229 To Josef Dessauer
[Autograph in the possession of Herr Von Hannen, painter in Venice.—The addressee (“Maitre Favilla,” as George Sand named her friend) was known as the composer of refined songs (1798-1876). Three of these Liszt transcribed (1847, Berlin, Schlesinger).]
Dear honored Friend,
It is possible that the delicacy of your perception may have brought you much trouble, but it assures you a soft place in the better region of the heart of your friends. This I again felt in reading your dear letter.
Accept, therefore, the heartfelt thanks of your old friend, whose “manly formed nature” must further prove itself; he has still many duties to fulfill and more than one battle to fight. May the Cross remain his support, his strength, and his shield!
Whatever fatality also may hang over me, be assured of the faithful attachment of your
F. Liszt
Weymar, December 30th, 1859
The crucifix from you (after the Gran Mass) has grown still dearer to me!—
When I have finished with some works which cannot be postponed any longer, Daniel shall receive his Requiena.
230. To Wilkoszewshi, Secretary of the Concerts of the “Hofcapelle” in Munich.
[From a copy in Liszt’s own handwriting (amongst the letters to Brendel)]
Dear Sir,
The performance of new works on the part of so renowned an orchestra as that of Munich must ever remain a mark of special attention for the composers. But I must rate it still higher that, in face of the strong prejudice against my name, one of my ill-famed Symphonic Poems should have been included in the programme of the concerts of the Munich Hofcapelle.
It is ill preaching to deaf ears, and it is well known that there is no worse deafness than that of people who will not hear. Hence it is that the Festklange, as well as the Mass and everything that I and others better than my humble self have been able to compose, is prejudiced. But the more unseemly and malicious factiousness may show itself against new works, the more am I laid under a grateful obligation to those who do not accept as their artistic criterion the injustice inflicted on me.
Time levels all things, and I can quietly wait until people are more occupied in learning to know and to hear my scores than in condemning and hissing them. Mean-spirited, blackguard tricks, even when played in concert-rooms and newspaper reports, are no arguments worthy of a lasting import.
I beg you, dear sir, to convey to General Music-Director Lachner my best thanks for his well-meant sentiments towards me, and I remain, with high esteem, yours very sincerely,
F. Liszt
Weymar, January 15th, 1860.
231. To Johann von Herbeck.
[Received, according to him, on January 26th, 1860]
Dear Friend,
On getting back from Berlin yesterday evening I find your letter, which has given me especial pleasure by the assurance that the “Prometheus” choruses and, the instrumentation of the “Schubert Marches” fulfill your expectations. You shall very shortly receive two more “Schubert Marches” (the “Funeral March” in E flat minor, and the “Hungarian March” in C minor out of the “Hungarian Divertissement”. [Op. 40, No. 5, and “Marcia” from Op. 54] They could be played one immediately after the other.
The “Prometheus” choruses, together with the “Symphonic Poem” which goes before them (and which has been published by Hartel as No. 5), were composed in July 1850 for the Herder Festival, and were performed in the theater here on the eve of that festival. My pulses were then all beating feverishly, and the thrice-repeated cry of woe of the Oceanides, the Dryads, and the Infernals echoed in my ears from all the trees and lakes of our park.
In my work I strove after an ideal of the antique, which should be represented, not as an ancient skeleton, but as a living and moving form. A beautiful stanza of Andre Chenier,
“Sur des pensers nouveaux faisons des vers antiques,” [“On modern thoughts let us fashion verses antique.”]
served me for precept, and showed me the way to musical plastic art and symmetry.
The favorable opinion you have formed of the work in reading it through is a token to me that I have not altogether failed—I hope that the performance will not spoil your sympathy for it. I leave the direction, with the utmost confidence, entirely in your hands.—You always hit on the right thing, and navigate satisfactorily with your entire forces the occasional difficulties of the dissonant entries, and of the pathetic delivery which is absolutely essential in several places. It would certainly be a great pleasure to me, dear friend, if I could be present at the performance in Vienna on the 26th February, to enjoy your intelligent and inspired performance, but I am prevented from doing this by various circumstances (an explanation of which would lead me too far).
I beg you therefore not to induce the directors to invite me, because I might not be in a position to make my excuses. So please do you undertake the office of unchaining Prometheus in Vienna; this labour of Hercules will become you well [Footnote below]. There are certainly no powerful eagles to hack and rend in pieces the Titan’s liver—but there is a whole host of ravens and creeping vermin ready to do it.—Once more best thanks and greetings from your most highly esteeming and very devoted
F. Liszt
[It took place on the 26th February, 1860. Herbeck notes as follows about it in his diary: “Prometheus, Symphonic Poem, pleased fairly. Chorus of Tritons pleased extremely. The Vintagers’ and Reapers’ choruses and concluding chorus pleased, but of course there was a formally organized opposition hissing. They had sworn the overthrow of this music, without even knowing a note of it.”]
