253 To Dr. Franz Brendel
Dear friend.
By yesterday’s post I sent you—
A. The score of the second act of the “Flying Dutchman”—and two orchestral parts of the duet (these latter in order that the copyist, in writing it out, may guide himself by these, and may not add the terzet-ending, as it stands in the score—Weissheimer will give Thumler the exact speed). Beg Thumler to send me the score back soon, as it may possibly be wanted at Easter in the theater.
B. The last part (Mephistopheles and final chorus) of the “Faust”
Symphony in score—and the complete arrangement of this same
Symphony for two pianofortes.
Will you be so good as to give these manuscripts to Schuberth? I hope he will keep his promise and not delay the publication of the work. At the end of this week I will send Schuberth the score and the four-hand piano arrangement of the two Faust-episodes (“Der nachtliche Zug” “The Nocturnal Procession”)—and the “Mephisto-Waltz”). I should be glad if these two things could come out in the course of this year.
C. For Kahnt, the small score of the chorus “Die Seligkeiten” [“The Beatitudes”], which I also hope may soon be published. It has been given here a couple of times in the Schloss orchestra and the parish church, and, as I have been told many times, has been spoken of in an exceptionally favorable manner. I have written few things that have so welled up from my innermost soul.
I think I shall be ready with the revision of the “Prometheus” score by next Saturday. I have already made two arrangements (for two and four hands, not two pianofortes) of the Reapers’ Chorus, which I give Kahnt gratis. He shall get the whole packet early next Monday at the latest. Weissheimer tells me that the edition of the score shall be ready by the middle of July. If Kahnt prefers to let the Prometheus be copied, I have nothing to say against it; I only beg that in this case he will employ a very clever and exact copyist-and, as I have already told him, that he will preserve the size of the other Symphonic Poems.
N.B.—The division and distribution of the score—so that there may be as few unnecessary rests as possible, and that, where it can be done (as, for instance, at the beginning of the Tritons’ Chorus, the Reapers’ Chorus, etc), two sets of staves should be printed on one page—I beg that this may be entrusted to Herr Dorffel. I also do not wish the work to look like a conductor’s score on the outside!—and, before it is given into the hands of the engraver or copyist, it is necessary that the parts where two sets of staves come on to one page should be clearly indicated. My copyist here has made a very careless scrawl of the “Prometheus” score, and I have therefore taken other work out of his hands, and have given him a good scolding. But there is no time to have a new score written, and therefore Dorffel must largely help out with the matter.
N.B.—The piano arrangement must be put below the score, as it is in the manuscript.
Kahnt can publish the arrangement of the Reapers’ Chorus sooner or later, as he likes. The date of the Tonkunstler-Versammlung can remain fixed for the 15th August. I think it would be advisable for you to come soon to Weymar (perhaps at Easter), and to come to a direct understanding with Dingelstedt, M[usic] D[irector] Montag, and some others among those who are principally concerned in the matter.
I would propose to you Dr. Gille, in Jena, as a lawyer, and a zealous co-operator in this affair. He is very ready to help, and reliable.—
Are you really thinking of still giving the “Prometheus” at the Tonkunstler-Versammlung? It certainly would not be incompatible with the “Faust” Symphony (which I wish for in any case)—but I fear that it will bring in its train too much vexation and annoyance.
We will speak further about this.
Weissheimer will tell you some things with regard to the programmes.
Riedel ought to conduct Beethoven’s Mass.
With heartfelt greetings, your
F.L.
Weymar March 4th, 1861
P.S.—Advise Schuberth once more to bring out the book of songs by Lassen immediately—as he promised me.