Chapter XIII: Part 13

I, for my part, shall not stir from the Altenburg, where I am reckoning on finishing my Elizabeth, and on living more and more as a recluse--indeed, even a little like a bear--but not in the style of those estimable citizens of the woods, whom the impresarii of small pleasures degrade by making them dance in the market-places to the sound of their flutes and drums! I shall rather choose a model ideal of a bear--be sure of that--and the flutes and drums which might lead me into the slightest future temptation of cutting capers have still to be invented.

Will you be so good, dear Mademoiselle Inga, as to present my very affectionate respects to Madame, your mother, as well as my best remembrances and compliments to la Sagesse Olivia--[Liszt's name for the sister of Ingeborg Stark] and believe me invariably

Your very devoted

F. Liszt

Weymar, November 2nd, 1859

224. To Johann von Herbeck.

Dear Friend,

I only returned a few hours ago from Zwickau, and find your friendly letter here, in reply to which I must excuse myself for not having been able to fulfill your wish so soon as I had intended, in respect to the Schubert Marches. This delay, which was very unpleasant to me, was occasioned by an indisposition which obliged me to keep my bed for a whole week at the end of October. The Weymar and Jena Schiller Festivals, following on the top of that, made it utterly impossible for me to get on with the instrumentation of the Marches. But I promise you that you shall have the score by Christmas at latest.

"Prometheus" will present himself to you by the end of this month. If after looking through the score, dear friend, you think the work suitable for a performance in Vienna, I shall be glad. If not, I beg you to tell me so with perfect candor, and without the slightest scruple of thereby wounding my vanity. Whether the stomach of the critics and of the public will be able to digest such a liver cut out of the vulture as this of my "Prometheus," or whether at the very first bars all will not be lost, I cannot determine; but still less would I prepare superfluous disagreeables for you by the performance of my "Tonschmiererei;" [Tone-daubing] of such ill-odor from the beginning!

Decide therefore entirely according to your own judicious opinion--and, whatever that may be, rest assured of the sincere acknowledgment and esteem with which I remain

Yours in all friendship,

F. Liszt

November 18th, 1859

225. To Dr. Franz Brendel

Dear Friend,

Of the three prize essays (which I return to you herewith) the one with the motto "Try all things and maintain the best" is, according to my opinion, very significant and suitable to the definite solving of the question. The writer develops his thesis with so safe, so rightly apprehending, and so far grasping a logic that it shows convincingly that the now indispensable practice is in complete union with the results of the theory. It is to be hoped that our excellent colleague and friend Lobe will also give his weighty judgment in favor of this prize essay, and will also scientifically explain his motives for doing so--for I cannot suppose that Lobe is in agreement with the opponents of the enharmonic system, whose theory would make us have to do musical penance.

In the two other essays with the mottoes "Our eyes see, but they require the light to do so," and "Look, this is what man has done!" there is much that is true and worthy of consideration (especially in the former), which might be made prominent after reading through all the essays sent in.

Come to an understanding next with Lobe about the final business of the causes for the award of the prize, and let me have a draft of it. It cannot be otherwise than profitable if the affair is treated somewhat exhaustively and thoroughly, which you, dear friend, in conjunction with Lobe and Weitzmann, are much better able to do than my humble self, since I, as Hauptmann justly observes, should appear to be too much prejudiced by my own practice. In matters of harmony, as in other greater matters, I believe also that Nature is in everlasting union with Genius.

"What one promises, the other surely performs." And Beethoven was quite right to assert his right to allow that which was forbidden by Kirnberger, Marpurg, Albrechtsberger, etc.!--Science must only investigate more and more the nature of things and the freedom of genius, and become experienced in their further development.----- -----

Ever faithfully yours,

F. Liszt

[Weimar,] December 1st, 1859

I quite agree with your project of giving two prizes. The first prize will be awarded to the above-mentioned treatise, unless, which I doubt, a still more successful one should be sent in.

226. To Anton Rubenstein

Certainly, my very honored friend, I shall not leave off taking a very sincere and loyal part in the unfolding of the career that you are pursuing with such rare prowess, and all that you can tell me of your doings in composition and musical conducting will always find in me a lively interest. Thank you, therefore, for your nice letter, which contains also a promise which I shall be very much pleased to see you fulfill--namely, that of your visit next spring, in company with your Opera in four acts--and probably also with your "Song of Songs," which you do not mention to me, but which I am none the less desirous, on that account, of knowing.

Have you thought well to give your "Paradise Lost" at St. Petersburg? I urged you strongly to do so, for it is a capital work, which does you great honor, and the place of which seems fixed in your concerts. And on this subject allow me to compliment you very sincerely upon the idea (all the less frequent as it is just) which has been uppermost in the distribution of the programme of these concerts. If it continues to predominate, and if in effect they take it into their heads at St. Petersburg to do justice (as you tell me) "to all the masters of all schools and of all times" (not excepting our own!), the famous verse

"'Tis from the North that light comes to us today"

will be justified, and even by Music! In France and Germany we are far from this--and classical Pharisaism swells its voice there to make a diversion to Mercantilism, that rich disgraceful one, who succeeds perfectly well in making the principal papers and their numerous readers dance to the sounds of his harsh flute, whilst his antagonist (Pharisaism) only ends in "Improperias" and "Jeremiads"...not composed by Palestrina!