232. To Dr. Franz Brendel.
So then it has happened well that the editor of the Neue Zeitschrift has also become the editor of my “Gesammelte Lieder.” Best thanks, dear friend, for the means you have taken to promote this. Kahnt has only to come to an understanding with Schlesinger; I on my side do not wish to place any limitation on his rights. Whether a transcription of this or that song may be made I do not know; if this should be the case I will only beg Kahnt to let me know of any such chance transcriptions before allowing them to appear, mainly because it would not be pleasant to me if any really too stupid arrangements should come out. This is only a matter of artistic consideration—beyond that I have neither restriction nor reservation to make to the proposed edition. As soon as Kahnt is in order with Schlesinger I am satisfied with everything. This or that song may then appear singly, or transcribed for guitar or zither; so much the better if Kahnt can thereby make it pay. N.B.—I should be glad if, in bringing out the songs singly, the same outside cover could be employed as in the complete edition, on account of the index. Probably Kahnt will say nothing against this, as the back of the cover serves as an advertisement of the entire collection of songs.
Yesterday evening Fraulein Berghaus (a daughter of the Potsdam professor) sang two numbers, Freudvoll and leidvoll and Es muss ein Wunderbares sein (out of the sixth part), at a concert given by Singer and Cossmann. I had indeed forbidden it, because this winter I will not have my name put on any concert programme at all—but her exquisite delivery of these songs, which were also received with approbation, reconciled me to it.
At the last Court concert in Berlin Fraulein Genast [A highly gifted singer, afterwards Frau Dr. Merian in Weimar] selected the “Loreley” as her concluding song, and the Frau Princess Victoria expressed herself very favorably about it, remarking that a Schubert spirit breathed in the composition. One of these days Fraulein Genast is again singing the “Loreley” at the Philharmonic Concert in Hamburg. Otten has specially begged her to do so. The same gentleman wrote about eighteen months ago to Frau von Milde that he must beg to remark “that in regard to the choice of compositions to be performed Robert Schumann is the extreme limit to whom his programme could extend!”
I cannot quite remember whether I sent Gotze a copy of my songs. Please ask him, and if I have not yet done so let me know. Gotze has a special claim to them, for in earlier years he had the courage to sing several of my nonentities—and I will see that he has a copy at once. At the same time ask Fraulein Gotze also whether she has received the copy of the Ballade Leonore. [Liszt had composed this melodrama for Auguste Gotze, and frequently performed it, as well as his later melodramas, with her.] From several places (and quite lately from Carlsruhe and Brunswick) orders for this Ballade have come to me, which—between ourselves—are not convenient to me. My copyist has already had to make at least nine copies of it, which is a pretty good expense. Nevertheless a tenth shall willingly be made, if the one which was intended for Fraulein Gotze did not reach her, of which I am somewhat in doubt, owing to the many demands which the Leonore has brought with it, and which have made me somewhat confused.
It would really be the best for me if Kahnt or Schuberth would save me the trouble of making further copies by publishing the “Leonore”. But I should not wish in any way to incommode the publisher, and certainly not to offer anything without knowing that it would be welcome. Under present circumstances a very pronounced reserve has become my rule. My business is simply to continue working unremittingly, and quietly to await the rest.
Accordingly I submit myself without difficulty to your experience as editor in regard to my Munich letter [To Wilkoszewski]— although I could maintain good grounds for publishing it. Certainly it is always the gentlemanly thing entirely to ignore certain things and people. You may therefore be quite right in putting aside all other considerations; and as I am convinced of your most sincere friendship I willingly leave you to decide whether my coming forward in such matters is of use or not. In case you had thought it advisable for my letter to be printed in the “Neue Zeitschrift” (which I left to your judgment), it would have had of necessity to be printed without the slightest alteration, because I have purposely written it thus clearly to Herr W., and any alteration in it might be taken as cowardice (which is far from me). But probably it is better to abandon the matter for a while, and to be somewhat more severe on another occasion. The pack of ragamuffins has richly deserved to be treated as ragamuffins!
This evening is Wagner’s first concert in Paris. I expect little good to him from it, and consider such a step on Wagner’s part as a mistake. In consequence of this opinion our correspondence is for the time suspended. More about this viva voce—as well as about “Tristan and Isolde.” A performance of the Opera was desired—that is to say, commanded for the 8th April (the birthday of the Grand Duchess). But Frau von Milde cannot undertake the chief part—and on that account the parts and score sent to us from Carlsruhe will be sent back again at once!
Has Wagner given his opinion more decidedly about a “Tristan” performance in Leipzig? Can you let me know the contents of his letter?
With heartfelt greetings, your
F. Liszt
Weymar, January 25th, 1860
If you should see Schuberth, tell him that I have something to communicate to him that would perhaps repay him for the trouble of coming to see me here for a couple of hours. I have no intention of coming to Leipzig for the present. Tell him that delays of this kind make me “nervos” [nervous] (He knows what the word “nervos” means with me.)