liszt
Weimar, August 19th, 1873
133. To Walter Bache
Dear Friend,
Often I am behindhand and stop short of thanks with you, but it is certainly not for want of sincere affection and esteem.
Your "9th Annual Concert" has again shown the worth of your talents and the firm constancy of your character. Now in our artistic world character is still more rare than talent.
You nobly unite the two; it is a pleasure to me to acknowledge it, and to count you amongst the most devoted champions of progress and of musical good sense.
At their head, by right of age and capability, walks imperturbably and gloriously Hans de Bulow.
Will you give him the enclosed letter? and believe me ever, dearBache,
Your very cordially affectionate
F. Liszt
Weimar, August 20th, 1873
134. To Max Erdmannsdorfer, Hofcapellmeister in Sonderhausen
[At present Capellmeister in Bremen; he has rendered good service to the cause of the New-German musical tendency both in Germany and Russia.]
Very Dear Herr Capellmeister,
Your friendly invitation for me to attend the performance of your "Schneewittchen" I am unfortunately unable to accept. Owing to the festivities at the Wartburg it is impossible for me to get away next week. Will you kindly convey to the Princess Elizabeth my regrets as well as my most gracious thanks?
On Sunday, September 28th, I shall have the pleasure of thanking you personally in Sondershausen for arranging and carrying out the extraordinary concert programme. It is my special wish that the two "Faust Episodes" should not be separated—even at the risk of wearying the public for a few minutes with the "Nachtlicher Zug." [Two Episodes from Lenau's Faust (Leipzig, Schuberth).] But this piece does not appear to me altogether so bad…
I beg you again to repeat my sincere praise to the Sondershausen artists who played so admirably here last Monday in the 9th Symphony, and remain, very dear Sir, with marked feelings of esteem,
Yours in all friendship,
F. Liszt
Weimar, September 16th, 1873
Kahnt, Gille, J. Schuberth, Lassen and several other friends of mine are going to attend the Sondershausen concerts on the 28th and 29th September.
The Weimar presentation I will bring you.
135. To Otto Lessmann
Dear Friend,
Best thanks for sending Kiel's "Christus"—a work full of spiritual substance, of noble and fine sentiments, and masterly in execution. Riedel proposes to give a performance of it next winter it Leipzig.
With such a clause as Joachim introduces for the "Novitaten- Concerten"—"that only such composers shall be taken into consideration in the programmes whose renown as artistic representatives of the German nation is established"—Handel, Bach, Mozart, nay even Beethoven, would have come off badly in their life-time!
Whether it is appropriate for the Berlin Hochschule to act in so specially a high and mighty manner remains to be seen. Still it is to be expected that such procedure is likely itself to meet with some other restricting "clauses."
Of the arrangement for 8 hands of the Pastorale and March [From Liszt's Oratorio "Christus."] which I wish to have from you, you will have already heard from Schuberth. Likewise from Kahnt of the couple of pieces from the "Elizabeth."
Au revoir on Sunday, the 28th September, in Sondershausen, where we shall have a curious (sonderliches) Programme. Receive herewith, dear friend, a special invitation, together with the assurance of my friendly attachment.
F. Liszt
Weimar, September 24th, 1873
I shall bring you back your copy of Kiel's Christus toSondershausen.
136. To Kornel von Abranyi
Dear Valiant Friend,
Your letter, and the printed paper of great fame which accompanies it, recalls to me the saying, "La joie fait peur." [Abranyi, who was the Secretary of the Festival Committee which had been formed for the celebration of Liszt's Artist-Jubilee in November 1873 at Budapest, had in their name invited Liszt to take part in this.] Nevertheless I could not suit myself to the role of a coward; I will therefore endeavor to surmount my fear and to make myself worthy to share with my brave compatriots in the joy they have prepared for me.
I beg you, in your capacity of secretary of the Festival Committee, to present my most grateful thanks, in good Hungarian, to the most illustrious and most reverend President, Monseigneur Haynald, [The Archbishop of Kalocsa, afterwards Cardinal, Liszt's friend of many years. (Being interested in the present collection, he promised to contribute to it the letters addressed to him "by the great artist and noble man." His death unfortunately prevented the fulfilment of his promise, and the Archiepiscopal Chapter of Kalocsa did not accede to the request of the editor to be allowed to have these letters.)] and to the members of the Committee.
