Letters of Franz Liszt
Chapter 16 : 65. To Breitkopf and Hartel February 24th, 1850 My dear Sir, .--. With regard to Schube

65. To Breitkopf and Hartel

February 24th, 1850

My dear Sir,

.--. With regard to Schubert's opera ["Alfonso and Estrella." It was given for the first time on June 24th, 1854, the birthday of the Grand Duke (but not without some necessary cuts)], a recent experience has entirely confirmed me in the opinion I had already formed at the time of the first rehearsals with piano which we had last spring--namely, that Schubert's delicate and interesting score is, as it were, crushed by the heaviness of the libretto!

Nevertheless, I do not despair of giving this work with success; but this success appears possible only on one condition--namely, to adapt another libretto to Schubert's music. And since, by a special fate, of which I have no reason to complain, a part of Schubert's heritage has become my domain, I shall willingly busy myself, as time and place offer, with the preparatory work and the mise-en-scene of this opera, for which it would be advantageous, in my opinion, if it could be first produced in Paris. Belloni informs me that it will be pretty easy for you to ensure me the entire rights of this work for France. If such be the case I would take suitable measures for the success of this work, on occasion of which I should naturally have to make a considerable outlay of time and money, so that I should not be disposed to run any risk without the guarantee of proportionate receipts from the sale of the work in France, and author's rights which I shall have to give up to the new poet.

This matter, however, is not at all pressing, for I shall only be able to set to work in the matter in the course of next year (1851); but I shall be very much obliged to you not to lose sight of it, and to put me in possession, when you are able, of the cession of the French and English rights, in consideration of which I will set to work and try to get the best possible chances of success.

Many thanks to you for so kindly sending the score of Schubert's Symphony. That of the "Prophete" not being wanted by me any longer, I enclose it in the parcel of proofs and ma.n.u.scripts which I beg you to undertake to send off to Mr. Belloni's address in Paris.

On Easter Monday we shall give the first performance of "Comte Ory." [By Rossini] Would you not feel tempted to come and hear it? It is a charming work, br.i.m.m.i.n.g over and sparkling with melody like champagne, so that at the last rehearsal I christened it the "Champagner-Oper" ["Champagne Opera."] and in order to justify this t.i.tle our amiable Intendant proposes to regale the whole theater with a few dozens of champagne in the second act, in order to spirit up the chorus.

"Qu'il avait de bon vin le Seigneur chatelain!"

Cordial remembrances from yours affectionately,

F. Liszt

I should be glad for the publication of No. 3 of the pieces on the "Prophete," and the "Consolations," not to be put off long.

66. To Professor J. C. Lobe in Leipzig

[Autograph in the possession of M. Alfred Bovet at Valentigney.-- The addressee (1797-1881), a writer on music (formerly Court Musician at Weimar), lived from 1846 in Leipzig.]

My esteemed Friend,

It is with much pleasure I send you the good news that H.R.H. the Grand d.u.c.h.ess has graciously accepted the dedication of your "System of Composition." [Published in 1850.] Our gracious protector [feminine] started yesterday for The Hague, and will not be back till towards the middle of August.

I hope you will be sure not to fail us at the Herder Festival in Weymar (August 25th), as well as at the "Lohengrin" evening (28th); we have been already waiting for you so long!

Between the performances of the "Messiah" and "Lohengrin" (to say nothing of my "Prometheus" choruses) will also be the best opportunity for you to present your work in person to the Grand d.u.c.h.ess.

Remember me kindly to your dear family, and remain my friend as I am yours

Most truly,

F. Liszt Weymar, July 10th, 1850

67. To Friedrich Wieck in Dresden

[published in the "Neue Musik-Zeitung" in 1888.--The addressee was the well-known pianoforte master, the father of Clara Schumann (1785-1873).]

Esteemed Sir,

It will be a real pleasure to me to welcome you here, and your daughter [Marie Wieck, Hohenzollern Court Pianist in Dresden], whom I have already heard so highly commended. Weymar, as you know it of old, offers no brilliant resources for concerts; but you may rest a.s.sured beforehand that I, on my side, shall do everything that is possible in this connection to make things easy for you. To me it seems especially desirable that you should wait until the return of H.R.H. the Grand d.u.c.h.ess, which will be within a fortnight; should you, however, be tied by time and come here before that date, I bid you heartily welcome, dear sir, and place myself at your disposal.

Yours truly,

F. Liszt

Weymar, August 4th, 1850

68. To Simon Lowy in Vienna.

[Autograph in the Royal Library in Vienna. Printed in a German translation, La Mara, "Letters of Musicians during Five Centuries," vol. ii.]

Weymar, August 5th, 1850

Dear Friend,

My cousin Edward writes me word that you are a little piqued at my long silence,--and I, shall I tell you frankly? am a little piqued that you have not yet thought of coming to see me, and of transferring your bath season to some place in the neighborhood of Weymar. Will you make peace with me?--

Accept as a friend the invitation I give you in all friends.h.i.+p.

Arrive at Weymar the 23rd of August, and stay till the 30th at least. You will find several of your friends here,--Dingelstedt, Jules Janin, Meyerbeer (?), etc.,--and you will hear, firstly, on the evening of the 24th, a good hour and a half of music that I have just composed (Overture and Choruses) for the "Prometheus"

of Herder, which will be given as a Festal Introduction to the inauguration of his statue in bronze by Schaller of Munich, which is fixed for the 25th; secondly, on the evening of the 25th, Handel's "Messiah"; thirdly, on the 28th, the anniversary of Goethe's birth, a remarkably successful Prologue made, ad hoc, for that day by Dingelstedt, followed by the first performance of Wagner's "Lohengrin." This work, which you certainly will not have the opportunity of hearing so soon anywhere else, on account of the special position of the composer, and the many difficulties in its performance, is to my idea a chef-d'oeuvre of the highest and most ideal kind! Not one of the operas which has entertained the theaters for the past twenty years can give any approximate idea of it.

So don't be piqued any longer, or rather, dear friend, be piqued with curiosity to be one of the first to hear such a beautiful thing. Sulk with Vienna, for a few weeks at least, instead of sulking with me, which is all nonsense, and believe me always and ever your most sincerely attached, but very much occupied, very much pre-occupied, and oftentimes very absorbed friend,

F. Liszt

69. To Mathilde Graumann

[Given by the addressee, subsequently celebrated as Mathilde Marchesi, teacher of singing, in "Aus meinem Leben" (Bagel, Dusseldorf)]

Mademoiselle,

Here is the letter for the Grand Master de Luttichau, which M. de Ziegesar has just written in your honor and glory, with all the good grace and obligingness which he keeps for you.

As regards introductions to Berlin there is a provoking contretemps for you. H.R.H. the Princess of Prussia will pa.s.s the winter at Coblentz.

Meyerbeer, to whom I beg you to remember me respectfully, will certainly be your best patron with the Court, and I have no doubt that he will receive you with sympathy and interest.

I will also send you, in the course of the week, a letter for the Chamberlain of H.R.H. Princess Charles of Prussia, which Ziegesar has promised me.

As to our concert, fixed for the 19th (Sat.u.r.day next), I a.s.sure you frankly that I should not have ventured to speak to you of it, and that I hardly venture now.

The receipts are to be devoted to some pension fund, always so low in funds in our countries; consequently I am not in a position to propose any suitable terms. Now as, on the occasion of the performance of the "Messiah," you have already been only too kind to us, it really would not do for me to return to the charge, unless you were to authorize me to do so quite directly and positively, by writing me an epistolary masterpiece somewhat as follows:--