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Letters of Franz Liszt -- Volume 2

by Franz Liszt · English · Gutenberg #3750 · 758,587 chars · public domain (US)

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Title: Letters of Franz Liszt -- Volume 2

Author: Franz Liszt

Compiler: La Mara

Translator: Constance Bache


        
Release date: February 1, 2003 [eBook #3750]
                Most recently updated: January 8, 2021

Language: English

Other information and formats: www.gutenberg.org/ebooks/3750

Credits: This etext was produced by John Mamoun with the Online Distributed Proofreading Team of Charles Franks


*** START OF THE PROJECT GUTENBERG EBOOK LETTERS OF FRANZ LISZT -- VOLUME 2 ***
Ver.07/27/01*END*




This etext was produced by John Mamoun <mamounjo@umdnj.edu> with the
Online Distributed Proofreading Team of Charles Franks.





Letters of Franz Liszt, Volume 2: "From Rome to the End"

by Franz Liszt; letters collected by La Mara and translated by
Constance Bache




CONTENTS



BRIEF BIOGRAPHICAL SKETCH
FRONTISPIECE TO VOLUME II, HONORING LISZT
TABLE OF LETTER CONTENTS
THE LETTERS OF FRANZ LISZT, VOL. 2
INFO ABOUT THIS E-TEXT EDITION



BRIEF BIOGRAPHICAL SKETCH



The Austrio-Hungarian composer Franz Liszt (1811-1886) was a
pianistic miracle. He could play anything on site and composed
over 400 works centered around "his" instrument. Among his key
works are his Hungarian Rhapsodies, his Transcendental Etudes,
his Concert Etudes, his Etudes based on variations of
Paganinini's Violin Caprices and his Sonata, one of the most
important of the nineteenth century. He also wrote thousands of
letters, of which 399 are translated into English in this second
of a 2-volume set of letters (the first volume contains 260
letters).

Those who knew him were struck by his extremely sophisticated
personality. He was surely one of the most civilized people of
the nineteeth century, internalizing within himself a complex
conception of human civility, and attempting to project it in his
music and his communications with people. His life was centered
around people; he knew them, worked with them, remembered them,
thought about them, and wrote about them using an almost poetic
language, while pushing them to reflect the high ideals he
believed in. His personality was the embodiment of a refined,
idealized form of human civility. He was the consummate musical
artist, always looking for ways to communicate a new civilized
idea through music, and to work with other musicians in
organizing concerts and gatherings to perform the music publicly.
He also did as much as he could to promote and compliment those
whose music he believed in.

He was also a superlative musical critic, knowing, with few
mistakes, what music of his day was "artistic" and what was not.
But, although he was clearly a musical genius, he insisted on
projecting a tonal, romantic "beauty" in his music, confining his
music to a narrow range of moral values and ideals. He would have
rejected 20th-century music that entertained cynical notions of
any kind, or notions that obviated the concept of beauty in any
way. There is little of a Prokofiev, Stravinsky, Shostakovich,
Cage, Adams, and certainly none of a Schoenberg, in Liszt's
music. His music has an ideological "ceiling," and that ceiling
is "beauty." It never goes beyond that. And perhaps it was never
as "beautiful" as the music of Mozart, Bach or Beethoven, nor
quite as rational (Are all the emotions in Liszt's music truly
"controlled?"). But it certainly was original and instructive,
and it certainly will linger.



FRONTISPIECE TO VOLUME II, HONORING LISZT


I.

We welcome thee, from southern sunnier clime,
To England's shore,
And stretch glad hands across the lapse of time
To the once more.

II.

Full twice two decades swiftly have rolled by
Since thou wast here;
A meteor flashing through our northern sky
Thou didst appear.

III.

Thy coming now we greet with pleasure keen,
And loyal heart,
Adding tradition of what thou hast been
To what thou art.

IV.

No laurel can we weave into the crown
Long years entwine,
Nor add one honour into the renown
Already thine:

V.

Yet might these roses waft to thee a breath
Of memory,
Recalling thy fair Saint Elizabeth
Of Hungary

VI.

We welcome her, from out those days of old,
In song divine,
But thee we greet a thousand fold,
The song is thine!

--C.B.

[Presumably written by Constance Bache, this trite paean would
likely not have appealed to Liszt, who repeatedly affirmed his
humility.]



TABLE OF LETTER CONTENTS (LETTER NUMBER, FOLLOWED BY ADDRESSEE)



1.    Dr. Franz Brendel. December 20th, 1861
2.    A. W. Gottschalg in Tieffurt. March 11th, 1862
3.    Dr. Franz Brendel. April 12th, 1862
4.    Mme. Jessie Laussot in Florence. May 3rd, 1862
5.    Dr. Franz Brendel. June 12th, 1862
6.    the same. July 12th, 1862
7.    the same. August 10th, 1862
8.    the same. August 29th, 1862
9.    the same. November 8th, 1862
10.   A.W. Gottschalg. November 15th, 1862
11.   Eduard Liszt. November 19th, 1862
12.   Dr. Franz Brendel. December 30th, 1862
13.   Breitkopf and Hartel. March 26th, 1863
14.   A.W. Gottschalg in Weimar. April 14th, 1863
15.   Dr. Franz Brendel. May 8th, 1863
16.   Eduard Liszt. May 22nd, 1863
17.   Dr. Franz Brendel. June 18th, 1863
18.   the same. July 18th, 1863
19.   Breitkopf and Hartel. August 28th, 1863
20.   Dr. Franz Brendel. September 7th, 1863
21.   Dr. Gille in Jena. September 10th, 1863
22.   Dr. Franz Brendel. October l0th, 1863
23.   Mme. Jessie Laussot. October 15th, 1863
24.   Dr. Franz Brendel. November 11th, 1863
25.   Breitkopf and Hartel. November 16th, 1863
26.   Dr. Franz Brendel. January 22nd, 1864
27.   the same. May 28th, 1864
28.   Dr. Franz Brendel. June 13th, 1864
29.   The Committee of the Society for the Support of Needy
Hungarian Musicians in Pest. June 18th, 1864
30.   Eduard Liszt. June 22nd, 1864
31.   Dr. Franz Brendel. July 1st, 1864
32.   Walter Bache in London. July 2nd, 1864
33.   ? August 7th, 1864
34.   Eduard Liszt. September 7th, 1864
35.   Breitkopf and Hartel. September 14th, 1864.93
36.   the same. October 1st, 1864
37.   Mme. Jessie Laussot. March 6th, 1865
38.   Dr. Franz Brendel. April 3rd, 1865
39.   Prince Constantine (Hohenzollern-Hechingen). May 11th, 1865
40.   Breitkopf and Hartel. May 27th, 1865
41.   Dr. Franz Brendel. July 21st, 1865
42.   Abbe Schwendtner. September 20th, 1865
43.   Dr. Franz Brendel. September 28th, 1865
44.   Eduard Liszt. November 1st, 1865.
45.   Dr. Franz Brendel. January 14th, 1866
46.   the same. June 19th, 1866
47.   the same. October 2nd, 1866
48.   Breitkopf and Hartel. October 4th, 1866
49.   Dr. Franz Brendel. January 6th, 1867
50.   Dr. Cuturi in Pisa. January 22nd, 1867
51.   Julius von Beliczay in Vienna. April 29th, 1867
52.   Mme. Jessie Laussot. May 24th, 1867
53.   Eduard Liszt. June 20th, 1867
54.   William Mason. July 8th, 1867
55.   E. Repos in Paris. July 12th, 1867
56.   Prince Constantine Czartoryski.October 14th, 1867
57.   Eduard Liszt. October 16th, 1867
58.   the same. October 20th, 1867
59.   Peter Cornelius. October 23rd, 1867
60.   Eduard von Liszt. November 6th, 1867
61.   E. Repos. November 8th, 1867
62.   Mme. Jessie Laussot. January 13th, 1868
63.   DP. Franz Brendel. January 26th, 1868
64.   Walter Bache. January 30th, 1868
65.   Dr. Franz Brendel. March 31st, 1868
66.   Johann von Herbeck. June 9th, 1868
67.   Dr. Franz Brendel. June 17th, 1868
68.   E. Repos. July 1st, 1868
69.   Carl Riedel in Leipzig. August 12th, 1868
70.   E. Repos. August 26th, 1868
71.   Dr. Siegmund Lebert in Stuttgart. September 10th, 1868
72.   E. Repos. September 19th, 1868
73.   C.F. Kahnt. September 20th, 1868
74.   E. Repos. September 22nd, 1868
75.   Dr. S. Lebert. October 19th, 1869
76.   Richard Pohl in Baden-Baden. November 7th, 1868
77.   Johann von Herbeck. December 1st, 1868
78.   Dr. Siegmund Lebert. December 2nd, 1868
79.   Eduard von Liszt. December 6th, 1868
80.   Johann von Herbeck. December 29th, 1868
81.   Edvard Grieg. December 29th, 1868
82.   Carl Bechstein in Berlin. January 19th, 1869
83.   Johann von Herbeck. January 27th, 1869
84.   E. Repos. March 3rd, 1869
85.   Laura Kahrer in Vienna. April 15th, 1868
86.   Franz Servais. May 21st, 1869
87.   William Mason. May 26th, 1869
88.   Heinrich Schulz-Beuthen. June 18th, 1869
89.   Franz Servais. July 4th, 1869
90.   Mme. Jessie Laussot. July 16th, 1869
91.   Camille Saint-Sa2ns. July 19th, 1869
92.   the same. August 4th, 1869
93.   Mme. Jessie Laussot. October 7th, 1869
94.   Dr. Ludwig Nohl. November i7th, 1869 188
95.   Princess Wittgenstein. November 27th, 1869
96.   Franz Servais. December 20th, 1869
97.   Dr. Franz Witt in Ratisbon. Towards end of 1869
98.   Dr. Siegmund Lebert. January loth, 1870
99.   C.F. Kahnt. February 11th, 1870
100.  Dr. Gille. February 26th, 1870
101.  Baroness Schwartz in Crete. March 15th, 1870
102.  Camille Saint-Saens. May 12th, 1870
103.  Johann von Herbeck. June 20th, 1870
104.  Sophie Menter. August 11th, 1870
105.  the same. August 29th, 1870
106.  Kornel von Abranyi in Budapest, November 2nd, 1870
107.  Sophie Menter. March 22nd, 1871
108.  Edmund von Mihalovich in Budapest. May 29th, 1871
109.  Marie Lipsius. July 23rd, 1871
110.  Franz Servais. August 25th, 1871
111.  Walter Bache. October 25th, 1871
112.  Marie Lipsius. October 25th, 1871
113.  Breitkopf and Hartel. November 22nd, 1871
114.  Mme. Anton Rubinstein. January 9th, 1872
115.  Edmund von Mihalovich. April 18th, 1872
116.  Johanna Wenzel. June 10th, 1872
117.  Wilhelm von Lenz. September 20th, 1872
118.  Otto Lessmann. September 26th, 1872
119.  Eduard von Liszt. November 6th, 1872
120.  Princess Wittgenstein. January 10th, 1873
121.  Eduard von Liszt. January 13th, 1873
122.  Dr. Emil Thewrewk von Ponor in Budapest. January 14th, 1873
123.  Dr. Franz Witt. January 20th, 1873
124.  Eduard von Liszt. January 28th, 1873
125.  the same. February 10th, 1873
126.  the same. March 3rd, 1873
127.  Mme. Jessie Laussot. March 30th, 1873
128.  Casar Cui. May, 1873
129.  Franz Servais. June 5th, 1873
130.  Adelheid von Schorn. July 30th, 1873
131.  Eduard von Liszt. August 19th, 1873
132.  Franz Servais. August 19th, 1873
133.  Walter Bache. August 20th, 1873
134.  Max Erdmannsdorfer. September 16th, 1873
135.  Otto Lessmann. September 24th, 1873
136.  Kornel von Abranyi. October ist, 1873
137.  Martha Remmert. December 27th, 1873
138.  ? 1873
139.  Countess Marie Donhoff in Vienna. January, 1874
140.  B. Bessel in St. Petersburg. February 2nd, 1874
141.  Skiwa in Vienna. March 21st, 1874
142.  C. F. Kahnt. March 29th, 1874
143.  Dr. Franz Witt. 1874?
144.  Carl Riedel. April 17th, 1874
145.  Dr. Franz Haberl, 1874?
146.  Carl Riedel. May 5th, 1874
147.  Princess Julie Waldburg. May 10th, 1874
148.  Peter Cornelius. May 16th, 1874
149.  A. F. Eggers in Liverpool. June 21st, 1874
150.  Walter Bache. June 21st, 1874
151.  Dr. Franz Witt. Early Summer, 1874
152.  Dr. Franz Haberl. Early Summer, 1874
153.  Edmund von Mihalovich. July 30th, 1874
154.  Peter Cornelius. August 23rd, 1874
155.  Ludwig Bosendorfer in Vienna. August 28th, 1874
156.  Adelheid von Schorn. October 12th, 1874
157.  Breitkopf and Hartel. November 24th, 1874
158.  Count Albert Apponyi in Budapest. December 6th, 1874
159.  Edmund von Mihalovich. December 8th, 1874
160.  Carl Hoff bauer in Munich. End of 1874
161.  Edmund von Mihalovich. December 29th, 1874
162.  Carl Hoff bauer. Beginning of 1875
163.  Julius Stern. February 4th, 1875
164.  Count Albert Apponyi. February 18th, 1875?
165.  Johann von Herbeck. March 3rd, 1875
166.  Eduard von Liszt. April 22nd, 1875
167.  Adelheid von Schorn. May 17th, 1875
168.  Eduard von Liszt. July 17th, 1875
169.  Louis Kohler. July 27th, 1875
170.  Carl Hillebrand in Florence. August 2nd, 1875
171.  Adelheid von Schorn. August 7th, 1875
172.  Dr. Franz Witt. August or September, 1875
173.  Lina Ramann. September 28th, 1875
174.  Eduard von Liszt. September 29th, 1875
175.  Kornel von Abranyi. October 14th, 1875
176.  Walter Bache. October 26th, 1875
177.  Eduard von Liszt. October 31st, 1875
178.  Mme. Jessie Laussot. November 17th, 1875
179.  Eduard von Liszt. November 26th, 1875
180   Hans Schmitt in Vienna. End of 1875
181.  Kornel von Abranyi. January 20th, 1876
182.  Eduard von Liszt. January 23rd, 1876
183.  Dr. Eduard Kulke in Vienna. January 23rd, 1876
184.  Marie Lipsius. February 3rd, 1876
185.  August von Trefort in Budapest. March 1st, 1876
186.  Walter Bache. March 8th, 1876
187.  Mme. Jessie Laussot. March 9th, 1876
188.  Dr. Leopold Damrosch in New York. April 15th, 1876
189.  Friedrich von Bodenstedt. June 8th, 1876
190.  B. Bessel. June 20th, 1876
191.  Prince Carl Lichnowsky. June 21st, 1876
192.  Max Erdmannsdorfer. June 27th, 1876
193.  Kornel von Abranyi. August 6th, 1876,
194.  Richard Wagner. August, 1876
195.  Marie Breidenstein in Erfurt. September 18th, 1876
196.  Camille Saint-Saens. October 2nd, 1876
197.  L.A. Zellner in Vienna. October 31st, 1876
198.  Hans Richter in Vienna. November 10th, 1876
199.  Breitkopf and Hartel. November 12th, 1876
200.  Constantin Sander in Leipzig. November 15th, 1876
201.  Breitkopf and Hartel. November 23rd, 1876
202.  Constantin Sander. November 29th, 1876
203.  Vera Timanoff. November 29th, 1876
204.  Otto Reubke in Halle. November, 1876
205.  Marianne Brandt in Berlin. December 3rd, 1876
206.  Committee of the Beethoven Monument. December 10th, 1876
207.  Eduard von Liszt. January 2nd, 1877
208.  Walter Bache. March 9th, 1877
209.  Eduard von Liszt. July 3rd, 1877
210.  Ludwig Bosendorfer. July 12th, 1877
211.  Edmund von Mihalovich. July 20th, 1877
212.  Kornel von Abranyi. July 28th, 1877
213.  Constantin Sander. September 5th, 1877
214.  Adelheid von Schorn. September 15th, 1877
215.  Breitkopf and Hartel. September 26th, 1877
216.  Frau Ingeborg von Bronsart. October 2lst, 1877
217.  Eduard von Liszt. November 23rd, 1877
218.  Jules de Zarembski. December 13th, 1877
219.  Mme. Jessie Laussot. January 29th, 1878
220.  the same. February 3rd, 1878
221.  B. Bessel. March 11th, 1878
222.  Walter Bache. March 19th, 1878
223.  Dr. Ludwig Nohl. March 20th, 1878
224.  Dr. Siegmund Lebert. March 27th, 1878
225.  Edmund von Mihalovich. April 13th, 1878
226.  Kornel von Abranyi. April 14th, 1878
227.  Fran Ingeborg von Bronsart. April 20th, 1878
228.  Eduard von Liszt. April 26th, 1878
229.  Edmund Singer. May 10th, 1878
230.  Adolf von Henselt. June 5th, 1878
231.  Eduard von Liszt. June 6th, 1878
232.  Carl Riedel. June 7th, 1878
233.  Vera Timanof£ Summer, 1878
234.  Eduard von Liszt. July 6th, 1878
235.  Robert Franz. July 12th, 1878
236.  Kornel von Abranyi. September 13th, 1878
237.  Eduard von Liszt. November 4th, 1878
238.  Freiherr Hans von Wolzogen. November 15th, 1878
239.  Eduard von Liszt. November 21st, 1878
240.  the same. January 22nd, 1879
241.  Ludwig Bosendorfer. February 19th, 1879
242.  Adolf von Henselt. February, 1879
243.  Marie Lipsius. March 2nd, 1879
244.  Otto Lessmann. March 23rd, 1879
245.  Von Trefort. May 12th, 1879
246.  Walter Bache, May 25th, 1879
247.  Ludmilla Schestakoff. June 14th, 1878
248.  A. Borodin, C. Cui, An. Liadoff, and N. Rimsky-Korsakoff.
June 15th, 1879
249.  Josef Bohm. June 22nd, 1879
250.  Vera Timanoff. Summer, 1879
251.  Adolf von Henselt. July 12th, 1879
252.  Dr. Siegmund Lebert. September 25th, 1879
253.  Bassani in Venice. October 28th, 1879
254.  Anatole Liadoff. December 25th, 1879
255.  Fran Reisenauer.Pauly in Rome. January 30th, 1880
256.  Carl Klindwo1th. February 16th, 1880
257.  Herrmann Scholtz. April 29th, 1880
258.  Sophie Menter. May 26th, 1880
259.  Jules de Zarembski. June 1st, 1880
260.  Bassani. June 4th, 1880
261.  Marie Lipsius. June l0th, 1880
262.  Kornel von Abranyi. June 20th, 1880
263.  Freiherr Hans von Wolzogen. July 28th, 1880
264.  Friedrich Hofme1ster. August 17th, 1880
265.  Baroness Helene Augusz. September 1st, 1880
266.  Mme. Anton Rubinstein. October 24th, 1880
267.  Frau Amalie von Fabry in Budapest. November 1st, 1880
268.  Frau Anna Benfey-Schuppe. November 11th, 1880
269.  Committee of Antwerp Musical Society. November 16th, 1880
270.  Sophie Menter. December 2nd, 1880
271.  Dr. Friedrich Stade. December 11th, 1880
272.  S. Jadassohn. January l0th, 1881
273.  Frau Reisenauer-Pauly in Konigsberg. January 29th, 1881
274.  Dionys von Pazmandy. February 15th, 1881
275.  Fran Colestine Bosendorfer. April 17th, 1881
276.  the Committee of the Wagner-Verein. April 25th, 1881
277.  Kornel von Abranyi. May 13th, 1881
278.  the same. May 22nd, 1881
279.  Frau Charlotte Blume-Arends. August 29th, 1881
280.  Otto Lessmann. September 8th, 1881
281.  Francois Auguste Gevaert in Brussels. September 19th, 1881
282.  the same. October 8th, 1881
283.  Edmund von Mihalovich. October 8th, 1881
284.  Jules de Zarembski. December 4th, 1881
285.  Camille Saint-Saens. December 6th, 1881
286.  Ludwig Bosendorfer. December 8th, 1881
287.  Pauline Viardot-Garcia. December 12th, 1881
288.  Mme. Malwine Tardieu in Brussels. January 20th, 1882
289.  Alexander Wereschagin. February 5th, 1882
290.  Martha Remmert. February 20th, 1882
291.  Mme. Malwine Tardieu. April 11th, 1882
292.  Franz Servais. April 22nd, 1882
293.  Mme. Malwine Tardieu. April 23rd, 1882
294.  Otto Lessmann. April 23rd, 1882
295.  Frau Charlotte Blume-Arends. April 23rd, 1882
296.  Freiherr Hans von Wolzogen. April 25th, 1882
297.  Frau Henriette von Liszt. May 11th, 1882
298.  Camille Saint-Saens. May 14th, 1882
299.  Mme. Malwine Tardieu. June 10th, 1882
300.  Committee of Allgemeine Deutsche Musikverein. June, 1882
301.  F. von Jagemann at Freiburg in Breisgau. July 6th, 1882
302.  Nicolaus Oesterlein in Vienna. July 16th, 1882
303.  Kornel von AbrAnyi. July 23rd, 1882
304.  Freiherr Hans von Wolzogen. July 27th, 1882
305.  Mme. Malwine Tardieu. September 12th, 1882
306.  Otto Lessmann. September 16th, 1882
307.  the same. September 20th, 1882
308.  Frau Charlotte Blume-Arends. September 27th, 1882
309.  Otto Lessmann. October 14th, 1882
310.  the same. November 4th, 1882
3ll.  Mme. Malwine Tardieu. November 6th, 1882
312.  Otto Lessmann. November, 1882
313.  Adelheid von Schorn. November 20th, 1882
314.  Freiherr Hans von Wolzogen. November 24th, 1882
315.  Franz Servais. November 26th, 1882
316.  Adelheid von Schorn. December 8th, 1882
317.  Carl Riedel. December 9th, 1882
318.  Arthur Meyer in Paris. January 28th, 1883
319.  Albert Fuchs. February 4th, 1883
320.  Saissy in Budapest. February 6th, 1883
321.  the same. February eth, 1883.
322.  Rich and Mason in Toronto. 1883
323.  Mme. Marie Jaell. February 12th, 1883
324.  Adelheid von Schorn. February 14th, 1883
325.  Otto Lessmann. February 18th, 1883
326.  Lina Ramann. February 22nd, 1883
327.  Mme. Malwine Tardieu. March 6th, 1883
328.  Ferdinand Taborszky in Budapest. March 11th, 1883
329.  Baroness M. E. Schwartz. March 22nd, 1883
330.  Baroness Wrangel in St. Petersburg. May 20th, 1883
33I.  Mason and Hamlin in Boston. June 12th, 1883
332.  Mme. Malwine Tardieu. December 14th, 1883
333.  Cšsar Cui. December 30th, 1883
334.  Otto Lessmann. January 10th, 1884
335.  Felix Mottl. February 8th, 1884
336.  Frau Henriette von Uszt.February 8th, 1884
337.  Camille Saint-Satins. April 29th, 1884
338.  Otto Lessmann. May 7th, 1884
339.  Camille Saint-SaŽns. May 18th, 1884
340.  Walter Bache, May 23rd, 1884
341.  Carl Navratil in Prague. May 30th, 1884
342.  Baron Friedrich Podmaniczky in Budapest, 1884
343.  Freiherr Hans von Wolzogen. June 18th, 1884
344.  Auguste Gotze. June 22nd, 1884
345.  Kornei von Abranyi. July 1st, 1884
345A. Mme. Malwine Tardieu. August 9th, 1884
346.  Rahter in Hamburg. August 28th, 1884
347.  Richard Pohl. September 12th, 1884
348.  Sophie Menter. September 13th, 1884
349.  Baron Friedrich Podmaniczky. September 2lst, 1884
350.  Walter Bache. October 18th, 1884
351.  Mili Balakireff in St. Petersburg. October 2lst, 1884
352.  Countess Mercy-Argenteau. October 24th, 1884
353.  Mme. Malwine Tardieu. December 7th, 1884
354.  Freiherr Hans von Wolzogen. December 18th, 1884
355.  Camille Saint-Saens. End of 1884 or beginning of 1885
356.  Countess Mercy-Argenteau. January 20th, 1885
357.  Camille Saint-Saens. January 27th, 1885
358.  Mme. Malwine Tardieu. April 6th, 1885
359.  Lina Ramann. April 27th, 1885
360.  Camille Saint-Saens. May 8th, 1885
361.  Alexander Siloti. May, 1885
362.  J. P. von Kiraly in Eisenstadt. June 5th, 1885
363.  Ferdinand Taborszky. June 8th, 1885
364.  Alfred Reisenauer. September 1st, 1885
365.  Otto Lessmann. September 5th, 1885
366.  Casar Cui. October 18th, 1885
367.  Countess Mercy-Argenteau. October 24th, 1885
368.  Eduard Reuss in Carlsruhe. November 4th, 1885
369.  Breitkopf and Hartel. November, 1885
370.  Walter Bache. November 17th, 1885
370A. the same. November 26th, 1885
370B. the Philharmonic Society. November 26th, 1885
371.  Countess Mercy-Argenteau. November 2lst, 1885
372.  Camille Saint-Sans. November 28th, 1885
373.  Eugen d'Albert. December 26th, 1885
374.  Sophie Menter. December 30th, 1885
375.  Eduard Reuss. January l0th, 1886
376.  Walter Bache. February 11th, 1886
377.  Countess Mercy- Argenteau. February 17th, 1886
379.  Sophie Menter. March 18th, 1886
379.  Countess Mercy-Argenteau. April 14th, 1886
380.  Alexander Ritter. April 24th, 1886
381.  Frau Amalie von Fabry. May 27th, 1886
382.  Mme. Malwine Tardieu. May 29th, 1886
383.  Eduard Reuss. June 5th, 1886
384.  Frau Reuss-Belce. June 5th, 1886
385.  Eduard Reuss. June 22nd, 1886
386.  Sophie Menter. July 3rd, 1886