Your choice of the introduction to the second act of the Fliegender Hollander seems to me an excellent one, and I shall get the score (of this scene) copied for you, as it is very difficult to get a complete score of the Opera, and as I only possess the autograph, with which it would be a matter of conscience to me to part. In about a fortnight I will send you what you want for your programme.

Princess Marie Hohenlohe is at the present time at St. Petersburg, and will be much delighted to see you again. Her husband does a good deal in the way of music, and plays several "Lieder ohne Worte" of his own composition very nicely. He and his wife will assuredly have pleasure in being amongst the first to applaud at the time of the performances of your Opera in Vienna.

A revoir then, my dear Rubinstein, in the spring--and ever yours in sincere esteem and affection,

F. Liszt

Weymar, December 3rd, 1859

P.S.--When you see Mademoiselle Ingeborg Stark, please give her my very affectionate remembrances. If her journey from Paris should bring her back by Weymar she would be sure to find me there; for, in spite of what the papers say, which, among other fancies, have taken it into their heads to make me travel hither and thither, I shall not stir from here for several months, but continue to work my best--if only to prove to the "kindly critic" and the idlers that it is very much to be regretted that I should have taken it into my head to turn composer!--This recalls the proverb, "On devient cuisinier, mais on nait rotisseur!"

[There does not seem to be any equivalent to this proverb in English: the nearest approach to it is, perhaps, "A poet is born, not made."]

227. To Dr. Franz Brendel

Dear Friend,

It is of great consequence to me not to delay any longer the publication of my "Gesammelte Lieder." Forgive me, therefore, if today I am somewhat troublesome to your friendship..--.

It seems to me that the best plan would be if, before you confer with Herr Schulze, you would first have a consultation with Klemm, and come to a thorough understanding on the matter with him. [Liszt evidently wished to have the songs engraved first at his own cost, and to let Klemm undertake the sale on commission.] Beg him also, in my name, to show a friendly sympathy to the work. The songs can hold their ground in their present form (regardless of the criticism of our choking and quarrelling opponents which will infallibly follow!); and if a few singers could be found, not of the raw and superficial kind, who would boldly venture to sing songs by the notorious non-composer, Franz Liszt, they would probably find a public for them.

I think I told you that a couple of them made a furore in certain salons which are very much set against me, as posthumous songs of Schubert, and were encored!--Of course I have begged the singer to carry the joke on further.

Klemm need not therefore be in the least ashamed of undertaking the publication of the work in a friendly spirit.

Best thanks beforehand for your kind trouble in this matter--and ever faithfully yours,

F. Liszt

Weymar, December 6th, 1859

P.S.--I have just received your letter. The two K.'s--Kompel and Kahnt--shall be made most welcome. Pohl had already told me of Kahnt's coming; it will be a pleasure to me not to verlangweilen [To make the time hang heavily] his visit here (if that word is not quite German, still I consider it is comprehensible!). Julius Schuberth had also the intention of rescuing something [Namely, Liszt's composition] from Kuehn. [Music publisher] Your idea of giving Bronsart the conductorship of the Euterpe Concerts is a most excellent one. I suppose the letter which I wrote about this to P. Fischer (to your address) came to hand (?). The day before yesterday I also let Bronsart know that possibly some favorable openings might occur for him in Leipzig, and recommended him not to neglect them. Bronsart would be just in his right post in Leipzig, and I do not doubt that he would in every respect maintain it in the most honorable manner. In addition to this, it would be especially agreeable to me to begin constant intercourse with him as my next neighbor. He is now working at his Opera, and sent me a little while ago the libretto which he has himself composed to it, and which seems to me very successful in the most important scenes, as well as in the dialogue. [It was afterwards composed by his wife ("King Hiarne").]

Address your letters to "Herr von Bronsart, c/o Herr General von Bronsart, Commandant of Dantzig, Dantzig."

In consequence of the performance of my Mass in Munich (on the King's birthday, at the end of November), which, as I am told on many sides, was well given and--which seems wonderful--was acknowledged by many musicians there to be a work of importance-- so that even Lachner spoke favorably of it--the "Allgemezne" Zeftung again breathes forth poison and gall (supplement of 3rd December), without forgetting therewith the "Neue Zeitschrift fur Musik." I should like to take the opportunity of making this pack of critics, such as W., B., G., B., and whatever all the assistants' assistants are called, understand the following thoughts as Xenie:--[Epigram]

"Ye break your staff over me, but your staff has indeed long since become rotten from all the dust and dirt that stick to it, and it scarcely serves any longer to cut the air!"

Tell this idea to Lohmann--perhaps he may be inspired with a happy rhyme for it.

I cannot say anything better to you about Pohl than what you tell me.--

Herewith, for your private delectation, is a copy of some lines from my letter to Herr Gustav Eggers (in Berlin), brother of the well-known Art-journal Eggers, now very much concerned in the Prussian paper. Gustav E. was here at the September Festival (1857), when he heard the Faust Symphony, and sent me lately a very pretty book of songs, begging me to recommend them to Hartel.--Send me the little paper back soon.

228. To Eduard Liszt

By the loving friendship which you have shown me, especially during the last decade in which so many trials have been laid on me, our close relationship in heart and character has been for ever firmly sealed, dearest Eduard. You are, and will ever be to me, a support and a courage-giving comforter in the battles and straits of my life. God grant me grace to go through them without wavering, as a faithful servant of the truth in Christ!

