Chapter VII: Part 7

My articles on the "Flying Dutchman" must not wait so long as you propose to me in your letter. I wish explicity that the two articles on the "Weisse Dame" and "Alfonso and Estrella" should appear as soon as possible, and immediately afterwards the "Flying Dutchman", so that by the end of September this series of twelve opera discussions may have all appeared in the Neue Zeitschrift.

At the same time with the proofs of the article on the "Weisse Dame" you will receive the "Alfonso and Estrella" article, and, as soon as these are out, the "Flying Dutchman", which must be published in September--for various reasons, which cannot well be explained in a letter.

Raff's book "Die Wagnerfrage" [The Wagner Question] has arrived here today, and I have already read it. The author is so pleased with himself that it would be a miracle if his readers were joined to him in the same proportion, and Raff is specially at variance with miracles!--

This book makes on me the effect of a pedagogic exuberance. Even the occasional good views (on harmony, for example) that it contains are obscured by a self-sufficiency in the tone and manner of them, of which one may well complain as insupportable. What Raff wishes to appear spoils four-fifths (to quote the time which he adapts so ridiculously to "Lohengrin" of what he might be. He is perpetually getting on scientific stilts, which are by no means of a very solid wood. Philosophic formulas are sometimes the envelope, the outside shell, as it were, of knowledge; but it may also happen that they only show empty ideas, and contain no other substance than their own harsh terminology. To demonstrate the rose by the ferule may seem a very scientific proceeding to vulgar pedants; for my part it is not to my taste; and without being unjust to the rare qualities of Raff's talent, which I have long truly appreciated, his book seems to me to belong too much to the domain of moral and artistic pathology for it to help in placing questions of Art in their right light.

I beg you, dear friend, not to repeat this to anybody, for I could not go against Raff in any but the most extreme case, for which I hope he will not give me any occasion. Against the many charges to which he has exposed himself I even intend to shield him as far as possible, but I am very much grieved that he has mingled so much that is raw and untenable in his book with much that is good, true and right.

Farewell, dear friend, and give most friendly greetings to your wife from

Yours most sincerely,

F. Liszt

August 12th, 1854

In the "Favorita" article a great error has been allowed to remain. "No lover, no knight behaves thus"--and not "A lover behaves thus," etc. Send me at once the proofs of the "Weisse Dame", and in September bring the "Fliegende Hollander", which must not wait any longer.

I am now working at my Faust Symphony. The three-keyboard instrument arrived yesterday from Paris. It might be well to take the opportunity of my Catalogue appearing at Hartel's to see about a special article on it in your paper.

119. To Anton Rubinstein

[August, 1854]

My dear Van II.,

Whatever scruple I may have in making the shadow of an attempt on the liberty of your determinations and movements,--a scruple of which I gave you a pertinent proof by not insisting any further on your choosing Weymar instead of Bieberich as your villegiatura during this last month,--yet duty (and a theatrical duty!) obliges me to snatch you from your Rhine-side leisure, to set yourself to work afresh at your business on the banks of the Ilm,--

"Non piu andrai, farfalone," etc. [Aria from Mozart's "Figaro"]

We have to hunt the Siberian bear; ["The Hunters of Siberia", an opera of Rubinstein's.] and whether it is the season or not, I don't trouble myself about that. Mr. de Beaulieu has just answered me in the affirmative about the proposition I made to him to give your "Hunters of Siberia" at the beginning of November (the 9th, a date already made famous by the "Homage to Art" a Prologue which will be again given this season), and asks me particularly to push on as fast as possible the copying of all the parts. Now one must kill the bear before selling his skin-- that is to say, translate the libretto, fit it to the music, and arrange the score for the performance at Weymar.

According to what we arranged verbally, I spoke about it to Cornelius, who accepts the work of translator with pleasure, and will fulfill it promptly, and, I am persuaded, to your satisfaction. The only thing wanting is for you to come at once, and spend a fortnight at Weymar to finish everything. I give you then rendez-vous at the Altenburg, where your former quarters await you. No one will bother you there, and you can give yourself up to cultivating murrendos [La Mara thinks there was a joke in connection with this; I cannot help thinking it is a corruption of morendo, and that perhaps Rubinstein joked about cultivating a particular touch or nuance.--Translator's note] to your heart's content whenever the fancy takes you. Try therefore not to be too long over your farewells to the Tannhausers of the banks of the Rhine (and if by chance Madame S. is there, pack yourself off secretly so as not to provoke a scene of too much frenzy), so as to get to Weymar by 1st to 3rd September, for your score must be given to be copied by the 15th to the 20th. I will keep your three books till you come, and will give them you back at the Altenburg, and I take great pleasure in advance in your success on our stage.

A revoir then, my dear Rubinstein, in a week's time.

Yours ever in friendship,

F. Liszt

Write me simply a word to fix the date of your arrival, so that I may let Cornelius know, as he is gone for a week to his mother, a few hours away from here.

In the matter of news I will tell you that my instrument with three keyboards is installed in the second etage of the Altenburg, and that I have finished the first part of my Faust Symphony (a third of the whole)--the two other parts will be ready in November, I hope.

I shall also have a little friendly quarrel to pick with you, which I reserve for our after-tea conversations.

A bientot!

120. To Alexander Ritter in Dresden.

[Ritter at this time joined the Weimar Hofcapelle (Court orchestra); was afterwards music director at Stettin, and lives now in Munich; is celebrated as the composer of the operas "Der Faule Hans" and "Wem die Krone."]