Index of Supplemental Letters

387.  Freiherr von Spiegel in Weimar. September 30th, 1841
388.  Eugenio Gomez in Sevilla. December 27th, 1844
389.  Mme.? End of December, 1844
390.  Mme.? Beginning of 1845
391.  Mme.? in Milan. 1846
392.  Frau Charlotte Moscheles (?). June 22nd, 1848
393.  Heinrich Wilhelm Ernst. May 30th, 1801
394.  Josef Dessauer (?). Beginning of the fifties
395.  Testimonial for Joachim Raff. Beginning of the fifties.
396.  Dr. Eduard Hanslick in Vienna. January 31st, 1856.
397.  Minister von Bach in Vienna. September 18th
398.  ? in Leipzig. Spring, 1859
399.  Dr. Eduard Hanslick. September 24th, 1859



THE LETTERS OF FRANZ LISZT, VOLUME 2: FROM ROME TO THE END



1. To Dr. Franz Brendel

[Rome,] December 20th, 1861

Dear Friend,

For the New Year I bring you nothing new; my soon ageing
attachment and friendship remain unalterably yours. Let me hope
that it will be granted to me to give you more proof of it from
year to year.

Since the beginning of October I have remained without news from
Germany. How are my friends Bronsart, Draseke, Damrosch,
Weissheimer? Give them my heartiest greetings, and let me see
some notices of the onward endeavors and experiences of these my
young friends, as also of the doings of the Redactions-Hohle
[Editorial den] and the details of the Euterpe concerts.

Please send the numbers of the paper, from October onwards, to me
at the address of the library Spithover-Monaldini, Piazza di
Spagna, Rome. Address your letter "Herrn Commandeur Liszt," Via
Felice 113. "Signor Commendatore" is my title here; but don't be
afraid that any Don Juan will stab me--still less that on my
return to Germany I shall appear in your Redactions-Hohle as a
guest turned to stone!--

Of myself I have really little to tell you. Although my
acquaintance here is tolerably extensive and of an attractive
kind (if not exactly musical!), I live on the whole more retired
than was possible to me in Germany. The morning hours are devoted
to my work, and often a couple of hours in the evening also. I
hope to have entirely finished the Elizabeth in three months.
Until then I can undertake nothing else, as this work completely
absorbs me. Very soon I will decide whether I come to Germany
next summer or not. Possibly I shall go to Athens in April--
without thereby forgetting the Athens of the elms! .--.

First send me the paper, that I may not run quite wild in musical
matters. At Spithover's, where I regularly read the papers, there
are only the Augsburger Allgemeine, the Berlin Stern-Zeitung
[Doubtless the Kreusseitung], and several French and English
papers, which contain as good as nothing of what I care about in
the domain of music.

Julius Schuberth wrote a most friendly letter to me lately, and
asks me which of Draseke's works I could recommend to him next
for publication. To tell the truth it is very difficult for me in
Rome to put myself in any publisher's shoes, even in so genial a
man's as Julius Schuberth. In spite of this I shall gladly take
an opportunity of answering him, and shall advise him to consult
with Draseke himself as to the most advisable opportunity of
publishing this or that Opus of his, if a doubt should actually
come over our Julius as to whether his publisher's omniscience
were sufficiently enlightened on the matter!--

Remember me most kindly to your wife.

Yours most sincerely,

F. Liszt

Please give my best greetings to Kahnt. Later on I shall beg him
for a copy of my songs for a very charming Roman lady.



2. To A.W. Gottschalg, Cantor and Organist in Tieffurt

["Der legendarische Cantor" [the legendary Cantor] the Master
jokingly named this faithful friend of his. "I value him as a
thoroughly honest, able, earnestly striving and meritorious
comrade in Art, and interest myself in the further progress--
which is his due," wrote Liszt to the late Schuberth. Meanwhile
Gottschalg was long ago advanced to the post of Court organist in
Weimar. He is widely known as the editor of the "Chorgesang"
[chorus singing] and of the "Urania."]

Dear Friend,

Although I cannot think otherwise than that you remain ever
equally true to me, yet the living expression of your kindly
feelings towards me is always a pleasure and a comfort. First of
all then accept my warmest thanks for your two letters, which
bring back to me the best impressions of your morning and evening
visits to me in my blue room on the Altenburg.

It goes without saying that I have no objection to make to the
publication of the Andante from the Berg Symphony in the Jubilee
Album in honor of Johann Schneider. I only beg, dear friend, that
you will look the proof over accurately, and carefully correct
any omissions or mistakes in the manuscript.

I should be very glad if I could send you a new Organ work, but
unfortunately all incentive to that sort of work is wanting to me
here; and until the Tieffurt Cantor makes a pilgrimage to Rome
all my organ wares will certainly remain on the shelf.

Ad vocem of the Tieffurt Cantor, I will tell you that I have been
thinking of him very particularly these last few days, whilst I
was composing St. Francis's Hymn of Praise ("Cantico di San
Francesco"). The song is a development, an offspring as it were,
a blossom of the Chorale "in dulci jubilo," for which of course I
had to employ Organ. But how could I be writing an Organ work
without immediately flying to Tieffurt in imagination?--And lo,
at the entrance to the church our excellent Grosse [The
trombonist of the Weimar orchestra (died 1874), who was so
faithfully devoted to Liszt, and whom the latter remembered in
his will] met me with his trombone, and I recollected an old
promise--namely, to compose a "piece" for his use on Sundays. I
immediately set to work at it, and out of my "Cantico" has now
arisen a Concertante piece for Trombone and Organ. I will send
you the piece as an Easter egg by the middle of April. [Published
by Kahnt in Leipzig] Meanwhile here are the opening chords:--

[Here, Liszt illustrates with a musical score excerpt of the
opening chords of the Concertante, in F major]

and on a lovely evening in May will you play the whole with
Grosse in your church at Tieffurt, and perpetuate me with Organ
and Trombone!--

It has struck me that your name is not mentioned among the
fellow-workers in the Johann Schneider Jubilee Album. If there is
still time and space you might perhaps contribute your
arrangement of the Fugue from the "Dante Symphony" (with the
ending which I composed to it for you). This proposal is open to
amendment, on the supposition that Hartels are willing to agree
to it--and, above all, that it suits you.

.--. N.B.--I beg you most particularly to make no further use of
the two Psalms "By the waters of Babylon," of which you have a
copy, because I have undertaken to make two or three essential
alterations in them, and I wish them only to be made known and
published in their present form. I send the new manuscript at the
same time as the Cantico di San Francesco.

My best greetings to your wife, and rest assured always of my
sincere thanks, and of the complete harmony of my ideas with your
own.

F. Liszt

Rome, March 11th, 1862

When I am sending several manuscripts at Easter, I will write a
couple of letters to Weimar and thank Jungmann [A pupil of
Liszt's in Weimar; died there in September 1892] for his letter.
I feel the want of time almost as much in Rome as in Weimar, and
I have observed a strict Fast in correspondence as a rule, so
that for three months past I have hardly sent as many as three to
four letters to Germany.

Remember me most particularly to Herr Regierungsrath Miller! [A
friend of Liszt's, a multifarious writer on music; died 1876]



3. To Dr. Franz Brendel.

[Autograph in the possession of Herr Alexander Meyer Cohn in
Berlin.]

Dear Friend,

Your friendly letter has again brought me a whiff of German air,
which is all the more welcome to me here as I have not too much
of it. One sees extremely few German papers in Rome--also I read
them very irregularly--and my correspondents from Germany are
limited to two, of whom friend Gottschalg, my legendary Tieffurt
Cantor, is the most zealous. His letters flow from his heart--and
are therefore always welcome to me.

For all of good news that you tell me I give you twofold thanks.
Firstly, because you have for the most part brought it about,
prefaced it, and seen it through. And then, because you tell it
me in so friendly a fashion. Although I have long been prepared
to bear the fiasco of my works quietly and unmoved, yet still it
is pleasant to me to learn that the "Faust" Symphony in Leipzig
did not have such a very bad fate. [In one of the "Euterpe"
concerts, under Bronsart's conducting, at which Schnorr of
Carolsfeld sang the tenor solo.] Do not fail, dear friend, to
give Herr Schnorr my best thanks--and if perchance my songs would
be a little pleasure to him will Kahnt be so good as to send
Schnorr a copy (bound) at my order?

With regard to the Bronsart affair, I sincerely regret that I had
not the opportunity of smoothing matters down sooner. Between
people of one mind dissension and variance should never appear--
much less lead to an outbreak. As you ask me for my opinion, I
openly confess that in the main Bronsart appears to me perfectly
justified in vindicating his choice of new compositions for the
musical directors, in spite of the fact that the two or three
experiments he has made do not show in favor of the principle (as
seen by the consequences). But between ourselves we must not
conceal the fact that a great part of the laxity and corruption
of our musical condition in Germany (as also elsewhere) is to be
attributed to the too great--or too petty--yielding and pliancy
of conductors and music-directors. I well know that the Euterpe
Committee nourishes and cherishes quite another idea than that of
the company X. Y. Z., or of the Court Theater directors A. B. C.
D. Yet the question constantly arises--Shall the cook cook? Shall
the coachman drive?--Ergo let the musician also have his own way.
The harm that may spring from that is not so very terrible.

On the other side, I consider a change of persons in the
management of a new institution is not desirable. In intellectual
movements in particular the leaders of them are especially
recommended to keep themselves conservative as regards their
people. The public requires definiteness before all else--and
just this is endangered by a change of persons. The substitute
for B., whom you mention to me (his name also begins with B.), is
certainly highly to be recommended in all that concerns talent,
position, and I think also worthy character; none the less do I
vote very decidedly that Bronsart be retained--if possible.

I do not need to add, dear friend, that this opinion of mine is a
purely objective one. I have not heard a word from Bronsart since
last September, and, as I said to you before, my musical news
from Germany is limited to two, or at most three letters which
Gottschalg wrote me.

With the wish that all difficulties may be smoothed in the best
way by your intelligent gentleness and forbearance, I remain your
warmly devoted

F. Liszt

[Rome] April 12th, 1862

P.S.--More next time (though little of interest to you, as
absolutely nothing occurs here that could touch you closely).--I
am preparing to stay here for the summer, and somewhat longer.--
In order not to lose the post I only send you today these few
lines.



4. To Madame Jessie Laussot in Florence

[Madame Laussot, an English lady, became later the wife of Dr.
Carl Hillebrand, the celebrated writer. She was the intimate
friend of Liszt, Von Bulow, etc., and is herself a musician of
great repute, to whom many artists of note, Sgambati, Bache,
Buonamici, etc., owe much of the success of their career. She
started a musical society in Florence, the "Societa Cherubini;"
which she conducted for many years, and introduced there much of
the best music of Germany (Liszt's included).]

Your charming lines, Madame, reached me at the beginning of Holy
Week. At that moment one no longer belongs to oneself in Rome;
and I have felt this more than others, for the services and
ceremonies of the Sistine Chapel and of St. Peter's, to which I
attached a special musical interest, have absorbed all my time
during the last fortnight. Pray excuse me therefore for not
having thanked you sooner for your kind remembrance, which
touches me much.

Some one has made a mistake in telling you that I am coming to
Florence. I have no longer any taste for moving about from one
place to another, and, unless something very unforeseen happens,
I shall not stir from here so soon. Rome is a more convenient
place than others for those who ask nothing better than to work
in their own fashion. Now, although I have become very
indifferent as to the fate of what I write, work none the less
continues to be the first need of my nature. I write therefore
simply to write--without any other pretensions or care--and for
this it suits me best to remain in one place.

Will you be so kind, Madame, as to give my very affectionate
respects to Madame Ritter [Mother of Carl Ritter--Wagner's
friend--and of Alexander Ritter, the composer of "Der faule
Hans."], to which please add my best remembrances to her family,
and pray accept also the expression of my very sincere and
affectionate regards.

F. Liszt

May 3rd, 1862 (Via Felice, 113--Rome.)



5. To Dr. Franz Brendel

Rome, June 12th, 1862

Grand, sublime, immeasurably great things have come to pass here
lately. The Episcopate of the whole world assembled here round
the Holy Father, who performed the ceremony of the canonisation
of the Japanese martyrs at Whitsuntide in the presence of more
than 300 bishops, archbishops, patriarchs, and cardinals. I must
abstain, dear friend, from giving you any picture of the
overpowering moment in which the Pope intoned the "Te Deum;" for
in Protestant lands that which I might call the spiritual
illumination is wanting. Let us therefore, without any other
transition, return to our everyday musical matters!

I am convinced that your determination to make a change in the
choice of conductors of the Euterpe has been made only after
mature consideration. .--. In my last letter I pointed out, as
the chief thing, that in concert societies the principle of
stability in the matter of the Musical Direction is the most
important thing, whereby I did not in the least mean to say that
one must on that account agree to extreme consequences--or rather
inconsequences. Well, as your decision is made, any further
discussion is useless. Blassmann [He moved to Dresden some years
later, and there he died.] has now to approve himself, and
actively to fulfil the favorable expectations which his talent
and good name justify. So be it, and as Schuberth says, Punktum
[a full stop.]

As regards the place of meeting for the next Tonkunstler-
Versammlung I am quite of your opinion. First of all I advise you
to consult Bulow. Owing to his long connection with the Court at
Carlsruhe he is best qualified to take the preliminary measures
("to pave the way"!). If the Grand Duke and Grand Duchess take up
the matter favorably, then without doubt all that is requisite
and necessary will be done in the most desirable manner. The most
essential things are

(a) Letting us have the theater free of charge for two to three
evenings--(as at Weimar--would not it perhaps be best to mention
this in the 1st letter?).

(b) Official preparatory measures by the Intendant to ensure the
co-operation of the Carlsruhe orchestra and chorus, also free of
charge.

You will have to consult more fully with Dr. Devrient and
Kalliwoda as to the best time for it. But the thing to be done
before all else is to gain the Grand Duke's interest--and if you
think it would be practicable for me to write a few lines to
H.R.H. later on I will do so with pleasure. I only beg that you
will give me exact particulars of the steps already made and
their results.

For my part I think that to Bulow, a priori, ought to be
entrusted the conducting of the Musical Festival, and this point
should be at once mentioned as settled in the introductory letter
to the Grand Duke. Otherwise Bedow's position in the affair would
not be sufficiently supported.

To sum up briefly: Request Bulow to undertake the conductorship
of the Musical Festival; and address the Grand Duke of Baden,
either by letter or by word of mouth (as opportunity may
warrant), with the request that H.R.H. would graciously support
the proposed Musical Festival of the third Tonkunstler-
Versammlung, by giving it his patronage, as the Grand Duke of
Weimar did last year, etc., etc.

.--. That excellent Pohl has quite forgotten me. I asked him,
through Gottschalg, to send me my Gesam- melte Lieder [complete
songs], the "Dante Symphony" (in score and arrangement for 2
Pianos), the 4-hand Symphonic Poems, and a couple of copies of my
Catalogue (published by Hartel).

I have been waiting in vain for these for two months. A few days
ago I wrote to Frau von Bulow to send Pohl an execution; perhaps
this may help matters at length!

The Berlioz parts have remained at Weimar. Grosse knows about
them--and possibly they have also gone to Pohl with the rest of
the scores. As soon as they are found I shall be happy to make a
present of them to the library of the Musikverein for their use,
as well as the scores, and I authorise you with pleasure, dear
friend, to do the same with the score and parts of the "Gran
Mass."

The newspaper has not reached me from Pohl any more than the
parcel.

Hearty greetings to your wife from yours in all friendship,

F. L.



6. To Dr. Franz Brendel

Dear Friend,

Well, as the parcel has come at last, Pohl shall not be scolded
any more, and his "innocence" shall shine out in full splendor!
.--.

I have just received a few lines from Berlioz; Schuberth, whom I
commissioned, before I left, to send the dedication-copy of the
"Faust" score to Berlioz, has again in his incompetent good
nature forgotten it, and perhaps even from motives of economy has
not had the dedication-plate engraved at all!!--Forgive me, dear
friend, if I trouble you once more with this affair, and beg you
to put an execution on Schuberth in order to force a copy with
the dedication-page from him. The dedication shall be just as
simple as that of the "Dante Symphony," containing only the name
of the dedicatee, as follows,

"To Hector Berlioz."

After this indispensable matter has been arranged I beg that you
will be so kind as to have a tasteful copy, bound in red or dark
green, sent, perhaps through Pohl (?), to Berlioz at Baden (where
he will be at the beginning of August. In case neither Pohl nor
his wife should go to Baden this summer (which however I scarcely
expect will be the case), send the copy to Fraulein Genast (who,
as I learn from the "Zeitschrift" [periodical], is at present in
Carlsruhe) with the request that she will give it to Berlioz.

Is there not any talk of bringing out an arrangement of the
"Faust Symphony" for 2 Pianofortes?--Schuberth is sure to have
far greater things in contemplation, and I almost regret having
incommoded him by giving up the manuscripts!--

Nonetheless, please take him to task about it, or, better, bully
him into action with "Faust-Recht" [Faust rights or Faust
justice.] In truth the final chorus of Part III. of the Faust
tragedy, "faithful to the spirit of Part II. as composed by
Deutobold-Symbolizetti-Allegoriowitsch-Mystifizinsky"--

"Das Abgeschmackteste
Hier ward es geschmeckt,
Das Allvertrackteste
Hier war es bezweckt"

[A parody on the concluding lines of Goethe's Faust. The parody
may be freely translated as follows:--

The most insipid
Here was tasted;
In queerest nonsense
Here all was wasted."]

can often be applied to matters of publishing. And while I am
touching on this, to me, very disagreeable chapter, may I also
take the opportunity of inquiring how long our amiable friend and
patron Julius Schuberth is intending to ignore the 2 Episodes
from Lenau's "Faust" ("Nachtlicher Zug"--and "Mephisto Walzer"),
which I recommended to his good graces more than a year ago, and
gave him in manuscript?

Must the pages perchance become quite mouldy, or will he bring
them out as an oeuvre posthume [posthumous work]? I am tired of
doing silent homage to this noble mode of proceedings, and intend
next time to help the publisher out of all his perplexities
[Untranslatable pun on "Verleger" and "Verlegenheiten."] by
putting the manuscripts back in their place again.--

--

"O Freunde, nicht diese Tone, sondern lasst uns angenchmere
anstimmen!" [A quotation from Schiller's "Ode to joy" in
Beethoven's "Choral Symphony:" "O friends, not tones like these,
but brighter ones let us sing."] (I am perhaps not quoting
exactly, although the sense of the apostrophe remains clearly
present, especially in musical enjoyments and experiences!)
Amongst the "more pleasant" things I at once place much
information given in your letter and the newspaper (which reached
me at the same time in some 16 numbers with Pohl's parcel). My
most earnest wishes are, first and foremost, bound up in the
complete prospering, upspringing, and blossoming of the "grain of
mustard-seed" of our Allgemeine Deutsche Musik-Verein. With God's
help I will also support this in other fashion than mere
"wishes." According to my opinion the third Tonkunstler-
Versammlung will be the chief factor in strengthening and
extending the Allgemeine Deutsche Musik-Verein, which comprises
in itself the entire development and advancement of Art.