Baron Augusz had written me word that he would come here in the middle of September, to be present at the "Festspiel" [Festival Play] at the Wartburg. He shall soon receive news from me from Rome, where I shall arrive on Sunday. Schuberth is sending you the score and the piano score of the "Christ," together with the biographical notices for which you asked me. My cousin Eduard will send you the "postscript" immediately.
Cordial friendship and fruitful collaboration.
F. Liszt
Weimar, October 1st, 1873
Herewith the programmes of the 2 concerts at Sondershausen at which I was present. This afternoon I start for Rome,—and on the 1st November shall be at Pest.
137. To Martha Remmert
[A pupil of Liszt's; became later Kammervirtuosin (court-pianist) in Weimar, and lives now in Berlin.]
Pest, December 27th, 1873
Dear Fraulein,
The best "solution" in reply to the ministerial order lies in your hands. Merely play the first page of Henselt's Concerto and no one will doubt that I am very kindly disposed towards you. And I shall be glad to render you further service in your zeal for study and your ambition as a virtuosa. No matter whether I be in Pest or in Weimar.
In all friendliness yours,
F. Liszt
138. To ?
[Autograph without address or date in the possession of Count Albert Amadei in Vienna.—According to him the letter belongs to the year 1873.]
Very dear Fraulein,
Please reply at once per telegram:—"Please do not come.—Liszt does not need or wish to be heard, as he has no one for whom he must strike up."
Tomorrow evening more by word of mouth.
Sincerely yours,
F. Liszt
Monday
139. To Countess Marie Dunhoff in Vienna
[Sketch of a letter in the possession of Herr O. A. Schulz, bookseller in Leipzig.—The addressee, the wife of the German ambassador Von Bulow, lives now in Bucharest.]
[Beginning of January, 1874]
Dear Countess,
You speak to me so eloquently of the merit, talent and superiority of Madame L.B. that I am quite ashamed of not fulfilling her wish subito. But in reality that would be more difficult than she imagines; a "petit morceau de piano" would only be a small part of the matter; the public is a very exacting master, even in its days of favor; the more it gives the more it expects…
Half a dozen such requests as that of Madame L.B. have been addressed to me at Vienna this week. How can one suffice for such a business, which, be it said in passing, is at once outside and far beyond my duties?—At my age one must try to behave reasonably, and to avoid excess; I shall therefore limit myself in Vienna to the one concert of the "Kaiser Franz Joseph Stiftung," [Emperor Francis Joseph Scholarship] which reasons of great propriety, easy to understand, have led me to accept with alacrity. I am told that it will take place on Sunday, 11th January; so be it: I shall willingly conform to the arrangements of the Committee and have no other wish in this matter than…not to inconvenience anybody. [The concert for the "Emperor Francis Joseph Scholarship" did not take place till April; and Liszt did actually play, in the Easter week, for the Countess's protegee, though not in the Concert Room, but in the Palais Auersperg.]
Permit me to hope, dear Countess, that you will not, under the pretext of "discretion," inflict upon me the immense punishment of seeing you less often this time than formerly, and that you will not retract any of your kindness, on which I place the greatest store.
A thousand and a thousand sincere and most respectfully devoted expressions of homage.
F. Liszt
140. To B. Bessel, Music Publisher in St. Petersburg
Horpacs (Chez le Comte Szechenyi), February 2nd, 1874.
Dear Sir,
Pray excuse me for being so late in thanking you,—you and all those who signed the telegram sent to Pest on the occasion of my jubilee fete. I am deeply touched with the noble sentiments it expresses with a chivalrous eloquence, and beg you to convey the tribute of my most sincere gratitude to Messrs. Balakireff, Borodine, Cui, Moussorsky, Rimski-Korsakoff, Scherbatcheff, and Stassoff.