You have decided upon just what is most right and suitable in the arrangement of the funeral ceremony of my son. [He died in Vienna, where he was studying law.] The selection of Terziani's Requiem was a very suitable one under the existing conditions. I thank you for everything from the depths of my soul!

I shall write a couple of lines to Herbeck tomorrow, and send him at the same time the score and parts of the "Prometheus," as well as two Marches of Schubert which I have instrumented for him. The sending off of this parcel has been delayed by the circumstance that it was necessary to have the whole score of the "Prometheus" written out afresh, and to make some alterations in the parts. The earlier score was indeed sufficient for me--but any strange conductor would scarcely find his way through it. I hope Herbeck will be pleased with the instrumentation of the Schubert Marches. I fancy I have been successful in this little work, and I shall continue it further, as it offers much attraction to me. The four other Marches will follow shortly, which should make the half- dozen complete.

Cornelius arrived here the day before yesterday. His friendly attachment to you is a very warm and sincerely devoted one. On me Cornelius's pure mind and thoroughly honorable disposition always have the most beneficial effect; but it is especially welcome to me just now to hear more of you from him, and thus to be more with you.

Be as good to me as you are dear to my heart!

F. Liszt

Weymar, December 28th, 1859

229. To Josef Dessauer

[Autograph in the possession of Herr Von Hannen, painter in Venice.--The addressee ("Maitre Favilla," as George Sand named her friend) was known as the composer of refined songs (1798- 1876). Three of these Liszt transcribed (1847, Berlin, Schlesinger).]

Dear honored Friend,

It is possible that the delicacy of your perception may have brought you much trouble, but it assures you a soft place in the better region of the heart of your friends. This I again felt in reading your dear letter.

Accept, therefore, the heartfelt thanks of your old friend, whose "manly formed nature" must further prove itself; he has still many duties to fulfill and more than one battle to fight. May the Cross remain his support, his strength, and his shield!

Whatever fatality also may hang over me, be assured of the faithful attachment of your

F. Liszt

Weymar, December 30th, 1859

The crucifix from you (after the Gran Mass) has grown still dearer to me!--

When I have finished with some works which cannot be postponed any longer, Daniel shall receive his Requiena.

230. To Wilkoszewshi, Secretary of the Concerts of the "Hofcapelle" in Munich.

[From a copy in Liszt's own handwriting (amongst the letters to Brendel)]

Dear Sir,

The performance of new works on the part of so renowned an orchestra as that of Munich must ever remain a mark of special attention for the composers. But I must rate it still higher that, in face of the strong prejudice against my name, one of my ill-famed Symphonic Poems should have been included in the programme of the concerts of the Munich Hofcapelle.

It is ill preaching to deaf ears, and it is well known that there is no worse deafness than that of people who will not hear. Hence it is that the Festklange, as well as the Mass and everything that I and others better than my humble self have been able to compose, is prejudiced. But the more unseemly and malicious factiousness may show itself against new works, the more am I laid under a grateful obligation to those who do not accept as their artistic criterion the injustice inflicted on me.

Time levels all things, and I can quietly wait until people are more occupied in learning to know and to hear my scores than in condemning and hissing them. Mean-spirited, blackguard tricks, even when played in concert-rooms and newspaper reports, are no arguments worthy of a lasting import.

I beg you, dear sir, to convey to General Music-Director Lachner my best thanks for his well-meant sentiments towards me, and I remain, with high esteem, yours very sincerely,

F. Liszt

Weymar, January 15th, 1860.

231. To Johann von Herbeck.

[Received, according to him, on January 26th, 1860]

Dear Friend,

On getting back from Berlin yesterday evening I find your letter, which has given me especial pleasure by the assurance that the "Prometheus" choruses and, the instrumentation of the "Schubert Marches" fulfill your expectations. You shall very shortly receive two more "Schubert Marches" (the "Funeral March" in E flat minor, and the "Hungarian March" in C minor out of the "Hungarian Divertissement". [Op. 40, No. 5, and "Marcia" from Op. 54] They could be played one immediately after the other.

The "Prometheus" choruses, together with the "Symphonic Poem" which goes before them (and which has been published by Hartel as No. 5), were composed in July 1850 for the Herder Festival, and were performed in the theater here on the eve of that festival. My pulses were then all beating feverishly, and the thrice- repeated cry of woe of the Oceanides, the Dryads, and the Infernals echoed in my ears from all the trees and lakes of our park.

In my work I strove after an ideal of the antique, which should be represented, not as an ancient skeleton, but as a living and moving form. A beautiful stanza of Andre Chenier,

"Sur des pensers nouveaux faisons des vers antiques," ["On modern thoughts let us fashion verses antique."]

served me for precept, and showed me the way to musical plastic art and symmetry.

The favorable opinion you have formed of the work in reading it through is a token to me that I have not altogether failed--I hope that the performance will not spoil your sympathy for it. I leave the direction, with the utmost confidence, entirely in your hands.--You always hit on the right thing, and navigate satisfactorily with your entire forces the occasional difficulties of the dissonant entries, and of the pathetic delivery which is absolutely essential in several places. It would certainly be a great pleasure to me, dear friend, if I could be present at the performance in Vienna on the 26th February, to enjoy your intelligent and inspired performance, but I am prevented from doing this by various circumstances (an explanation of which would lead me too far).

