Chapter VI: Part 6

I shall undertake a security of four hundred thalers on this proposed agreement between us, in return for a receipt from the management which you will give me. I cannot at present hold out the prospect of further support; yet it is possible that I may succeed in getting three to five hundred thalers annually, under certain conditions, for which there is no personal ground whatever (and which I hinted to you in our last conversation in Leipzig), for the pages of The Present and Future.

Remember me kindly to your wife, and be assured of the entire willingness of

Yours truly,

F. Liszt

Weymar, April 3rd, 1853

100. To Dr. Franz Brendel

Dear Friend,

Good advice is seldom cheap, and I must honestly confess that in my present very fluctuating circumstances I am not rich enough to help you efficaciously by lending you a helping hand, however much I might wish to do so. Stahr's refusal is very much to be regretted, for, in order to attain your end and to influence the world of literature, you positively require more literary men of great note to join you. Next to the money question the formation of the nucleus of management is the most important matter in this undertaking. However zealous and self-sacrificing you and Schlonbach [Arnold Schlonbach, journalist, died long ago.] may be in devoting your talents and powers to the paper, yet I doubt whether you will be able to keep it going unless you get some further capable men of talent as co-operators. This brings us, however, again to the money question, which I unfortunately am not in a position to solve. To be obliged to give it up after six months would be a far worse fate than not to begin it at all. Therefore, before everything, the moral guarantee must be forthcoming for its continuance, and for the constantly increasing spread of the paper, and these depend principally on the guarantee which the first five or six co-operators warrant. You remark quite truly that, if Wagner would take an interest in the matter, it would be of the greatest help. Perhaps he might be persuaded to do so, and I will willingly start the subject to him.

The title, size (as well as the limits of the paper, and cover), and fortnightly issue give me thorough satisfaction, and according to my opinion nothing more need be altered in these three particulars. A weekly issue has its advantages-- nevertheless I have always thought that two papers per month are on the whole better than four. But whether it is possible and advisable to make the first start as early as July I much question. "Tout vient a point a qui sait attendre," says the French proverb. It certainly is important to seize the right moment, and that must be decided by you. Let me only beg you not to give too much weight to passing and local influences, and only to come forward when you can hold your ground with quiet, deliberate courage. Retreat belongs to the enemy. For us it is "Gradatim vincimus."

The matter of the security remains as promised. If you should not be ready by July, October would be just as favorable, if not more so--only, in Heaven's name, no backward step when once started!-- Some articles of provision and ammunition seem to me to be absolutely necessary before you begin. Two months are a short time to get them ready, and I scarcely think it will be possible for you to be ready for action by July. Have you written yet to Wagner? You must not expect much from Hettner without Stahr. But, through Hinrichs or Franz, Hauenschild might perhaps be won over. I advise you to stick fast to Schwind. One of his last pictures, "Beethoven's Fancy," bought by the King of Greece, points to him above all others as the representative of painting in your paper.

May I beg you also to send a few lines to Kurnberger to tell him that I have given you his manuscript? It would be discourteous if I were to leave him without any answer, and, as I cannot say anything further to him, we should save useless circumlocution if you would be so good as to correspond with him direct.

Incidentally you would also save me another letter about nothing, if you would write to Lenz (on the subject of this conference).

Whilst I am talking with you, Senora Pepita Oliva is doing her favorite tricks at the theater, which are more prized and rated higher than they deserve, so I am assured. "J'aime mieux y croire qu'y aller voir." [I would rather take it for granted than go and see it.] The brothers Wieniawski have also been here some days. The violinist is a virtuoso of importance,--that is to say, in the ordinary, but not quite correct, sense of this word; for Virtuoso comes from Virtu, and should neither be so falsified nor so misapplied.

Yours very truly,

F. Liszt

April 30th, 1853.

101. To Louis Kohler

Dear Friend,

You have again given me a real pleasure by your article on the Romanesca (in the last numbers of the Signale), for which I would gladly requite you. The best way to do this would be by a performance of "Lohengrin"; unfortunately there is very little prospect of that. Still it is not impossible that between the 19th and 26th of this month there may be a performance of this one work by royal command; and, as you are already so kindly disposed towards me, and have promised me to come to Weymar, do make yourself ready, and give me the great pleasure of your company for a few days--if possible, from the 19th to the 26th of this month. The marriage festivities of Princess Amalie of Sachs- Weymar and Prince Henry of the Netherlands, which will take place then, will be the occasion of a grand court concert on the 20th, and the performance of Marx's oratorio "Moses" on the 22nd or 24th, and probably a couple of other musical performances. Joachim is also coming at the same time, and there will be no dearth of entertainment for us. Once more best thanks-and a safe journey--and a revoir--which will be a great pleasure to your very affectionate and obliged.

F. Liszt

Weymar, May 6th, 1853

102. To Louis Kohler

Dear Friend,

A safe journey--and "auf Wiedersehen" next year in Weymar at a chance performance of "Lohengrin"! There is now no probability of a Wagner performance here for a week or ten days, and probably the "Flying Dutchman" will then be chosen.

You ought to keep all my scribblings which appear henceforth. Meanwhile I send you only the score of the Weber Polonaise, in which the working-out section (pages 19, 20, 21) will perhaps amuse you.

I am writing to Wagner today that he should himself offer you a copy of the "Nibelungen." You ought to receive it soon.

