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Letters of Franz Liszt, Volume 2: "From Rome to the End" by Franz Liszt; letters collected by La Mara and translated

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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

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