Hearty good wishes on your marriage, dear friend. I reproach myself for disturbing you in your honeymoon. Well, a little music to it won't hurt anybody. So come as soon as it is agreeable to you. The matter is not so very pressing; I only beg you to send a few lines in reply to Herr Jacobi, the secretary of the Court theater, who wrote to you previously, and to tell him the date of your arrival in Weymar. As your marriage takes place on the 12th of this month, you are quite justified in asking for a few days' respite. If it suits you to stay a fortnight longer in Dresden, then fix the 1st of October for your coming to Weymar. With regard to your quarters, I am quite ready to help you in word and deed.

In case Pohl is in Dresden you can tell him that his wife is also engaged from the 15th of September (on which date the theater here reopens). I wrote yesterday to Brendel, in order to get Pohl's exact present address. I expect the answer tomorrow, and Herr Jacobi will immediately write to Frau Pohl.

Meanwhile remember me most kindly to your wife, and dispose entirely--without ceremony--of

Yours most sincerely,

F. Liszt

Weymar, September 6th, 1854

121. To Bernhard Cossmann, Schloss Chanceaux bei Loches in Touraine

Weymar, September 8th, 1854

Dear Friend,

Whilst you are promenading at your leisure beneath the fine oaks, beeches, birches, horse-chestnuts, etc., of Chanceaux, I have the sotte chance [Silly opportunity] of gaping chanceusement [doubtfully] to the crows of Weymar, where we have certainly no Chanceaux, but pretty well of gens sots [stupid people] im Loch [In this hole. All plays upon words, and given therefore in the original.] (near Loches!!). This almost attains to the height of punning of our friend Berlioz, does not it?--I should not be able to keep on such heights, and therefore I hasten to descend to more temperate regions (des regions plus temperees),-"le Clavecin bien tempere of J. S. Bach," for example, or to some "Beau lieu" with or without marque au nez (Marconnay). [A play on words. The name of the Intendant of the Weimar Court theater was Beaulieu- Marconnay.] (I implore you to keep this execrable improvisation to yourself, for, in my position as Maitre de Chapelle, I should run the risk of being fined by the "Hofamt" [office in the royal household] for allowing myself such an application of Berlioz's treatise on instrumentation--but I really don't know what tarantula of a pun is biting me at this moment!)

Mr. de Beaulieu has just done two graceful acts for me, for which I am very grateful. Madame Pohl is engaged as harpist to the Weymar Kapelle, and A. Ritter of Dresden--the brother of Hans de Bulow's friend--as violinist in place of little Abel, who is leaving us to go and probably assassinate some Cain at a second or third desk in an orchestra, somewhere!

A. Ritter is going to marry Mdlle. Wagner on the 12th of this month (the sister of Johanna), who has played in comedy at the Breslau theater, and who, by her husband's orders, will not continue playing when she has her home to keep. Let us hope so at least! These two new engagements are a great pleasure to me, and I shall willingly console myself for the loss of the innocent Abel.

And as Mr. de Beaulieu is just in such a good temper, I advise you to profit by the circumstance to write him a letter, artistically turned, to beg for a prolongation of your holiday, which he will grant you with a good grace, I am sure.

The theater will reopen the 15th September. The 16th "Ernani" will be given. In the course of October we shall have the "Huguenots", with a new singer from Prague, Mdlle. Stoger, of whom one hears wonders.

For the 9th October (fiftieth anniversary of the entry of H.I.H. the Grand Duchess Marie Paulowna into Weymar) a rather curious performance will be arranged:--

1st. The Homage to Art by Schiller.

2nd. One of my Poemes Symphoniques.

3rd. "The Hunters of Siberia", Opera in one Act--Music by Rubinstein.

4th. The Finale of "Lorelei" by Mendelssohn.

For the winter season they are thinking of giving the two "Iphigenies", "in Aulis" and "in Tauris", by Gluck, and Schumann's "Genoveva".

Rubinstein and Wasielewski (of Bonn) have been here some days. Raff has published his volume "The Wagner Question." I would neither answer nor vindicate it!--My monster instrument with three keyboards has also arrived a fortnight ago, and seems to me to be a great success--and on your return I shall pretty nearly have finished my Faust Symphony, at which I am working like a being possessed.

This is all my news from here, to which I add the expression of the old and sincere friendship of your very affectionate

F. Liszt

P.S.--I, on my side, will also write to Mr. de Beaulieu about you, but it is the thing for you to write him a few lines. The matter in itself will not present any difficulty.

122. To Gaetano Belloni in Paris

[autograph in the possession of M. Etienne Charavay in Paris]

[September 9th, 1854]

My dear Belloni,

Will you do me the kindness to tell Mr. Escudier that on my last visit to H.R.H. the Duke of Gotha I gave Monseigneur the volume on Rossini, and spoke to him at the same [time] of the desire that Mr. Escudier had mentioned to me in his last letter to be admitted into the order of H.R.H., before putting himself at his command? It goes without saying that I warmly recommended Mr. Escudier to the Duke; but nevertheless he seemed to turn a little deaf, at any rate with one ear, to the side of the ribbon. In the course of this month I shall probably see the Duke again, and will speak to him again about it. On your side do not neglect Oppelt [a Belgian writer; translated the Duke's opera], who frequently corresponds with Gotha, and rest assured that I shall not fail to be agreeable to your friends on this occasion.