Various reasons led me to recommend Carlsruhe to you in my last
letter as the most suitable place for the third Tonkunstler-
Versammlung, that is, supposing that H.R.H. the Grand Duke gives
his countenance to the matter, and grants us favorable conditions
with regard to the disposal of the theater, orchestra, and
chorus. It behoves Bulow, as conductor of the musical
performances, to undertake to "pave the way" towards a favorable
promise on the Grand Duke's side. Within two to three months the
necessary preliminaries can be fixed, and I shall then expect
fuller tidings from you about the further plans and measures.

Without wishing to make any valid objection to Prague--rather
with all due acknowledgment of what Prague has already
accomplished and may still accomplish--yet it seems to me that
the present political relations of the Austrian monarchy would
make it inopportune to hold the Tonkunstler-Versammlung in Prague
just now. On the other hand I am of opinion that a more direct
influence than has yet been possible on South Germany, which is
for the most part in a stagnating condition, would be of service.
Stuttgart in particular, through Pruckner, Singer, Stark, etc.,
might behave at it differently from what it did at a previous
Musical Festival in Carlsruhe!

Dr. Gille's interest in the statutes and deliberations of the
M.V. [Musik-Verein] is very advantageous, as also Pohl's previous
removal to Leipzig. .--. The constant intercourse with you,
together with the Leipzig acids and gases, will be sure to suit
him well.

From Weimar I have received a good deal of news lately from Count
Beust, Dingelstedt, Gille, and Stor. To the latter my answer will
be little satisfactory; but I cannot continue with him on any
other road, and let the overpowering Dominant of his spasmodic
vanity serve as the Fundamental note of our relations.

I am writing to Gille by the next post, and also to Muller, who
rejoiced me lately by his Erinnerungs-Blatt [remembrance] from
Weimar, (in the 8th November issue of the "Zeitschrift," which I
have only now received). Will you, dear friend, when you have an
opportunity, give my best thanks to Kulke for his article upon
Symphony and Symphonic Poem--and also the enclosed lines to
Fraulein Nikolas, from whom I have received a charming little
note?

Already more than 140 pages of the score of my "Elizabeth" are
written out complete (in my own little cramped scrawl). But the
final chorus--about 40 pages--and the piano-arrangement have
still to be done. By the middle of August I shall send the entire
work

to Carl Gotze at Weimar to copy, together with the "Canticus of
St. Francis," which I composed in the spring. ["Cantico del
Sole," for baritone solo, men's chorus, and organ. Kahnt.] It
would certainly be pleasanter for me if I could bring the things
with me--but, between ourselves, I cannot entertain the idea of a
speedy return to Germany. If later there seems a likelihood of a
termination to my stay in Rome, you, dear friend, shall be the
first to hear of it.

With hearty greetings to your wife, I remain

Yours in sincere and friendly attachment,

F. Liszt

Rome, July 12th, 1862

Your little commission about Lowenberg shall be attended to. Let
me soon have news of you and of my intimate friends again. There
is absolutely nothing to tell you from here that could interest
you. In spite of the heat I shall spend the summer months in
Rome.



7. To Dr. Franz Brendel

[Letters 7, 8, 9, 18, and 24 to Brendel have been partially
published in La Mara's "Musikerbriefe" (Letters of Musicians),
Vol. II.]

What a delightful bunch of surprises your letter brings me, dear
friend! So Pohl has really set to work on the Faust brochure--and
Schuberth is actually not going to let the piano-arrangement of
the "Faust Symphony" lie in a box till it is out of date. How
curious it all sounds, just because it is so exactly the right
thing and what I desired!--If you are back in Leipzig please send
me soon a couple of copies of the Faust brochure (those numbers
of the journal containing Pohl's articles have not reached me),
and also send me the 2-pianoforte arrangement of the Faust
Symphony (a few copies when convenient). I have as yet received
nothing of the parcel which Kahnt announced as having sent me
with some of my 4-hand things; and as I have fished out here a
very talented young pianist, Sgambati [A pupil of Liszt's, and
now one of the first pianoforte players and composers of Italy;
has been, since 1871, Professor at the Academia Sta. Cecilia in
Rome] by name, who makes a first-rate partner in duets, and who,
for example, plays the Dante Symphony boldly and correctly, it
would be a pleasure to me to be able to go through the whole
cycle of the Symphonic Poems with him. Will you be so good
therefore, dear friend, as to ask Hartel for the whole lot in the
2-pianoforte arrangement (a double copy of each Symphonic Poem,
for with one copy alone I can do nothing, as I myself can only
play the thing from notes!), and also the 4-hand arrangement,
with the exception of the "Festklange," which Hartels have
already sent me?

Besides these, I expect in the same parcel the Marches which
Schuberth has published (the "Goethe Marsch" and the Duke of
Coburg) and the "Kunstler Festzug" [Artists' procession] (for 4
hands), which I ordered previously.--

The "Legend of St. Elizabeth" is written out to the very last
note of the score; I have now only to finish a part of the piano
arrangement, and the 4-hand arrangement of the Introduction, the
Crusaders' March, and the final procession--which shall be done
by the end of this month at latest. Then I send the whole to
Weimar to be copied, together with a couple of other smaller
manuscripts. What will be its ultimate fate will appear according
as...Meanwhile I will try one or two little excursions into the
country (to Albano, Frascati, Rocca di Papa--and a little farther
still, to the "Macchia serena" near Corneto, where in earlier
times much robbery and violence took place!), and before the end
of September I hope to be able to set steadily to work again, and
to continue my musical deeds of "robbery and murder"! Would that
I only could hear, like you, the Sondershausen orchestra, and
were able to conjure friend Stein and his brave phalanx into the
Colosseum! The locality would assuredly be no less attractive
than the "Loh," [The Sondershausen concerts are, as is well
known, given in the "Lohgarten."] and Berlioz's Harold Symphony,
or Ce que l'on entend sur la montagne [One of Liszt's Symphonic
Poems], would sound there quite "sonderschauslich" [curious]
[Play of words on Sondershausen and "sonderbar" or "sonderlich"].
I often imagine the orchestra set up there, with the execrated
instruments of percussion in an arcade--our well--wishers Rietz,
Taubert, and other braggarts of criticism close by (or in the
Aquarium!)--the directors of the Deutsche Musik-Verein resting on
the "Pulvinare," and the members all around resting on soft
cushions, and making a show in the reserved seats of the
Subsellia, as senators and ambassadors used to do!--

Tell Stein of this idea, and give him my most friendly thanks for
all the intelligent care and pains that he so very kindly gives
to my excommunicated compositions. As regards the performances of
the Sondershausen orchestra I am quite of your opinion, and I
repeat that they are not only not outdone, but are even not often
equalled in their sustained richness, their judicious and liberal
choice of works, as well as in their precision, drilling, and
refinement.--It is only a shame that no suitable concert-hall has
been built in Sondershausen. The orchestra has long deserved such
an attention; should such a thing ever fall to their lot, pray
urge upon Stein to spread out the Podium of the orchestra as far
as possible, and not to submit to the usual limited space, as
they made the mistake of doing in the Gewandhaus, the Odeonsaal
in Munich, etc., etc., and also, alas, in Lowenberg. The concert-
hall of the Paris Conservatoire offers in this respect the right
proportions, and a good part of the effect produced by the
performances there is to be ascribed to this favorable
condition.--

According to what I hear Bulow is not disposed to mix himself up
in the preliminaries of the next Tonkunstler-Versammlung.
Accordingly some one else must be entrusted with the afore-
mentioned task in Carlsruhe, although Bulow was the best suited
for it. If you do not care to enter at once into direct
communication with Devrient, Pohl would be the best man to
"pioneer" the way. It would not be any particular trouble to him
to go from Baden to Carlsruhe, and to persuade Devrient to favor
the matter. This is before all else needful, for without
Devrient's co-operation nothing of the sort can be undertaken in
Carlsruhe. If the Tonkunstler-Versammlung takes place not out of
the theater season, then one or more theatrical performances can
be given in conjunction with it, especially of Gluck's Operas; as
also an ultra-classical Oratorio of Handel's might well be given
over to the Carlsruhe Vocal Unions. .--.

What "astonishing things" are you planning, dear friend? This
word excites my curiosity; but, on the other hand, I share your
superstition to speak only of actions accomplished ("faits
accomplis"). In Schelle you will gain a really valuable
colleague. Has his "History of the Sistine Chapel" come out yet?
If so, please be so good as to send me the book with the other
musical things.--

My daughter, Frau von Bulow, writes to me that Wagner's new work
"Die Meistersinger" is a marvel, and amongst other things she
says:--

"These 'Meistersinger' are, to Wagner's other conceptions, much
the same as the 'Winter's Tale' is to Shakespeare's other works.
Its phantasy is found in gaiety and drollery, and it has called
up the Nuremberg of the Middle Ages, with its guilds, its poet-
artisans, its pedants, its cavaliers, to draw forth the most
fresh laughter in the midst of the highest, the most ideal,
poetry. Exclusive of its sense and the destination of the work,
one might compare the artistic work of it with that of the
Sacraments-Hauschen of St. Lawrence (at Nuremberg). Equally with
the sculptor, has the composer lighted upon the most graceful,
most fantastic, most pure form,--boldness in perfection; and as
at the bottom of the Sacraments-Hauschen there is Adam Kraft,
holding it up with a grave and collected air, so in the
'Meistersinger' there is Hans Sachs, calm, profound, serene, who
sustains and directs the action," etc.

This description pleased me so much that, when once I was started
on the subject, I could not help sending you the long quotation.
The Bulows, as you know, are with Wagner at Biebrich--at the end
of this month there is to be a performance of "Lohengrin" at
Frankfort under Wagner's direction. There must not fail to be a
full account of this in the Neue Zeitschrift, and for this I
could recommend my daughter as the best person. The letters in
which she has written to me here and there of musical events in
Berlin and elsewhere are really charming, and full of the finest
understanding and striking wit.--

Berlioz was so good as to send me the printed pianoforte edition
of his Opera "Les Troyens." Although for Berlioz's works
pianoforte editions are plainly a deception, yet a cursory
reading through of "Les Troyens" has nevertheless made an
uncommonly powerful impression on me. One cannot deny that there
is enormous power in it, and it certainly is not wanting in
delicacy--I might almost say subtilty--of feeling.

Pohl will let you know about the performance of Berlioz's comic
Opera "Beatrice and Benedict" in Baden, and I venture to say that
this Opera, which demands but little outside aids, and borrows
its subject from a well-known Shakespeare play, will meet with a
favorable reception. Berlin, or any other of the larger theaters
of Germany, would certainly risk nothing of its reputation by
including an Opera of Berlioz in its repertoire. [This took place
a quarter of a century later.] It is no good to try to excuse
oneself, or to make it a reason, by saying that Paris has
committed a similar sin of omission--for things in which other
people fail we should not imitate. Moreover Paris has been for
years past developing a dramatic activity and initiative which
Germany is far from attaining--and if special, regrettable
personal circumstances prevent Berlioz from performing his works
in Paris, the Germans have nothing to do with that.

Hoping soon for news of you (even if not about the "astonishing
things"), I remain, dear friend, with faithful devotion,

F. Liszt

Rome, August 10th, 1862 Via Felice, 113

Who has corrected the proofs of the "Faust Symphony"? Please
impress upon Schuberth not to send out into the world any
unworthy editions of my works. Bulow is so good as to undertake
the final revision, if only Schuberth will take the trouble to
ask him to do so.



8. To Dr. Franz Brendel

Via Felice, 113 [Rome], August 29th [1862]

Dear Friend,

In explanation of the main point of your last letter (which
crossed mine), namely, the question as to where the next
Tonkunstler-Versammlung is to be held, let me add the following
in colloquial form.

I should not, without further proof, exactly like to consider
Carlsruhe as a town altogether unsuitable for the purpose--
although Pohl and Bulow are afraid it is, and have various
reasons for assuming it to be so. As regards Bulow, I have
already asked you not to trouble him with any of the preliminary
details. When the time comes, he is certain to do his part--that
is, more than could be expected or demanded of him. Only he must
not be tormented with secondary considerations, not even where,
owing to his position and antecedents, he is best known (for
instance, in Carlsruhe, as already said). His individuality is
such an exceptional one that its singularities must be allowed
scope. Hence let us meanwhile leave him out of the question, he
being what he is, with this reservation--that he undertakes to
conduct the musical performances--as I hope and trust he will
finally arrange to do. But again as to Carlsruhe, I would propose
that unless you have important, positive objections to the place,
you should write to the Grand Duke yourself and beg him in my
name to take the Musik-Verein under his patronage, etc.--The
worst that could happen to me in return would be to receive a
courteously worded refusal; this, it is true, is not a kind of
thing I cultivate as a rule, but as a favor to such an honorable
association I would gladly face the danger, in the hope that it
might prove of some use and advantage.

Write and tell me, therefore, in what spirit Seifriz has answered
you, and what information Riedel has gathered in Prague. Prague,
for certain (yet rather uncertain?) considerations, is indeed
much to be recommended; only one would need, in some measure, to
have the support of the musical authorities and notabilities of
the place, as well as that of the civic corporation (because of
municipal approbation and human patronage). In short, if the
Tonkunstler-Versammlung were taken up and set in a good light
there by a few active and influential persons, everything else
would be easy to arrange, whereas otherwise all further steps
would be so much trouble thrown away. I cannot altogether agree
with your opinion, dear friend, that "the difficulties would in
no way be greater in Prague than in Leipzig"--you forget that you
yourself, in the capacity of a Leipzig citizen, removed most of
the difficulties by your unswerving perseverance and your
personal influence, whereas in Prague you could act only through
the intervention of others. The question, therefore, is whether
you can confidently reckon upon reliable friends there.

Until I receive further news from you, it seems to me that
Bulow's idea of preferring Lowenberg to all other places is one
very well worth consideration. Our amiable Prince would certainly
not fail to give his earnest support to the Tonkunstler-
Versammlung, and the small miseries of the little town of
Lowenberg might be put up with or put down, for a few days at all
events. Think this plan over again carefully, and do not look at
Lowenberg through the glasses of our excellent friend Frau von
Bonsart!--Of course a date would have to be fixed when the
orchestra is assembled there, and the whole programme arranged
with Seifriz and drawn up with his friendly co-operation. In my
opinion many things might be possible in Lowenberg that could
scarcely be broached elsewhere; and as, in fact, Bulow conceived
the idea I expressly recommend it you as a means for "paving the
way" to a happy issue.--

Together with your last letter I received three of the Faust
essays by Pohl. I shall send him my warm thanks for them by next
post, and shall add, for his bibliographical and statistical
edification, the little remark that Mademoiselle Bertin had an
Italian opera performed in Paris before the Revolution of July,
entitled "Faust" or "Fausto." Before Pohl's articles appear in
pamphlet form I should like to have read them all through--but if
he is in a hurry about them, do not mention this to him; perhaps,
however, if it did not make the pamphlet too thick, it might be
well to include Pohl's essay on the "Dante Symphony" (as it
appeared in Hartel's edition of the score).

In spite of the unsatisfactory performance of the "Dante
Symphony" in Dresden (partly, moreover, the fault of the bad,
incorrectly written orchestral parts, and my careless
conducting), and without regard to the rapture of the spiritual
substance (a matter which the general public tolerates only when
demanded by the higher authority of tradition, and then
immediately gapes at it upside down!)--in spite, therefore, of
this grievous Dresden performance, which brought me only theone
satisfaction of directly setting to work at some not unessential
improvements, simplifications, and eliminations in the score--
that had taken hold of me during the rehearsals and the
performance, and which I felt at once, without troubling myself
about the audience present...--Now, what was I about to say,
after all these parentheses and digressions? Yes, I remember
now:--the "Dante Symphony" is a work that does not need to be
ashamed of its title,--and what you tell me of the impression
produced by the "Bergsymphonie" (in Sondershausen) strengthens me
in my presumption. Hence I should be glad to see the preface by
Pohl printed again, and placed at the end of the "Faust"
pamphlet; for, considering what most people are, they require to
read first, before attaining the capacity for learning,
understanding, feeling, and appreciating.--

The edition of the "Faust Symphony" (arranged for two
pianofortes) is worthy of all praise, and, in the language of
music-sellers, elegant. The printer has done well in so arranging
the type that a number of lines are brought on to one page and a
number of bars on to every line. Schuberth shall ere long receive
a complimentary note from me, together with a few "proof"
indications for the "Faust Symphony." But, in fact, I have come
across only a few and unimportant errors as yet.

The publication of Lenau's two "Faust Episodes" (a point Pohl
touches upon in his essay with fine discrimination) Schuberth
might undertake according as he sees fit. I am pretty well
indifferent as to whether the pianoforte arrangement or the score
appears first; only, the two pieces must appear simultaneously,
the "Nachtlicher Zug" as No. 1 and "Mephisto's Walzer" as No. 2.
There is no thematic connection between the two pieces, it is
true; but nevertheless they belong together, owing to the
contrast of ideas. A "Mephisto" of that species could proceed
only from a poodle of that species!--.--.

With the "Elizabeth" (of which I have now to write only the
pianoforte score, which will take about a fortnight's time) I am
also sending to Weimar the three Psalms in their new definitive
form. It would please me if, some day, a performance of the 13th
Psalm, "How long wilt Thou forget me, O Lord?" could be given.
The tenor part is a very important one;--I have made myself sing
it, and thus had King David's feelings poured into me in flesh
and blood!--

It is to be hoped that Schnorr will be kind enough to adapt
himself to the tenor part (the only solo voice in the Psalm, but
which affects everything, and penetrates and sways chorus and
orchestra). Theodor Formes sang the part very well eight years
ago in Berlin; but that performance at Stern's Concert was to me
only a first trial performance!--

With notes alone nothing can be accomplished; one thirsts for
soul, spirit, and actual life. Ah! composing is a misery, and the
pitiful children of my Muse appear to me often like foundlings in
a hospital, wandering about only as Nos. so and so!--

Please give my best thanks to Schnorr for having so kindly
interested himself in my orphaned "Songs." His better self-
consciousness--the God we carry in our breasts--requite him for
it!--My daughter, Frau von Bulow, writes and tells me marvels
about Schnorr and his wife, and of the performance of "Tristan"
at Wagner's in Biebrich. If only we possessed electric telegraphs
in favor of musical ubiquity! Assuredly I would not make any
misuse of them, and only rarely put myself in correspondence with
the music-mongers; but Tristan and Isolde are my "soul's
longing"!

The French journals contain nothing but praise and exclamations
of delight at the success of "Benedict and Beatrice," Berlioz's
new opera, which was performed in Baden. Pohl is sure to give you
a full report of it. To judge from his essay, the tenor solo at
the end of the "Faust Symphony" caused less offence in Leipzig
(it was the stumbling-block in the Weimar performance, so much so
that influential and well-disposed friends have urgently advised
me to strike out the solo and chorus and to end the Symphony with
the C major common chord of the orchestra). It was really my
intention at first to have the whole "Chorus mysticus" sung
invisibly--which, however, would be possible only at performances
given in theaters, by having the curtain lowered. Besides which,
I felt doubtful whether the sound would not have thus become too
indistinct...

However it may be with this and other things, I will not fail to
exercise patience and goodwill--but neither will I make too great
a demand upon yours. Enough, therefore, for today from your
heartily devoted

F. Liszt

P.S.--N.B.--With the next sending of music please enclose the
choruses from Schumann's "Manfred" (Songs and pianoforte
accompaniment). I shall probably this autumn be engaged with the
same subject, which, in my opinion, Schumann has not exhausted.



9. To Dr. Franz Brendel

Dear Friend,

You will have heard of the grievous shock I received in the
middle of September. [Liszt's eldest daughter, Mme. Blandine
Ollivier, had died.] Shortly afterwards Monsieur Ollivier came to
Rome, and during his stay here, which lasted till the 22nd
October, I could not calculate upon being able to take any
interest in other outward matters. This last week I have had to
spend in bed. Hence my long delay in answering you.

So far as I understand the position of affairs with regard to the
Tonkunstler-Versammlung, it seems difficult to give any definite
advice. The question here is not one of theoretical, but of
absolutely practical considerations, with regard to which
unfortunately my influence is very limited. In my last letter I
believe I told you that I am prepared, in case you decide upon
Prague, to subscribe my name to the petition addressed to the
Austrian ministry in behalf of state support. At the same time I
intimated to you that my cousin Dr. Eduard Liszt would be the
best one to draw up the said petition (in accordance with a draft
sent to him), and in fact might aid the undertaking with good
advice, and otherwise promote its interests. I, on my side, will
not spare myself any trouble in order to obtain from the Austrian
government a favorable result for the objects of the Tonkunstler-
Versammlung. I cannot, of course, guarantee success beforehand;
still I consider it not impossible, and when the time comes I
will communicate all further details to you.

In the first place, however, comes the question whether I can
take any personal part in the meeting of the Tonkunstler-
Versammlung in the year '63? [This meeting did not take place in
1863, but in 1864.] And unfortunately this question I am forced
to answer decidedly in the negative. Owing to its being my custom
not to enlighten others by giving an account of my own affairs, I
avoid, even in this case, entering further into particulars. Of
this much you may meanwhile be assured with tolerable certainty:
I have neither the intention nor the inclination to make any
lengthened stay in Germany. Probably, however, during the course
of next summer I may go to Weimar for perhaps a three weeks'
visit to my gracious Master the Grand Duke. From Weimar I should
go to Leipzig, and then return here by way of Trieste or
Marseilles.

