Letters of Franz Liszt
Chapter 33 : Weymar, March 16th, 1855 The engraving of my Symphonic Poems is in progress, and in the

Weymar, March 16th, 1855

The engraving of my Symphonic Poems is in progress, and in the course of this summer five or six of them will be ready. There is a good bit of work in it.

At the present time I am exclusively engaged in the composition of a "Missa Solemnis." You know that I received, from the Cardinal Primate of Hungary, the commission to write the work for the consecration of the cathedral at Gran, and to conduct it there (probably on the 15th of August).

134. To Dr. Franz Brendel

Sunday, March 18th, 1855

A few words in haste, dear friend, for I am over head and ears in work. First and foremost, my best thanks for your communications, with the request to continue them, even if I cannot always answer the different points thoroughly.

I send you herewith the t.i.tle of "The Captive" [Song, by Berlioz, for alto voice with orchestra or piano.]--the words must be written under the notes both in French and German. There can be no copyright claimed for this Opus in Germany, as it appeared years ago in Paris. It is to be hoped, however, that Kahnt will not lose by it, as he has only to bear the cost of printing--and in any case it is a suitable work for his shop..--.

To be brief--Panofka's [A well-known teacher of singing and writer on music (1807-88); collaborator of the Neue Zeitschrift.]

letter, in your last number, must be regarded as a mystification.

In the first few lines a glaring falsehood, founded on facts, is conspicuous, for the Societe de Ste. Cecile has been in existence for years, and was formerly [1848-54] conducted by Seghers [Pupil of Baillot (1801-81)]--not to mention that Berlioz conducted the Societe Philharmonique, where "many Symphonies were performed,"

for at least a season (of something like four years)--and then as regards Scudo, [Musical critic and journalist in Paris (1806-64)]

it must appear incredible to see a man like that mentioned with approval in your paper. It is well known that Scudo has, for years past, with the unequivocal arrogance of mediocrity, taken up the position of making the most spiteful and maliciously foolish opposition, in the revue des Deux Mondes (the "Grenzboten" only gives a faint impression of it), to our views of Art, and to those men whom we honor and back up. (I can tell you more about this by word of mouth.) If Panofka calls that "persuasion and design," I give him my compliments...on his silliness.--

Your views on the characteristic motives are right, and for my part I would maintain them very decidedly against the bornes attacks which they have to bear--yet I think it is advisable not to discuss Marx's book ["The Music of the Nineteenth Century,"

1855.] at present.

Yours ever,

F. Liszt

135. To Dr. Franz Brendel

April 1st, 1855

Dear Friend,

The question of criticism through creative and executive artists must some time come on the tapis, and Schumann affords a perfectly natural opportunity for it. [Liszt's article on Robert Schumann, "Gesammelte Schriften," Vol. iv.] By the proofs of the second article (which I thank you much for having corrected with the necessary exact.i.tude) you will observe that I have modified several expressions, and have held them in more just bounds.

Believe me, dear friend, the domain of artists is in the greater part guilty of our sluggish state of Art, and it is from this side especially that we must act, in order to bring about gradually the reform desired and pioneered by you.

Tyszkiewicz's [Count Tyszkiewicz, writer on music, collaborator of the Neue Zeitschrift.] letter gave me the idea of asking you to make him a proposal in my name, which cannot be any inconvenience to him. In one number of Europe artiste he translated the article on "Fidelio." [By Liszt, "Gesammelte Schriften," Vol. iii., I.] Should he be disposed to publish several of my articles in the same paper, I am perfectly ready to let him have the French originals, [Liszt's articles were, as already mentioned, written in French and translated into German by Cornelius.] whereby he would save time and trouble. He has only to write to me about it; for, after his somewhat capricious behaviour towards me, I am not particularly inclined to apply to him direct, before he has written to me. I am in perfect agreement with his good intentions; it is only a question how far he is able and willing to carry them out, and how he sets about it. His "Freischutz-Rodomontade" is a student's joke, to which one can take quite kindly, but which one cannot hold up as a heroic feat. If he wishes to be of use to the good cause of musical progress, he must place and prove himself differently.

For my part I have not the slightest dislike to him, only of course it seemed rather strange to me that, after he had written to me several times telling me that he was coming to see me at Weymar, and had also allowed Wagner to write a letter of introduction for him, which he sent to me, he should ignore me, as it were, during his long stay in Leipzig. This does not of course affect the matter in hand, and I am not in the least angry at his want of attention, but I simply wait till it occurs to him to behave like a reasonable man.

I thank you for your tidings about Dietrich--although I am accustomed to expect less, rather than more, from people.

On the 9th April Schumann's "Genoveva" will be given here--and I think I may venture to promise before-hand that the performance will be a far better one than that at Leipzig. Fraulein Riese will tell you about the "Transfiguration of the Lord." [Oratorio by Kuhmstedt] Of this kind there should certainly be no more [oratorios The word is missing in the original, as the corner of the letter is cut off] composed.

Yours in friends.h.i.+p,

F. Liszt

136. To Anton Rubinstein

My dear Rubinstein,

Gurkhaus has just sent me a copy of your "Persian Songs," on the t.i.tle-page of which there is a mistake which I beg you to get corrected without delay. The Grand d.u.c.h.ess Sophie is no longer "Hereditary Grand d.u.c.h.ess," but "Grand d.u.c.h.ess" pure and simple, and I think it would not do to send her the dedicatory copy with this extra word. Please write therefore to Gurkhaus to see to it.