Yours ever,

F. Liszt

Nothing new here. The theatrical season will open with "Ernani" on the 16th September at latest; they talk of mounting "Rigoletto" or the "Foscari." Unfortunately the German translations of Verdi's operas are not worth a straw, and we are great purists at Weimar. In November the "Huguenots" will also be given, for the first time at Weymar, the late Grand Duke never having permitted the performance of this work on account of his respect for Luther, whom his ancestors had specially protected.

Hartel is going to engrave several of my scores. Four or five of them will appear in the course of the winter ("Tasso"--the "Preludes"--"Orphee"--"Mazeppa" will be printed first) under the title of "Poemes Symphoniques."

I won't write to Escudiers--it will be enough if you let them know of my good intentions in regard to them. You know that I am overdone with correspondence, and, unless it is absolutely necessary for me to write, I abstain from it, so as not to interrupt my work of composition, which is my first raison d'etre.

123. To Eduard Liszt in Vienna

What affliction and what desolation, my very dear friend! [Eduard Liszt, then member of the provincial Court of Justice in the Civil Senate, had lost his wife from cholera.] Alas! in trials such as these even the sympathy felt by those who are nearest to us can do but little to alleviate the overwhelming weight of the cross which we have to bear. And yet I wish to tell you that in these days of sorrow my heart is near to yours, sympathizing with your suffering, and trusting that "the peace of the Lord," that peace which the world can neither give nor take away, may sustain you.

Ever yours,

F. Liszt

October 10th, 1854

P.S.--Try to come and see me soon!

124. To Anton Rubinstein

Weimar, October 19th, 1854

Schott makes me ashamed, my dear Rubinstein. Here come the new proofs of the "Kamenoi-Ostrow," [Rubinstein had written a number of short pianoforte pieces named after the Emperor's summer residence near St. Petersburg.] which he addresses to me for you, and I have not yet sent you the previous ones! To excuse myself I must tell you that I am frightfully busy (especially at the theater), and that I did not want to put the proofs in a wrapper without writing and thanking you for your charming and clever letter from Leipzig. Well, here is the whole packet at last, which you can send direct to Schott. Nevertheless, I am in your debt for the carriage (which please beg Redslob to put to my account), and for ten crowns which I borrowed from you at the railway. As you are coming back here at the beginning of November we shall have plenty of time to settle these little matters.

The rehearsals of your "Chasseurs de Siberie" begin in the course of next week. You may trust in my zeal, and be assured that your work will be suitably prepared. I only beg you to be here about the 4th November, in order to give us your own ideas at the final rehearsals. If you decidedly prefer to be a spectator at the performance, I will willingly conduct the work--but perhaps at the general rehearsals the fancy may take you to mount the conductor's chair, as I proposed to you at first: whatever you definitely decide in this matter will only be agreeable to me. Therefore just do as you generally do, I beg you, without ceremony or bother of any kind.

How do you find yourself as regards the musical atmosphere of Leipzig? Has your "Ocean" obtained the suffrages of the Areopagus which must be its first judge? At which Gewandhaus Concert will Mr. Van II. be heard? If you already know anything positive as to your debuts in Leipzig, write it to me, with a continuation of the commentaries which amused me so much in your former letter. We have nothing of special news here which can interest you. Madame Wagner returns to Weymar the day after tomorrow, and next Sunday "Lohengrin" will be given. The Wednesday after that a new singer (Mdlle. Stoger, the daughter of the director at Prague), who possesses a beautiful voice and appears to be highly endowed, will make her debut in "Lucrezia Borgia." On the 24th October I expect Madame Schumann, whom you will already have seen and heard at Leipzig. When you have an opportunity please tell her not to delay her journey to Weymar, for I have made all the arrangements with Mr. de Beaulieu, etc., from the 24th to the 26th, for the Court Concert and for the one which will take place at the theater in her honor.

My "Faust" is finished, and I am going to give it to the copyist in a couple of days. I am very curious to make acquaintance with yours, and to see in how far the beaux-esprits differ whilst meeting on common ground! Your "murrendos" at Leipzig will have proved favorable to your conversations with the Muse, and I look forward to a fine Symphony. A revoir then, dear friend; on the 4th November, or the 5th at latest, we have the first performance of an unpublished tragedy, "Bernhard von Weymar," for which Raff has written a grand Overture and a March, and on the following days your general rehearsals.

Yours in all friendship,

F. Liszt

125. To Dr. Franz Brendel

[Beginning of November, 1854]

Dear Friend,

Pohl's article on Lieder und Spruche, etc. (Songs and Sayings), appears to me to be of general interest to the public--therefore I begged you to put it in your paper.

Touching what you have reserved of Raff's, I am quite of opinion that you should also make room for him in his critical examinations of the Minnesingers. [The German poet-singers of the Middle Ages.] The ground is an interesting and attractive one-- and if a rather warm discussion should ensue later on between Raff and Pohl, the field of the Minnegesang (love-song) is by far the most agreeable for both, as well as the more entertaining for your readers. Ergo, put Pohl's article into your next number. Raff can then spring his mines in honor of the Minnegesang when he pleases. This may make a quite pleasant and harmless joke-- perchance a crown of lilies will mingle with it in the end and shape the affair into a University concern...Your paper, in any case, will not suffer. Therefore set to work and go through with it!