You will find a little packet of Plantaja cigars in your cloak. May it help you to recall your Weymar visit, and think with warm remembrance of

Yours in all friendship,

F. Liszt

Weymar, May 24th, 1853

If you should stay some days in Berlin, ask Dorn why he has not yet sent me his score of the "Nibelungen"? Perhaps he has not had my letter in reply to his in which he mentioned that the score was coming.

When you have half an hour to spare, ask my pupil Winterberger [Composer, piano and organ virtuoso; born at Weimar 1834; was for a long time a Professor at the St. Petersburg Conservatorium; since then lives at Leipzig.] (through Schlesinger) to play you my "Prophete" Fugue on the organ. I consider this opus as one of my least bad productions--if you have not got a copy of it I will send you one on the first opportunity through Hartel.

Your box and cloak are just sent off "Station restante."

103. To Louis Kohler

"Kiraschio! Plimaschio!"

[The refrain of a journeyman's song, given by L. Kohler in his work "The Melody of Speech," in which "The cry of the natural man gives vent to itself in unbridled pleasure."]

Dear friend! Your work [The same work, "The Melody of Speech" (Leipzig, J. J. Weber, 1853).] has given me a refreshing draught to quaff,--not exactly a theoretical "cure" water, such as the people promenading past my window are constrained to take, and which, thank Heaven, I neither require nor take; but a finely seasoned, delightfully comforting May drink,--and I thank you warmly for the lively, pleasant hours I have passed with you in reading and singing your work. The objections with which the Philistines and pedants will arm themselves against you don't interest me in the least. You have certainly brought forth a fresh and exciting little book, and that is a great service not easily attained!--Be satisfied not to please the worse half of brave musicians, among which I might count myself, and write on cheerfully, regardless of shops and shopkeepers!--Specially do I give you my best thanks for the "Weymarasche Zeilen," and the very friendly quotation of my earlier songs. Later on, when I bring out a couple more numbers, I must make a somewhat remodeled edition of these earlier songs. There must, in particular, be some simplifications in the accompaniment. But that you have thought favorably and indulgently of these things, with a due regard to the inner impulse which brought them forth (in my "storm and stress" period), is very pleasant to me. The Lenau concluding song is charmingly composed--only publish some more like that, with or without comment!

I have just received a letter from Wagner for you, which he sends to me as he does not know your address. Take this opportunity of sending me your street and number; for I always address to Putzer and Heimann, which is too formal. At the beginning of July I enjoyed several Walhalla-days with Wagner, and I praise God for having created such a man. Of my further summer projects I will only say that at the end of September I shall conduct the Musical Festival at Carlsruhe, and at the beginning of October shall return to Weymar (where I shall spend the winter).

I have written to Haslinger and Spina to send you the "Hungarian Rhapsodies" and the "Soirees de Vienne" (songs after F. Schubert, in nine parts). The next time I pass through Leipzig I will tell Kistner that you must not fail to have a copy of the "Harmonies Poetiques et Religieuses." The previously mentioned pieces you will have without delay. I have sent my Mass and Ave Maria to Marpurg by Raff. If you approve of these compositions I will gladly get a couple more copies in your honor. My Catalogue will not come out till next winter, as I have not yet had any time to revise it.

Let me hear soon from you, dear friend, and keep ever in friendly remembrance

Yours sincerely and with many thanks,

F. Liszt

Carlsbad, August 1st, 1853

Address to me always at Weymar.

104. To Richard Pohl in Dresden

[Printed in Pohl's pamphlet "The Carlsruhe Musical Festival in October, 1853" (by Hoplit). Leipzig, Hinze, 1853.--The addressee, a writer on music (born 1826), one of the oldest and most faithful adherents of Liszt and Wagner, lived in Weimar after 1854, his wife Jeanne (nee Eyth) having a post there as a harp virtuosa: after Liszt's departure he was, as he still is, occupied as editor in Baden-Baden.]

In various accounts that I have read of the Festival at Carlsruhe, there is one point on which people seem pretty much agreed--namely, the insufficiency of my conducting. Without here examining what degree of foregone judgment there may be in this opinion, without even seeking to know how much it has been influenced by the simple fact of the choice of myself as conductor, apart from the towns of Carlsruhe, Darmstadt, and Mannheim, it certainly would not be for me to raise pretensions quite contrary to the assertion which it is sought to establish if this assertion were based on facts or on justice. But this is precisely what I cannot help contesting in a very positive manner.

As a fact one cannot deny that the ensemble of the Carlsruhe programme was very remarkably performed, that the proportion and sonority of the instruments, combined with a view to the locale chosen, were satisfactory and even excellent. This is rather naively acknowledged in the remark that it is really surprising that things should have gone so well "in spite of" the insufficiency of my conducting. I am far from wishing to deck myself in the peacock's feathers of the Carlsruhe, Mannheim, and Darmstadt orchestras, and am assuredly more disposed than any one to render full justice to the talents--some of them very distinguished--of the members of these three orchestras; but, to come to the point, whatever may be said to the contrary, it is acknowledged, even by the testimony of my adversaries, that the execution was at times astonishing, and altogether better than there had been reason to expect, considering that I was conductor.

This fact placed beyond discussion, it remains to be seen whether I am so completely a stranger there as they try to make out, and what reasons there can be for thus crying down a conductor when the execution was satisfactory, especially if, as is just, one bears in mind the novelty of the works on the programme for almost the entire audience. For, as every one knew at Carlsruhe, the Ninth Symphony, as well as the works of Wagner, Berlioz, Schumann, etc., were not well known by any one but myself, seeing that they had never been given before in these parts (with the exception of the Berlioz piece, which a portion only of the Carlsruhe orchestra had played under the direction of the composer).--

Now as regards the question of right--to know whether in good conscience and with knowledge of the matter one can justly accuse me of being an insufficient conductor, inexperienced, uncertain, etc.: without endeavoring to exculpate myself (for which I do not think there is any need amongst those who understand me), may I be permitted to make an observation bearing on the basis of the question?