Requests for concert performances of my works under my direction
have been addressed to me from several quarters of late.
Yesterday again I received a letter on this same subject from
London, to which, as in the case of the others, I shall reply
with grateful thanks and excuses.--

I am firmly resolved for some length of time to continue working
on here undisturbed, unremittingly and with an object. After
having, as far as I could, solved the greater part of the
"Symphonic" problem set me in Germany, I mean now to undertake
the "Oratorio" problem (together with some other works connected
with this). The "Legend of Saint Elizabeth," which was altogether
finished a couple of months ago, must not remain an isolated
work, and I must see to it that the society it needs is
forthcoming! To other people this anxiety on my part may appear
trifling, useless, at all events thankless, and but little
profitable; to me it is the one object in art which I have to
strive after, and to which I must sacrifice everything else. At
my age (51 years!) it is advisable to remain at home; what there
is to seek, is to be found within oneself, not without; and, let
me add, I am as much wanting in inclination to wander about as I
am in the necessary means for doing so. But enough of my
insignificant self. Let us pass over at once to the subject of
those two brave fellows who, in your opinion, ought to play a
chief part in the next Tonkunstler-Versammlung: Berlioz--and
Wagner.

To class them together thus seemed strange to me at first,
considering the present state of affairs. And, so far as their
two-headed personality is drawn in, I hold it to be impossible
even. So let us take each apart.

A) Berlioz. Considering what has occurred, and what has appeared
in print, it strikes me as more than doubtful whether Berlioz
would make up his mind to undertake the musical conductorship of
the Tonkunstler-Versammlung, even though Benazet should come
forward en personne as mediator. Besides which his moral
influence at the Festival and the negotiations would be hindering
and disturbing. Hence let us leave Berlioz in Paris or in Baden-
Baden, and be content in being consistent and in giving him a
proof of our admiration by getting up a performance of one of his
larger works. (Perhaps the "Te Deum?"--if I am not mistaken it
lasts a good hour. For Prague this choice would be appropriate--
unless the "Requiem" might be preferred. We might even consider
whether the two might not be given together; this would
abundantly fill one concert. Discuss the requisite means, etc.,
for giving these, with Riedel.)

B) Wagner. What am I to say to you of Wagner? Have you had any
talk with him lately in Leipzig? On what terms are you with him
at present?...Ah, it is a pity that we cannot procure a stream of
gold for him, or have some palaces of gold built for him! What
can he do with admiration, enthusiasm, devotion, and all such
non-essential things?

Nevertheless it is our indebtedness and duty to remain faithful
and devoted to him. The whole German Musik-Verein shall raise up
a brazen wall in his honor!--He is verily worthy of it!

Hence, dear friend, see what can be arranged with Wagner. Since I
left Berlin we have not corresponded. But I am surprised almost
that I did not receive a line from him after Blandine's death!
.--.

Au revoir, therefore, dear friend. In Weimar or in Leipzig only
can I tell you what I may be able to accomplish later. I must,
however, most urgently beg to be exempted from undertaking to
direct the German Musik-Verein for the year '63!--

With cordial and most friendly greetings,

Yours sincerely,

November 8th [1862]

F. Liszt

P.S.--Best thanks for your Sondershausen essays.



10. To A. W. Gottschalg

Dear Friend,

Your kind letter reached me on October 22nd, and this day, which
could not pass without sorrow, has this year been brightened by
many loving and solemn remembrances. Accept my thanks, and
present my best remembrances to all those whose names you
mention, and who have so kindly thought of me. Unfortunately
there is no prospect of my soon being able to celebrate the 22nd
October with Weimar friends; but I may tell you that I intend
paying H.R.H. the Grand Duke a visit during the course of the
summer. And we two shall then also have a bright and happy day in
Tieffurt--and look through a couple of new Organ pieces together.
Grosse must not fail to be there likewise, nor his trombone box,
which I have specially had in my mind ever since the journey to
Paris. [Grosse took his instrument with him on the journey, in
order that it might be at hand in case Liszt should want it.]
Meanwhile, however, tell dear, good Grosse not to be vexed about
the delay in connection with the promised despatch of his
"Sonntags-Posaunenstuck." [Sunday piece for trombone.] It is long
since finished, also some three or four Organ pieces, which, dear
friend, I wrote for you last spring. But the postal arrangements
are so little safe, under present circumstances, that I do not
care to send manuscripts by this means. In despatching parcels to
Vienna or Paris I could, of course, make use of the courtesy of
the embassies; but it is more difficult with Weimar...and so the
parcel with the "Legend of Saint Elizabeth," the three Psalms
instrumented (and essentially remodelled), several Pianoforte and
Organ pieces, together with Grosse's "Sunday-piece," must remain
in my box till some perfectly reliable opportunity presents
itself. If the worst comes to the worst I shall bring the whole
lot myself.

The Schneider-Organ-Album, and the one to appear later--the
Arnstadter-Bach-Organ-Album (which is to contain the magnificent
fugal subject from Bach's Cantata that I arranged for the Organ--
and not without difficulty), I beg you to keep in your library
till my return.

I am very unpleasantly affected by the hyper-mercantile
craftiness of one of my publishers whom you mention in your
letter. It would truly be unjust if you were not to receive the
usual discount, and indeed an exceptional amount, when purchasing
the "Faust Symphony." But who would ever succeed in washing a
negro white? And, in addition, one has generally to put up with
the inky blackness of his bills!--I could tell many a tale of
such doings, and indeed of persons who are afterwards not ashamed
to talk braggingly of their friendship for me! "O friends, not
these tones, rather let us strike up pleasanter ones," sings
Beethoven.

The "Elizabeth," it is to be hoped, contains something of the
sort. At least, as far as possible, I have labored carefully at
the work, and, so to say, lived it through for more than a year.
In No. 3 of the score--the "Crusaders"--you will come across the
old pilgrim song from the days of the Crusades which you had the
kindness to communicate to me. It has rendered me good service
for the second subject of the "Crusaders' March." In the
concluding notice of the score I acknowledge my thanks to you for
it and give the whole song from your copy.

Among the pleasant bits of news (exceptions to the rule!) which
reach me from our quarters is that about the improvement of your
pecuniary position, which is probably accompanied by your
appointment as teacher at the newly established Seminary classes.
In the way of merit you lack nothing, and nothing in zeal and
energetic perseverance. Let me hope, dear friend, that you may
more and more meet with your due reward!

With kindest greetings,

F. Liszt

Rome, November 15th, 1862



11. To Eduard Liszt

Dearest Eduard,

The feeling of our double relationship is to me always an
elevating and comforting one. Truly you abide with me, as I do
with you--cum sanguine, corde et mente.

Accept my thanks for your kind lines, and excuse my not having
written to you long ago. I might indeed have told you many a
thing of more or less interest; but all seemed to me tiresome and
insufficient in writing to you. I needed more than ever, and
above all things, ample time to compose myself, to gather my
thoughts, and to bestir myself. During the first year of my stay
here I secured this. It is to be hoped that you would not be
dissatisfied with the state of mind which my 50th year brought
me; at all events I feel it to be in perfect harmony with the
better, higher aspirations of my childhood, where heaven lies so
near the soul of every one of us and illuminates it! I may also
say that, owing to my possessing a more definite and clearer
consciousness, a state of greater peacefulness has come over me.

Blandine has her place in my heart beside Daniel. Both abide with
me bringing atonement and purification, mediators with the cry of
"Sursum corda!"--When the day comes for Death to approach, he
shall not find me unprepared or faint-hearted. Our faith hopes
for and awaits the deliverance to which it leads us. Yet as long
as we are upon earth we must attend to our daily task. And mine
shall not lie unproductive. However trifling it may seem to
others, to me it is indispensable. My soul's tears must, as it
were, have lacrymatoria made for them; I must set fires alight
for those of my dear ones that are alive, and keep my dear dead
in spiritual and corporeal urns. This is the aim and object of
the Art task to me.

Yon know that I have finished the "Legend of Saint Elizabeth"
(200 pages of score--2 and 1/2 hours' duration in performance).
In addition to this some other compositions have been produced,
such as: the "SunCanticus ("Cantico del Sole") of Saint
Franciscus"--an instrumental Evocatio in the Sistine Chapel-two
Psalms, etc. I trust you may again find us in these, in mind and
feeling.

I am now about to set myself the great task of an Oratorio on
Christ. By the 22nd October, '63, I hope to have solved the
difficulty as far as my weakness and strength will permit.

As you see, dearest Eduard, it is impossible to get out of my
head the idea of writing notes. [Notenkopfe] In spite of all good
precepts and friendly counsellors (who mean it much better by me
than I can ever understand!) I go so far as to maintain that for
several years past and in many yet to come I have not done and
shall not do anything more ingenuous than cheerfully to go on
composing. And what more harmless occupation could there be?
especially as I never force my little works upon any one, nay,
have frequently begged persons to refrain from giving certain too
unconscientious [Play on words "gewissen" and "ungewissenhaft"]
renderings of them,--and that I ask for no further appreciation
or approval than can, in fact, be granted according to taste and
disposition.

From Pest I have lately received through Baron Pronay, in the
name of the Council of the Conservatoire, an invitation to
establish my domicile there, and to promote the interests of
Hungarian music. Probably you will hear of my excusatory reply.

Between ourselves, and frankly said in plain German, it would be
of no advantage to me again to take up any outward musical
activity (such as my conductorship in Weimar which came to an end
a few years ago, and after September 1861 became a locked door to
me through my Chamberlain's key). But possibly I may later find a
fitting opportunity for composing something for Hungary. After
the precedent of the "Gran Mass" I might, for instance, on some
extraordinary occasion, be entrusted, say, with a "Te Deum" or
something of the kind. I would gladly do my best, and only on
some such terms could I regard my return to Hungary as becoming.

Meanwhile remains quietly in Rome, honestly striving to do his
duty as a Christian and an artist,

Thine from his heart,

F. Liszt

Rome, November 19th (St. Elizabeth's Day), 1862



12. To Dr. Franz Brendel

Dear Friend,

The difficulties and troubles of the musical situation of which
you speak in your last letter but one, I can, unfortunately, only
too well understand. No one is better acquainted with such
matters than I am, and hence no one is better able to appreciate
and recognise the value of your unselfish, persevering work and
efforts, which also show you so sincere in your convictions. And
one of the dark sides in my present position, dear friend, is
that I can be of so little use to you, that I am compelled to
remain in a state of passivity and forbearance that does not at
all agree with me. However, you may rely upon my readiness to
render any assistance wherever I may still be able to help.--In
accordance with your wish I shall take an early opportunity of
writing to Prince H[ohenzollern] concerning the Tonkunstler-
Verein. It is to be hoped that our amiable, noble-minded patron
will show himself no less disposed in our favor than he has done
on former occasions. And you, on your part, do not fail to
discuss with Seifriz by letter the points and modals of the
support expected. It is a pity that Bulow's proposal to hold the
next meeting of the T.K. Verein in Lowenberg has not proved
feasible. Were it likely to be broached again I should not make
any objections to it, because, in fact, the place seems to be
precisely a favorable centre at present. But, as already said, it
is not my place to express any definite opinion on the subject,
and I am entirely satisfied in leaving all that has to be done to
your judgment and foresight.

I am delighted to hear of Bulow's extraordinary success in
Leipzig, and still more so to hear of your renewed and intimate
relations with him. He is the born prototype of progress, and
noble-minded to a degree! Without his active co-operation as
director and standard-bearer a Tonkunstler-Versammlung at the
present time would at least be an anachronism.

From Wagner I lately received a letter in which he informed me of
a performance of his "Tristan" in Vienna towards the end of
January. Afterwards he intends arranging some concerts in Berlin-
-and, it seems, in St. Petersburg also. My endeavors to secure
him comfortable quarters in Weimar seem for the time being to be
useless, because of his dislike to an insignificant appointment,
and the adverse circumstances of life in a small town. Certainly
his project of drawing annually 3,000 thalers (*450 British
pounds sterling*), by some agreement between the Grand Dukes of
Weimar and Baden, is much more to the point. The question is only
whether their Highnesses will consent to it? .--.

With heartiest greetings, most sincerely yours,

F. Liszt

December 30th, 1862



13. To Breitkopf and Hartel

Dear Herr Doctor,

The four scores of the Beethoven Symphonies, of which you advised
me in your friendly letter, reached me yesterday. My eyes are
meanwhile revelling and delighting in all the glories of the
splendid edition, and after Easter I shall set to work. Nothing
shall be wanting on my part, in the way of goodwill and industry,
to fulfil your commission to the best of my power. A pianoforte
arrangement of these creations must, indeed, expect to remain a
very poor and far-off approximation. How instil into the
transitory hammers of the Piano breath and soul, resonance and
power, fulness and inspiration, color and accent?--However I
will, at least, endeavor to overcome the worst difficulties and
to furnish the pianoforte-playing world with as faithful as
possible an illustration of Beethoven's genius.

And I must ask you, dear Herr Doctor, in order that the statement
on all the title pages--"critically revised edition"--may be
complied with, to send me--together with your new edition of the
scores of the "Pastoral," the C minor, and A major Symphonies--a
copy of my own transcriptions of them. Probably I may alter,
simplify, and correct passages--and add some fingerings. The more
intimately acquainted one becomes with Beethoven, the more one
clings to certain singularities and finds that even insignificant
details are not without their value. Mendelssohn, at whose
recommendation you formerly published my pianoforte scores of the
"Pastoral" and C minor Symphonies, took great delight in these
minutiae and niceties!--

With regard to the agreement about the A major Symphony I mean
shortly to write to Carl Haslinger, and expect that he will be
quite willing to meet my wish. [A pianoforte transcription of
this Symphony by Liszt had been published by Haslinger.]

With grateful thanks, dear Herr Doctor, I remain yours in
readiness and sincerity,

F. Liszt

Rome, March 26th, 1863

P.S.--The four Symphonies shall be finished before the end of
summer and sent to Leipzig. If you are satisfied with my work
would you entrust the arrangement of the Overtures to me when I
have finished the Symphonies--provided, of course, that you have
not made any agreement with any one else?



14. To A. W. Gottschalg in Weimar

Dear Friend,

This year my name-day fell in the middle of Easter week, on
Maundy Thursday. Your hearty letter again brought what to me is
the pleasantest news in the world. Thank you for it, and let
those know of it who share your sincere, friendly, and faithful
sentiments! First let me mention Carl Gotze, [A chorister in
Weimar (a favorite copyist of the Master's) became a musical
conductor in Magdeburg and died in 1886.] whose kindly words I
should so gladly like to answer in accordance with his wish, and
then my dear Kammer-virtuoso, Grosse. Grosses trombone no doubt
officiated brilliantly at Bulow's concert and at the performance
of Berlioz's opera! An echo of the former reached me, thanks to
your inspired notice in Brendel's paper, where I accidentally
came across a little remark which you had addressed to one of the
most estimable and graceful of German lady-singers anent my
little-heeded songs. I certainly cannot find fault with you for
showing some interest in the songs and for thus frankly
expressing your opinion. On the contrary, your sympathetic
appreciation is always welcome, amid the direct and indirect
disparagement which falls to my lot. Unfortunately, however, I
must make up my mind that only by way of an exception can I
expect to find friends for my compositions. The blame is mine;
why should one presume to feel independently, and set the
comfortable complacency of other folks at defiance?--Everything
that I have written for several years past shows something of a
pristine delinquency which is as little to be pardoned as I am
unable to alter it. This fault, it is true, is the life-nerve of
my compositions, which, in fact, can only be what they are and
nothing else.--

In the Psalms I have made some important alterations, and shall
shortly send Kahnt the manuscript. A few passages (especially the
verse "Sing us one of the songs of Zion") which had always
appeared awkward to me in the earlier version, I have now managed
to improve. At least they now pretty well satisfy my soul's ear.

The "Christus" Oratorio is progressing but slowly, owing to the
many interruptions which I have to put up with this winter. It is
to be hoped I may obtain some entire months of work during the
summer. I thirst for it.

Of the musical undertakings here you will learn the more
noteworthy events from a paper I sent to Brendel last week.
Further and fuller news about myself is meanwhile uncertain.
Probably I shall in the end not find myself able to do anything
better than to put my whole story in the musical notes that I am
incessantly writing down, but which need not either be printed or
heard.

However that may be, I remain, dear friend, in sincere affection,
yours gratefully and in all friendship,

F. Liszt

Rome, April 14th, 1863

P.S.--The Bach-Album and other music which you say you had to
send me (e.g., your arrangement of the Dante fugue if it has been
printed) please let me have through Kahnt. Enclose also a copy of
the Ave Maria for Organ.

[Figure: Musical Score Excerpt]



15. To Dr. Franz Brendel

Dear friend,

The last months brought so many interruptions in my work that I
still feel quite vexed about it. Easter week I had determined
should, at last, see me regularly at work again; but a variety of
duties and engagements have prevented my accomplishing this. I
must, therefore, to be true to myself and carry out my former
intention, shut myself up entirely. To find myself in a net of
social civilities is vexatious to me; my mental activity requires
absolutely to be free, without which I cannot accomplish
anything.

How things will turn out later about my proposed journey to
Germany I do not yet know. Probably my weary bones will be buried
in Rome. Till then their immovability will serve you better than
my wandering about on railways and steamboats. On the other hand,
there is but little for me to do in Germany. War is at the door;
drums and cannon will come to the fore; God protect the faith of
heroes and give victory to the righteous among humanity! .--.

Where is Wagner, and what about the performances of "Tristan",
the "Nibelungen", and the "Meistersinger" in Weimar or elsewhere?
Tell me of this. I have not written to Weimar for long, and have
also not had any news from there. My only German correspondent
(Frau von Bulow) is suffering from some eye-trouble, which has
interrupted our exchange of letters...so I am absolutely ignorant
of what is going on. The February numbers of the "Neue
Zeitschrft" are the last I have received. Your articles on
Criticism are excellent, and, indeed, nothing else was to be
expected. Give Louis Kohler my most friendly thanks for his kind
perseverance in "paving the way for my scores to receive more
kindly appreciation." The more thankless the task the more
heartily grateful do I feel to my friends.

Most sincerely yours,

F. Liszt

Rome, May 8th, 1863



16. To Eduard Liszt

Dearest Eduard,

Weariness or something of the sort carried my thoughts back to my
"Berceuse." Various other "Berceuses" rose up in my dreams. Do
you care to join my dreams? It shall not cost you any trouble;
without touching the keyboard yourself, you will only need to
rock yourself in the sentiments that hover over them. A really
amiable and variously gifted lady will see to this. She plays the
little piece delightfully, and has promised me to let it exercise
its charms upon you. I shall, therefore, ere long send you a copy
of the new version of the "Berceuse" addressed "to the Princess
Marcelline Czartoryska, Klostergasse 4." [A pupil of Chopin's]
Wend yourway thither--and, in case you do not find the Princess
at home, leave the manuscript with your card. I have already told
her of your contemplated visit, and have spoken of you as my
heart's kinsman and friend. You will find the Princess Cz.
possessed of a rare and fine understanding, the most charming
figure in society, and a kindly and enthusiastic worshipper of
Mozart, Beethoven, and Chopin, and, above all this, the
illuminating faith of the Catholic Church reflected in Polish
blood.

"Patria in Religione et Religio in patria" might be the motto of
Poland. God protect the oppressed!

One other commission for the Princess Cz. please undertake for
me. During her residence here she on several occasions expressed
the wish to become acquainted with some of my compositions (to
which, whether intentionally or not, she had hitherto not paid
much attention). I played with her my arrangement of the
Symphonic Poems for 2 pianofortes--the "Heroide funebre,"
"Tasso," and the "Preludes"--which she received with kindly and
courteous tolerance. Without desiring more--for ample experience
has taught me that my compositions more readily rouse
estrangement than attraction--I should, nevertheless, like the
musical threads of our pleasant relations not to be entirely
dropped, and wish therefore to present her, first of all, with
various pieces of music by way of making amends. In the badly
stocked music shops of Rome I could not find anything suited to
her talent, and promised to ask your help in the matter. I beg
you, therefore, dearest Eduard, to get the following works simply
and neatly bound in one volume (in the following order), and to
present them soon to the Princess Cz.:--

1. "Glanes de Woronice" (Leipzig, Kistner).
2. "Melodies de Chopin", transcrites par Liszt (Berlin,
Schlesinger).
3. "Mazurka" (Senff, Leipzig).
4. "2 Polonaises" (idem).
5. "2 Ballades" (1 and 2. Kistner, Leipzig.)
6. "Consolations" (Hartel, Leipzig).

If the volume is not too thick with the above you might add the
"Valse melancolique" and "Romanesca" (second edition of
Haslinger). Of course let all this, contents and binding, be put
down to my account, and given to the Princess-artist as a present
from me. If the pieces cannot be procured in Vienna, order them
speedily from Leipzig through Haslinger or Spina.

A propos of Spina: has the arrangement for 2 pianofortes of my
orchestral setting of Schubert's magnificent C major "Fantasia"
not yet been published? This delay, or, more properly, this
remissness, is by no means a pleasant matter to me. With all my
heart, thine,

F. Liszt

Rome, May 22nd, 1863



17. To Dr. Franz Brendel

Dear Friend,

I had to remain in bed all last week--and am still pretty weak on
my legs. But there is nothing further wrong: my head is free
again; the rest can be imagined. The day after tomorrow I quit my
rooms in the Via Felice and move to Monte Mario (an hour's
distance from the city). Father Theimer is kind enough to allow
me to occupy his apartments in the almost uninhabited house of
the Oratorian. The view is indescribably grand. I mean now, at
last, to try and lead a natural kind of life. I hope I may
succeed in approaching more closely to my monastico-artistic
ideal...Meanwhile you may laugh at me about it. In my next letter
I will tell you where to address me.

Pastor Landmesser will bring you further news about me to
Leipzig, before the end of July, on his way back to Dantzig. I
shall get him to take you the manuscript of the Psalms (of which
I spoke to you). They are now ready for publication, and will not
disgrace Kahnt's house of business.

The corrected copy of the Faust Symphony, too, I will send you by
this opportunity, for Schuberth.

With regard to performances of my works generally, my disposition
and inclination are more than ever completely in the negative. My
friends, and you more especially, dearest friend, have done their
part in this respect fully and in the kindest manner. It seems to
me now high time that I should be somewhat forgotten, or, at
least, placed very much in the background. My name has been too
frequently spoken of; many have taken umbrage at this, and been
uselessly annoyed at it. While "paving the way for a better
appreciation," it might be advisable to regard my things as a
reserve corps, and to introduce new works by other composers.

This will sufficiently intimate that the "Legend of St.
Elizabeth" may quietly go on slumbering in my paper-box. As may
also the work upon which I am now engaged, and which to my regret
is making but very slow progress, owing to the many interruptions
which perpetually plague me.