You were kind enough, Sir, to let me see several of their works at Weimar; I appreciate and esteem them highly, and as far as depends on myself I will do all I can to make them known, and shall feel honored thus to respond to the sympathetic kindness which brave colleagues such as these accord to
Their very devoted
F. Liszt
141. To Professor Skiwa in Vienna
[Printed in the Signale, 1874, No. 20.—Skiwa had dedicated his"Beitrage zur Literatur des Harmoniums" ("Contribution toHarmonium Literature") to Liszt.]
Very Dear Sir,
Kindly excuse the delay in my sending you my sincere thanks, which I shall very shortly take the liberty of expressing to you personally in Vienna. I shall then also ask you to do me the favor of making me more intimately acquainted with your excellent transcriptions. In reading them through one at once observes the author's masterly style and his care and artistic handling of the characteristic peculiarities of the harmonium, especially in the management of the basses and the mid-voice parts. But still the mere reading your transcriptions does not satisfy me, and I should like to hear them, so as to be able fully to enjoy them.
Herr Bosendorfer will bring you the manuscript of the"Consolation," the dedication of which is very acceptable to me.The transcription of this small piece into A major appears to mevery appropriate, and the arrangement excellent.
With marked esteem and friendly thanks,
F. Liszt
Pest, March 2lst, 1874
142. TO C. F. Kahnt, the Music Publisher
[Published in the Neue Zeitung fur Musik, 14th September, 1892.]
Dear Friend,
The day after tomorrow I again go to Vienna, and remain there about a week. In case the "Prometheus" proofs are ready send them to me to my usual address ("Schottenhof bei Hofrath E. v. Liszt") by the middle of Easter week; after that my address will be rather uncertain, as I intend spending a few days in Pressburg and Kalocsa (with Archbishop Haynald), and do not return here till after April 20th. Hence, if the "Prometheus" proofs are not ready within the next few days, do not send them till after my return to Pest (April 21).
Please send the proofs of Mihalovich's songs as soon as possible to the composer, addressed to
"Servitenplatz, im Teleky'schen Haus."
The Vienna concert in the "Palais Auersperg" is announced for Easter Monday, April 6th. The following Sunday, or at latest on Sunday the 19th April, the concert of the "Kirchenmusik-Verein" is to be given in Pressburg, at which I take a part in piano- playing—it is to be hoped for the last time this year!—
I think of remaining here from April 2lst to the beginning of May, and then of wandering straightway to Rome, and to the Villa d'Este.
I wish you in all friendliness a happy Easter, with satisfactory business at the Easter's fair, and remain your sincerely attached
F. Liszt
Pest, March 29th, 1874
Have you sent Countess Oriolla the omitted copy of the "WartburgSongs"?
143. To Dr. Franz Witt
[1874?]
I look forward with eager interest to the realisation of your scheme to found a Catholic School of Music. The numerous and important services you have rendered as composer, conductor, teacher, promoter and president of the Cacilien-Verein proclaim and mark you as pre-eminently fitted to organize and direct this highly important kind of School. I should wish that Hungary, my fatherland, might set a good example, and might offer you, my very dear friend, an honorable and influential post in the Musik- Akademie that was voted for last year in the Chamber. This wish of mine was seconded with cordiality by His Eminence the Cardinal Primate, His Excellency the Archbishop of Kalocsa, Haynald, and H. E. Trefort, the Minister of Public Instruction. Various political circumstances interfered with the plan of starting a Musik-Akademie in Pest; but the idea has by no means been given up, and I have still the hope that you may yet at some future day be called upon to give your powerful assistance in connection with the teaching and practice of Church music in Hungary.
144. To Professsor Carl Riedel
Dear Friend,
As at all preceding Tonkunstler-Versammlungen, you have again this year in Brunswick done the best that was possible. [The Meeting took place in Halle, instead of in Brunswick.] Five concerts sound almost alarming, but the programmes are drawn up and arranged with so much forethought and care that your master- hand and that indescribable "with avec" (as dear Frau Dr. Pohl called it) are at once to be recognised. It certainly was advisable to check the "democratic movements" of the orchestra without interfering with the well-meant "command." That the Sondershausen set continue to prove themselves reliable and friendly I am delighted to hear. I wish all possible success to Erdmannsdorfer's "Schneewittchen." The youthful and captivating Frau Kapellmeisterin Erdmannsdorfer is especially capable of doing justice to Raff's Trio (or Concerto) and other pianoforte pieces. [Pauline Fichtner, who married Erdmannsdorfer, was a pupil of Liszt's, and became court-pianist at Weimar and Hesse.]