The works for which I openly confess my admiration and predilection are for the most part amongst those which conductors more or less renowned (especially the so-called "tuchtigen Capellmeister" [ Qualified conductors.]) have honored but little, or not at all, with their personal sympathies, so much so that it has rarely happened that they have performed them. These works, reckoning from those which are commonly described nowadays as belonging to Beethoven's last style (and which were, not long ago, with lack of reverence, explained by Beethoven's deafness and mental derangement!)--these works, to my thinking, exact from executants and orchestras a progress which is being accomplished at this moment--but which is far from being realized in all places--in accentuation, in rhythm, in the manner of phrasing and declaiming certain passages, and, of distributing light and shade--in a word, progress in the style of the execution itself. They establish, between the musicians of the desks and the musician chief who directs them, a link of a nature other than that which is cemented by an imperturbable beating of the time. In many cases even the rough, literal maintenance of the time and of each continuous bar |1,2,3,4,|1,2,3,4,| clashes with the sense and expression. There, as elsewhere, the letter killeth the spirit, a thing to which I will never subscribe, however specious in their hypocritical impartiality may be the attacks to which I am exposed.

For the works of Beethoven, Berlioz, Wagner, etc., I see less than elsewhere what advantage there could be (which by-the-bye I shall contest pretty knowingly elsewhere) in a conductor trying to go through his work like a sort of windmill, and to get into a great perspiration in order to give warmth to the others.

Especially where it is a question of understanding and feeling, of impressing oneself with intelligence, of kindling hearts with a sort of communion of the beautiful, the grand, and the true in Art and Poetry, the sufficiency and the old routine of usual conductors no longer suffice, and are even contrary to the dignity and the sublime liberty of the art. Thus, with all due deference to my complaisant critics, I shall hold myself on every occasion ulterior to my "insufficiency" on principle and by conviction, for I will never accommodate myself to the role of a "Profoss" [Overseer or gaoler.] of time, for which my twenty-five years of experience, study, and sincere passion for Art would not at all fit me.

Whatever esteem therefore I may profess for many of my colleagues, and however gladly I may recognize the good services they have rendered and continue to render to Art, I do not think myself on that account obliged to follow their example in every particular--neither in the choice of works to be performed, nor in the manner of conceiving and conducting them. I think I have already said to you that the real task of a conductor, according to my opinion, consists in making himself ostensibly quasi- useless. We are pilots, and not mechanics. Well, even if this idea should meet with still further opposition in detail, I could not change it, as I consider it just. For the Weymar orchestra its application has brought about excellent results, which have been commended by some of my very critics of today. I will therefore continue, without discouragement or false modesty, to serve Art in the best way that I understand it--which, I hope, will be the best.--

Let us then accept the challenge which is thrown to us in the form of an extinguisher, without trouble or anxiety, and let us persevere, conscious of right--and of our future.

F. Liszt

Weymar, November 5th, 1853

105. To Wilhelm Fischer, Chorus Director at Dresden

[Autograph in the possession of Herr Otto Lessmann, writer at Charlottenburg. (Printed in his Allgemeine Musik-Zeitung, 1887, No. 38.)--The addressee was the well-known friend of Wagner. (See "Wagner's Letters to Uhlig, Fischer, and Heine."--Grevel & Co.) Vol. I. 12]

Dear Sir and Friend,

Your letter has given me real pleasure, and I send you my warmest thanks for your artistic resolve to bring "Cellini" to a hearing in Dresden. Berlioz has taken the score with him to Paris from Weymar, in order to make some alterations and simplifications in it. I wrote to him the day before yesterday, and expect the score with the pianoforte edition, which I will immediately send you to Dresden. Tichatschek is just made for the title-role, and will make a splendid effect with it; the same with Mitterwurzer as Fieramosca and Madame Krebs as Ascanio, a mezzo-soprano part. From your extremely effective choruses, with their thorough musicianly drilling, we may expect a force never yet attained in the great Carnival scene (Finale of the second act); and I am convinced that, when you have looked more closely into the score, you will be of my opinion, that "Cellini", with the exception of the Wagner operas,--and they should never be put into comparison with one another--is the most important, most original musical- dramatic work of Art which the last twenty years have to show.

I must also beg for a little delay in sending you the score and the pianoforte edition, as it is necessary entirely to revise the German text and to have it written out again. I think this work will be ready in a few weeks, so you may expect the pianoforte edition at the beginning of February. At Easter Berlioz is coming to Dresden, to conduct a couple of concerts in the theater there. It would be splendid if you should succeed in your endeavors to make Herr von Luttichau fix an early date for the "Cellini" performance, and if you could get Berlioz to conduct his own work when he is in Dresden. In any case I shall come to the first performance, and promise myself a very satisfactory and delightful result. [Dresden did not hear "Cellini" till thirty-- four years later.]

Meanwhile, dear friend, accept my best thanks once more for this project, and for all that you will do to realize it successfully, and receive the assurance of the high esteem of

Yours very truly,

F. Liszt

Weymar, January 4th 1841

106. To M. Escudier, Music Publisher in Paris

[Autograph (without address) in the possession of Monsieur Etienne Charavay in Paris.--The contents show to whom it was written.]