In Bussenius [Bussenius, under the pseudonym W. Neumann, published the set of biographies "The Composers of Recent Times" (Balde, Cassel).] you have rightly found the man of whom I previously foretold you somewhat. I think that by the New Year he will settle at Gotha, and carry on there with his firm (Balde) greater literary and publishing undertakings. Meanwhile don't speak of this. When the outlook is more certain, and things are favorably settled, I will tell you more.

I gladly accept your friendly invitation to write an article for your New Year's number. In the course of the next few days you will receive the article on Clara Schumann, and shortly afterwards the second half of "Robert Schumann."

Cornelius has been rather unwell for several days, which has delayed the translation. [Peter Cornelius translated the articles written in French by Liszt--with the collaboration of the Princess Wittgenstein--for the Neue Zeitschrift; those which are published in vols. iii. to v. of the "Gesammelte Schriften."]

Will you, dear friend, be so good as to give my special thanks to Herr Klitzsch for his article in today's number? By the favorable manner in which he enters into the intentions of my Mass, and the artistic sympathy he shows for my endeavour, he has given me a very great pleasure. Probably a good opportunity will present itself, later on, for me to undertake a further work in the religious style, as I feel and conceive it, by the composition of a "Missa Solemnis" for mixed chorus and orchestra...For the present I cannot, however, occupy myself with this; but aufgeschoben soll nicht aufgehoben heissen. [A German proverb-- "Put off is not given up."]

When I come to Leipzig I shall have the pleasure of calling on Klitzsch and giving him my best thanks in person. If you think I ought to write him a few lines before then, let me know.

Litolff was here several days, and we have come nearer together both from a friendly and an artistic standpoint. His fourth Concerto (Conzert-Symphonie) is a marked advance on the previous ones. He played this, as well as the third Concerto, the day before yesterday, in a truly masterly and electric, living manner. Frau Dr. Steche will have told you about it. Perhaps in your next number you will put in a short appreciative notice of Litolfff's appearance here.

Rubinstein left for Leipzig at midday today. The performance of his Symphony ["Ocean"; given for the first time, November 16th, 1854, at the Gewandhaus Concert for the Poor.] is fixed for the 16th at the Gewandhaus, and later on he will also appear as a pianist. Hartel, Hofmeister, and Schott have already taken about thirty of his manuscripts, which is about the smaller half of his portfolio!--

About the Berlin "Tannhauser" affair I cannot for the moment say more than that I have always made Wagner feel perfectly at liberty to put me on one side, and to manage the matter himself, according to his own wishes, without me. But so long as he gives me his confidence as a friend, it is my duty to serve him as a discreet friend--and this I cannot do otherwise than by giving no ear to transactions of that kind, and letting people gossip as much as they like. Don't say anything more about it for the present in your paper. The matter goes deeper than many inexperienced friends of Wagner's imagine. I will explain it to you more clearly by word of mouth. Meanwhile I remain passive-- for which Wagner will thank me later on.

Yours most truly,

F. Liszt

N. B.--Pohl wishes his Minnesinger article not to be signed with the name Hoplit, but with the letters R. P., when it appears in your paper.

126. To Anton Rubinstein

Your "Dialogue Dramatique" a propos of your "Ocean" is a little chef-d'oeuvre, and I shall keep it, in order, later on, to put it at the disposal of some future Lenz, who will undertake your Catalogue and the analysis of the three styles of Van II. We laughed with all our hearts, a deux, in the little blue room of the Altenburg, and we form the most sincere wishes that Gurkhaus, [Principal of the music firm F. Kistner in Leipzig.] the deus ex machine, may have come to put you out of the uncomfortable state of suspense in which the Gewandhaus public did you the honor to leave you. To tell the truth, this decrescendo of applause, at the third movement of your Symphony, surprises me greatly, and I would have wagered without hesitation that it would be the other way. A great disadvantage for this kind of composition is that, in our stupid musical customs, often very anti-musical, it is almost impossible to appeal to a badly informed public by a second performance immediately after the first; and at Leipzig, as elsewhere, one only meets with a very small number of people who know how to apply cause and effect intelligently and enthusiastically to a piece out of the common, and signed with the name of a composer who is not dead. Moreover I suspect that your witty account is tainted with a species of modesty, and I shall wait, like the general public, for the accounts in the newspapers in order to form an opinion of your success. Whatever may come of it, and however well or ill you are treated by the public or criticism, my appreciation of the value that I recognize in your works will not vary, for it is not without a well-fixed criterion, quite apart from the fashion of the day, and the high or low tide of success, that I estimate your compositions highly, finding much to praise in them, except the reservation of some criticisms which almost all sum up as follows--that your extreme productiveness has not as yet left you the necessary leisure to imprint a more marked individuality on your works, and to complete them. For, as it has been very justly said, it is not enough to do a thing, but it must be completed. This said and understood, there is no one who admires more than I do your remarkable and abundant faculties, or who takes a more sincere and friendly interest in your work. You know that I have set my mind upon your "Ocean" being given here, and I shall beg you also to give us the pleasure of playing one of your Concertos. In about ten days I will write and tell you the date of the first concert of our orchestra.

Meanwhile your "Chasseurs de Siberie" will be given again on Wednesday next (the 22nd). I will tell Cornelius to give you tidings of it, unless the fancy takes you to come and hear it, in order to make a diversion from your "Voix interieures" [internal voices] of Leipzig.

