Letters of Franz Liszt
Chapter 67 : "O Freunde, nicht diese Tone, sondern la.s.st uns angenchmere anstimmen!" [A

"O Freunde, nicht diese Tone, sondern la.s.st 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 G.o.d's help I will also support this in other fas.h.i.+on 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 wis.h.i.+ng 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 ma.n.u.scripts. 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 a.s.suredly 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 cus.h.i.+ons, and making a show in the reserved seats of the Subsellia, as senators and amba.s.sadors 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 s.p.a.ce, 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-cla.s.sical Oratorio of Handel's might well be given over to the Carlsruhe Vocal Unions. .--.

What "astonis.h.i.+ng things" are you planning, dear friend? This word excites my curiosity; but, on the other hand, I share your superst.i.tion to speak only of actions accomplished ("faits accomplis"). In Sch.e.l.le 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 circ.u.mstances 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 "astonis.h.i.+ng 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 a.s.suming 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 a.s.sociation 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 munic.i.p.al 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 gla.s.ses of our excellent friend Frau von Bonsart!--Of course a date would have to be fixed when the orchestra is a.s.sembled 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, ent.i.tled "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 t.i.tle,--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!--