My dear Sir,

My time has been so absorbed by the rehearsals of a new opera in five acts, "Die Nibelungen", by Mr. Dorn, musical conductor in Berlin, the first performance of which will take place tomorrow, and also by a heap of small and great local obligations which accumulate for me in particular at the beginning of winter, that I have never yet had a moment in which to send you my very cordial thanks for your biographical notice on occasion of the Alexandre Piano, which [i.e., the biographical notice had just reached me. [A "giant grand piano" with three keyboards and pedals and registers, made according to Liszt's own directions.] I hope you will excuse this delay in consideration of the short time left me, and that you feel sure beforehand how kindly I take it of you for thus taking my part, in divers circumstances, for the honor of my name and of my reputation--a matter in which I will endeavour not to render your task too difficult.

With regard to the Schubert opera of which you again spoke to me in your last letter, I have a preliminary and very important observation to make to you--namely, that the rights of the score of "Alfonso and Estrella," in three acts, were obtained some years ago by Messrs. Hartel of Leipzig. As this work has not hitherto been performed anywhere they have not been in a hurry to publish it, and it was only communicated to me (by a copy) in case of a performance at Weymar. Therefore, before taking any other steps, it is indispensable that you should apply to Messrs. Hartel to obtain their authorization, either for a performance, or for the right to make a foreign edition of this work, and to make conditions with that firm relative to the matter. I do not doubt that Messrs. Hartel will be most obliging in the matter; but you cannot neglect this first step without serious ulterior disadvantages.

Hartel's consent once given, you must think of adapting to this charming music a libretto which is worthy of it,--and, if you are fortunate in doing this, success, and a popular and productive success, is undoubted.

Allow me to beg you once more to send me a copy of the ballet of Gluck's "Don Juan" and of the "Dictionary of Music" which you have just published,--I have already asked Belloni for them, but he is a little subject to distractions in these matters,--and accept, my dear sir, together with my best thanks, the assurance of my affectionate regard.

F. Liszt

Weymar, January 21st, 1854

107. To Monsieur Marie Escudier, Music Publisher in Paris.

[Autograph in the possession of M. Alfred Bovet at Valentigney.]

My Dear Sir,

Mr. Franck [Cesar Aug. Franck, born at Liege in 1822, composer and professor at the Paris Conservatoire, teacher of Faure, Chabrie, and d'Indy, the chief representatives of the new French school of music.] having written to me for a special introduction to you, I have great pleasure in fulfilling his request by writing these few lines to you. For many years past I have had a favorable opinion of Mr. Franck's talent in composition, through having heard his trios (very remarkable, as I think, and very superior to other works of the same kind published latterly).--

His oratorio "Ruth" also contains beautiful things, and bears the stamp of an elevated and well-sustained style. If the opera which he wants to have performed at the Lyric theater answers to these antecedents and to what I expect of Mr. Franck, the Lyric theater could only congratulate itself on its choice, and the best chance of success would be assured. Being unable to judge of it at a distance, and the score of this opera being unknown to me, I confine myself simply to drawing your attention to the very real talent of Mr. Franck, at the same time recommending him affectionately to your kindness.

Pray accept, my dear Sir, the expression of my sincere regard.

F. Liszt

Weymar, January 28th, 1854

108. To Dr. Franz Brendel

Dear Friend,

I have lately been over-occupied, and in addition to that I have been working somewhat, so that I have never had a free half-hour for correspondence.

I send you today the score and pianoforte edition of my "Kunstler-Chor." By next autumn I hope that half a dozen other (longer) scores will be in print. "Ha, der Verruchte!" ["Ah, the wretch!"] we can then say, as in "Tannhauser." Happily, however, no journey to Rome is necessary to obtain my absolution. We only wish to have done with so much outcry and tasteless chatter.

I shall beg David to put off my Leipzig rehearsals for a couple of weeks, as I cannot well get away from here now, and must also have the parts written out afresh. If David does not arrange it otherwise I shall probably come in the latter half of March.--.

Cornelius is telling you more fully, at the same time with this, what I have talked over with him.--Griepenkerl has been here a couple of days, and yesterday read his drama "Ideal and Welt" before our Grand Duke. The company was much the same as at Schlonbach's reading.--.

About your book I am very curious, and beg that you will send it me immediately. With regard to the opportunity for the paper I can tell you something when I come to Leipzig. In the course of next summer a monthly paper will make its appearance here, out of which much might grow. This is between ourselves, for the public will learn about it later.

Remember me most kindly to your wife, and remain good to

Your very sincere and grateful friend,

F. Liszt

Weymar, February 20th, 1854

P.S.--If you see Count Tyskiewicz please repeat my invitation to him to come for a couple of days to Weymar. If he is free next Thursday, that would be a good day. We have a concert here at which the "Kunstler-Chor" and a new orchestral work of mine ("Les Preludes"), the Schumann Symphony (No. 4.), and his Concerto for four horns will be given.