Will Bulow be able to be present? We have not written to each other for some time past. Do you know where to address him just now?
In case my Faust Symphony is given at the 5th concert (as your programme announces), I beg you to ask Bulow to be conductor. This work has become his property since he conducted it so magnificently at the Weimar Tonkunstler-Versammlung ('61), when the whole orchestra was amazed and astounded at his fabulous memory. You will remember that not only did he not use a score, but at the rehearsal referred to the numberless letters and double letters with unerring accuracy.
With regard to two other matters I wish: A, that Steinway may have the kindness to lend one of his excellent harmoniums for the Hunnenschlacht, and that the instrument may be so placed as to be invisible to the public and yet distinctly heard. B, that the performance of the Sanctus from the Mass for men's voices be taken from the editio nova (published a few years ago by Hartel), and not from the earlier edition. Here, too, Steinway's harmonium would render excellent service, visible and placed close to the chorus. Perhaps our friend Stade would have the kindness to play the harmonium part of the Hunnenschlacht and of the Sanctus.—
I truly regret that I shall not be able to hear that sublime, grand and overpowering Requiem by Berlioz, nor to attend the Musical Festival in Brunswick. I am physically and mentally very exhausted, and need several months' rest; besides my remaining away from Weimar forbids me from meanwhile visiting any other German towns.—Before the middle of May I shall go direct to Rome, and remain there till the end of the year in my former residence at the Villa d'Este (3-1/2 hours from Rome).
With friendly greetings to your wife, I remain, Yours ever in esteem and sincere attachment,
F. Liszt.
Pest, April 17th, 1874
Accept my best thanks for cancelling my promise to Metzdorff (in regard to the performance of his Symphony).
I agree perfectly, of course, with your desideria fog the Musik- Verein, and hope next year to be able to contribute something towards their realisation.
"In patientia vestra possidebitis animas vestras."
To Kahnt I wrote at once on my return from Pressburg on Monday.
145. To Dom-Capellmeister [Cathedral Conductor] Dr. Franz Haberl in Ratisbon
[This letter, like the subsequent one to Haberl, is a copy of the draft of a letter of Liszt's by Dr. Mirus in Weimar.—Haberl is a distinguished musical scholar (born in 1840).]
[1874?]
Pardon me if I again come with claims upon your kindness. You may know that I am working at an Oratorio on St. Stanislaus, and perhaps might be able to give me some assistance with it by communicating to me the liturgic hymns referring to the feast of St. Stanislaus. The Enchyrydion and Directorium Chori designate the Mass, Protexisti, etc., on May 7th. To receive fuller information from you on this point would greatly oblige me. [Haberl also gave Liszt aural communications regarding the Stanislaus legend. "On one occasion," says Haberl, "Liszt was specially and greatly delighted to hear of the man whom Stanislaus summoned out of the grave as a witness that the field had been paid for, and gave me a sketch of his proposed motives and tone pictures."]
Pray accept, reverend Sir and friend, the expression of my marked esteem, and believe me yours gratefully and sincerely,
F. Liszt
146. To Professsor Carl Riedel
Dear Friend,
Herzogenberg's [Formerly Director of the Leipzig Bach-Verein, then Kiel's successor at the Berlin Hochschule, which post he lately resigned.] "Deutsches Liederspiel pleases me very much. The very first chorus with its mixed species of tempi 6/4-3/2 and 6/4-3/2 is fresh and pithy, and the whole work seems to me. excellent, pleasant and effective. Hence I should much like to recommend its being performed.
Where does Herzogenberg live? Has he any appointment anywhere? Let me know, when you can, something of his former and present work.
(N.B.—It would be worth while, later, carefully to arrange the"Deutsches Liederspiel" for orchestra.)