I beg you therefore not to induce the directors to invite me, because I might not be in a position to make my excuses. So please do you undertake the office of unchaining Prometheus in Vienna; this labour of Hercules will become you well [Footnote below]. There are certainly no powerful eagles to hack and rend in pieces the Titan's liver--but there is a whole host of ravens and creeping vermin ready to do it.--Once more best thanks and greetings from your most highly esteeming and very devoted

F. Liszt

[It took place on the 26th February, 1860. Herbeck notes as follows about it in his diary: "Prometheus, Symphonic Poem, pleased fairly. Chorus of Tritons pleased extremely. The Vintagers' and Reapers' choruses and concluding chorus pleased, but of course there was a formally organized opposition hissing. They had sworn the overthrow of this music, without even knowing a note of it."]

232. To Dr. Franz Brendel.

So then it has happened well that the editor of the Neue Zeitschrift has also become the editor of my "Gesammelte Lieder." Best thanks, dear friend, for the means you have taken to promote this. Kahnt has only to come to an understanding with Schlesinger; I on my side do not wish to place any limitation on his rights. Whether a transcription of this or that song may be made I do not know; if this should be the case I will only beg Kahnt to let me know of any such chance transcriptions before allowing them to appear, mainly because it would not be pleasant to me if any really too stupid arrangements should come out. This is only a matter of artistic consideration--beyond that I have neither restriction nor reservation to make to the proposed edition. As soon as Kahnt is in order with Schlesinger I am satisfied with everything. This or that song may then appear singly, or transcribed for guitar or zither; so much the better if Kahnt can thereby make it pay. N.B.--I should be glad if, in bringing out the songs singly, the same outside cover could be employed as in the complete edition, on account of the index. Probably Kahnt will say nothing against this, as the back of the cover serves as an advertisement of the entire collection of songs.

Yesterday evening Fraulein Berghaus (a daughter of the Potsdam professor) sang two numbers, Freudvoll and leidvoll and Es muss ein Wunderbares sein (out of the sixth part), at a concert given by Singer and Cossmann. I had indeed forbidden it, because this winter I will not have my name put on any concert programme at all--but her exquisite delivery of these songs, which were also received with approbation, reconciled me to it.

At the last Court concert in Berlin Fraulein Genast [A highly gifted singer, afterwards Frau Dr. Merian in Weimar] selected the "Loreley" as her concluding song, and the Frau Princess Victoria expressed herself very favorably about it, remarking that a Schubert spirit breathed in the composition. One of these days Fraulein Genast is again singing the "Loreley" at the Philharmonic Concert in Hamburg. Otten has specially begged her to do so. The same gentleman wrote about eighteen months ago to Frau von Milde that he must beg to remark "that in regard to the choice of compositions to be performed Robert Schumann is the extreme limit to whom his programme could extend!"

I cannot quite remember whether I sent Gotze a copy of my songs. Please ask him, and if I have not yet done so let me know. Gotze has a special claim to them, for in earlier years he had the courage to sing several of my nonentities--and I will see that he has a copy at once. At the same time ask Fraulein Gotze also whether she has received the copy of the Ballade Leonore. [Liszt had composed this melodrama for Auguste Gotze, and frequently performed it, as well as his later melodramas, with her.] From several places (and quite lately from Carlsruhe and Brunswick) orders for this Ballade have come to me, which--between ourselves--are not convenient to me. My copyist has already had to make at least nine copies of it, which is a pretty good expense. Nevertheless a tenth shall willingly be made, if the one which was intended for Fraulein Gotze did not reach her, of which I am somewhat in doubt, owing to the many demands which the Leonore has brought with it, and which have made me somewhat confused.

It would really be the best for me if Kahnt or Schuberth would save me the trouble of making further copies by publishing the "Leonore". But I should not wish in any way to incommode the publisher, and certainly not to offer anything without knowing that it would be welcome. Under present circumstances a very pronounced reserve has become my rule. My business is simply to continue working unremittingly, and quietly to await the rest.

Accordingly I submit myself without difficulty to your experience as editor in regard to my Munich letter [To Wilkoszewski]-- although I could maintain good grounds for publishing it. Certainly it is always the gentlemanly thing entirely to ignore certain things and people. You may therefore be quite right in putting aside all other considerations; and as I am convinced of your most sincere friendship I willingly leave you to decide whether my coming forward in such matters is of use or not. In case you had thought it advisable for my letter to be printed in the "Neue Zeitschrift" (which I left to your judgment), it would have had of necessity to be printed without the slightest alteration, because I have purposely written it thus clearly to Herr W., and any alteration in it might be taken as cowardice (which is far from me). But probably it is better to abandon the matter for a while, and to be somewhat more severe on another occasion. The pack of ragamuffins has richly deserved to be treated as ragamuffins!

This evening is Wagner's first concert in Paris. I expect little good to him from it, and consider such a step on Wagner's part as a mistake. In consequence of this opinion our correspondence is for the time suspended. More about this viva voce--as well as about "Tristan and Isolde." A performance of the Opera was desired--that is to say, commanded for the 8th April (the birthday of the Grand Duchess). But Frau von Milde cannot undertake the chief part--and on that account the parts and score sent to us from Carlsruhe will be sent back again at once!