Write to me soon, my dear Van II., and believe me wholly your very affectionate and devoted friend,

F. Liszt

November 19th, 1854

127. To Dr. Franz Brendel

Dear Friend,

Kahnt [The subsequent publisher, for many years, of the Neue Zeitschrift.] is only known to me by name, as an active and not too moderately Philistine publisher. Personally I have never met him, and therefore I cannot give a decided opinion as to his fitness and suitability for the post of publisher of the Neue Zeitschrift--yet, on the grounds you give me, it seems quite right. Nothing is to be expected from Bussenius until he has made a firm footing at Gotha, which can only come to pass in the course of the next months; besides this, he has such gigantic plans for his new establishment in Gotha that the affairs of the Neue Zeitschrift might be left somewhat in the background. I entirely agree with you on this point, that you cannot put the Neue Zeitschrift in the market and offer it to just any publisher who has shown himself up to now hostile to our tendencies. To do such a thing as that could never lead to a satisfactory result. I would, however, remark that the next few years will probably set our party more firmly on their legs; the invalidity of our opponents vouches pretty surely for that, apart from the fact, which is nevertheless the principal point, that powerful talent is developing in our midst, and many others who formerly stood aloof from us are drawing near to us and agreeing with us. Consequently it seems to me that it is not to your interest to conclude at once a contract for too many years with Kahnt, unless, which is scarcely likely, he were to make you such an offer that you would be satisfied with it under the most favorable conditions. If Kahnt shows the necessary perception and will for the matter, try to get him to have a consultation with me about it at Weymar. As he is also a music publisher I could tell him some things, and make others plainer, which would not be without interest to him. He need not be afraid that I shall belabor him with manuscripts or urge him to untimely or useless sacrifices...(I need not waste more words over the purity of my intentions!) But I think it is desirable that, if Kahnt consents to become editor of the Neue Zeitschrift, I should put him on his guard about several things beforehand which do not come exactly within the sphere of your activity, but which may essentially help to the better success of the undertaking. A couple of hours will be ample for it, and as I shall not be absent from Weymar during the coming weeks Kahnt will find me any day. Perhaps it could be arranged for you to come to Weymar with him for a day, and then we three can make matters perfectly clear and satisfactory.

Although it is very difficult to me to make time for the more necessary things, yet I am quite at your service with a short article for the trial-number on Wagner's "Rheingold." I had arranged the article so as to do for the New Year's number--you shall have it in four to five days. Dispose of it as suits you best. In case the "Clara Schumann" article does not appear in the next number of the paper, and we do not have to wait too long for the trial-number, it would be well perhaps to put it in there. Possibly it might also be reprinted in the trial-number.

I am glad that you, dear friend, after some "jerks and wrenches," have come together again with the pseudo-Musician of the Future, Rubinstein. He is a clever fellow, possessed of talent and character in an exceptional degree, and therefore no one can be more just to him than I have been for years. Still I do not want to preach to him--he may sow his wild oats and fish deeper in the Mendelssohn waters, and even swim away if he likes. But sooner or later I am certain he will give up the apparent and the formalistic for the organically Real, if he does not want to stand still. Give him my most friendly greetings; as soon as our concert affairs are settled here I shall write and invite him to give one of his orchestral works here.

Do not let yourself be grieved at the ever-widening schism in Leipzig about which you write to me. We have nothing to lose by it; we must only understand how to assert our full rights in order to attain them. That is the task, which will not be accomplished in a day nor in a year. Indeed, it is as it is written in the Gospel, "The harvest truly is plentiful, but the laborers are few!" Therefore we are not to make ourselves over- anxious--only to remain firm, again to remain firm--the rest will come of itself!--

I will do my utmost for Fraulein Riese, [Pianoforte teacher in Leipzig, who for years went every Sunday to Weimar to study with Liszt; died 1860] that she may not repent the somewhat trying journey. It is a splendid and plucky determination of hers to come regularly to Weymar, and I hope she will gain thereby much pleasure and satisfaction.

Nauenburg's proposal of a Tonkunstler-Versammlung (meeting of musicians) in Weymar is very flattering to me; the same was written to me from several other sides. Hitherto I have always abstained from it, because I thought it was more prudent not to sell the bear's skin before the bear is shot. Moreover the ordinary fine talk without deeds ["much cry and little wool"] is very distasteful to me: let friend Kuhmstedt [Professor at a school, and Music Director at Eisenach; died 1858] sing that kind of philosophical fiortures in Eisenach; I have no talent for it. None the less we can return to the Nauenburg proposition at a convenient opportunity, and see how it could be best carried out. According to my opinion, Leipzig would be the most suitable place--and the summer a good time for it.

I consider Raff's polemic entirely harmless. Your readers will get a lesson in history from it, for which they can but be grateful to you--and we need not be anxious about Pohl. It will not puzzle him to eat his way out suitably and wittily.

Yours ever,

F. Liszt December 1st, 1854

128. To J.W. von Wasielewski in Bonn

[Formerly Conductor of the Town Vocal-Union at Bonn (born 1822), afterwards at Dresden; then again in Bonn as Music Director, and living since 1884 in Sondershausen. Widely known as a literary man through his biographies of Schumann and Beethoven, and also through his book "The Violin and its Masters," etc.]