109. To Louis Kohler

My very dear Friend,

I come late--yet I hope you have not forgotten me. I am sending you, together with this, the score and pianoforte arrangement of my chorus "an die Kunstler," ["To the artists."] and also those numbers of the Rhapsodies which have been brought out by Schlesinger. The "Lohengrin" score you have no doubt received two months ago from Hartel, whom I begged to send it you direct--also the "Harmonies" from Kistner, and the last number of the "Rhapsodies" from Haslinger. At the end of the year you shall get some still greater guns from me, for I think that by that time several of my orchestral works (under the collective title of "Symphonische Dichtungen" [Symphonic Poems.]) will come out. Meanwhile accept once more my best thanks for the manifold proofs of your well-wishing sympathy, which you have given me publicly and personally. You may rest assured that no stupid self-conceit is sticking in me, and that I mean faithfully and earnestly towards our Art, which in the end must be formed of our hearts' blood.--Whether one "worries" a bit more or a bit less, as you put it, is pretty much the same. Let us only spread our wings "with our faces firmly set," and all the cackle of goose-quills will not trouble us at all.

That your article has been rudely and spitefully criticized need not trouble you. You presuppose your reader to have refinement and educated feeling, artistic acuteness, a fine perception, and a certain Atticism. These, my dear friend, are indeed rare things--and only to be found in very homoeopathic doses among our Aristarchuses. Sheep and d[onkeys] have no taste for truffles. "Good hay, sweet hay, has not its equal in the world," as the artist-philosopher Zettel very truly says in the "Midsummer Night's Dream"! Moreover, dear friend, things didn't and don't go any better with other better fellows than ourselves. We need not make any fancies about it, but only go onward quietly, perseveringly, and consistently.

"Lohengrin" will be given here on the Grand Duchess's next birthday, April 8th. Gotze is coming this time from Leipzig, and sings the part of the Knight of the Swan. I hope that in May Tichatschek will undertake the role; he has already been studying the complete work for a long time past, and has had a splendid costume made for it. Perhaps you will be inclined to hear this glorious work here either in April or May. That would be very delightful of you, and I need not tell you how pleased I should be to see you among us again.--

Rafi is working hard at his "Samson," and tells me that he will have finished it by Christmas. Cornelius, whom I think you do not know (a most charming, fine-feeling and distinguished nature), has likewise a dramatic work, poem and music, in readiness for next season. We gave a good performance of Gluck's "Orpheus" lately, and for the last performance of this season (end of June I think we shall still give the Schubert opera "Alfonso und Estrella," if those same theater influences which already made themselves prominent by the "Indra" performance when you were at Weymar do not decide against this work, so interesting and full of intrinsic natural charm!--Farewell, dear friend, and send speedy tidings of yourself to

Yours most sincerely,

F. Liszt

Weymar, March 2nd, 1854

110. To Dr. Franz Brendel

Dear Friend,

Herewith an article which I send you for your paper. "Euryanthe," which I conduct here tomorrow, is the occasion of it. Still a more general question is aroused in it, which I am to a certain extent constrained "to agitate" from Weymar.["Gesammelte Scriften" vol. iii., I.] I flatter myself that our ideas will meet and harmonize in it. At first I had prefaced it by a couple of introductory lines, which I now erase. Will you be so good as to introduce me yourself in the Neue Zeitschrift by a few words? You will be the best one to make up this little preface. My name can be put quite openly with its five letters, as I am perfectly ready to stand by my opinion.

Tuesday morning I go to Gotha. The Duke's opera is to be given at the end of this month, or at latest on the 2nd April, and from the day after tomorrow till the first performance I shall be quartered at Gotha. In consequence of this I must unfortunately give up my excursion to Leipzig for the moment,--but I hope that David will allow another rehearsal in the Gewandhaus in the course of April, after the "Lohengrin" performance here with Gaze (on April 7th and 8th), which I must of necessity conduct. The news, which it appears some papers have published, that I was thinking of arranging a concert in Leipzig, belongs to the generation of ducks [geese?] who amuse themselves in swimming around my humble self. My visit to Leipzig has no other object than to make some of the musicians acquainted with one or two of my symphonic works. Should they be pleased with them, they might perhaps be given there next season. In any case, however, several of them will appear in score next autumn.

My time is exceedingly limited, and I must see about a great many things today which do not put one in the mood for correspondence.

Yours in friendship,

F. Liszt

Saturday, March 18th [1854]

111. To Louis Kohler.

[Weimar, April or May, 1854]

My very dear friend,

I am extremely glad that you liked my article on "Euryanthe" and theater direction, and I thank you most truly for your warm and very encouraging letter. For many weeks past I have been imitating you (as you and others always set me a good example), and am publishing several views on Art-subjects and Art-works in the Weimar official paper. By degrees these articles will swell into a volume, which shall then contain the complete set.

For the present I allow myself to send you my Sonata, which has just been published at Hartel's. You will soon receive another long piece, "Scherzo and March," and in the course of the summer my "Annees de Pelerinage, Suite de Compositions pour le Piano" will appear at Schott's; two years--Switzerland and Italy. With these pieces I shall have done for the present with the piano, in order to devote myself exclusively to orchestral compositions, and to attempt more in that domain which has for a long time become for me an inner necessity. Seven of the Symphonic Poems are perfectly ready and written out. I will soon send you the little prefaces which I am adding to them, in order to render the perception of them more plain. Meanwhile I merely give you the titles:--

1. "Ce qu'on entend sur la Montagne" (after V. Hugo's poem in the "Feuilles d'Automne").

2. Tasso. "Lamento e Trionfo"

3. "Les Preludes" (after Lamartine's Meditation poetique "Les Preludes").

4. "Orphee."

5. "Promethee."

6. "Mazeppa" (after V. Hugo's Orientale "Mazeppa").

7. "Festklange."

8. "Heroide funebre."

9. "Hungaria."