Should any one of the programmes be filled with one of my
compositions, it would be best to select one of those already
published, in order that, at all events, the publisher's approval
may, in some measure, be held up to view.

In my opinion you have made a good choice in Porges. The young
man is reliable, intelligent, and capable of inspiration, and
what he may still lack in skilfulness he will easily acquire. The
essential point in a task of this kind is a modest, honest, and
not too dry effort. What I have heard and know of Porges makes me
feel assured that he will best fulfil the various demands made by
the editorial office.

What is one to think of the marvels which Pohl has brought back
from Lowenberg? I haven't sufficient imagination to form any
clear idea about them from the preliminary hints you communicated
to me. Let me have a fuller report, therefore, if you think that,
under certain conditions, I should mix myself up with the matter.
And also tell me frankly, without periphrase, what the Musik-
Verein wishes and expects from the patronage of the Grand Duke of
Weimar?--One ought not to shoot about at random with Royal
Highnesses! It would only lead to a vexatious loss of powder.

How is Kap[ellmeister] Wehner? Is he still in his King's good
graces? [He was in the service of the King of Hanover; and is
long since dead.] Kapellmeister Bernhard Scholz was here last
month--but he did not honor me with a visit.

Today's post has brought me some very friendly lines from my
worthy precentor Gottschalg in Tieffurt. He tells me of a concert
in Denstedt, where several pieces of mine were performed--among
others one of the Psalms (which I shall shortly send to Kahnt by
Landmesser, an essentially improved version); they were sung by
Fraulein Genast. This lady, so Gottschalg writes, is to be
married today. Do you know to whom? I am so entirely cut off from
all my Weimar connection that I had not heard anything about
this. But as I still retain a very friendly recollection of this
excellent lady-exponent of my songs, I beg you, dear friend, to
let me have her new name and to tell me whether her husband
resides in Weimar or elsewhere.

I am perfectly satisfied with my new abode at Monte Mario.--
Pastor Landmesser will give you a description of it--and perhaps
I may find a photograph of the place--if not I shall order one
for you later.

Your sincerely devoted

F. Liszt

Rome, June 18th, 1863



18. To Dr. Franz Brendel

Dear Friend,

You will receive these lines in the lovely Sondershausen Park.
One gladly accustoms oneself to the place, and the admirable
performances of the Loh-concerts--I derive the word from "Lohe"
[flame]--give the atmosphere a certain spiritual stimulus. My
friendly greetings to Stein--and present my warm thanks to the
courageous orchestra, which has not been scandalised by the
"Symphonic Poems"! . . .

The parcel from Kahnt reached me safely a few days after your
letter (of 26th June). Mililotti [Director of the Classical Music
Association in Rome; he had requested Professor Riedel to send
him the programmes of his concerts.] intends writing to Riedel to
thank him for his kindness in forwarding his programmes. When
Mililotti's concerts prove more of a success he may, by way of a
return, send his Roman programmes to Leipzig. But at present the
musical doings here are of but small interest to other countries.

By sending me the score edition of "Mignon" and "Loreley" Kahnt
has given me peculiar pleasure. It seems to me correct, and I am
foolish enough to find the instrumentation pretty. By the way,
other instrumental settings occur to me: those of several of
Schubert's songs ("Erlking," "Gretchen," "The Young Nun," and a
few others) that I wrote for Fraulein Genast. They are not mere
manufactured arrangements, and might not altogether displease
musicians of fine feeling. The manuscript of the scores was left
with Seifriz in Lowenberg. If any publisher should feel inclined
to accept them they are at his disposal. .--.

In answer to an important point in your letter, I quite agree
about presenting the Grand Duke of Weimar with a Report
describing the object and aims of the Allgemeine Deutsche Musik-
Verein. And on this occasion H.R.H. should be respectfully and
graciously invited to address an appeal to his illustrious
relatives to take some interest in the progress and success of
the Association; in plain language, to strengthen his
protectorship by letters of recommendation, or in some other way.
In presenting the Report (which might most appropriately be
undertaken by Pohl and Regierungsrath Muller) the Grand Duke or
His Excellency Count Beust might be addressed directly by word of
mouth, and be distinctly given to understand the desirability of
obtaining the sympathy of the Grand Duchess, the Queen of
Prussia, the King of Holland, T.R.H. the Grand Duchesses Helene
and Marie (of Russia), the Grand Duke Peter of Oldenburg (in St.
Petersburg), the Grand Duke and Grand Duchess of Baden, the
Hereditary Prince of Meiningen, the Dukes of Altenburg and
Coburg, etc. I give these names because, owing to their near
relationship with the Grand Duke and their own personal fondness
for music, they should stand first as patrons and supporters of
the Allgemeine Deutsche Musik-Verein.

Gladly would I have undertaken the duties of diplomatist to the
Association in Weimar, and endeavored to obtain the Grand Duke's
active intervention...But at this distance I cannot, for the time
being, accomplish anything. My gracious Master has no leisure for
lectures on artistic subjects that I might concoct in the Eternal
City; and if I tried to enlighten him in any such way his first
and only word in reply would be "Why does not Liszt come back, in
place of writing such allotria?" [Observations beside the mark.]-
-A short time ago I received from him a very kind, monitory
letter, calling upon me to return to Weimar for the Kunstler-
Versammlung in August. .--. I would advise you to make use of
your stay at Sondershausen by getting an introduction to the
Prince, and by obtaining his support as regards the Musik-Verein.
Discuss this matter with Stein, for he is best able to attend to
it. Possibly a larger performance in the Loh might be got up for
the benefit of the Association. .--.

This letter is so filled up with Royal Highnesses, Majesties, and
illustrious personages, that it offers me a natural transition to
tell you of an extraordinary, nay, incomparable honor I received
last Saturday evening, the 11th of July. His Holiness Pope Pius
IX. visited the Church of the Madonna del Rosario, and hallowed
my apartments with his presence. After having given His Holiness
a small proof of my skill on the harmonium and on my work-a-day
pianino, he addressed a few very significant words to me in the
most gracious manner possible, admonishing me to strive after
heavenly things in things earthly, and by means of my harmonies
that reverberated and then passed away to prepare myself for
those harmonies that would reverberate everlastingly.--His
Holiness remained a short half-hour; Monsign. de Merode and
Hohenlohe were among his suite--and the day before yesterday I
was granted an audience in the Vatican (the first since I came
here), and the Pope presented me with a beautiful cameo of the
Madonna.--

I must add one other princely personage to this letter, and with
this I am obliged to close. A visit at this very moment is
announced from the Principe della Rocca, who has driven up with
his photographic apparatus. You shall, therefore, ere long have a
little picture of the Madonna del Rosario which, since the Pope's
visit here, has been the talk of Rome.

A thousand hearty greetings.

F. L.

July 18th, 1863



19. To Breitkopf and Hartel.

Rome, August 28th, 1863

My Dear Sir,

The work that you were good enough to entrust to me is almost
finished, and by the same post you will receive the Piano score
of 8 Symphonies of Beethoven, whilst awaiting the 9th, which I
propose to send you with the proofs of the preceding ones. Nos.
1, 2, 3, 4, and 8 are bound in one volume; there is only the
"Funeral March" from the "Eroica Symphony" wanting, which is
published in the Beethoven-Album by Mechetti, Vienna. I shall
require to see this arrangement again (which you will oblige me
by sending with the next proofs), for probably I shall make
numerous corrections and modifications in it, as I have done in
the Symphonies in C minor, in A, and the "Pastoral," which were
edited some twenty years ago. The copies of these are returned to
you today with a great many alterations, errata and addenda,
inasmuch as--in order to satisfy my own criticism--I have been
obliged to apply to them the torture of red pencil and gum, and
to submit them to a very considerable alteration.

Whilst initiating myself further in the genius of Beethoven, I
trust I have also made some little progress in the manner of
adapting his inspirations to the piano, as far as this instrument
admits of it; and I have tried not to neglect to take into
account the relative facility of execution while maintaining an
exact fidelity to the original. Such as this arrangement of
Beethoven's Symphonies actually is, the pupils of the first class
in the Conservatoires will be able to play them off fairly well
on reading them at sight, save and except that they will succeed
better in them by working at them, which is always advisable.
What study is deserving of more care and assiduity than that of
these chefs d'oeuvre? The more one gives oneself to them the more
one will profit by them, firstly in relation to the sense and
aesthetic intelligence, and then also in relation to the
technical skill and the attaining of perfection in virtuosity--of
which one should only despise the bad use that is sometimes made.

By the title of Pianoforte score (which must be kept, and
translated into German by Clavier-Partitur or Pianoforte-
Partitur?) I wish to indicate my intention of associating the
spirit of the performer with the orchestral effects, and to
render apparent, in the narrow limits of the piano, sonorous
sounds and different nuances. With this in view I have frequently
noted down the names of the instruments: oboe, clarinet, kettle-
drums, etc., as well as the contrasts of strings and wind
instruments. It would certainly be highly ridiculous to pretend
that these designations suffice to transplant the magic of the
orchestra to the piano; nevertheless I don't consider them
superfluous. Apart from some little use they have as instruction,
pianists of some intelligence may make them a help in
accentuating and grouping the subjects, bringing out the chief
ones, keeping the secondary ones in the background, and--in a
word--regulating themselves by the standard of the orchestra.

In order to be perfectly satisfied with regard to my work allow
me, my dear sir, to beg you to let Mr. Ferdinand David and
Monsieur Moscheles see it before it is printed. The minute
familiarity they have acquired with the Symphonies of Beethoven
will show them in a moment any errors, oversights, faults and
misdeeds of which I, very unwittingly, may have been guilty. Will
you please assure them that any information from them in these
respects will be most valuable to me, and that I shall not fail
to profit by it for the honor of your edition. In particular I
should like to know from Mr. David whether the N.B. placed on
page 78 of the manuscript (Finale of the 8th Symphony--"the
execution of the principal figure, etc.") is authorised,--and I
should be very grateful to him for any other particulars he is
kind enough to give me. As to Mr. Moscheles, I hope he will not
disapprove of my having followed his example in putting a profuse
fingering for the greater ease of the mass of performers; but
perhaps he would be so kind as to suggest a better fingering
himself, and to let me know his observations upon such and such
an artifice of "piano arrangement" of which he is a consummate
master. There is only one point on which I would venture even to
an act of rebellion--it is that of the pedals, a bass [base]
passion of which I cannot correct myself, no matter how annoying
the reproaches it may draw upon me!--["Even if one may
presuppose," he writes on another occasion (27th August, 1861) to
Breitkopf and Hartel, "a correct use of the pedal on the part of
piano-players, I am nevertheless, through manifold unpleasant
experiences to my ears, brought back to giving the most minute
indications of it."]

If, as I venture to flatter myself, my arrangement of the
Symphonies satisfies you, I should be tempted to propose to you,
for next year, a similar work on the Quartets, those magnificent
jewels in Beethoven's crown which the piano-playing public has
not yet appropriated in a measure suitable to its musical
culture.

But I really fear to exhaust your patience by giving you proofs
of mine...consider therefore this project of the Quartets as not
having been proposed if it seems to you inopportune, and pray
accept, my dear sir, the expression of my very sincere and
devoted sentiments.

F. Liszt

(Monte Mario, Madonna del Rosario)

P.S.--As it has been impossible for me to hunt out here a copyist
who will fulfil the conditions that may reasonably be exacted
(the one whom I employed pretty much last year divides his time
between the prison and the public-house!), I am compelled to send
you the manuscript such as it is, with many apologies for its
badly written appearance. To make a fair copy of it someone with
plenty of experience is needed; and I can safely recommend you
such an one in Mr. Carl Gotze ("Member or Vice-director of the
theater chorus") at Weimar. He is accustomed of old to my
writing, and would make the copy of the Symphonies with
intelligence and care.

N.B.--A copy of the Orchestral Score of the Symphonies will be a
great help to the work of the copyist of my manuscript, for
exactness in nuances, division of parts and indication of the
instruments.

In any case it will be necessary for me to revise the final
proofs. .--.

Let me add, in conclusion, that I shall be glad to receive, with
the proofs or even sooner, a copy of my "Etudes d'execution
transcendante," and also those "d'apres Paganini" (Breitkopf and
Hartel edition), which I have promised to give to an excellent
pianist here, Mr. Sgambati, who is most capable of playing them
well in public;--and, besides these, a copy of my "Ave Maria"
(for chorus with Organ accompaniment) which is shortly to be
performed here.



20. To Dr. Franz Brendel

Dear Friend,

This morning I sent off manuscripts and corrections to Hartel and
Schuberth--and thus had to write the word Leipzig several times.
It struck me as a reproach as regards yourself, and I mean
forthwith to get rid of it. You shall not hear of me through
others without having the trouble of reading my own bad
handwriting yourself. I have not, however, anything very special
to relate. The summer has passed quietly and I have not wandered
abroad much; have, in fact, been pretty constantly sitting at my
work. My abode continues to suit me more and more, so I intend to
spend the winter here. You no doubt received with my last letter
the photograph of the "Madonna del Rosario." Unfortunately I
cannot send you a picture of the grand, truly sublime view that
can be enjoyed from every window. So you must imagine it to
embrace all Rome, the wondrous Canmpagna, and all the past and
present glories of the district.

For some time past I have had no other news of you than your
excellent articles on "artistic individuality," etc., in which,
among many other right and fine observations, I was specially
pleased with the axiom: "The artistic temperament, when genuine,
corrects itself in consequence of the change of contrasts." May
it prove so in my case;--this much is certain,--that in the
tiresome business of self-correction few have to labor as I have,
as the process of my mental development, if not checked, is at
all events rendered peculiarly difficult by a variety of
coincidences and contingencies. A clever man, some twenty years
ago, made the not inapplicable remark to me: "You have in reality
three individuals to deal with in yourself, and they all run one
against the other; the sociable salon-individual, the virtuoso
and the thoughtfully-creative composer. If you manage one of them
properly, you may congratulate yourself."--Vedremo! [We shall
see!]

Weitzmann's "Carnival in Rome towards the Middle of the
Seventeenth Century," I read with great pleasure in the "Neue
Zeitschrift." It is a pleasant, lively sketch, spiced with
learning but without pedantic lead. Did a very remarkable
"History of the Pianoforte," etc., by the same author, appear in
your paper? Frau von Bulow wrote to me lately that Hans is busy
with some essays for the N. Z. Probably he is writing a review of
Weitzmann's "History of the Pianoforte," which would be most
appropriate; if this is not the case I would advise you to get
one of your staff to undertake the work and to give several
quotations from it. The confounded pianoforte has its
unmistakable significance, were it only because of the general
abuse to which it is put!--In honor of Hartel's edition of
Beethoven I have been occupying myself again with studies and
experiments in pianoforte pieces. The arrangements of the 8
Beethoven Symphonies which I am about to send to Leipzig are, I
trust, successful. They cost me more trouble, in attempts of
various sorts, in corrections, eliminations and additions, than I
had anticipated. As we grow old we deliberate more and are less
readily satisfied...

To Schuberth I have sent the corrections of the 2-pianoforte
arrangement of the "Faust Symphony," together with a pretty,
tuneful arrangement of the "Preludes" by Herr Klauser (of New
York), and was thus induced to play the hackneyed piece through
again, to touch up the closing movement and give it new
figuration. In the hands of a skilful player it will prove
brilliantly effective.

But enough of all this pianoforte stuff! I feel forced to set to
work again in blackening score-sheets--and first of all the
"Christus Oratorio" shall be proceeded with.--Write and tell me
whether Kahnt is publishing the two Psalms which Pastor
Landmesser took him, and advise him to request Herr von Bulow to
revise the last proofs. There is nothing more vexatious to me
than careless editions, full of errors, such as Schuberth would
like to have if one gave free reins to his good nature! From the
Committee of the Association for the Completion of Cologne
Cathedral I have received an invitation to the Festival arranged
for the 14th and 15th October. The letter reminds me, in the most
courteous terms, that in the year '42 I had the honor of being a
member of the Council. I had not forgotten this peculiar
distinction; but the worthy gentlemen seem absolutely not to have
considered how my activity could now appropriately be of service,
and they wisely guard against mentioning any of my ecclesiastical
compositions, although it might have occurred to them that I
could manage something in that species of music. However, the
worthy Committee find the old story of the "period of my
brilliancy," and the "bewitching strains I drew from the keys,"
etc., more voluble and convenient. Besides which some small sum
would have to be forthcoming were I to agree in considering
myself what the good folks would like to consider me. Fortunately
the determination of my work does not lie in their hands, and on
account of this very evident conviction I answered their
communication most courteously, modestly referring to my present
occupation in Rome, and enclosing an extract from one of the
Hymns of St. Ambrosius, from the Liturgy of the "Three Holy
Kings," an incident intimately connected with Cologne Cathedral.
At the same time I feel satisfied that I have not shown any
intention to give annoyance, and declared myself as perfectly
content to fulfil my duties as an honorary member of the Council,
in quietude, by composing a work specially for the Cathedral
(which I shall not fail to do), but without laying the slightest
claim to the sympathy--much less to the patronage--of the worthy
gentlemen of Cologne.--I flatter myself that I am not in the bad
graces of the Three Holy Kings, consequently do not need to
trouble myself about the rest of the Cologne folk!

Now my Leipzig parcels can be despatched with an easy mind.

With heartiest greetings,

Yours devotedly,

F. Liszt

September 7th, 1863

Monte Mario (Madonna del Rosario)

P.S.--Sgambati, an excellent Roman pianist, wishes to study my A
major Concerto. Schott has as yet omitted to send me the
complimentary-copy of this piece, to which I am entitled, so I
beg you to enclose in Kahnt's next sending a duplicate copy
(arranged for 2 pianofortes, as there can be no thought of an
orchestral performance of it here). From Hartel I have also
ordered for Sgambati and Bach [This is no doubt meant for Bache.]
my Etudes, the Paganini ones, and my "Ave Maria" (chorus-score
and voice parts, for a performance at the Classical Concerts
conducted by Mililotti). It would be advisable, owing to the
expense of forwarding music, to send the things all in one
parcel; please be kind enough to suggest this to Hartel, and to
get the 3 opus from him, and I do not wish to have to wait beyond
the end of October for them. Gottschalg will soon have some copy
to send me which might come at the same time.



21. To Justizrath Dr. Gille of Jena

Dear friend,

I trust you will forgive my long silence. I could not excuse
myself in any other way than by a worse lamentation about the
variety of circumstances, moods and occupations that have more
and more encouraged my habitual dislike to letter-writing. Unless
some definite object demands it of me, I do not write to any one
in Germany, with the exception of Bulow, my cousin Eduard in
Vienna, and Brendel, to whom I am very grateful for the kindness
with which he looks after the more important details connected
with my musical affairs. As regards my Weimar friends, my
inclination to communicate with them is spoilt by my imagining
that they would as gladly see me among them as I should feel at
home among them. And as I cannot write to them and say: "I am
coming to remain with you," I get more and more silent.

My stay in Rome is not an accidental one; it denotes, as it were,
the third part--(probably the close) of my life, which is often
troubled, but ever industrious and striving upwards. Hence I
require ample time to bring various long works and myself to a
good ending. This requisite I find in my retirement here, which
will probably become even more emphatic; and my present monastic
abode provides me not only with the most glorious view over all
Rome, the Campagna and the mountains, but also what I had longed
for; quiet from without and peacefulness.--Enclosed is a
photograph of the "Madonna del Rosario," as an illustration to
the notices that have lately appeared in the newspapers in
connection with the Holy Father's visit here.

Your friendly lines came strangely in conjunction with the
"Dettingen Te Deum" to which you refer, and which I was playing
through at the very moment your letter was handed to me. A very
amiable English lady delighted me a little while ago by
presenting me with the praiseworthy London edition-"Novello's
Centenary Edition"--of the Oratorios of Handel, Haydn,
Mendelssohn, etc. (and all sold at from 1 to 3 shillings each);
these works are always welcome society to me. The number
containing the "Dettingen Te Deum" also contains the "Coronation
Anthem" (composed in 1741). "Zadok the priest, and Nathan the
prophet, anointed Solomon King." [This sentence is written in
English by Liszt.]

The commencement is wonderfully grand and powerful, like the
Bible itself.--

However notwithstanding all my admiration for Handel, my
preference for Bach still holds good, and when I have edified
myself sufficiently with Handel's common chords, I long for the
precious dissonances of the Passion, the B minor Mass, and other
of Bach's polyphonic wares.

Remember me kindly to your wife, and with heartiest greetings to
M. Gille, junior, I am Your sincerely attached

F. Liszt

Rome, September 10th [1863]

(Monte Mario, Madonna Del Rosario.)

Do not omit in your next letter to tell me something about your
musical Jubilee in Jena.



22. To Dr. Franz Brendel

Dear Friend,

I am deep in my work. The more we sow a field the more it
spreads. One would need to live to the age of a Methuselah to
accomplish anything plentiful!

Your letters, unlike so many others, are always so welcome, and I
thank you most sincerely for all the goodness, kindness, honesty
and warmth of feeling that the continuance of our friendship
brings with it. For even though you may not always be able to
communicate pleasant or enjoyable news, still things disagreeable
I can tolerate more readily from you, because of your ever
moderate and characteristically steadfast interpretation. The
experience you had lately to make with Y.Z. I regret sincerely,
and would gladly make you some compensation for a loss that is as
unexpected as it is unfortunate. But I am sorry to say I do not
know of any one who would exactly suit you. There is truly a
great dearth of men [Menschen] in this world! When they are put
to the test they prove themselves useless. My ten years' service
in Weimar gave me abundant proof of this!

Probably you will just have to drag on with your contributors,
till we finally get into smoother water again. It is more than
three months since I received any numbers of the Neue Zeitschr.;
do not forget to enclose the numbers in the next sending
(together with the music I want from Hartel), and address always
to "Madonna del Rosario (of which a photograph herewith), Monte
Mario--Rome."

Kahnt's willingness to publish the score of the two Psalms is
very flattering to me. He shall have the manuscript soon, and I
should like to enclose the instrumentation of the Songs from
Wilhelm Tell. Should a convenient opportunity occur some kindly-
disposed singer might be found to bring them into notice (perhaps
Schnorr?). The instrumental-fabric is not plain or ordinary, and
enhances the effect of the vocal part. My critical ex-colleague
Stor praised it formerly when performed at one of the Court-
Concerts at which Caspari sang the songs,--and since then I have
added some dainty little bits. One must praise oneself,
especially when others too often fail in doing so!--

With regard to the Tonkunstler-Versammlung, it seems to me that
the choice of Leipzig is most advantageous for the purpose at
present, and I would advise you to adhere to this. In the course
of the winter we will have an "exchange of thoughts" ("un echange
d'idees," as Prince Gortschakoff is ever saying) about the
programme and arrangements, and this will assuredly lead to more
harmonious results than the Russian notes. Fortunately we do not
need to quarrel about the extent of the treaties of 1815!