Has Wagner given his opinion more decidedly about a "Tristan" performance in Leipzig? Can you let me know the contents of his letter?

With heartfelt greetings, your

F. Liszt

Weymar, January 25th, 1860

If you should see Schuberth, tell him that I have something to communicate to him that would perhaps repay him for the trouble of coming to see me here for a couple of hours. I have no intention of coming to Leipzig for the present. Tell him that delays of this kind make me "nervos" [nervous] (He knows what the word "nervos" means with me.)

233. To Friedrich Hebbel

[Communicated by Dr. Felix Bamberg, from the original]

The words which you write to me bear the two-fold eloquence of the praiseworthy man in the fore-rank of Art, and of the friend dearly loved and highly respected by me. Accept my warmest thanks for it, and please excuse me for not having told you sooner what a strengthening and healing effect your letter made on me. Work of all sorts and a long absence from here occasioned this delay. In the interim I was often with you in thought; only the day before yesterday I read to the Princess your two glorious Sonnets an den Kunstler ["To the Artist"], "Ob Du auch bilden magst, was unverganglich"--"Und ob mich diese Zweifel brennen müssen?"["Whether thou canst form what is imperishable": "And whether these doubts must burn me."]--

From Weymar I have nothing interesting nor especially agreeable to tell you. This winter will pass away pretty quietly and insignificantly at the theater, with repertoire works and pieces that will bring in money, and in society with the customary pleasures. A new drama by Rost, "Ludwig der Eiserne," made some sensation, as is peculiar to the very popular productions of this author, who has achieved a public-house notoriety here. The nobles ought to have appeared in it yoked to the plough, but on Dingelstedt's advice Rost toned down that scene!--A translation by Frau Schuselka (who has performed here sometimes) of the "Pere prodigue" of Dumas fils was to have come on the boards; but it appears that there are scruples about making such very ominous demands on the customary powers of digestion of our un-lavish fathers of families! Amongst other inconveniences the piece also contains logarithms, to which the respectable German Philistine cannot attain.

As regards myself, I am quietly waiting for the spring, when I shall in all probability move on further--of course not to renew my occupation of conducting, as it is said I shall do in Munich, Berlin, or elsewhere--an occupation I have gladly given up;--but in order to be able to pursue my work further than I am able to do in Weymar, which to me is a more important matter.

Remember me most kindly to your wife, and be assured that I remain ever in truest devotion yours most faithfully,

F. Liszt

Weymar, February 5th, 1860.

234. To Dr. Franz Brendel

[February 1860]

Dear Friend,

Although as a general rule I consider that it is not the business of the Neue Zeitschrift to go in for polemics, yet it seems to me that the little notice that Hanslick has put in No. 49 of the Vienna Presse, Saturday, the 18th February, is of such a kind that one must not ignore it.

The Presse is a paper with a tremendous circulation in the monarchy, and Hanslick counts among the leaders of our opponents; it would therefore be worth while to make an exception by coming forward on this occasion, unless (which I cannot as yet believe) your Vienna correspondent has been guilty of the mischievous conduct which Hanslick so severely reports. This point must first be made clear--whether in the third (or possibly an earlier) concert of Herr Boskowitz an exchange of a Schumann for a Liszt piece occurred. [Instead of the Liszt piece "Au bord d'une source," which stood on the programme, Boskowitz had played the "Jagdlied" from Schumann's "Waldscenen," which did not prevent a correspondent (namely, the correspondent of the Deutsche Musikzeitung, as the Neue Zeitschrift of 24th February, 1860, gave out) from loudly carping at the supposed Liszt composition.] Possibly also your correspondent made use of the expression "The Vienna Press" in general, and did not refer specially to the paper Die Presse, [This was actually the case] or was referring to other remarks of Hanslick's...

This is only the second time for many years past, dear friend, that I have drawn your attention to notices in the paper. On the first occasion, when the Augsburger Allgemeine gave that infamous correspondence about the venality of the Neue Zeitschrift, your striking answer gave the most convincing proof of what part the opponents were studying to play!--I hope it will be possible to despatch Hanslick's notice (which I enclose) in a similar fashion. But it is necessary to get at the exact truth before inveighing against them--for Hanslick is no easy opponent, and if one once attacks him it must be with suitable weapons and without giving quarter. The words "denunciation proceedings," "Gessler caps of the party of the future," and especially the concluding sentence, "As long as Herr Brendel," etc., are a challenge, which deserves more than a faint-hearted reproof! I would also advise you to send a duplicate of your reply to the Presse in Vienna, at the same time as it is published in the Zeitschrift. The editors of the Presse will be certain to reject it, according to the usual method of the clique impartiality of those gentlemen. But the scandalous examples of the latter will be thus increased by one more.

It is easy also to see beforehand that Hanslick will not let the matter rest at this first notice, and will continue the discussion.

Hearty greetings.

F.L.P.S.--In case your Vienna correspondent should be quite in the wrong, it would be better simply to be silent and wait for a better opportunity.

235. To Dr. Franz Brendel

[March or April 1860]

Dear Friend,

Do not blame me if this time I follow Pohl's example and keep you waiting for the promised article. I have been working at it pretty continuously during the past week, and the sketch of it is quite ready; but I am not quite satisfied with it, and about Berlioz and Wagner I must say the right thing in the right manner. [No article of the kind by Liszt is contained in the Neue Zeitschrift for the year in question; probably it was unfinished.] This duty requires me to spend more time on it, and unfortunately I have so much on hand this week that it is hardly possible for me to busy myself with polemics. Tomorrow is again a grand Court concert; Bronsart and Fraulein Stark arrived yesterday; Frau von Bulow comes today, and I expect Hans on Saturday. Besides this, there is still more important work for me, which will take up my time entirely till the end of this month.