Dear Friend,

Owing to the somewhat long detour of the "Pesther Lloyd," in which the friendly lines of remembrance have been reprinted which you dedicated to the "Altenburg" in the Cologne paper, I only heard of these a few days ago. [Written on the occasion of a week's visit to Liszt at the Altenburg at Weimar, at which time A. Rubinstein was also the Master's guest.] Please therefore to excuse the delay in my thanks, which are none the less sincere and heartfelt.

I have heard many accounts of your most successful concert performances in Bonn, all of which unite in giving you due praise for your excellent conducting. At the beginning of January concert affairs here, which have hitherto been in a vacillating and fluctuating condition, owing to various local circumstances, will take a more settled turn; I will send you the complete programme shortly. By today's post you will receive the "Songs and Sayings" from the last period of the "Minnesang," arranged for four voices by W. Stade (of Jena). It is an interesting work, and the editors would be very much indebted to you if you would have the kindness to give a couple of numbers of them at your concerts. The little pieces make quite a pretty effect, and one peculiar to themselves, which will prove still more intense with the beautiful Rhine Voices. Perhaps you would also find time and inclination to make the public favorably disposed towards the work by a few lines in the Cologne paper.

How is Hiller? Has his "Advocate" [an opera, "The Advocate." It had no success, and was publicly ridiculed at the Cologne Carnival.] won his requisite suit, as I wish from my heart may be the case? It would be very kind of you to let me know your plain, unvarnished opinion of the performance. I should like to recommend an early performance of the opera in Weymar if Hiller has nothing against it. As you frequently have occasion to see Hiller I beg you to ask him whether it would be agreeable to him to send me the text-book and the score, so that I may make the proposal to the management to give the opera here very soon.-- Should the matter be then so arranged that he himself conducts the first performance I should be very glad indeed, and I will write to him more fully about it.

The opera Repertoire here will be rather at a stand-still this winter. Frau von Milde is in an interesting condition: consequently there can be no Wagner operas from three to four months; for Frau von Milde is for us, and for these operas in particular, not to be replaced. Berlioz's "Benvenuto Cellini" must also be left unperformed; all the more because Beck, the tenor, has entirely lost his upper notes, and is less able than ever to sing the part of Cellini. But Berlioz will come here in January to conduct his oratorio "L'Enfance du Christ," etc. (German translation by Cornelius), and his "Faust." I on my side have also finished my "Faust Symphony" (in three parts--without text or voice). The entity or non-entity has become very long, and I shall in any case have the nine "Symphonic Poems" printed and performed first, before I set "Faust" going, which may not be for another year. Rubinstein's "Ocean Symphony" is to figure in one of our next programmes. If it were not the rule to keep these concerts exclusively instrumental, I should have begged Hiller for his "Loreley." Probably a good opportunity will occur for giving this work when he himself comes to Weymar, as he promised me he would do.

Joachim sent me, together with his Hamlet Overture, which is in print, two others--to "Demetrius" (by Hermann Grimm), and to "Henry IV." (of Shakespeare)--two remarkable scores composed with lion's claws and lion's jaws!--

Have you any news of Schumann? Give me some good tidings of his recovery. "Genoveva" will be given here in April at latest.--

Once more best thanks, dear friend, for the very pleasant days you gave us here, which the inhabitants of the Altenburg most agreeably remember; they send you most friendly greetings. I have not forgotten about the Weimar orchestra matter--a half-prospect has already appeared of realizing my wish, which is in accord with your own. I cannot help, however, always doubting whether it will be for your advantage to exchange Bonn for Weymar, for your position in Bonn appears to me to offer you decidedly improving chances from year to year, and in these regions so much is wanting...that I am constrained to be satisfied with small things. Well, what must be will be. Meanwhile keep in kind remembrance

Yours in sincere friendship,

F. Liszt

Weymar, December 14th, 1854

129. To William Mason in New York

[A pupil of Liszt's, born 1828 at Boston, esteemed as a first- rate piano virtuoso in America]

My dear Mason,

Although I do not know at what stage of your brilliant artistic peregrinations these lines will find you, yet I want you to know that I am most sincerely and affectionately obliged to you for the kind remembrance you keep of me, and of which the papers you send me give such good testimony. "The Musical Gazette" of New York, in particular, has given me a real satisfaction, not only on account of the personally kind and flattering things it contains about me, but also because that paper seems to ingraft a superior and excellent direction on to opinion in your country.

Now you know, my dear Mason, that I have no other pride than to serve, as far as in me lies, the good cause of Art, and whenever I find intelligent men conscientiously making efforts for the same end I rejoice and am comforted by the good example they give me. Will you please give my very sincere compliments and thanks to your brother, who, I suppose, has taken the editorship-in- chief of, the Musical Gazette, and if he would like to have some communications from Weymar on what is going on of interest in the musical world of Germany I will let him have them with great pleasure through Mr. Pohl, who, by the way, no longer lives in Dresden (where the numbers of the Musical Gazette were addressed to him by mistake), but in the Kaufstrasse, Weymar. His wife, being one of the best harpists whom I know, is, now among the virtuosi of our orchestra, which is a sensible improvement both for opera and concerts.--

A propos of concerts, I will send you in a few days the programme of a series of Symphonic performances which ought to have been established here some years ago, and to which I consider myself in honor as in duty bound to give a definite impetus at the beginning of the year 1855.--Toward the end of January I expect Berlioz. We shall then hear his trilogy of "L'Enfance du Christ," [The Childhood of Christ] of which you already know "La Fuite en Egypte," [The Flight into Egypt] to which he has added two other little Oratorios called "Le Songe d'Herode" [Herod's Dream] and "L'Arrivee a Sais." [The Arrival at Sais]--His dramatic Symphony of Faust (in four parts, with solos and chorus) will also be given entire while he is here.