Hearty greetings from your sincerely devoted

F. Liszt

October 10th, 1863

P.S.--About six weeks ago there appeared in the Leipzig
"Illustrirte Zeitung" a biographical notice of F. Liszt, together
with a portrait. Let me have the number, and tell me who wrote
the article.

.--. Has anything new in the way of scores or pianoforte pieces
been published that is likely to interest me? Here people speak
of Mendelssohn and even Weber as novelties!



23. To Madame Jessie Laussot

Herewith, dear Madame, are a few lines that I beg you to forward
to Madame Ritter (mere), as I do not know where to address to
her. [She had lost her daughter Emilie, the sister of Carl and
Alexander Ritter.]

The melancholy familiarity with death that I have perforce
acquired during these latter years does not in the least weaken
the grief which we feel when our dear ones leave this earth. If
at the sight of the opening graves I thrust back despair and
blasphemy, it is that I may weep more freely, and that neither
life nor death shall be able to separate me from the communion of
love.--

She whom we are mourning was especially dear to me. Her bodily
weakness had perfected the intuitive faculties in her. She took
her revenge inwardly and lived in the beyond...At our first
meeting I thought I should meet her again. It was at Zurich at
Wagner's, whose powerful and splendid genius she so deeply felt.
During several weeks she always took my arm to go into the salle
a manger at the hour of dinner and supper,--and she spread a
singular charm of amenity, of sweet and conciliatory affection in
that home to which a certain exquisite degree of intimacy was
wanting. She possessed in a rare degree the secret of making her
presence agreeable and harmonious. Everything in her, even to her
very silence, was comprehensive, for she seemed to understand, or
rather to determine the thoughts which words render in only an
unformed manner, and worked them out in her noble heart.

May her soul live for ever in the fulness of the light and peace
of God!--

Very cordially yours,

F. Liszt

October 15th, 1863

(Madonna Del Rosario, Monte Mario.)

Pray excuse my delay in these few lines. It was only yesterday
that I learned your address through Mr. Sgambati.



24. To Dr. Franz Brendel

Dear Friend,

Kahnt's last sending that reached me last week brought me much
that I found pleasant and encouraging in the numbers of the Neue
Zeitschrift. I could verily not have imagined that so mild and
kindly a ray of light could have been shed over my compositions
discussed there, as is given under cipher 8. Let me know who
writes under cipher 8--I promise not to divulge the secret--and
meanwhile present my as yet unknown reviewer with my sincerest
thanks for his appreciation of my nature, which he manifests in
so kind and sympathetic a manner in his commentary to the
"Seligkeiten" [Beatitudes] and the instrumentation of "Mignon's
Song." [The review was written by Heinrich Porges.] He has formed
the most correct estimate of my endeavors by pointing to the
result, namely, to throw life into the truly Catholic, universal
and immortal spirit--hence to develop it--and to raise the
"culture that has been handed down to us from the remote Middle
Ages, out of the heavy atmosphere of the monasteries and, as it
were, to weave it into the life-giving ether of the free spirit
pervading the universe."

I also perfectly agree with the extremely applicable close of the
same article: "Our age has not yielded its right to feel itself
connected with the Infinite," and I intend to set to work in
earnest to comply, as far as possible, with the kindly
expectations of my reviewer. His reference to my Psalms leads me
to wish that I might soon see the four Psalms published in score
(they are very diverse, both as regards feeling and musical
form). Kahnt's willingness to publish them is, therefore, welcome
news to me, and I beg he will give me a proof of his goodwill by
kindly having them ready for next Easter's sale.

He can settle everything about the form and equipment "al suo
commodo" (as people say here).

Still the Psalms should be published in the same form, and should
Kahnt decide upon retaining the form of the Prometheus score (as
he writes to me) I shall be quite content and satisfied. The day
after tomorrow I shall send him the instrumentation of the 23rd
and 137th Psalms together with the score of the 13th. The latter
is one of those I have worked out most fully, and contains two
fugue movements and a couple of passages which were written with
tears of blood. Were any one of my more recent works likely to be
performed at a concert with orchestra and chorus, I would
recommend this Psalm. Its poetic subject welled up plenteously
out of my soul; and besides I feel as if the musical form did not
roam about beyond the given tradition. It requires a lyrical
tenor; while singing he must be able to pray, to sigh and lament,
to become exalted, pacified and biblically inspired.--Orchestra
and chorus, too, have great demands made upon them. Superficial
or ordinarily careful study would not suffice...

Pardon me, dear friend, for having troubled you to such an extent
with marginal comments to my manuscripts. I will only add that I
should be glad to see the short Choral Psalm for men's voices
("The Heavens declare the glory of God") printed in time for the
Easter's sale, in score-form from the copy I left Kahnt before I
went away;--and now to return to the Articles in the Neue
Zeitschrift, I feel specially grateful, in the first place, for
the communications concerning the Hungarian orchestra in Breslau.

To hear again of my Ex-Chamber-Virtuoso Josy in so friendly a way
pleased me extremely, and I beg you to send my sincerest thanks
to the author of the article for having so carefully studied my
Rhapsodies and the less well-known book (not to speak of the
erroneous interpretation it has had to endure at other hands!) on
"Hungarian Gipsy Music"; at the same time will you beg him to
accept the enclosed photograph of my humble self, in return for
the one he gave Josy?

[An extremely musical gipsy boy of this name was presented to
Liszt in Paris in 1844 by Count Sandor Teleki. Liszt's endeavors
to train the boy as an artist failed, however, owing to the
impossibility of accustoming the child of nature to engage in
earnest study, as Liszt himself relates in "Die Zigeuner und ihre
Musik in Ungarn" [The Gipsies and their Music in Hungary] (Ges.
Schriften, Bd, vi.)]

In your next let me have some account of the position and work of
this worthy Breslau correspondent, for I have not before met with
anything from his pen in the Neue Zeitschrift. I herewith send
you a second photograph of my present abode, "Madonna del
Rosario," as the first one went astray, but to prevent a like
accident in the post I shall register this letter.

Bulow's searches into and out of the subject are splendid, and
his farewell words in memory of Fischl show the noblest beat of
heart. When are the articles on Offenbach, etc., from the same
intellectual region, to appear?...I am curious also to see what
news there will be of the Berlin Orchestral concerts, instituted
and conducted by Bulow.

You mention cursorily some new programme-form concerning which
"you rather flatter yourself." Tell me more about this and send
me a few of the programmes.

From Pohl I lately received a very cordial letter which I
answered forthwith. His Vorschlag zur Gute, etc., in the N. Z. I
have not yet read, and this is the case with many other articles
in the last numbers, which, however, I mean ere long to overtake.
In spite of my retirement and seclusion I am still very much
disturbed by visitors, duties of politeness, musical proteges--
and wearisome, mostly useless correspondence and obligations.
Among other things the St. Petersburg Philharmonic Society has
invited me, during the Lent season, to direct two of their
concerts, giving performances of my own compositions. The letter
certainly reads somewhat more rationally than that of the Cologne
Cathedral Committee (of which, I told you); but the good folks
can nevertheless not refrain from referring to the trash about
"my former triumphs, unrivalled mastery as a pianist," etc., and
this is utterly sickening to me--like so much stale, lukewarm
champagne. Committee gentlemen and others should verily feel
somewhat ashamed of their inane platitudes, in thus unwarrantably
speaking to my discredit by reminding me of a standpoint I
occupied years ago and have long since passed.--Only one Musical
Association can boast of forming an honorable exception to this
since my departure from Germany, namely the Society "Zelus pro
Domo Dei," in Amsterdam, which, in consequence of the approval
and performance of my Gran Mass last week, has conferred on me
their diploma by appointing me an honorary member, in addition to
a very kind letter written in a becoming tone.

The diploma is headed: "Roomsch Catholiek Kerkmusiek Collegie,"
and the Society was founded in 1691.

For your wife's amusement and as a piece of French reading I send
a copy of my answers to the letters from St. Petersburg and
Amsterdam. When you have read them please send both copies to my
daughter in Berlin, as an addition to her small collection of my
miscellaneous correspondence.

Most cordial greetings.--Yours in all friendship,

F. Liszt

November 11th, 1863



25. To Breitkopf And Hartel

Dear Sirs,

.--. Pray present my kindest thanks to Conzertmeister David for
his consent to the N.B. in the Finale of the 8th Symphony. The
method of execution, as indicated, was the one important question
to me; by the satisfactory solution of this I am now perfectly
content, and it is pleasant to me, therefore, to be able to agree
to your wish to undertake the publication of the 9 piano-scores
forthwith, without asking advice elsewhere. My former request on
this subject was meant only to serve as a proof of my sincerest
conscientiousness; as soon as you consider it superfluous let it
be so.

Your letter also settles the copyist-difficulty. Still,
notwithstanding all the model-works that issue from the House of
Breitkopf and Hartel, I could scarcely expect that the printers
would worry over my bad musical writing, that is rendered even
more indistinct by my numerous erasures and corrections--and for
this reason I recommended Herr Carl Gotze of Weimar by way of
help; he is very quick at deciphering my untidy manuscripts. But
of the best copyists it may be said "Better none," to use
Beethoven's words in pronouncing his verdict upon Malzel's
metronome.

Permit me therefore, dear sirs, to reduce all these preliminaries
and details to the simplest form, by giving you absolute power
concerning the publication of the 9 Symphonies--provided that the
last proofs are sent to me for revision.

While awaiting the Beethoven scores (Quartets, Egmont, and
"Christ on the Mount of Olives") I send you my best thanks in
advance, and shall hope to send you later a specimen of my small
savoir-faire in the matter of Quartet arrangements to look at. If
it should meet with your approval I would gladly, next summer,
proceed in working out a former pet idea of mine; to make
pianoforte transcriptions of Beethoven's Quartets "for the home
circle," and, as it were, to make them a link in the Master's
catena aurea, between his Sonatas and Symphonies.--No
considerations in the way of honorarium need form any hindrance
to this project, especially as in such matters not the smallest
difficulty has ever arisen in our relations with one another,
which have now lasted over 20 years. Besides, the way and manner
you accept my proposal offers the best prospect for its
realisation, to our mutual satisfaction in tempore opportuno.

.--. I beg you, dear sirs, to accept my sincere thanks as well as
the assurance of my respectful attachment.

F. Liszt

Rome, November 16th, 1863

(Monte Mario, Madonna Del Rosario.)



26. To Dr. Franz Brendel

Dear Friend,

By way of excusing my delay in writing I must tell you at once of
an indisposition, which during Christmas week prevented my
undertaking any other occupation or amusement than that of
keeping in bed. For several weeks after that there were other
things, entirely unconnected with musical doings and affairs,
which, however, urgently demanded attention. Your admirable New
Year's letter I received yesterday. It perfectly confirms my
opinion of the state of affairs (as became clear to me long
since), and my agreement with you as regards our "Debit and
Credit." The latter, unfortunately, does not show the right
equilibrium--but must be made to do so. In the first place three
points have to be secured; and to save useless explanations
between us, I shall describe these in geographical style, under
the names of Weimar, Lowenberg, Carlsruhe. They at present
embrace and solve all the essential questions: division of work,
appointment of suitable persons, procuring adequate means, active
organisation of the Musik-Verein, etc., etc. And, granted that
you are not deceiving yourself about my very limited influence,
my personal presence and intervention would seem indispensable.
Still I will not conceal the fact that it is, at least,
inconvenient for me to leave Rome even for a short time, and
people should not object to my finding more satisfaction in my
retirement here than in the barren unpleasantries of a so-called
"circle of activity." But if, as you assure me, the question
affects the good cause, and I could really be of service to a few
dear friends,--well in that case every other consideration shall
give way and my willingness be put to the proof. Although it will
be very difficult for me to make up my mind to start, I will
towards the beginning of June have my passport vise'd for
Carlsruhe, in order that I may attend the Musical Festival there,
provided that Bulow conducts. In the intervals between the
rehearsals and performances we should discuss with active friends
the Whys and Wherefores connected with the Musik-Verein which,
first of all, requires to be placed on a firm footing. And so far
as I can assist in doing this (especially by advocating its cause
with our patron and the Hohenzollern princes) it certainly shall
be done.

Pohl seems to have put on wrong spectacles if he reads in my
letter that I have no greater wish than to return to unique
Germany! People may think about it what they please; the positive
truth is that I do not bother myself about fools of any species,
whether German, French, English, Russian or Italian, but am
peacefully industrious in my seclusion here. "Let me rest, let me
dream," not indeed beneath blossoming almond trees, as Hoffmann
sings, [A song which Liszt set to music] but comforted and at
peace under the protection of the Madonna del Rosario who has
provided me with this cell. My German friends would certainly be
acting much more reasonably were they to come and visit me here,
instead of tempting me abroad. However you may assure the rest of
my acquaintances that I will not inconvenience them with my
presence for any length of time, and that my interference at the
Musical Festival in Carlsruhe is only a temporary one and
altogether harmless. By the middle of July, at latest, I intend
to be back here again, or earlier if possible.

The Pro memoria of the A. D. Musik-Verein, addressed to the Grand
Duke, together with the protocol of the audience on the 17th of
November, I received through Gille. My thanks and reply I shall
send shortly. Likewise also the programme of a very exceptional
solemnity which takes place on the 5th February,  and which is
already engaging my attention in a variety of ways.

In all friendliness,

Your cordially devoted

F. Liszt

January 22nd, 1864

To Kahnt my best thanks for having sent the last parcel of music
correctly. Postage and dues cost over 13 Prussian thalers. By the
way, do not offend me any longer by franking your letters. I on
my part frank my letters only when I send you a letter-parcel
containing copies, etc.

Last postscript. .--. Do me the one other favor of seeing that my
enclosed answer safely reaches Herr B. I do not know his address-
-and, although we may have met in Weimar, as he once wrote to me,
I have scarcely any recollection of the fact.

Do not be vexed at the apparent presumption and vain-glory of
this last communication for today...My modesty will sufficiently
come to my rescue to prevent my putting too many feathers in my
cap! [The German proverb of which Liszt makes use is "allzugrosse
Rosinen im Kopfe tragen." Besides, thank God, I am too honest and
truth-loving to fall a victim to vanity.



27. To Dr. Franz Brendel

Dear Friend,

Excuse an intermezzo on music-publishers today. I have received
from Julius Schuberth and from Peters' Bureau de Musique
contradictory letters about some right or unrighteous edition of
my arrangement of Beethoven's "Septet". Schuberth's communication
is many-sided, the other very one-sided, but neither of them
enlightens me in the least, for it is a question of long since,
and I scarcely remember where and for whom I arranged the
"Septet", now more than 20 years ago. And although Schuberth has
given me but little cause to be satisfied with his editions,
still I should not wish to do him any injury by this piece of
business, [An untranslatable pun on the words Handel and Handel]
and hence I have not sent him any reply. For the same reason I
shall leave Peters' communication unanswered, and must get you,
dear friend, to make these two gentlemen understand that I cannot
mix myself up with any of their disputes as publishers. And in
order that you may obtain an insight into the matter I send you,
herewith, Peters' letter, with regard to which I can only say
that I have no recollection of having made a duet arrangement of
Beethoven's "Septet"...Yet this is precisely what I do not wish
to say. Let the two gentlemen settle the matter amicably between
themselves and ignore my existence altogether.

As Bulow is happily back, the programmes of the Carlsruhe Musical
Festival will now soon be finally drawn up. Remenyi, who has
played here some half-dozen times in the Teatro Argentina with
extraordinary success, has a decided inclination to appear at the
Musical Festival; I told him, however, that Conzertmeister Singer
had probably already been engaged. Should Singer not be able to
come, I would recommend Remenyi with absolute confidence. Of all
the violinists I know, I could scarcely name three who could
equal him as regards effect. Tell Bulow of Remenyi's friendly
offer, and let me know at your convenience whether it is
accepted.--

As soon as I hear more definitely about the programme I shall
answer Gille's friendly note. Meanwhile (after 4 months'
incessant interruptions) I have again set to work, and cannot now
leave it till the time comes for my journey.

What a royal and marvellous act is Ludwig of Bavaria's letter to
Wagner! It ought verily to be engraved in the Walhalla in letters
of gold. Oh that some other Princes would adopt a similar
style!--

In all friendship, yours sincerely,

F. Liszt

Rome, May 28th, 1864



28. To Dr. Franz Brendel.

Dear Friend,

Shortly after sending off my letter anent the Peters-Schuberth
squabble, I received the programme-sketch of your last letter but
one. Exceedingly important and indispensable are the Wagner-
numbers. Let me hope he has already given you a favorable reply.
Bulow will be the best one to arrange things and to conduct. I
wrote to him the day before yesterday to advise him again to be
strictly moderate with regard to the number of my compositions.
The half of what is given in your sketch of the programme would
be amply sufficient. People do not want to hear so much of my
things, and I do not care to force them upon them...On this
occasion, especially, my wish is only to see some of my friends
again--in no way to seek appreciative approval from the public.
Such misleading abuses have long since and entirely ceased for
me. Hence, dear friend, do not have me playing the braggart on
your programme! If a place is to be retained for Remenyi he will
fill it brilliantly. For both as a soloist and a quartet player
his accomplishments are extraordinary.

You ask me about "definite news of my journey." As already said,
I am determined to attend the Tonkunstler-Versamammlung, and
afterwards to go to Weimar for a few days. My departure from here
depends upon the date of the Carlsruhe concerts. I shall arrange
to be there a few days previously, and shall ask Bulow to secure
apartments for me. A variety of considerations (among which are
economical ones too) compel me not to extend my absence from Rome
beyond a month, and before returning I am in duty bound to pay my
mother a visit in Paris. Hence I shall have but little time for
strolls on the banks of the Ilm or elsewhere...But let me hope
that my journey will not prove pure idling, and I shall do my
best "to pave the way" to meeting all your wishes in as
satisfactory a manner as possible. Further details on this
subject I shall give you by word of mouth towards the end of
August. All mere reports about my remaining in Germany for some
length of time I beg of you to contradict most emphatically. Some
newspapers seem anxious that it should be known that I am about
to settle in Hungary. There is nothing whatever in this report
beyond the anticipated order for my composing a second "Gran
Mass", and perhaps publishing an Hungarian translation of the
"Elizabeth." These two tasks may, during the course of next year,
lead to my revisiting Hungary (?).

Kindly present my excuses to Riedel, who wishes me to attend his
concert in the St. Thomas Church (at the beginning of July). I am
delighted that the "Seligkeiten" find a place in his programme,
and I am sincerely grateful to H. von Milde for having
contributed so much to their success by his fine interpretation
and inspired delivery. Whether the Psalm ("By the waters of
Babylon") is not somewhat too low for Frau v. Milde's voice, I
should not like to say. I remember, however, that she sang it on
one occasion at the Altenburg gloriously. Of course I can
consider it only a very flattering mark of attention and
amiability on the part of Frau von Milde to venture anywhere to
introduce any one of my compositions under her vocal protection,
but especially in Leipzig.

With hearty thanks and kindest greetings yours,

F. Liszt

Rome, June 13th, 1864



29. To the Committee of the Society for the Support of Needy
Hungarian Musicians in Pest.

Gentlemen,

You are good enough to invite me in a very flattering manner to
take part in the Association that you are starting, with the
object of helping needy and infirm musicians in Hungary. Every
tie which unites me to our noble country is dear to me. I
cordially accept to be entirely yours, and am pleased to hope
that the esteem in which you are held, added to your intelligent
solicitude for this good work, will secure it speedily and
lastingly excellent results.

The good that you propose to realise is not liable to
controversy, but is so plainly evident that you will receive on
all sides nothing but approbation, encouragement, help and
support. Nevertheless, as you do me the honor to ask my explicit
opinion with regard to the statutes of your Society, I will
venture to observe that it seems to me desirable not to limit
oneself exclusively and for ever to helping sick and infirm
musicians--and their needy heirs. Those who are in health, when
they are at the same time well-deserving, have a claim also on
your sympathy...Without enlarging on this point here, I only
recommend to your attention, gentlemen, the statutes (published
at Leipzig) of the Association which was formed at Weimar in
August 1861, under the name of "Allgemeiner Deutscher Musik-
Verein," in which the needs of music and of musicians of our day
have been taken into consideration simultaneously.

If I had not the sad honor of being poor I should hasten to put a
considerable sum at your disposal. Pray pardon me, then, the
moderate offering of a hundred florins which you will shortly
receive (through my cousin Dr. Eduard Liszt, of Vienna), and I
beg you to accept, gentlemen, the assurance of my sincere desire
to render in future the best service to your work, as also the
expression of my very distinguished and devoted sentiments.

F. Liszt

Rome, June 18th, 1864 (Madonna Del Rosario)



30. To Eduard Liszt

Very dear Eduard,

Assuredly I have not been "complaining" of you to Count
Gallenberg nor to anybody else in the world. Quite the contrary,
and on every occasion I boast of my beloved cousin, and am happy
and proud of his loyal, delicate and noble friendship, which is
one of the sweetest kindnesses of Providence to me.

Nevertheless I am much obliged to Count Gallenberg for having
somewhat driven you to write to me, extra, so good and tender a
letter, for which I thank you from my heart and soul.

The electoral circular you added to it gives me real
satisfaction, and I am pleased at the public evidence that has
been attained of your "honorableness, firmness of character and
great capability." It seems to me that it was not possible, under
the actual circumstances, to have obtained a more complete
success in the competition with Schuselka; [Eduard Liszt was at
that time standing against Schuselka as a andidate for the
Reichstag (Parliament), but without success.] but I hope that
your turn will come soon. The waiting is painful for you, without
doubt, and is also too prolonged as regards your deserts...still
one must be resigned to it, and that as simply as possible, by
abstaining from useless words and taking useless steps. To be
ever deserving, though only occasionally obtaining--much or
little--is still the wisest thing to do in this world, where "he
who endures little will not endure long!"--

.-. Shall I see you at Carlsruhe at the end of August? I hope so
most truly. Before returning here (at the beginning of October) I
shall spend a few days with my mother in Paris. You will not be
vexed with me for beginning with her first, and for postponing
till another year my transient visit to you at Vienna, which I
accept in the same manner as you offer it, and for which the
occasion will be found when I return to Hungary, supposing that
they are inclined (as appears likely) to give me an order similar
to that of the "Graner Messe." Otherwise, and unless there be any
determining circumstance for me, I am resolved not to tire people
with my presence, as also to withdraw myself from the idle
fatigue that people cause me. Thank God I have something to work
at without disturbing myself at my work further than is necessary
for the good conscience I hope always to keep. For this Rome is
peculiarly adapted to me, and I shall not go away for the
smallest thing without well knowing what it is for.