Well, I will see to it that, if possible, Berlioz and Wagner do not remain forgotten!--

Let me first of all answer your questions.

Whether it would be desirable to hold the second Tonkunstler- Versammlung this year, I already left it to you, at our last meeting, to decide. In my opinion we might wait till next year without injury to the affair. [This was done.] As long as I myself have not made a secure and firm footing in Weymar, I cannot invite you to convene the meeting here. If you hold to the dates of the 17th, 18th, and 19th June, we are bound to Leipzig, where I can then tell you with certainty whether Weymar will suit for the next meeting.

It goes without saying that you, dear friend, must arrange about everything that I can undertake and do for the Tonkunstler- Versammlung. Only my personal help as conductor must be excepted. At our next consultation we shall easily come to an understanding as to the desirability of one conductor or several.

I would indicate and emphasize, as absolutely necessary, the performance of new works by Bulow, Draseke, Bronsart, Singer, Seifriz, etc. I think I understand and can manage the art of programme-making in a masterly manner. When once matters have got so far, I will fix with you the programme of the three performances.

I agree with the choice of the "Prometheus," and at the religious performance, if the latter is not filled up with one single great work, I would suggest perhaps the "Beatitudes," or the 13th Psalm (the former last about ten minutes, the latter twenty-five).

Will you therefore decide definitely where the Tonkunstler- Versammlung shall be held this year and the date of it, about which I have nothing further to say? We will then discuss and settle the rest together.

You will find my remarks as to the statute scheme on the last page of it.

With hearty greetings, your

F. Liszt

P.S.--

A. The revising of the "Leonore" shall be attended to immediately.

B. I shall welcome Fraulein Brauer most cordially.

C. I recommend to you again the manuscripts of Pasque and Councillor Muller. Have you replied to Muller?

Herewith is a letter from Weitzmann (14th June, 1859), in which you will find much worthy of consideration and use.

Important! N.B.--When you convene the Tonkunstler-Versammlung, add to it at once the following: "For the foundation of the German Universal Musical Society." This is the principal aim, toward the accomplishment of which we have to work.

[Liszt was, as Princess Wittgenstein distinctly told the editor, the actual founder of the "German Universal Musical Society." He conceived the idea and plan of it, and it was only at his wish that Brendel gave his name to it, and undertook to be president, etc.]

236. To Louis Kohler.

My dear, excellent friend,

You have given me a rare pleasure. Your articles on my "Gesammelte Lieder" are a reproduction, replete with spirit and mind, of what I, alas! must feel and bear much more than I can venture to write down! Reviews such as these are not matters of every-day reviewers--nor must one shame you with such a title.

Accept my warmest thanks for them, and allow me to present to you herewith a couple of little singable things in manuscript. They were jotted down after reading your articles, and, if I mistake not, they spring from the melody of speech. In any case, dear friend, you have a special right to them--as well as to the sincere esteem and faithful attachment with which I remain your

F. Liszt

Weymar, July 5th, 1860

Towards the end of October the two Symphonic Poems, Nos. 10 and 11, which have still to be published--"Hamlet" and the "Hunnenschlacht" [The Battle of the Huns]--will appear at Hartel's; and when these are out all the twelve monsters will have appeared. Shortly afterwards will follow Faust, the choruses to Prometheus, a couple of Psalms, and a new number of songs. I will send you the whole lot. But if possible arrange so that we may soon meet again--at the latest at the next Tonkunstler- Versammlung next year, at which we cannot possibly do without you.

237. To Eduard Liszt

Dearest Eduard,

You remain perpetually in the home of my heart, not at all in countless company, but all the more in picked company. When I think I have done anything pretty good I think of you and rejoice that what I have done will be a pleasure to you--and in the hours when sadness and sorrow take hold of me you are again my comfort and strength by your loving insight into my innermost wishes and yearnings! My thanks, my warmest and truest thanks, to you for all the sustaining and soothing friendship that you show to me. It is to me a special token of Heaven's favor to me, and I pray to God that He may unite us for ever in Himself!--

Cornelius writes me word that you will probably come to Weymar towards the end of the summer. That will be a great pleasure to me; I often feel as if I must have a talk with you out of the depths of my heart--for with writing, as you know, I don't exactly get on. I expect the Princess towards the middle of August. Meanwhile I receive good and satisfactory tidings from Rome. I hope all will turn out for the best.

In these latter weeks I have been completely absorbed in my composing. If I mistake not, my power of production has materially increased, while some things in me are made clear and others are more concentrated. By the end of October the last two of the Symphonic Poems will be out ("Hamlet" and the "Hunnenschlacht"). Then come the Psalms, which you do not yet know, and which I much want you to know-and also a new number of songs which will please you. I shall then work at the Oratorio St. Elizabeth, exclusive of all else, and get it completely finished before the end of the year. May God in His grace accept my endeavors!--

I must express myself not entirely in accord beforehand with your plan for your son, although I consider your way of looking at the present state of things by no means a wrong one. I am also convinced that, when it comes to settling definitely, the talents and capabilities, as well as the bent of mind, of your child will be satisfactory to you. If the young one has a mind for a uniform--well, let it be so. To cut one's way through life with a sabre is indeed for the most part pleasanter than any other mode...The business paper for the Princess I will keep till her return, unless you write to me to forward it to her in Rome.