As regards visits of artists last month which were a pleasure to me personally, I must mention Clara Schumann and Litolff. In Brendel's paper (Neue Zeitschrift) you will find an article signed with my name on Madame Schumann, whom I have again heard with that sympathy and thoroughly admiring esteem which her talent commands. As for Litolff, I confess that he made a great impression on me. His Fourth Symphonic Concerto (in manuscript) is a very remarkable composition, and he played it in such a masterly manner, with so much verve, such boldness and certainty, that it gave me very great pleasure. If there is something of the quadruped in Dreyschock's marvelous execution (and this comparison should by no means vex him: is not a lion as much a quadruped as a poodle?), there is certainly something winged in Litolff's execution, which has, moreover, all the superiority over Dreyschock's which a biped with ideas, imagination, and sensibility has over another biped who fancies that he possesses a surfeit of them all--often very embarrassing!

Do you still continue your intimate relations with old Cognac in the New World, my dear Mason?--Allow me again to recommend you measure, which is an essential quality for musicians. In truth, I am not very much qualified to preach to you the quantity of this quantity; for, if I remember rightly, I employed a good deal of Tempo rubato in the times when I was giving my concerts (a business that I would not begin again for anything in the world), and again, quite lately, I have written a long Symphony in three parts entitled "Faust" (without text or vocal parts), in which the horrible measures of 7/8, 7/4, 5/4, alternate with C and 3/4.--

In virtue of which I conclude that you ought to limit yourself to 7/8ths of a small bottle of old Cognac in the evening, and never to go beyond five quarters!--

Raff, in his first volume of the "Wagner-Frage," has realized something like five quarters of doctrinal sufficiency; but that is an example that can hardly be recommended for imitation in a critical matter, and especially in Cognac and other spirituous matters.

Pardon me, my dear Mason, for these bad jokes, which however my good intentions justify, and try to bear yourself valiantly both morally and physically, which is the heartfelt wish of

Your very affectionate

F. Liszt

Weymar, December 14th, 1854

You did not know Rubinstein at Weymar. [Liszt was mistaken about this. Mason had even done the principal honors to Rubinstein at his first visit to Weimar, in the absence of the Master.] He stayed here some time, and notoriously cuts himself off from the thick mass of so-called pianist composers who don't know what playing means, and still less with what fuel to fire themselves for composing--so much so that with what is wanting to them in talent as composers they think they can make themselves pianists, and vice versa.

Rubinstein will constantly publish a round fifty of works-- Concertos, Trios, Symphonies, Songs, Light pieces--and which deserve notice.

Laub has left Weymar; Ed. Singer has taken his place in our orchestra. The latter gives great pleasure here, and likes being here also.

Cornelius, Pohl, Raff, Pruckner, Schreiber, and all the new school of new Weymar send you their best remembrances, to which I add a cordial shake hand. [Written thus in English by Liszt]

F. L.

130. To Rosalie Spohr

Pray pardon me, dear artist and friend, that I am so late in expressing the hearty sympathy which your Weymar friends take in the joyful event of your marriage. [To Count Sauerma.] You know well that I am a poor, much-bothered mortal, and can but seldom dispose of my time according to my wishes. Several pressing pieces of work, which I was obliged to get ready by this New Year's Day, have prevented me up to now from giving you a sign of life--and I am employing my first free moment to assure you that the changing date of the year can bring with it no variation in my sincere, friendly attachment. Remember me most kindly to the papa and sister, and write to me when you can and tell me where you are going to live henceforth. Possibly I might happen to be in your neighborhood, in which case I should hasten to come and see you.

I have but little news to give you of Weymar. That Litolff has been to see me here, and played his two Symphony-Concertos capitally, you doubtless know. Probably he will come back after his journey to Brussels, in the course of next month, when I also expect Berlioz here. Our orchestra now also possesses a very first-rate harpist, Frau Dr. Pohl, with a good double-movement harp of Erard. It seems that poor Erard is no better, and his "cure" at Schlangenbad has not had the desired result. I frequently get very sad tidings of his condition through my daughter.

I thank you warmly for the friendly reception you accorded to Herr Wolf as a Weymarer. I hope he did not inconvenience you by too long visits. His wife brought me some weeks ago the original sketch of your portrait, which is to become my possession.

The Frau Furstin [Princess] and Princess Marie commission me to give you their most friendly greetings and wishes, to which I add once more the expression of my friendly devotion.

A thousand respects and homage.

F. Liszt

January 4th, 1855

131. To Alfred Dorffel in Leipzig

[Writer on music, born 1821; custodian of the musical section of the town library of Leipzig: the University there gave him the degree of Dr. phil. honoris causa.]

Dear Sir,

Allow me to express to you direct my most cordial thanks for the conscientious and careful pains you have taken in regard to my Catalogue. ["Thematic Catalogue of Liszt's Compositions."] I am really quite astonished at the exactitude of your researches, and intend to repeat my warm thanks to you in person in Leipzig, and to discuss with you still more fully the motives which lead me not entirely to agree with your proposal, and only to use a part of your new elaboration of my Catalogue. To avoid diffuseness, I can for today only state a couple of points.