I send herewith my answer to the Committee of the Association in
aid of poor musicians in Hungary, [See the foregoing letter of
18th June.] to which I beg the Princess to authorise you to add
the sum of 200 florins. Let them be sent at once to the
Committee, begging for an acknowledgment, which you will send to
me.

Remenyi will come and see you shortly. He has spent nearly two
months here, and has been heard very often at the Argentina
Theater with extraordinary success. I have invited him to come to
Carlsruhe, as I am persuaded that he will succeed no less well
there than in Rome. Meanwhile I beg you to give him a cordial
reception.

Yours ever affectionately,

F. Liszt

June 22nd, 1864 [Rome]

Greetings and love to your dear ones.

It goes without saying also that I think most affectionately of
Cornelius and Tausig, which you will tell them.



31. To Dr. Franz Brendel

Dear Friend,

.--. I can assure you of Remenyi's co-operation. By the middle of
July I expect a letter from him with his fuller address. It will
be superfluous to mention him in the preliminary programme of the
concert-performances. But what about Wagner?--Frau von Bulow
sends me very sad news of him...If he definitely refuses to
attend the Tonkunstler-Vers. all we can do is to obtain his
consent to give the extracts--previously enumerated in the
programme--from his "Meistersanger" and other of his works
(together with the scores and voice parts). In my opinion these
pieces are indispensable for the principal day of the Carlsruhe
programme. It would be best if Bulow alone brought the matter to
the desired issue. It seems to me impossible that Wagner could
give him and all of us the pain of an absolute refusal! At all
events everything must be done to avoid such a misfortune--nay, I
may even say, such a scandal.

For the future, dear friend, you shall be totally relieved of the
trouble of sending me these detailed communications. Frau von
Bulow is going to report to me of the further progress of the
preliminary arrangements concerning the Tonk.-Vers.; you yourself
have more than enough to do with writing, negotiating, deciding,
preparing, weighing to and fro, and in thinking things out, etc.,
etc.

It is settled, therefore, that I am coming, and you will have to
look after me during my couple of weeks' stay in Germany, as it
is mainly your fault that I am coming. Between ourselves I may
tell you that, had it not been for your pressing letters, I
should probably have confined myself to giving the Bulows a
rendez-vous in Marseilles, and to paying my mother a few days'
visit in Paris. Of other roads there are extremely few for me
nowadays--and those that I have still to tread are not to be
found in journeys, but only indeed at my quiet writing-table!

With hearty greetings and in all friendship, yours,

F. Liszt

July 1st, 1864

Yesterday I received a friendly letter from Seroff. Could not
some fragment from his "Judith" be fitted into your Carlsruhe
programme?



32. To Walter Bache in London

[The addressee (1842-1888), a pupil of Liszt's, settled in London
as teacher, pianist and conductor, devoted his whole life there
to making Liszt's music known in England. His annual Recitals and
Orchestral concerts were devoted mainly to this object.]

I reply to your letter, dear Mr. Bache, by assuring you once more
of my very sincere and affec-* *tionate interest. You will never
find me wanting or behindhand when it is a question of proving
this to you; be very sure of that.

The good news you give me of Madame Laussot is very welcome to
me. I hope she will give me the pleasure of coming again to Rome,
for I see no chance of my coming to Florence. Towards the middle
of August I shall start for Carlsruhe, where I have promised to
be present at the third Tonkunstler-Versammlung. Thence I shall
go to Weimar, and shall take Paris on the way in order to see my
mother again before returning here at the beginning of October.

Please tell Madame Laussot that she would wrong me if she did not
count me amongst her most truly affectionate and devoted
adherents. I especially preserve a grateful remembrance of her in
connection with the "Ideale," and all that attaches to it. She is
of the very small number of noble and intelligent exceptions in
the too great number of my friends and acquaintances. I was
speaking to this purpose the day before yesterday to a young
person of Grecian origin who lives in Florence at the Count de
Sartiges' house (and who frequents Madame Laussot's concerts).
The Athenian plays the piano marvellously and charmingly.

You will bring me Ehlert's Scherzo with other of his
compositions.

Meanwhile I commission you to give my best compliments to Ehlert.

A thousand cordial and affectionate things, and a revoir next
winter.

July 2nd, 1864, Madonna del Rosario

F. Liszt

Thanks for the triple photograph, [Probably of Mme. Laussot,
Pinelli and Bache, who were taken together.] which is thrice
welcome.



33. To ?

[Autograph letter (without address) in the possession of Monsieur
Etienne Charavay in Paris. The letter appears to be addressed to
a friend in Vienna.]

Dear Friend,

The parcel of music you kindly announce has not yet come; but I
will not delay in sending you my thanks, as I am about to leave
here for six or seven weeks.

The day after tomorrow I travel to Carlsruhe to attend the
Tonkunstler-Versammlung, the concerts there (conducted by Bulow)
being given between August 22nd and 26th. Thence I go to Weimar
on a visit. By the end of September I shall be with my dear
mother in Paris, and back here by the middle of October. You must
not be surprised if in newspaper-fashion I leave it undecided
whether or not I change my abode and remain in Rome for ever.

The words for ever remind me of the 22nd Psalm (according to the
usual Protestant numbering the 23rd) which, in reality, I
composed for a tenor, whereas the 137th is meant for a mezzo-
soprano (Fraulein Genast, now married to Herr Merian, in Basle).

I am therefore surprised that you should have proposed the latter
Psalm and not the 22nd for Herr Erl, and I fear the effect of it
will not be good sung by a tenor. The violin accompaniment which
on several occasions is in unison, as well as the concluding
chorus, "Jerusalem, Jerusalem," are written exclusively for
women's (or boys') voices, and thus demand a female soloist.
Besides which it seems to me that the sentiment and spiritual
tonality of the Psalm do not move in the masculinum. Israelitish
gentlemen must not be called upon to sigh, to dream and to
abandon themselves to their grief in any such way.

I shall be much pleased to become fully acquainted with the new
works by Kremser, Hasel and Ziehrer, which you promise me, on my
return.

Meanwhile with best thanks and kind greetings, yours in all
friendship,

F. Liszt

Rome, August 7th, 1864 (Madonna del Rosario)



34. To Eduard Liszt

Weimar, September 7th, 1864 (In the blue room of the Altenburg)

It grieved me to have to do without your presence at the
Tonkunstler-Versammlung in Carlsruhe, dearest Eduard. Your
letter, however, speaks of your having made some advance in your
career, and this greatly delights me. I hope you will soon have
more definite news to communicate to me on the subject. You know
that to see you prosperous is one of the satisfactions I most
desire in life!--

As regards the Tonkunstler-Versammlung you will find a kindly and
satisfactory resume of the proceedings in the supplement of the
Allgemeine Augsburger Zeitung--3lst August, 1st to 3rd September.
Bulow was unfortunately prevented by serious illness from
conducting. From a personal as well as an artistic point of view
I felt his absence very keenly--however no complaint whatever can
be made about the performance, and the reception accorded by the
audience, especially to my Psalms, was extremely favorable. I
assuredly never expected to meet with such sympathetic
appreciation, after my experiences of former years. Friend Lowy
had, on this occasion, no reason to hide himself in a seat at the
back! In the Chamber-music soirees three of my Songs ("Es muss
ein Wunderbares sein," "Ich liebe Dich," and "Mignon") were sung
by Herr and Frau Hauser, and an encore was demanded. Remenyi
played magnificently, and Fraulein Topp [Alida Topp, a pupil of
Liszt's.] is a marvel.

At the conclusion of the Tonkunstler-Versammlung I started early
on Sunday morning for Munich with Cosima (who remained with me
the whole week of the concerts). Hans was confined to bed at the
Bairischer Hof; his nervous rheumatic complaint has now settled
in his left arm, which he will probably be unable to move for
several weeks to come. In addition to the physical pain he
suffers most grievously from this enforced state of inactivity.
To endure things patiently is to some natures an absolute
impossibility. He travelled back to Berlin, ill as he was, last
Saturday, accompanied by his wife, and I have promised to go and
spend a couple of days with him after my visit to Prince
Hohenzollern in Lowenberg, where I go in a day or so.

Of Wagner's wondrous fortune you are sure to have heard. No such
star has ever before beamed upon a tone-or a word-poet. N.B.--
H.M. the King of Bavaria addresses his communication, "To the
Word-and Tone-Poet, Richard Wagner." More by-and-by about this
remarkable affair of Wagner's. I saw him in Munich on several
occasions, and spent one day alone with him in his villa on the
Starnberger See.

I have been here since the day before yesterday. .--.

Continue to love me--as I do you.

With all my heart your

F. Liszt

Address me to Weimar (at the Altenburg). I must return here from
Lowenberg (between the 15th and 8th September) in order to await
the Grand Duke at the Wartburg.



35. To Breitkopf and Hartel

Dear Herr Doctor,

Together with the corrected proofs of the Pastoral and the C
minor Symphonies (in which I found one or two errors) I sent you
(from Weimar) my pianoforte arrangement of the 3rd instrumental
movements of the 9th Symphony. After various endeavors one way
and another, I became inevitably and distinctly convinced of the
impossibility of making any pianoforte arrangement of the 4th
movement for two hands, that could in any way be even
approximately effective or satisfactory. I trust you will not
bear me any ill-will for failing in this, and that you will
consider my work with the Beethoven Symphonies as concluded with
the 3rd movement of the 9th, for it was not a part of my task to
provide a simple pianoforte score of this overwhelming 4th
movement for the use of chorus directors. Arrangements of this
kind have already been made, and I maintain that I am not able to
furnish a better or a more satisfactory one for helpless
pianofortes and pianists, and believe that there is no one
nowadays who could manage it.

In my edition of the 9th Symphony for two pianos, prepared for
Schott, the possibility was offered to me of reducing the most
essential parts of the orchestra-polyphony to ten fingers, and of
handing over the chorus part to the second piano. But to screw
both parts, the instrumental and vocal, into two hands cannot be
done either "a peu pres or a beaucoup pres!"

In case other proofs of the remaining Beethoven Symphonies are
ready, you might send me them to Weimar before Tuesday, 20th
September. I should be glad at the same time to receive the
splendid 6 Mottets of Bach in eight-voice parts (among which is
"Sing unto the Lord a new song"). I am all the more in need of
reading such works, as I am at present unable to hear a
performance of them.

Next week I shall again spend a few days in Weimar (or
Wilhelmsthal); thence I go to pay my mother a visit in Paris, and
by 18th October, at latest, I shall be back in Rome.

Yours respectfully and sincerely,

F. Liszt

Schloss Lowenberg, September 14th, 1864

I requested Herr Kahnt to return to you with my best thanks the
copy of the Symphonic Poems which was kindly forwarded to me in
Carlsruhe.



36. To Breitkopf and Hartel

Dear Herr Stadtrath, [Town Councillor]

In compliance with the wish you so kindly express, I will again
make an attempt to "adapt" the 4th movement of the 9th Symphony
to the piano, and soon after my return to Rome will set to work
upon the required tentative. Let us hope that the variation of
the proverb: "Tant va la cruche a l'eau qu'a la fin...elle
s'emplit"--may prove true. [So often goes the pitcher to the
water that at last it is filled.]

While talking of various readings allow me to draw your attention
to an exceptionally valuable collection. A very carefully and
well-trained musician with whom I have been acquainted for many
years past--Herr Franz Kroll (in Berlin)--has, with industrious
and unceasing perseverance, been collecting, copying and
arranging for publication the noteworthy various readings of
Bach's manuscripts of the "Wohltemperiertes Clavier." [The well-
tempered Piano] Last week he showed me several of them, and I
became convinced of the substantial interest of the collection
and encouraged friend Kroll to send you a full account of them.
In now enclosing his letter to you--written at my instigation--I
take upon myself, with pleasure and the fullest conviction, the
musical duty of advocating the publication of these various Bach
readings, and of heartily recommending Kroll's work as an
essentially useful, complementary addition to your admirable
edition of the "Bach-Gesellschaft" [The Bach Society].

Pray accept, dear Herr Stadtrath, the assurance of my sincere
esteem and devotion.

F. Liszt

Wilhelmsthal, October 1st, 1864



37. To Madame Jessie Laussot

You will be good enough to excuse me, dear Madame, for having
delayed replying to your kind letter. Amongst your many rare
qualities there is one that I particularly admire; it is the
prowess of your musical sympathies. Nevertheless I must scruple
to expose you to too harsh trials, and, knowing by experience
with how little favor my works meet, I have been obliged to force
a sort of systematic heedlessness on to myself with regard to
them, and a resigned passiveness. Thus during the years of my
foreign activity in Germany I constantly observed the rule of
never asking any one whatsoever to have any of my works
performed; more than that, I plainly dissuaded many persons from
doing so who showed some intention of this kind--and I shall do
the same elsewhere. There is neither modesty nor pride in this,
as it seems to me, for I simply take into consideration this
fact--that Mr. Litz [Liszt quotes the very common misspelling of
his name which has frequently been seen since he was "le petit
Litz" in Paris.] is, as it were, always welcome when he appears
at the Piano (--especially since he has made a profession of the
contrary--) but that it is not permitted to him to have anything
to do with thinking and writing according to his own fancy. The
result is that, for some fifteen years, so-called friends, as
well as indifferent and ill-disposed people on all sides, sing,
enough to split your head, to this unhappy Mr. Litz, who has
nothing to do with it, "Be a pianist, and nothing but that. How
is it possible not to be a pianist when, etc., etc."

Possibly they are right--but it would be too much to expect me to
sign my own condemnation. Far from that, I confess that
contradiction ends by tempting me seriously, and that I am
resolved to pursue it to the end, without any illusion or
approbation whatever. Only at certain moments I fancy that that
judicious maxim of Champfort is somewhat applicable to me
"Celebrity is the punishment of talent and the chastisement of
merit."

Our friend Sgambati is happily in a fair way to incur this
punishment and chastisement--and certainly with very good reason.
He has done wonders this winter at his four concerts, which have
had a success both of fashion and of real good taste. I, for my
part, have gained a thorough affection for Sgambati, and the
remarkable development of his talent of so fine and noble a
quality interests me keenly.

A thousand very cordially affectionate and devoted things.

F. Liszt

Rome, March 6th, 1865



38. To Dr. Franz Brendel

Dear Friend,

While awaiting from you definite word about the next Tonkunstler-
Versammlung in Dessau, let me, meanwhile, thank you for your last
communication. The main interest of the musical performances is,
of course, on this occasion centred in Riedel and his Verein. In
the programme-sketch I notice my Psalm 137 at the very beginning.
What lady takes the solo?--mind and soul are indispensable in it.

Bronsart wrote to me at the beginning of March that he
entertained the idea of a concert-tour to the Russian provinces
on the Baltic. I should be glad to hear that the Euterpe squabble
and quarrel in connection with the T.K.V. in Dessau were at an
end, and that Bronsart was to undertake the conductorship.

As a supplement to this I send you herewith the programme of the
concert held in the hall of the Capitol, where for some years
past no special festivities have been given, and probably never
anything of this kind before. For the first time the different
orchestras in Rome (the Sistine, St. Peter's, Lateran and
Liberian) all united to give a performance which upon the whole
may be said to have been as successful as it was well received.

The concert was proposed to the Holy Father, and approved of by
him. Owing to the exceptional character of the undertaking,
which, like that of last year, was made to fit in with the plan
of the detailed arrangements--(some ladies belonging to the
aristocracy, and commissionaires distributed the tickets which
were sold at a minimum, no advertising, etc.), I determined to
give my co-operation. I played the "Cantique" (the last number of
the "Harmonies poetiques et religieuses" published by Kistner),
and, as there was no end to the applause, I added my
transcription of Rossini's "Charite" (published by Schott).
Everybody in Rome with any claim to culture was present, and the
hall was more than full.

With friendliest greetings, your sincerely devoted

F. Liszt

April 3rd, 1865

P.S.--Please get Kahnt to inquire of Hartel as soon as possible,
how far the printing of my arrangement of the Beethoven
Symphonies has progressed, and whether I may rely upon his
sending--during Easter week as already settled--the orchestral
parts (autographed) of several of my Symphonic Poems,--more
especially of the Dante Symphony? It is possible that the Dante
Symphony may be performed here towards the end of April. But you
shall have further news of me before that.

Bote and Bock will shortly publish a very simple Hymn of mine
(for pianoforte) entitled "The Pope's Hymn."



39. To Prince Constantine of Hohenzollern-Hechingen

Monseigneur,

Your Highness will understand that it is a necessity of my heart
to speak to you of a very happy juncture that assures me
henceforth, in full degree, the stability of feeling and of
conduct to which I aspired. It seems to me that I should be
guilty of ingratitude and wanting in respect to the condescending
friendship with which you are good enough to honor me, did I not
let you know of the determination I have taken. On Tuesday the
25th April, the festival of St. Mark the Evangelist, I entered
into the ecclesiastical state on receiving minor orders in the
chapel of H.S.H. Monseigneur Hohenlohe at the Vatican. Convinced
as I was that this act would strengthen me in the right road, I
accomplished it without effort, in all simplicity and uprightness
of intention. Moreover it agrees with the antecedents of my
youth, as well as with the development that my work of musical
composition has taken during these last four years,--a work which
I propose to pursue with fresh vigor, as I consider it the least
defective form of my nature.--

To speak familiarly; if "the cloak does not make the monk" it
also does not prevent him from being one; and, in certain cases,
when the monk is already formed within, why not appropriate the
outer garment of one?--

But I am forgetting that I do not in the least intend to become a
monk, in the severe sense of the word. For this I have no
vocation, and it is enough for me to belong to the hierarchy of
the Church to such a degree as the minor orders allow me to do.
It is therefore not the frock, but the cassock that I have
donned. And on this subject Your Highness will pardon me the
small vanity of mentioning to you that they pay me the compliment
of saying that I wear my cassock as though I had worn it all my
life.

I am now living at the Vatican with Monseigneur Hohenlohe, whose
apartment is on the same floor as the Stanze of Raphael. My
lodging is not at all like a prison cell, and the kind
hospitality that Monseigneur H. shows me exempts me from all
painful constraints. So I shall leave it but rarely and for a
short time only, as removals and especially journeys have become
very burdensome to me for many reasons...It is better to work in
peace at home than to go abroad into the world,--except in
important cases. One of these is awaiting me in the month of
August, and I shall fulfil my promise of going to Pest at the
time of the celebration of the musical fetes that are being got
up for the 25th anniversary of the establishment of the
Conservatoire. My Oratorio of "Saint Elizabeth" and the Symphony
of the "Divina Commedia" form part of the programme.

Next year, if Your Highness still thinks of realising your noble
project of a musical congress at Lowenberg, I should be very
happy to take part in it, and place myself entirely at your
orders and service.

Permit me, Monseigneur, to express anew to you my most grateful
thanks for the evidences of sympathy you have so generously
accorded to myself and to my works; and graciously accept the
homage of unchanging sentiments of most respectful devotion with
which I have the honor to be

Your Highness's most humble and affectionate servant,

F. Liszt

Vatican, May 11th, 1865



40. To Breitkopf and Hartel

Dear Herr Doctor,

My old musical weaknesses have not left me! The weakest and worst
thing about them is perhaps that I never cease composing; but
such wondrous things go wandering about in my head that I cannot
help putting them down on paper. And I have wanted to hear
something about the fate of the manuscripts I sent you for
printing. Have the pianoforte scores of the Beethoven Symphonies
been published? How has the printing of the Concerto for 2 pianos
(in E minor) [Concerto pathetique] progressed? Would you kindly
let me have a few copies soon?

With regard to the autographed orchestral parts of my "Symphonic
Poems," I should be glad if they could be out by the end of July.
Probably at the beginning of August I go to Pest, where several
of my compositions (more especially the "Dante Symphony") are to
be performed in connection with the festivities at the
Conservatoire. If the parts should be ready, please, dear Herr
Doctor, forward them to me to Pest. At present I do not require
them here; but should the "Preludes" be ready you would greatly
oblige me by sending all the orchestral parts, with four copies
of the quartet, if possible by the beginning of next month, to
Dr. R. Pohl (571, Hirschgasse, Baden-Baden). I have been asked
for the loan of them for some festival in Baden conducted by
Monsieur Reyer.

Pray kindly excuse all the trouble I am giving you, and receive
the expression of my most sincere esteem.

F. Liszt

The Vatican, May 27th, 1865



41. To Dr. Franz Brendel

Dear Friend,

Your favorable accounts of the Tonkunstler-Versammlung in Dessau
delighted me greatly. Owing to the crooked way in which my works
have been listened to in past years, I have felt oppressed; and
in order that my freedom in my work might remain unaffected, I
was obliged wholly to disregard their outward success. Hence my
absolute distrust of performances of my own compositions, and
this was not to be accounted for by any exaggerated modesty on my
part. As to the "Battle of the Huns" I was specially doubtful;
the Christian significance of Kaulbach's picture--as represented
in the "Chorale"--seemed to me a stumbling-block in the way of
favorable criticism. Kaulbach had indeed suggested this
interpretation by having thrown a special light upon the
cross...yet there are neither mendicant friars nor bishops in the
picture...and, besides, at the time of the "Battle of the Huns"
the organ was not yet invented! This last sweeping argument was
triumphantly hurled at me in Weimar by the infallible censors.
Since then I have hesitated to allow the work to be performed,
and have remained satisfied with sending Kaulbach the arrangement
for 2 pianofortes. And in that form it was executed [Executirt.]
in his salon, whereupon, of course, there were loud lamentations
about my squandering my time upon such an abominable jumble of
sounds, when I might be charming people in a more agreeable
fashion with my piano-playing!...So if the Dessau Meeting really
derived some pleasure from the "Battle of the Huns" I feel richly
rewarded for my small amount of suffering.