May I bother you with a commission for provisions? Forgive me for the way in which I am always making use of you, but I do so want to make a little joke for Bulow, and I have no one now in Vienna who could help me in it except just you. It is about sending a pretty considerable amount of Hungarian Paprika [Hungarian, Turkish, or Spanish pepper from Hungary] and a little barrel of Pfefferoni (little green Hungarian pepper-plants preserved in vinegar). Please ask Capellmeister Doppler where these things are to be procured genuine, and send them me as soon as possible to Weymar. I won't hide from you that I intend to go shares with Bulow, as I am particularly fond of Paprika and Pfefferoni. So take care that there is enough sent, and that it arrives in good condition.--And as this will give you occasion to see Doppler, give him my warm thanks for the instrumentation of the Pester Carnaval (in which musical Paprika and Pfefferoni are not wanting). He has again been most successful in it, and I intend to push on in the autumn the publication of the six Rhapsodies for orchestra, for which indeed I shall have to obtain the permission or consent of three separate publishers (Schott, Senff, Haslinger)--a circumstance which may of itself occasion some delay, especially if the gentlemen behave in regard to my wish as Spina did in so unpleasantly surprising a manner in regard to the instrumentation of the Schubert Marches. To tell you this incident briefly: I wrote to Dachs and asked him to request Spina in my name either to publish the three Marches himself in score--without any remuneration for me!--or else to give me permission to bring them out through another publisher. Spina's answer, as Dachs gave me to understand, was that he could not consent to either the one or the other of my proposals (which were certainly reasonable enough)! And thus I must wait until Spina can hit on a better plan! When I have an opportunity, I shall venture to apply to him direct.

For the present, in consideration of the fact that Paprika and Pfefferoni make one very thirsty, a barrel of Gumpoldskirchner (with a slightly sharp, flowery after-taste) would be very welcome to me, if by chance you are able to find a good kind and cheap.--Forgive me for all these Lucullian extravagances!--

I will write soon to Cornelius. Give him my heartfelt greetings. Also please remember me kindly to Dr. Kulke. I will give him my thanks by letter on the first opportunity for his Prometheus articles, as I would have already done through Cornelius, had he not started so suddenly.--

Now farewell, dearest Eduard. Spare yourself and take care of your health. Assure your dear wife of my heartfelt attachment, and kiss your children for your faithful

F. Liszt

Weymar, July 9th, 1860

238. To Ingeborg Stark

[Summer, 1860]

If a sort of idiosyncrasy against letters did not hold me back I should have told you long ago what pleasure your charming letter from Paris gave me, and what a sincere part I have taken in your late successes, dear enchantress. But you must know all that far better than I could succeed in writing it.

So let us talk of something else--for instance, Baron Vietinghoff's [He took the noun de plume Boris Scheel, and in 1885 he performed his opera "Der Daemon" in St. Petersburg, which originated twenty years before that of Rubinstein.] Overture, which you were so kind as to send me, and which I have run through with B[ronsart] during his short stay at Weymar--too short to please me, but doubtless much too long for you!--The Overture in question is not wanting either in imagination or spirit. It is the work of a man musically much gifted, but who has not yet sufficiently handled his subject. When you have an opportunity, will you give my best compliments to the author, and give him also the little scale of chords that I add? It is nothing but a very simple development of the scale, terrifying for all the long and protruding ears, [Figure demonstrating a descending whole-tone scale] that Mr. de Vietinghoff employs in the final presto of his overture (page 66 of the score).

Tausig makes a pretty fair use of it in his Geisterschaff; and in the classes of the Conservatoire, in which the high art of the mad dog is duly taught, the existing elementary exercises of the piano methods, [Figure: Musical example; a five-finger exercise] which are of a sonorousness as disagreeable as they are incomplete, ought to be replaced by this one, which will thus form the unique basis of the method of harmony--all the other chords, in use or not, being unable to be employed except by the arbitrary curtailment of such and such an interval.

In fact it will soon be necessary to complete the system by the admission of quarter and half-quarter tones until something better turns up!--

Behold the abyss of progress into which the abominable "Musicians of the Future" precipitate us!

Take care that you do not let yourself be contaminated by this pest of Art!

For a week past it has done nothing but rain here, and I have been obliged to have fires and stoves lighted in the house. If by chance you are favored with such a temperature at Schwalbach, I invite you to profit by it to make some new Fugues, and to make up, by plenty of work for the pedals, for the pedestrian exercise of which you would be necessarily deprived.

B., to whom I beg you to give my cordial and kind remembrances, led me to hope that you will stay a couple of days at Weymar after your cure. If this could be so arranged I for my part should be delighted, and should pick a quarrel with you (even if it were a German quarrel!) if you were not completely persuaded of it!