The standpoint of your new arrangement is, if I have rightly understood you, as follows:--There are still being circulated in the music-shops a certain number of copies of my works, especially of the "Studies," "Hungarian Rhapsodies," and several "Fantasiestucke" (under the collective title of "Album d'un Voyageur"), etc., that I have not included in my Catalogue, which I gave into Dr. Hartel's hands for printing;--and you have taken upon yourself the troublesome task of arranging these different and somewhat numerous works in what would be, under other circumstances, a most judicious manner.

However gratifying to me this interest of yours in the production of a suitable Catalogue can but be, yet I must declare myself decidedly for the non-acceptance of the portions added by you (with certain exceptions).

1. The Hofmeister edition of the twelve Studies (with a lithograph of a cradle, and the publisher's addition "travail de jeunesse"!) is simply a piracy of the book of Studies which was published at Frankfort when I was thirteen years old. I have long disowned this edition and replaced it by the second, under the title "Etudes d'execution transcendante," published by Haslinger in Vienna, Schlesinger in Paris, and Mori and Lavener in London. But this second edition has now been annulled several years ago, and Haslinger has, by my desire, put aside my copyright and plates, and bound himself by contract not to publish any more copies of this work henceforth. After a complete agreement with him I set to work and produced a third edition of my twelve Studies (very materially improved and transformed), and begged Messrs. Hartel to publish it with the note "seule edition authentique, revue par l'auteur, etc.," which they did. Consequently I recognize only the Hartel edition of the twelve Studies as the SOLE LEGITIMATE ONE, which I also clearly express by a note in the Catalogue, and I therefore wish that the Catalogue should make no mention of the earlier ones. I think I have found the simplest means of making my views and intentions clear by the addition of the sign (+).

2. It is the same case with the Paganini "Etudes" and the "Rhapsodies Hongroises;" and after settling matters with Haslinger I completely gained the legal right to disavow the earlier editions of these works, and to protest against eventual piracy of them, as I am once more in possession both of the copyright and the entire engraving plates.

These circumstances will explain to you the reappearance (in a very much altered conception and form) of many of my compositions, on which I, as piano player and piano composer, am obliged to lay some stress, as they form, to a certain extent, the expression of a closed period of my artist-individuality.

In literature the production of very much altered, increased, and improved editions is no uncommon thing. In works both important and trivial, alterations, additions, varying divisions of periods, etc., are a common experience of an author. In the domain of music such a thing is more minute and more difficult-- and therefore it is seldom done. None the less do I consider it very profitable to correct one's mistakes as far as possible, and to make use of the experiences one gains by the editions of the works themselves. I, for my part, have striven to do this; and, if I have not succeeded, it at least testifies to my earnest endeavour.

3. In the "Annees de Pelerinage" (Schott, Mainz) several of the pieces are again taken from the "Album d'un Voyageur." The Album brought out by Haslinger must not be quoted in the Catalogue, because the work has not been carried out according to its original plan, and Haslinger has given me back, in this case also, the copyright and plates.

As the natural consequence of what I have said I beg you therefore, dear sir, not to undertake any alteration in the disposition and arrangement of my Catalogue, and only to add the various enlargements and improvements, for which I have to thank your overlooking and corrections, as I have now given them and marked them.--

The title of the Catalogue might sound better thus in German:--

F. Liszt

"Thematischer Catalog." ["Thematic Catalogue"]

And the letters of the headings "Etudes--Harmonies--Annees de Pelerinage--Ungarische Rhapsodien--Fantaisies on Airs from Operas, etc.," must be rather large, and these headings separated from the special title of the works.

I cannot agree with the admission of a supplementary Opus- number,--but it is of consequence to me that the Catalogue should come out speedily, in order to get as clear a survey as possible of my works up to the present time (which, however, are by no means sufficient for me).

Accept once more my best thanks, dear Sir, as also the assurance of high esteem of

Yours most truly,

F. Liszt

January 17th, 1855.

P.S.--I take the liberty of keeping your edition of the Catalogue here meanwhile, as it cannot be used for the arrangement of the Hartel edition.

132. To Anton Rubinstein

Your fugue of this morning, my dear Rubinstein, is very little to my taste, and I much prefer to it the Preludes that you wrote at an earlier date in this same room, which, to my great surprise, I found empty when I came to fetch you for the Berlioz rehearsal. Is it a fact that this music works on your nerves? And, after the specimen you had of it the other time at the Court, did the resolution to hear more of it seem to you too hard to take? Or have you taken amiss some words I said to you, which, I give you my word, were nothing but a purely friendly proceeding on my part? Whatever it may be, I don't want any explanations in writing, and only send you these few lines to intimate that your nocturnal flight was not a very agreeable surprise to me, and that you would have done better in every way to hear the "Fuite en Egypte" and the "Fantaisie sur la Tempete" of Shakespeare.

Send me tidings of yourself from Vienna (if not sooner), and, whatever rinforzando of "murrendo" may happen, please don't do a wrong to the sentiments of sincere esteem and cordial friendship invariably maintained towards you by

F. Liszt

Weymar, February 21st, 1855.

133. To Louis Kohler

My very dear Friend,