I beg you to present my best thanks to Fraulein Wigand. [Emilie
Wigand, studied under Prof. Gotze in Leipzig.] It is a good deed
of hers to have obtained willing ears for my Psalm--and if I am
in Germany again next year I shall want to hear it.

I will with pleasure take Weitzmann's place as examiner of the
manuscripts sent in. Send them to me in parcel form to Rome; I
promise to look through them quickly and to let you have my good
or bad opinion of them. For such work I am always inclined, and
am, perhaps, not an awkward hand at it.

.--. From the Committee in Pest I have not had any news for some
time past. I shall, however, hold myself in readiness to start
from here by the beginning of August. Meanwhile let nothing be
sent to me to Rome. As soon as I know anything definite about my
stay in Hungary I will let you know.

With all friendly greetings to your wife, I am your sincerely
attached

F. Liszt

July 21st (Villa d'Este-Tivoli), 1865

Any probable performance of the "Elizabeth" in Coburg we can
discuss later. I should consider it advisable to have my name but
little mentioned in the programme of the next Meeting of the
Tonkunstler-Versammlung. As regards a larger work (one to occupy
a whole concert) it would be well for Gille to leave the choice
of it to the Duke. The local taste would be a very important
point in the matter, and, for my own part, I know only too well
that people do not want to know or to hear too much of me--in
Coburg as well as in many other places!--



42. To Abbe Schwendtner in Buda-Pest

[Autograph in the possession of Frl. Therese v. Lavner in Pest.--
Liszt became acquainted with the Abbe in 1865, and frequently
enjoyed his hospitality when visiting Pest, up to the time when
he himself became connected with the Musik-Academie there.]

Right Reverend Sir and Friend,

Having returned to my abode here, I cannot refrain from again
thanking you most heartily for all the goodness and kindness you
showed me in so unusually abundant a measure, during my stay in
the town-vicarage of Pest. The five weeks I spent there in the
pleasantest way--owing to your considerate care and attention--
will remain an unextinguishable point of light in my life. You
admonish, and at the same time encourage and strengthen me, to
carry out further the artistic task that is set me. In the hope
that your Reverence will in the future continue to show me the
sympathy so kindly and generously expressed, I pray you to
implore God's blessing to keep me ever a good child of the State
and Church.

May I add another request? On the 22nd October (my birthday) for
some years past a Mass has been read in the Franciscan Church in
Pest, and at the words: "Memento Domini" I [am] held in
remembrance...I would ask your Reverence to remember my wish that
this may be done also on the same day in the parish church.

In sincere veneration and gratitude, I remain cordially and
faithfully

Your Reverence's devoted

F. Liszt

The Vatican, September 20th, 1865

My respectful compliments to the amiable lady president of the
morning coffee--Fraulein Resi [A niece of the Abbe's.]--who
conducts and beautifies the real Magyar hospitality at the
Vicarage in an incomparably graceful manner. I shall take the
liberty one day of sending Fraulein Resi a few Roman trifles.
Bulow has undertaken to send you the medallion of my humble self,
a masterly piece of work by Rietschel. As you will know,
Rietschel is the sculptor who made the Lessing statue in
Brunswick, the Goethe and Schiller group in Weimar, etc.--



43. To Dr. Franz Brendel

Dear Friend,

Accept my best thanks for having admitted into your Neue
Zeitschrift Bulow's account of the Musical Festival in Pest.
These three articles are a masterly piece of work, and, as your
paper has for several years past followed the difficult process
of my development as a composer in so kind and careful a manner,
I wished specially that the very successful performances of the
"Elizabeth" and of the "Dante Symphony" in Pest should receive
confirmation in the Neue Zeitschrift.

With regard to the "Elizabeth" I have received offers from Vienna
and a few other places; but it is in no way my intention to wage
war in a hurry with this work. I shall, therefore, decline the
invitations with thanks, and await an opportunity more convenient
to myself for the next performance. Whether this may be at the
Tonkunstler-Versammlung in Coburg I do not know, and, frankly
said, this will depend upon the Duke's bon plaisir. [It was not
performed at a Tonkunstler-Versammlung in Coburg.] For my own
part I am in no great hurry, as I have heard enough of the work
in Pest, and found no alterations to make in it. Then also there
is no hurry with regard to its publication, and my reply a short
time ago to a willing publisher (who, curiously enough, offered
me a respectable honorarium for it!) was, that only by next
summer could I decide whether to have it published or not.

Gille has the kind intention of arranging a performance of the
"Elizabeth" in Jena as soon as possible. I don't want to enter
into a fuller correspondence with him on the subject; but please
tell him, in all friendliness, that I regret to be obliged
somewhat to check his admirable zeal. Apart from certain
considerations of propriety (which I will never disregard in the
slightest degree) there is an irremovable difficulty in the
matter of the performance itself. It cannot be given in Jena
without the co-operation of the Weimar performers. And why plague
our dear and excellent Weimar singers and artists, and how--with
their many theatrical engagements--could they find the necessary
time for studying the parts, for rehearsals?--etc., etc.--

Hence let us give a simple no as regards Jena, and put a sign of
interrogation? nay, even two or more??? as regards the
Tonkunstler-Versammlung in Coburg, for (as I told you in my last
letter but one) we shall there have entirely to submit to the
Duke's opinion concerning the larger (or longer) work which is to
fill the first day's programme.

(N.B.--"Elizabeth" lasts about three hours, including the
intervals. Bulow's conductorship would be indispensable.)

For ten days past I have again been back in the Vatican, and
think of remaining here over the winter. At the present moment I
am engaged in arranging the Pope's Hymnus, published last month
by Bote and Bock for pianoforte as a solo and in duet-form, for
chorus (with Italian words). I think something of this piece, for
which Kaulbach has made a splendid drawing. If it is performed
here you shall hear about it. As soon as possible I mean to set
to work with my "Christus Oratorio." Unfortunately I have had to
set it aside for a year, as the "Vocal Mass" and other smaller
works prevented my doing anything to it. I shall require from six
to eight months before I get the "Christus" finished, for I am
scarcely half-way through yet.

My health is good, and I can unconcernedly allow people the
pleasure of referring to me as "physically broken down" and a
"decayed wreck" (as I have been described in the Augsburger
Allgemeine Zeitung).

One favor do me at once, dear friend. Request Kahnt to purchase
for me the steel-plates (or woodcuts) of Schwind's "Elisabeth-
Galerie" in the Wartburg, published in Leipzig by Weigel or
Brockhaus, and let them be sent safely, quickly and correctly,
addressed to "Herr Baron Anton von Augusz--Szegzard" (Tolnaer
Comitat--Hungary). If I am not mistaken, the drawings are
published in two parts. The first part contains the pictures of
St. Elisabeth's arrival at the Wartburg, the miracle of Roses--up
to her death. The second part gives the medallions depicting her
works of charity. I wish to send the complete "Elisabeth-Galerie"
to Baron Augusz. The price is not high, and the money shall be
refunded to Kahnt as soon as I get the bill.

By the way Kahnt would be doing me a favor by presenting
"Remenyi," through Roszavogli (Pest), with a copy of Pflughaupt's
arrangement for pianoforte and violin of my "Cantique d'amour"
and "Ave Maria"--and by granting my humble self a copy also, at
his convenience. Remenyi will be glad to play the pieces with
Plotenyi and thus make them known, and I would get Sgambati and
Pinelli [A Roman violin virtuoso (born 1843), was appointed in
1872 Director of the "Societa musicale romana," in Rome.] to do
the same here.

With hearty greetings to your wife,

Your unchangeably sincere and devoted

F. Liszt

The Vatican, September 28th, 1865

Let me know of the despatch of the "Elisabeth-Galerie," and also
send me a few copies of Bulow's three articles.

Why have my organ-pieces (from Korner, Erfurt) not yet reached
me? Please remind Kahnt or Gottschalg of this.



44. To Eduard Liszt

Dearest Eduard,

My heartiest thanks to you for remembering the 22nd October. The
day was celebrated quietly and happily like last year in my
former residence (Madonna del Rosario)--and you were present with
me in my inmost heart.

Before I received your lines I had already answered Dunkl's and
Herbeck's letters relating to the "Elizabeth" Oratorio. You know
how much against my wish it is to put this work into circulation.
And, however flattering it may be to me (perhorrescised
composer!) to receive offers from various places about it, still
I think it advisable to avoid precipitancy, and not to expose my
friends so soon again to unpleasantnesses such as my earlier
works brought upon them. Lowy's empty stalls (with the Preludes)
are significant...and, considering the various kinds of abuse
which my works have had to endure, silence would seem to be most
becoming.

Therefore be good enough, dearest Eduard, to tell those kindly
disposed "Musical Friends," emphatically that I cannot make up my
mind to the proposed performance of the "Elizabeth," and beg them
to pardon this small-mindedness in me. Besides the score is no
longer at my disposal, as I have sent it to Bulow, who requires
it for a performance desired by H.M. the King, for which I have
already invited Herbeck. Bulow is giving some concerts this month
and next in Berlin, Dresden, Prague, etc. Hence he cannot begin
rehearsing the Elizabeth till later. Of the Munich performance
you shall hear details when the time comes.

With regard to your communication to the Princess, I assure you
again that as soon as and as often as it is possible for me to do
you a service, as certainly shall it be done.

Kindest greetings to your wife from

Your truly devoted

F. Liszt

[Rome,] November 1st, 1865.



45. To Dr. Franz Brendel

Dear friend,

My answer to you has been delayed in order that I might at the
same time tell you of a variety of things.

A) At the beginning of March I intend going to Paris. The Gran
Mass is to be given on March 15th in the Church of St. Eustache
at the anniversary "de l'oeuvre des ecoles" to which the Maire of
the 2nd Arrondissement, M. Dufour, sent me an official invitation
the other day.

B) The report spread in various newspapers about the Hungarian
Coronation-Mass which I am to compose, is for the present only
officiously correct. Probably it may become true shortly. [This
did occur, as is well known.]

C) At the opening of the Dante Gallery here at the end of the
month my "Dante Symphony" is to be performed. I enclose the
article from the Osservatore Romano in which this extraordinary
event is discussed in detail--also another number of the same
paper containing a short notice on the "Stabat mater speciosa" (a
very simple chorus from my "Christus Oratorio"), that was sung
last Thursday in the Franciscan Church Ara Coeli (on the
Capitol).

D) I am quite determined to attend the Tonkunstler-Versammlung in
Coburg, and expect to hear from you shortly more about it. It is
to be hoped that Bulow will conduct. If there should be any
thought of giving the "Elizabeth," Bulow will be indispensable.--

As regards the Elizabeth, pray make my best excuses to Kahnt. I
did not reply to his friendly request, because I have made up my
mind not to have this work published meanwhile, and hold fast to
this negative determination. Do not let Kahnt take this ill of
me, and let him be assured of my sincere willingness to meet his
wishes in all other matters.

.--. I am in want of a great many things, but most of all in want
of more time!

With friendliest greetings, sincerely and devotedly yours,

F. Liszt

The Vatican, January 14th, 1866



46. To Dr. Franz Brendel

Dear Friend,

So there is to be no Tonkunstler-Versammlung this year; in place
of it war-cries, and symphonies of bayonets and cannon! Here,
probably, we shall remain in peaceful quietude under the
protection of France.--As regards my humble self, I mean to try,
during the second half of this 66th year, to overtake what I was
compelled to neglect during the first half of it. My "Christus
Oratorio" shall be finished by Christmas.--Prince Hohenlohe, with
whom I have been residing since April 1865, has been made
Cardinal and shortly leaves the Vatican. Last Sunday I returned
to my old quarters at Monte Mario, Madonna del Rosaraio, where I
am as comfortable as possible. Next year I think of going to
Germany, first to Munich. As you know, the King of Bavaria has
conferred upon me the title of Knight of the Grand Cross of the
Order of St. Michael. And the Emperor Maximilian that of the
Guadeloup order.--

My stay in Paris will not prove unfruitful. People may say of it
what they like.--I must mention to you the name of Camille Saint-
Saens in Paris, as specially deserving of notice in the Neue
Zeitschrft as a distinguished artist, virtuoso and composer. Last
year he was in Leipzig, so he told me, and played his Concerto at
the Gewandhaus there. But people could not make anything out of
him, and in dignified ignorance allowed him to pass. Langhans [A
Berlin musical composer and critic who died in 1892.] sees him
frequently and could give you fuller information about him for
the Zeitschrift.

Give Kahnt my grateful thanks for carefully carrying out the
orders from Paris. I mean to wait another year before publishing
the "Elizabeth." I also want several illustrations for it, for,
as the work is dedicated to the King of Bavaria, I wish it to
present the choicest and noblest appearance.

If Kahnt should be disposed to take it next year, I shall be glad
to come to some arrangement with him about it. Still I am
determined not to have the "Elizabeth" published till then; to
several publishers who have offered to undertake the publication
I have already replied,--may every kind of printing long be held
at a distance from this score.--

Allow me to recommend to your friendly interest a few other
things I have at heart.

Ask Kahnt, in my name, not to be sparing in supplying Bulow with
copies of the Liszt-compositions he has published. I should more
especially like my Quartets for male voices circulated, and a few
complimentary copies from Kahnt would be useful in this respect.
No fear need be entertained of Bulow's making indiscreet demands,
and one may confidently grant him all he wishes.

.--. Hartel will shortly be sending me some music. Please enclose
the last numbers of the Neue Zeitschrft in the parcel in order
that my ignorance on matters musical may be relieved.

In sincere attachment I remain in unalterable friendship,

Yours,

F. Liszt

Rome, June 19th, 1866

The score of the Gran Mass presumably reached Riedel safely (6
weeks ago). The vocal parts I have meanwhile left with
Giacomelli. Later an edition of the choral and orchestral parts
will become a necessity.



47. To Dr. Franz Brendel

Dear Friend,

Your last letter but one, the registered one, has reached me
safely. As it contained more in the way of answers than was
wanted I hesitated to write to you. As already said, I have made
up my mind to wait another year before publishing the
"Elizabeth." In the first place it is necessary that I should
correct the frequent errors in the copy of the score--a piece of
work that will take a couple of weeks.--Then, before its
appearance, I should like an opportunity of quietly hearing the
work once in Germany, and this perhaps might occur next year.
Meanwhile give Kahnt my best thanks for his ready consent, of
which, however, I cannot make use till later, provided that an
honorarium of a couple of thousand francs (which has been offered
me elsewhere) does not frighten him. .--. So far as one can plan
a journey nowadays, I intend to be in Germany again for a few
weeks during the summer of 1867.--Tomorrow I shall write to Dr.
Hartel and tell him that you have kindly expressed yourself ready
to discuss with him the small matter about the Draseke brochure.
It would please me greatly to hear that some amicable arrangement
had been made.

With regard to the publications of the Allgemeine Deutsche
Musikverein, I would vote for the Overture by Seifriz. Likewise
for the continuation of the Chamber music performances in
Leipzig--and, of course, for the compensation from the Society's
purse due to you.

Stade's article on the "Faust Symphony" I have not yet received.
My last number of the Zeitschrift is that of July 6th. I am glad
that Stade does not disapprove of these Faust-things.--
Schondorf's Polonaise, Impromptu, etc., which Kahnt has sent me,
I have read through with pleasure and interest. With the next
sending to Rome please enclose the "Petrus" Oratorio by Meinardus
(the pianoforte score). In case the pianoforte score has not
appeared, then let me have the full score. And together with the
"Petrus" Oratorio please also send me the fragment of the
"Christus" Oratorio by Mendelssohn (published by Hartel).

My "Christus" Oratorio has, at last, since yesterday got so far
finished that I have now only got the revising, the copying and
the pianoforte score to do. Altogether it contains 12 musical
numbers (of which the "Seligkeiten" and the "Pater Noster" have
been published by Kahnt), and takes about three hours to perform.
I have composed the work throughout to the Latin text from the
Scriptures and the Liturgy. After a time I shall ask Riedel for
his assistance and advice with regard to the German wording.

Please give Alex Ritter my cordial thanks for his Amsterdam
report.

I cannot, at present, promise you any literary contributions for
the proposed Annual of the D. M. If the instrumental Introduction
to the "Elizabeth" (for piano-forte) would suit you I would
gladly place it at your disposal, reserving the copyright for the
subsequent publisher of the score, that is, his right to publish
the same Introduction again.

As far as I can foresee I shall remain here the whole winter. My
address is simply: To Commandeur Abbe Liszt--Rome.

Fuller performances of the Beethoven Symphonies and of the Dante
Symphony are to be given next Advent in the Dante Gallery.
Sgambati is to conduct them, and I have promised to attend the
rehearsals.

Heugel of Paris (Director of the Menestrel) is shortly to publish
a new edition of my Franciscus-legends.

With friendliest greetings, your attached

F. Liszt

October 2nd, 1866



48. To Breitkopf and Hartel

Much Esteemed Herr Doctor,

It is very mortifying to me to have to confess that I have most
awkwardly come to a standstill with the transcription of the
Beethoven Quartets. After several attempts the result was either
absolutely unplayable--or insipid stuff. Nevertheless I shall not
give up my project, and shall make another trial to solve this
problem of pianoforte arrangement. If I succeed I will at once
inform you of my "Heureka." [Discovery (from a Greek word).-
TRANS.]  Meanwhile I am occupied exclusively with the "Christus
Oratorio," which has, at last, advanced so far that all I have
now to do is to put the marks of expression in the score and the
pianoforte score.

Pray kindly excuse me if a small piece of vanity leads me to
address you with a wish. My "Symphonic Poems" have, as you know,
had a regular deluge of halberds hurled at them by the critics.
After all these murderous and deadly blows that have been aimed
at them, it would be very gratifying to me if the analyses of
these "Symphonic Poems" in which, a few years ago, Felix Draseke
discussed them severally in the Anregungen [Notices] could now be
published by you all together in the form of a brochure, for they
are written with a thorough knowledge of the subject, yet in a
kindly spirit.

On this account I begged Dr. Brendel to discuss the matter with
you, and now take the liberty of addressing you personally on the
subject of my wish.

With much esteem, yours sincerely,

F. Liszt

Rome, October 4th, 1866

Will you kindly send Cantor Gottschalg in Tieffurt a good copy of
my pianoforte scores of the nine Beethoven Symphonies? 49. To Dr.
Franz Brendel

Dear Friend,

My heartfelt sympathy in the grievous loss which you have
sustained. [On November 15th, 1866, Dr. Brendel lost his wife,
Elizabeth nee Trautmann (born in St. Petersburg 1814). She was a
pianist and a pupil of Field and Berger. Dr. Brendel survived her
only two years.] It is an immeasurable sorrow on which one can
only be silent!--

Let us pass over to the business part of your letter. Our Grand
Duke informs me that there is to be a Wartburg Festival this
summer (a Jubilee in celebration of the 800th year of the
Wartburg's existence). And for this fete he wishes a performance
of the "Elizabeth-Legend" under my personal direction. I have
agreed to this, for, as the occasion is an exceptional one, I too
am enabled to make an exception to meet his commands. Now as the
Duke is Patron of the Tonkunstler-Verein, it seems to me
appropriate that this year's T. K. Versammlung should be brought
into some connection with the Wartburg Jubilee. Think the matter
over and discuss it with Gille. The date of the Wartb. Festival
has not been announced to me, and will probably not be settled
till later. As for myself I could not promise to remain more than
one month in Germany. Hence it would be agreeable to me
personally if the T. K. Versammlung were not kept apart from the
Wartburg Jubilee, and were arranged for about the same date; I
could then attend both. In case Bulow cannot undertake to act as
conductor, those to be mentioned as substitutes would be, no
doubt, Seifriz, Riedel, Damrosch, Lassen.-- Seifriz's hesitation
with regard to the publication of his Overture I consider to be
scrupulous beyond measure, and am of the opinion that he should
not hold to it any longer. Gille's circular (of December 9th) I,
of course, agree with, only the compensation of 50 thalers [about
71 British pounds sterling, 0s., 0d.] is somewhat too modest. I
should like to see an 0 added to the 50.--

The full score and pianoforte score of the "Elizabeth" contain a
mass of errors. The revising will take me a couple of weeks. At
the beginning of February I will send you the manuscript for
Kahnt's disposal, that is, if he is willing to comply with my
conditions about the publication (which I will write out
carefully for you). You know that I should have preferred to
postpone the publication of the "Elizabeth" for some time longer-
-still I understand Kahnt's difference of opinion, and desire to
prove myself willing, provided that you approve of my
willingness.

.--. Kindly, when you have an opportunity, remind Hartel about
sending the dedication-copy of my pianoforte scores of the
Beethoven Symphonies to Bulow. The copy ought to be properly
bound (in three volumes--3 Symphonies in every volume), and
addressed to Bulow, Johanniss-Vorstadt 31, Basel.

With sincere thanks and hearty good wishes for the year 1867, I
remain in unchanging friendship, yours,

F. Liszt

Rome, January 6th, 1867

The Neue Zeitschrift has not come for more than six months.



50. To Doctor Cuturi, Pisa

[From a rough copy of Liszt's in possession of Herr Alexander
Ritter in Munich]

Sir,

I am told that you would be good enough to take into
consideration my recommendation of Mr. Alexander Ritter. I hasten
therefore to assure you of the sincere esteem in which I hold his
remarkable talent as a violinist and his capability as an
orchestral conductor. His very extensive musical knowledge, his
frequent and close connection with virtuosi and celebrated
composers, and his practical experience of the best-known works
and orchestras qualify him in a high degree for the post that
would be offered to him at Pisa. The best judges discern in Mr.
Ritter not merely a brilliant virtuoso, able to obtain everywhere
applause and approbation, but also--which is more rare--a
consummate musician, endowed with the most noble feeling for Art,
and possessing the most perfect understanding of the works of the
great masters.

Besides this, sir, I am sure that you will find much pleasure in
your personal relations with him. All who know him bear testimony
to his honorable character as well as to his gentlemanly manners;
and I will merely add that amongst all my German friends there
are few of whom I preserve so affectionate a remembrance.

Pray accept, Monsieur le Docteur, the expression of my esteem and
distinguished consideration.

F. Liszt

Rome, January 22nd, 1867



51. To Julius von Beliczay in Vienna

[Hungarian composer, living in Budapest since 1871]

Dear Sir,

Accept my sincere thanks for your very friendly letter and for
the dedication of the Beethoven Cadenza. It sounds well and is
pleasant to play. Of course somewhat more might have been made of
the thing, and a different key taken at the outset than C minor.
But it is easier for me to play the critic than to do things
myself, and

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