Remember me most affectionately to la Sagesse, and do me the kindness to count, under all circumstances, on

Your very sincerely devoted

F. Liszt

239. To Dr. Franz Brendel

Dear Friend,

Your last proposition is the best. Come quite simply to me at Weymar. As I am now quite alone at home we can hold our conference and arrange matters most conveniently at the Altenburg. I am writing at the same time to Bulow at Wiesbaden (where he is giving a concert tomorrow, Friday), to beg him to arrange with you about the day on which the meeting shall be held here. You two have to decide this. Of course you will stay with me. There shall also be a room in readiness for Kahnt.

With regard to Wagner's pardon [Wagner had been exiled from Germany for political reasons.] I am expecting reliable information shortly. It seems strange that the Dresden papers should not have been the first to give the official announcement, and that an act of pardon of H.M. the King of Saxony should be made known through the "Bohemia" (in Prague). Wagner has not yet written to me.

To our speedy meeting. Heartily your

F. Liszt

August 9th, 1860

240. To Princess Caroline Sayn-Wittgenstein.

[Portions of the above were published in the Neue Zeitschrift fur Musik of 4th May, 1887.]

Weymar, September 14th, 1860

I am writing this down on the 14th September, the day on which the Church celebrates the Festival of the Holy Cross. The denomination of this festival is also that of the glowing and mysterious feeling which has pierced my entire life as with a sacred wound.

Yes, "Jesus Christ on the Cross," a yearning longing after the Cross and the raising of the Cross,--this was ever my true inner calling; I have felt it in my innermost heart ever since my seventeenth year, in which I implored with humility and tears that I might be permitted to enter the Paris Seminary; at that time I hoped it would be granted to me to live the life of the saints and perhaps even to die a martyr's death. This, alas! has not happened--yet, in spite of the transgressions and errors which I have committed, and for which I feel sincere repentance and contrition, the holy light of the Cross has never been entirely withdrawn from me. At times, indeed, the refulgence of this Divine light has overflowed my entire soul.--I thank God for this, and shall die with my soul fixed upon the Cross, our redemption, our highest bliss; and, in acknowledgment of my belief, I wish before my death to receive the holy sacraments of the Catholic, Apostolic, and Romish Church, and thereby to attain the forgiveness and remission of all my sins. Amen.

I thank my mother with reverence and tender love for her continual proofs of goodness and love. In my youth people called me a good son; it was certainly no special merit on my part, for how would it have been possible not to be a good son with so faithfully self-sacrificing a mother?--Should I die before her, her blessing will follow me into the grave.

I owe it to my cousin Eduard Liszt (Dr. and Royal County Councillor of Justice in Vienna) to repeat here my warm and grateful affection for him, and to thank him for his faithfulness and staunch friendship. By his worth, his talents, and his character he does honor to the name I bear, and I pray God for His blessings on him, his wife, and his children.

Among our Art-comrades of the day there is one name which has already become glorious, and which will become so ever more and more--Richard Wagner. His genius has been to me a light which I have followed--and my friendship for Wagner has always been of the character of a noble passion. At a certain period (about ten years ago) I had visions of a new Art-period for Weymar, similar to that of Carl August, in which Wagner and I should have been the leading spirits, as Goethe and Schiller were formerly,--but unfavorable circumstances have brought this dream to nothing.

To my daughter Cosima I bequeath the sketch of Steinle representing St. Francois de Paul, my patron saint; he is walking on the waves, his mantle spread beneath his feet, holding in one hand a red-hot coal, the other raised, either to allay the tempest or to bless the menaced boatmen, his look turned to heaven, where, in a glory, shines the redeeming word "Caritas."-- This sketch has always stood on my writing-table. Near it there is an ancient hour-glass in carved wood with four glasses, which is also for my daughter Cosima. Two other things which have belonged to me are to be given as a remembrance to my cousin Eduard Liszt and to my much-loved and brave son-in-law Hans von Bulow.

Some of the members of our Union of the "New German School"--to whom I remain deeply attached--must also receive some remembrance of me; Hans von Bronsart, Peter Cornelius (in Vienna), E. Lassen (in Weymar), Dr. Franz Brendel (in Leipzig), Richard Pohl (in Weymar), Alex. Ritter (in Dresden), Felix Draseke (in Dresden), Professor Weitzmann (in Berlin), Carl Tausig (from Warsaw)-- either a ring with my sign-manual, a portrait, or coat-of-arms.-- May they continue the work that we have begun--the honor of Art and the inner worth of the artist constrains them to do so. Our cause cannot fail, though it have for the present but few supporters.--

One of my jewels set as a ring is to be sent to Madame Caroline d'Artigaux, nee Countess de St. Cricq (at Pau, France). To the Princess Constantin Hohenlohe (nee Princess Marie Wittgenstein) I bequeath the ivory crucifix (cinque-cento) which was given to me by my kind patron the Prince of Hohenzollern-Hechingen--also a pair of studs with five different stones, which form the five initials of my name.

And now I kneel down once more to pray "Thy kingdom come; Thy will be done on earth as it is in heaven; forgive us our trespasses as we forgive them that trespass against us; and deliver us from evil. Amen."

F. Liszt

Written the 14th September, 1860, on the Festival of the raising of the Holy Cross.

SUPPLEMENT:

To Herr Gross, a member of the Weymar Grand Ducal Royal Orchestra (trombone and double-bass player), who has for a number of years looked after the copying of my works and the arranging of the orchestral and voice parts of them in the library of the Altenburg, I bequeath a present of one hundred thalers for the faithful, devoted service he has rendered me.