I observe with special pleasure that Grutzmacher has chosen a Suite of St. Saens'. St. Saens will not, however, be able to come,—the less so as a few years ago his appearance in quite a harmless concert in Baden-Baden brought down upon him hideous rebukes and reproaches from the Parisian Press. And the tone in France is not yet more temperate; still it is right that German artists should prove themselves fair and just towards foreigners, and, as long as Auber's and Gounod's Operas are given in all German theaters, I see no good reason against considering and performing other works by French composers. Among modern composers I regard St. Saens as the ablest and most gifted.
I am much satisfied with the choice you have made of my things, dear friend, and thank you cordially for it—at the same time I must express my sincere regret that I am unable to attend the Tonkunstler-Versammlung, and remain, with much esteem, yours most sincerely,
F. Liszt
Pest, May 5th, 1874
147. To Princess Julie Waldburg at Castle Wurzach
Madame La Princesse,
I feel that I am quite inexcusable. You have been so kind as to send me some charming Lieder, and to accompany them with the most gracious lines in the world. How could I fail to thank you for them immediately? What rusticity!—Deign to think of this no longer, Princess; and permit me not to "judge" your songs,— magisterial competency would fail me utterly,—but to tell you that I have read them with much pleasure. The one of which the style and impassioned accent please me particularly is dedicated to Mme. Ehnn—"Liebeshoffnung"; but I do not mean to depreciate the others.
The oriental interval of the augmented fourth, which I scent in the "Mondlied," would be written, I think, more simply thus:—
[Here, Liszt writes a 2-bar musical score excerpt]
and further on
[Here, Liszt writes another musical score excerpt]
(C instead of B-sharp). And to prove to you, Princess, my attention in reading your works, I will venture to observe to you that in the French Romance "Comme a vingt ans" the prosody is neglected in the third couplet. Instead of the printed version (with two syllables omitted) it should run something like this:—
[Here, Liszt writes a 7-bar musical excerpt at the point where the words "Je vis le len—de—main, non plus au hord de l'onde mais as—si—se as che—min la jeune fi—le blonde" are sung.]
If I still had, as in Vienna, the honor of finding myself in your neighborhood, I hope you would grant me a word of indulgence; and meanwhile, Madame la Princesse, I venture to beg you to accept the most respectful homage of
Your very humble and inexcusable servant,
F. Liszt
Pest, May 10th, 1874
148. To Peter Cornelius
Dearest Friend of my Heart,
Again a request. You alone can help me, and give me in German a faithful poetical rendering of Lamartine's "Hymne de l'enfant a son reveil."
Years ago I used to sing this hymn, from my inmost heart, to my three children; you remember them…
And now the composition (what an unknown word for it!) is to appear in print, and the publisher Taborszky in Pest will send you my manuscript together with a copy of the poem. In case any prosodical alterations should seem appropriate, be kind enough to write them down distinctly in notes on a separate sheet of paper.
Tomorrow I travel direct to Rome, and shall spend the summer and autumn in the Villa d'Este (Tivoli). There, at length, our "Stanislaus" shall be pushed forward. [Cornelius translated the text to the Oratorio "Stanislaus."]
With friendliest greetings to all your circle, I am, dearestCornelius, ever your heartily devoted
F. Liszt
Pest, May 16th, 1874
149. To A.F. Eggers in Liverpool
[From a copy of the draft of a letter by Dr. Mirus, Weimar.]
[Villa d'Este, June 21st, 1874]
Dear Sir,
Your friendly communication rests upon a harmless mistake. You do not seem to know that for 26 years past I have altogether ceased to be regarded as a pianist; hence I have for a long time not given any concerts, and only very occasionally played the piano in public, for some very special reason, to aid some charity or to further some artistic object, and then only in Rome, Hungary (my native country), and in Vienna—nowhere else. And on these rare and very exceptional occasions no one has ever thought of offering me any remuneration in money. Excuse me therefore, dear Sir, that I cannot accept your invitation to the Liverpool Musical Festival, inasmuch as I cannot in any way think of wearying the public with my "whilom" piano-playing.