By Christmas I intend to bring out the scores of all these--which would make about fifteen hundred plates in octavo size.

The post affair in regard to your letter with the article on Raff's "Fruehlingsboten" is very unpleasant to me. Neither has come into my hands, or else I should assuredly have let you know much sooner. What has become of it cannot now be traced; a similar thing happened also with a manuscript sent to me from Dresden, which was never able to be found. Excuse me, dear friend, for the carelessness which you supposed I had shown, of which I am in this case not guilty, as Pohl has already written to you by my request--and continue to keep for me always your sympathetic friendship, with which I remain, in complete harmonious unison,

Yours most truly and gratefully,

F. Liszt

112. To Dr. Franz Brendel

Dear Friend,

Whilst you are trotting about in Leipzig aus Rand und Band,[Uncontrolledly; a pun on the words Rand and Band (edge of the paper and volume), Brendel being editor of a paper.] I have been obliged to keep my bed, owing to a slight indisposition. The reading of your article in the Jahrbuchern [Year-books] has given me a pleasant hour, and I thank you heartily for the value and significance which you accord to my influence and endeavour here, both in this article and in the topographic section of your book. As long as I remain here we will take care that Weimar does not get into a bad way.

I hope to be quite on my legs again in a few days. My present indisposition is nothing but an overstrain and knock-up, which a couple of days' rest and some homoeopathic powder will easily set right. Probably we shall see one another in the early days of next week at Leipzig; but don't let us speak of it before-hand, as I have already been three times prevented from making this little trip.

The Orpheus article was sent to you yesterday. Perhaps it would still be possible to let it appear in the next number of the paper; if not, then it can appear the following week. The order of succession which I gave you by letter appears to me the right one, and begins with the Orpheus. This article is moreover as good as new, for, as your paper allowed me more space, I profited by it to make the earlier articles twice as long.["Gesammelte Schriften." vol. iii., 1.]

There are several points in your writing that we will soon talk over viva voca. I am still really very weak today, and merely wanted to write to thank you, and to tell you of my speedy advent in Leipzig (probably next Tuesday or Wednesday).

Yours in friendship,

F. Liszt

Wednesday, April 26th, 1854

Your commissions to Cornelius and letter to Cotta have been attended to.

113. To Louis Kohler

Dear Friend,

I am going once more to give you a pleasure. By today's post you will receive Richard Wagner's medallion. A friend of mine, Prince Eugene Sayn-Wittgenstein, modeled it last autumn in Paris, and I consider it the best likeness that exists of Wagner.

A thousand thanks for all the kind things you write and think of me. I very much wish that you should be in agreement with my present and my next work. If I could only dispose of my time better! But it is a wretched misery to have to spend one's time upon so many useless things and people, when one's head is quite full of other things!--Well, it must be so. God grant only patience and perseverance! I cannot remember for certain whether I have already sent you the Avant-propos to my Symphonic Poems, which I have in the meantime had printed on the occasion of their performance here. In any case I send them, together with the portrait for which you asked. I am now working at the ninth number (Hungaria)--the eight others are perfectly ready; but it will certainly be next spring before they appear in score.

Of pianoforte music I have nothing more to send you (until the "Annees de Pelerinage" appear at Schott's), except the little "Berceuse," which has found a place in the "Nuptial Album" of Haslinger. Perhaps the continuous pedal D-flat will amuse you. The thing ought properly to be played in an American rocking- chair with a Nargileh for accompaniment, in tempo comodissimo con sentimento, so that the player may, willy-nilly, give himself up to a dreamy condition, rocked by the regular movement of the chair-rhythm. It is only when the B-flat minor comes in that there are a couple of painful accents...But why am I talking such nonsense with you?--Your very perspicuous discovery of my intention in the second motive of the Sonata--

[Here, Liszt illustrates with a 2-measure score excerpt from his Sonata]

in contrast with the previous hammer-blows--

[Here, Liszt illustrates with another 2-measure score excerpt from his Sonata, similar to the first excerpt above except the melody is transposed and the rhythm is slightly different]

perhaps led me to it.

Farewell, my dear friend, and remain good to your

F. Liszt

Weymar, June 8th 1854

114. To Dr. Franz Brendel

Dear Friend,

I have had to alter a good deal in the "Robert" article, especially in the division of the subjects. Do not be angry about it. It will only make a very little trouble, and it pleases me better like this. Ergo my present Varianten [various readings] must be printed word for word in the next number.

If you have a couple of hours to spare, come next Saturday to Halle. Schneider's "Weltgericht [Last Judgment] is to be given there by the united Liedertafel [Singing Societies] of Dessau, Magdeburg, Berlin, Halle, etc. (on Saturday afternoon at 3 o'clock), and I have promised to be there. It would give me great pleasure to meet you at Halle; I shall put up at the Englischer Hof there. I hope you will accept my invitation, and therefore I shall say, Auf Wiedersehen [Au Revoir]!

Yours in friendship,

F. Liszt

June 12th, 1854

It will be easy for you to find out for certain about the performance at Halle. In any case I shall come for the day fixed for the "Weltgericht" (a peculiar work, written, as it were, from a pedestal of his own!). At present it is announced for next Saturday. Should there be any alteration, I shall arrange accordingly, and come later.--.

P.S.--The proofs must be very carefully revised, as there are a great many little alterations. Be so good as to revise the whole thing accurately yourself. When the article has appeared, please send me today's proofs back. ["Gesammelte Schriften," vol. iii., I.]