In the number of the Blatter fur Musik which has come to me I have read with great pleasure and satisfaction Zellner's article on your first concert in Vienna. It is not only very well written but thoroughly well conceived, and of the right tone and manner to maintain for criticism its right and its raison d'etre. I second it very sincerely for the just eulogy it gives to your works; and, if you have the opportunity, make my compliments to Zellner, to whom I wrote a few lines the other day. This article coincides rather singularly with that which appeared in the Neue Zeitschrift (No. II.) on Robert Schumann, in which I probed rather deeply into the question of criticism. If you believe me, my dear Rubinstein, you will not long delay making yourself of the party; for, for the few artists who have sense, intelligence, and a serious and honest will, it is really their duty to take up the pen in defense of our Art and our conviction--it matters little, moreover, on which side of the opinions represented by the Press you think it well to place yourself. Musical literature is a field far too little cultivated by productive artists, and if they continue to neglect it they will have to bear the consequences and to pay their damages.

With regard to Weymar news, I beg to inform you that this evening Kulhmstedt's oratorio "The Transfiguration of the Lord" will be given at the theater, under the very undirecting direction of the composer. I cannot, unfortunately, return him the compliment he paid you at Wilhelmsthal--"Young man, you have satisfied me"; for, after having heard it at three rehearsals, I found no satisfaction in it either for my ears or my mind: it is the old frippery of counterpoint--the old unsalted, unpeppered sausage, [Figure: Musical example]

etc., rubbish, to the ruin of eye and ear! I will try to leave it out in my Ma.s.s, although this style is very usual in composing Church music. In five or six weeks I hope to have finished this work, at which I am working heart and soul (the Kyrie and Gloria are written). Perhaps I shall still find you at Vienna (or in the outskirts, which are charming), when I come to Gran in the month of July.

If not, we shall see each other again at Weymar, for you owe me a compensation for your last fugue, which is no more to my taste than Kuhmstedt's counterpoint. When are you going to send me the complete works of Anton Rubinstein that you promised me, and which I beg you not to forget? Your idea of a retrospective Carnival seems to me excellent, and you know how to write charming and distinguished pieces of that kind.

Farewell, dear friend; I must leave you to go and have a rehearsal of Schumann's "Genoveva," which is to be given next Monday. It is a work in which there is something worthy of consideration, and which bears a strong impress of the composer's style. Among the Operas which have been produced during the last fifty years it is certainly the one I prefer (Wagner excepted-- that is understood), notwithstanding its want of dramatic vitality--a want not made up for by some beautiful pieces of music, whatever interest musicians of our kind may nevertheless take in hearing them.

A thousand cordial greetings, and yours ever,

F. Liszt

Weymar, April 3rd, 1855

When you write to me, please add your address. I beg you will also return my best compliments to Lewy. [Pianist in St.

Petersburg; a friend of Rubinstein's.]

A thousand affectionate messages to Van II. from the Princess.

137. To Freiherr Beaulieu-Marconnay, Intendant of the Court theater at Weimar

[Autograph in the possession of Herr Hermann Scholtz, Kammer- Virtuosos in Dresden. The addressee died in Dresden.]

Dear Baron,

It is not precisely a distraction, still less a forgetfulness, with which I might be reproached as regards the programme of this evening's concert. The indications which Her Royal Highness the Grand d.u.c.h.ess condescends to give me are too precious to me for me not to be most anxious to fulfill at least all my duties. If, then, one of Beethoven's Symphonies does not figure in today's programme, it is because I thought I could better satisfy thus the intentions of H.R.H., and that I permitted myself to guess that which she has not taken the occasion to explain this time.

The predilection of His Majesty the King of Saxony for Beethoven's Symphonies a.s.suredly does honor to his taste for the Beautiful in music, and no one could more truly agree to that than I. I will only observe, on the one side, that Beethoven's Symphonies are extremely well known, and, on the other, that these admirable works are performed at Dresden by an orchestra having at its disposal far more considerable means than we have here, and that consequently our performance would run the risk of appearing rather provincial to His Majesty. Moreover if Dresden, following the example of Paris, London, Leipzig, Berlin, and a hundred other cities, stops at Beethoven (to whom, while he was living, they much preferred Haydn and Mozart), that is no reason why Weymar--I mean musical Weymar, which I make the modest pretension of representing--should keep absolutely to that. There is without doubt nothing better than to respect, admire, and study the ill.u.s.trious dead; but why not also sometimes live with the living? We have tried this plan with Wagner, Berlioz, Schumann, and some others, and it would seem that it has not succeeded so badly up to now for there to be any occasion for us to alter our minds without urgent cause, and to put ourselves at the tail--of many other tails!--

The significance of the musical movement of which Weymar is the real center lies precisely in this initiative, of which the public does not generally understand much, but which none the less acquires its part of importance in the development of contemporary Art.

For the rest, dear Baron, I hasten to make all straight for this evening by following your advice, and I will ask Messrs. Singer and Cossmann to play with me Beethoven's magnificent trio (in B- flat--dedicated to the Archduke Rudolph), as No. 3 in the programme.

A thousand affectionate compliments, and

Yours ever,