Respectfully yours,
F. Liszt
150. To Walter Bache
Dear and Honored Friend,
I am often with you in kindest remembrance and cordial sympathy with your admirable efforts, but unfortunately I rarely get any letters written to the friends I value most, for my time is wasted with a number of wearisome and useless notes. I have just despatched one of this sort to a Mr. E. in L. The good man invites me to the Festival to be held there, asks me to consider the matter, and even offers me a remuneration in money for playing—without imagining that I have anything else or better to do than to accept such invitations. To me concert tours would be absolutely senseless; to fulfil my duties in Pest and Weimar gives me trouble and interruptions enough. All the other things need not be enumerated.
The summer and autumn (till my return to Pest in January '75) I mean to spend here quietly and at work. Last Monday and Tuesday I had the special pleasure of a visit from Bulow. And we thought of you in all friendship.—Bulow is now going to Salzungen (near Meiningen) for a couple of months, to recover from the terrible fatigues of his concert tour, and next October goes again to London.
Remember me most kindly to Mr. Dannreuther with assurances of faithful attachment, and do me the favor to give the enclosed notes of thanks to Messrs. Hueffer and Gounod.
Our very able and dear patroness, Madame Laussot, told me that you, dear Bache, will probably soon be wandering towards Italy.
A hearty welcome, therefore, to the old place where again is resting your old and sincere friend,
F. Liszt
June 2lst, 1874
(Villa d'Este,—Tivoli, per Roma—Italia.)
151. To Dr. Franz Witt
[Villa d'Este, Early Summer, 1874.]
Much-esteemed Sir and Friend,
The lively recollection I entertain of the truly edifying Church- music performances in Eichstatt under your direction [On the occasion of the 3rd General Assembly of the Cacilien-Verein in Eichstatt, August 1871] increases my regret that I am unable to accept your friendly invitation to the 5th General Assembly of the Cacilien-Verein in Ratisbon (between the 1st and 7th August) [The Assembly was held on the above-mentioned days.]. A wearisome piece of work will keep me here till my return to Pest in January '75. Next summer, however, I hope again to pay you a visit, and to gather excellent precepts and examples from you. Meanwhile I am reading your Essays with peculiar satisfaction, and more especially your com-positions in the "Musica sacra" and the "Fliegende Blatter." "Fliegend" [flying] must here be taken in the higher, angelic sense; in the latter sense O salutaris hostia sounds altogether comforting Musica angelorum, such as pleasantly animates all your Church tone-works.
152. To Dr. Franz Haberl
[A portion of this letter is printed in Dr. Mirus' brochure, "Das Liszt-Museum in Weimar" (1892), which contains many interesting relics of Liszt.]
[Villa d'Este, Early Summer, 1874.]
Much-esteemed Sir and Friend
To my sincere regret I find myself prevented from attending theCacilien-Verein in Ratisbon.
The efforts and performances of the Verein I follow with the deepest interest, and anticipate that its promoters—who are so capable, careful and learned—will accomplish all that is truly of advantage in Church music. And in this Ratisbon has for many years past deserved to rank first, and you, my much-esteemed friend, deserve the fullest recognition that can be offered for the abundant services you have rendered in the cause. Accept my grateful thanks for kindly sending Vittoria's Missa pro defunctis, [A six-voiced Requiem given by Dr. Haberl at the 5th General Assembly of the Cacilien-Verein in Ratisbon in 1874, and published in the "Musica divina," Annus II., Tom. I, by Pustet] which was brought to me by the Chaplain of the Anima Church. Will you be so kind as to get Herr Pustet to send me also, through Leukoch, [Perhaps ought to read Leuckart?] "Mannuale breve canticum," etc.? [A little book of Chorales by Joh. Georg Mettenleiter]
In spite of the grievous news of your continued sufferings I do not give up the hope of seeing you here again soon, and of taking all friendly care of you; and you shall not in the least degree be troubled or wearied; merely recruit from your over-exertions by living simply and comfortably amid quiet and congenial surroundings.
Hence I take the liberty again of inviting your Reverence to spend the next months with me here in the Villa d'Este, where you will find rest, quiet and cosiness, mild air, glorious scenery, pleasant walks, good eating, good wine, books, music, pianos to make use of ad libitum, and a temperature mentally agreeable.