115. To Karl Klindworth in London

[A pupil of Liszt's, eminent both as a pianist, conductor, and musical editor; born at Hanover in 1830, lived in London, Moscow, and America; has, since 1882, been director of a music school in Berlin.]

Best thanks, dear Klindworth, for your nice letter. After the "Lamento" it seems a "Trionfo" is now about to be sounded. That gives me heartfelt pleasure. Your Murl-connection and Murl- wanderings [The Society of "Murls" (Moors, Devil-boys--that is to say, Anti-Philistines) was started at that time in Weimar. Liszt was Padischah (i.e. King or President); his pupils and adherents, Buelow, Cornelius, Pruckner, Remenyi, Laub, Cossmann, etc., etc., were Murls.] with Remenyi [A celebrated Hungarian violinist.] are an excellent dispensation of fate, and on July 6th, the day of your concert at Leicester, the Weimar Murls shall be invited to supper at the Altenburg, and Remenyi and Klindworth shall be toasted "for ever!"--[Liszt writes "for ever hoch leben lassen."]

On July 8th I go from here to Rotterdam. The days of the performances are July 13th, 14th, and 15th. The last number but one of Brendel's paper (June 16th) contains the complete programme. The principal works will be Handel's "Israel in Egypt," Haydn's "Seasons," the Ninth Symphony, and a newly composed Psalm by Verhulst (the royal conductor of the Netherlands, director of the Euterpe Concerts in Leipzig about twelve years ago, and at present director of the Rotterdam Festivals). Roger, Pischek, Formes, Madame Ney, Miss Dolby, etc., have undertaken the solos, and the programme announces nine hundred members. It would be very-nice if you and Remenyi and Hagen [Theodor Hagen, a writer, known as a witty critic of his time under the name of "Butterbrod" [bread and butter] in the signale; died subsequently in America.] could come; in that case you would have to start at once, for on the 13th it begins, and on the 16th I leave Rotterdam--and go for a couple of days to Brussels, where I shall meet my two daughters.

A couple of Murls would look well in Rotterdam, and would make up to me in the best possible way for a lot of Philistinism which I shall probably have to put up with there (by contact with many honorable colleagues and companions in Art)...So, if you possibly can, come. We will then have a Murl-Musical Festival in my room. (N.B.--I shall be staying with Mr. Hope, the banker.)

One has to get accustomed to the London atmosphere, and make one's stomach pretty solid with porter and port. For the rest, musical matters are not worse there than elsewhere, and one must even acknowledge some greatness in bestiality. If you can stand it, I am convinced that you will make a lucrative and pleasant position for yourself in London, and also gain a firm footing for the Murl propaganda ("une, indivisible et invincible") on the other side of La Manche, "ce qui sera une autre paire de manches." (In case you don't understand this joke, Remenyi must explain it to you.) So be of good courage and among good things! However things may be, never make capitulation with what is idle, cowardly, or false--however high your position may become-and preserve, under all circumstances, your Murldom!--

The two pieces from Raff's "Alfred" [Arranged by Liszt for the piano.] have been brought out by Heinrichshofen (Magdeburg), and are dedicated to Carl Klindworth. Write me word how I can send them to you in the quickest and most economical manner--together with the Sonata. [It bore the title, in Liszt's handwriting, "Fur die Murlbibliothek" (for the Murl Library).] The Dante Fantasia will appear in the autumn, with the other pieces of the "Annees de Pelerinage," at Schott's, and I will tell him to reserve a copy for you.

Since you went away I have worked chiefly at my Symphonic Poems, composing and elaborating. The nine numbers are now quite ready, and seven of them entirely copied out. Next winter I intend to publish the scores, which ought to make about a thousand engraved plates. Immediately after my return from Rotterdam I shall set to work on the Faust Symphony, and hope that I shall have it ready written out by February.

Hartel is publishing also a couple of transcriptions from "Lohengrin" (the Festal March before the third act, with the Bridal Chorus, Elsa's Dream and Lohengrin's rebuke to Elsa), which I wrote lately.

A propos of Hartel, haven't you heard anything of your arrangement of the Schubert Symphony? The matter is being delayed rather long, and when I go to Leipzig I will inquire at Hartel's. [The arrangement for two pianos of the C major Symphony was brought out by them.] I have nothing new to tell you of Wagner. Joachim and Berlioz came to see me in May. Hoffmann von Fallersleben has settled here, and we see each other pretty often. His last poems, "Songs from Weymar," are dedicated to me.

Mason went to London a fortnight ago, and will probably come to Rotterdam. Laub is getting married in Bohemia, and brings his wife here in September. Schulhoff was also with me for a day.

Of Rubinstein I will tell you more when there is an opportunity. That is a clever fellow--the most notable musician, pianist, and composer, indeed, who has appeared to me from among the newer lights, with the exception of the Murls. Murlship alone is wanting to him still. But he possesses tremendous material, and an extraordinary versatility in the handling of it. He brought with him about forty or fifty manuscripts (Symphonies, Concertos, Trios, Quartets, Sonatas, Songs, a couple of Russian Operas, which have been given in Petersburg), which I read through with much interest during the four weeks which he spent here on the Altenburg. [Liszt's home] If you come to Rotterdam you will meet him there.

Now farewell, my dear Klindworth, and let me soon hear from you.

Your

F. Liszt

July 2nd, 1854

From the 10th to the 15th of July letters will find me in Rotterdam--Poste restante. N.B.--Remenyi gives me no reply about the manuscript of Brahms' Sonata (with violin). Probably he has taken it with him, for I have, to my vexation, rummaged through my entire music three times, without being able to find the manuscript. Don't forget to write to me about this in your next letter, as Brahms wants this Sonata for printing.