Cardinal Hohenlohe requests me to say that you will be heartily welcome, and this message is communicated with unmixed pleasure by your very respectful and sincerely grateful
F. Liszt
153. To Edmund von Mihalovich
Very Dear Friend,
Your Prologue to the Nibelungen in course of performance at the Walhalla-Roszavolgyi has royally amused me. [A joke of Mihalovich, who had nicknamed several mutually known people with the names and characters out of the Nibelungen] I wish that Wagner may find in Messrs. Betz, Scaria, Niemann, etc., interpreters as well suited to their roles as Richter-Wotan, Dunkl-Loge, Abranyi-Thor and Gobbi-Mime.
At Bayreuth "fervet opus" The preparatory piano rehearsals are going on; celebrated artists are growing thick on the ground, like the suitors at Penelope's court. Joseph Rubinstein suspends his commercial occupations, and returns from Cracow to drive the four-in-hand accompaniment of Rheingold. The architects, painters, decorators, machinists, costumiers and their people are continuing their work; therefore, in spite of difficulties and obstacles, the great work of Art of this century—Wagner's Tetralogy of the Nabelungen—will come to pass, and I hope to be present at the first performance with my very dear friends Mi and Do. [Mihalovich was called Mi by Liszt, and Count Apponyi Do.]— Meanwhile let us go on patiently at our own modest work, and endeavor to make it as suitable as possible. Next winter we will make an exchange of our latest sheets of music. I will bring a pretty thick packet to Sir Hagbar. [An Opera by Mihalovich (Hagbar and Sigurd)]
Schuberth promises me the "Geisterschiff" in the autumn; we will then launch it at once with Sgambati, who has just composed several Lieder, exquisite in sentiment. I have recently written, as an Impromptu, without any forethought, an Elegie in memory of Mme. de Moukhanoff, entitled "Schlummerlied im Grabe" [Slumber Song in the Grave.]
Your kind wishes for my repose are being realised here. I pass my days very peaceably, and my evenings alone, in reading, writing or playing. Since the departure of Bulow, who gave me his most eminent company for two days (in the middle of June), I have, so to say, seen nobody. He is now making his villeggiatura at Salzungen near Meiningen, returns to England in the month of November, and will not go to America till the autumn of '75.
Pay me a visit sometimes in thought, dear Mi, and believe me ever your very cordially devoted friend,
F. Liszt
Villa d'Este (Tivoli), July 30th, 1874.
Let me hear something about Do and Horpacs. [An estate of CountEmmerich Szechenyi, the former Austro-Hungarian ambassador inBerlin, whom Liszt frequently visited.] I will write to themlater.
154. To Peter Cornelius
[The letter is addressed to Neuenahr, where Cornelius had gone for a water-cure, shortly before his death. The translation of the Cacilia-legend he did not accomplish.]
Dear and valued Friend,
You have again presented me with a marvellous gift. Your German translation of Lamartine's "Hymne de l'enfant a son reveil" is exquisitely successful, and retains all the fragrance and aroma of the original poem.
"Kein Wurmlein vergissest Du…Das Zicklein an Staude undBeere…Am Milchkrug Mucklein saugt den Saft…Und die Lerche dasKornlein picket."…
["No worm dost Thou e'er forget…The kid amid the shrubs and berries…The fly that sips the sweetest juice…And the lark that pecks the blade of corn."…]
All and everything fits in so exactly with the music, syllable by syllable, that it seems as if the poem and music had sprung up together. Verily, dear friend, you are an extremely kind and most perfect magician. Now do not be vexed with me if my grateful appreciation of your skill should prove somewhat covetous, and I again ask you to do me a favor. A little French poem of 48 short lines, "Sainte Cecile, Legende," by Madame Emile Girardin (Delphine Gay) is awaiting your poetic courtesy. Allow me to send you my finished composition of this Cacilia, the musical foundation of which is furnished by the Gregorian antiphone: "Cantantibus organis, Caecilia Domino decantabat." It is to be hoped that I have not spoilt it, and I trust to your friendly kindliness to send me a German translation of it before the next Cacilia Festival (22nd November), soon after which it shall be printed, and a performance of it given in Pest.