116. To Dr. Franz Brendel

Dear Friend,

I send you herewith a long article on "Harold" and Berlioz, which Pohl will translate, and adopt in his intended book on Berlioz. Be so good as to see that Pohl gets the manuscript as soon as possible, as he is probably in Leipzig now.

[The article appeared in the "Neue Zeitschrift" in 1855 (afterwards "Gesammelte Schriften," vol. iv), whereas it did not appear in Pohl's book on Berlioz, which only saw the light thirty years later, in 1884.]

Tonight I go to Rotterdam for the Musical Festival, and thence for a couple of days to Brussels. On the 22nd--24th of July I shall come to Leipzig for a few hours, before I get back to Weimar.

I suppose you have given up your Rotterdam journey. If you have anything to send for from there, write me a line immediately to Poste restante, Rotterdam.

Two articles are ready for your paper, "Die weisse Frau" [The White Lady] and "Alfonso and Estrella." As soon as the "Montecchi" and the "Favorita" appear you shall receive them [the complete "Gesammelte Schriften," vol. iii, 1]. The "Fliegender Hollander" is also ready, but must be copied.["Gesammelte Schriften," vol. iii., 2.] This article is a very long one, and will take up several of your numbers.

Remember me kindly to your wife, and bear me in friendly remembrance as your willing collaborator and attached friend,

F. Liszt

Weymar, July 7th, 1854

117. To Anton Rubinstein.

[Rubinstein (born 1830, at Wechwotynetz in Russian Bessarabia) gave concerts as early as 1839 in Paris, and Liszt, who was there, welcomed in the boy the future "inheritor of his playing," and helped him in his studies, both during his stay in Paris, and during his stay in Vienna later on, by giving him lessons. When Rubinstein, in 1854, after a long sojourn in Russia, came back to Germany, Liszt gave him a most hospitable reception at the Altenburg at Weimar.]

What are you doing with yourself, my dear Van II.? [From Rubinstein's likeness to Beethoven Liszt jokingly called him Van II. (that is, Van Beethoven)] Are you settled according to your liking at Bieberich, and do you feel in a fine vein of good-humor and work, or are you cultivating the Murrendo[This must refer to some witty joke.] of your invention?

Your luggage van of manuscripts was sent off to you the day after my return, and will have reached you in good condition, I think. I acquit myself herewith of my little debt of one hundred thalers, with many thanks for your obligingness, until the case arises again. A propos of obligingness, will you please send me the letter of introduction for Cornelius's sister, who is about to begin her theatrical career in the choruses of the Italian opera at St. Petersburg? I told Cornelius that you had promised it to me. And I should be very glad to send it him without too much delay. His sister is an excellent young person, not too pretty, but well brought up, and whom one can introduce with a good conscience. It is to be feared that she will feel herself very isolated there, and will get "Heimweh" [homesickness]!

Let me hear from you soon. As regards myself I have very little to tell you at this moment. Weymar is deserted, as the Court is absent. Schade alone is radiant, for he has already got a heap of subscribers to his "Weymar'sche Jahrbucher" [Weimar Year-books], the first number of which is half printed and will definitely appear on the 28th August. Mr. de Beaulieu will not be back for three weeks; in spite of this send me your scenario of the Russian opera as soon as ever you have finished it, for I will see that he has it, and, if there is no political obstacle (which is a very exceptional circumstance in these matters), your work shall be given next November. [The opera "The Siberian Hunters" was, in point of fact, given at Weimar through Liszt's instrumentality.] When you have sufficiently enjoyed the charms of Bieberich, come and see me at the Altenburg. It seems to me that you will be at least as comfortable here as elsewhere (Baden-Baden with Madame * * * excepted!), and Van II may be certain of being always welcome

To his very affectionate friend,

F. Liszt

Weymar, July 31st, 1854

For the translation of your opera I again recommend Cornelius, but you will have to pass some weeks here to hasten the work.

118. To Dr. Franz Brendel

You would have greatly deceived yourself, dear friend, if you had attributed any sort of personal aim to my last intimation regarding the conduct of the critical part of your paper. By no means could that be the case, and I think I even said to you in the course of conversation that, so long as my set of articles on various operas, which provisionally closes with the "Flying Dutchman", is going on in the Neue Zeitschrift, it seems to me more becoming not to bespeak any other musical productions of mine. None the less do I consider it desirable and quite in the interest of our cause that, for the future, the more important productions, especially the works of R. Schumann, Hiller, Gade, etc., should be brought into consideration more fully and oftener than has been the case of late years. The bookseller's views, as regards the sending or non-sending of works, appear to me unimportant and even injurious for the higher position which your paper maintains.--

I send you herewith Cornelius's article on the Prize Symphony and the "Girondistes" Overture. It is very nicely written, and will probably suit you. If possible put it into your next number.

I cannot now undertake the discussion about the Schumann collective writings, as I am prevented by musical work for a long time. Still, if I write later on a couple of articles on the work, that need not prevent you from bringing out very soon one or more articles discussing the same work. There is much to take in and to bring out in it, which one critic alone is scarcely capable of conceiving. The best plan of all would be if you yourself will undertake the discussion of the Schumann writings. Should you, however, not have time for it, then Pohl would be the best man for this work. His predilection for Schumann, and his familiarity with Schumann's views, qualify him thoroughly for this.