106 To M. Escudier, Music Publisher in Paris
[Autograph (without address) in the possession of Monsieur Etienne Charavay in Paris.—The contents show to whom it was written.]
My dear Sir,
My time has been so absorbed by the rehearsals of a new opera in five acts, “Die Nibelungen”, by Mr. Dorn, musical conductor in Berlin, the first performance of which will take place tomorrow, and also by a heap of small and great local obligations which accumulate for me in particular at the beginning of winter, that I have never yet had a moment in which to send you my very cordial thanks for your biographical notice on occasion of the Alexandre Piano, which [i.e., the biographical notice had just reached me. [A “giant grand piano” with three keyboards and pedals and registers, made according to Liszt’s own directions.] I hope you will excuse this delay in consideration of the short time left me, and that you feel sure beforehand how kindly I take it of you for thus taking my part, in divers circumstances, for the honor of my name and of my reputation—a matter in which I will endeavour not to render your task too difficult.
With regard to the Schubert opera of which you again spoke to me in your last letter, I have a preliminary and very important observation to make to you—namely, that the rights of the score of “Alfonso and Estrella,” in three acts, were obtained some years ago by Messrs. Hartel of Leipzig. As this work has not hitherto been performed anywhere they have not been in a hurry to publish it, and it was only communicated to me (by a copy) in case of a performance at Weymar. Therefore, before taking any other steps, it is indispensable that you should apply to Messrs. Hartel to obtain their authorization, either for a performance, or for the right to make a foreign edition of this work, and to make conditions with that firm relative to the matter. I do not doubt that Messrs. Hartel will be most obliging in the matter; but you cannot neglect this first step without serious ulterior disadvantages.
Hartel’s consent once given, you must think of adapting to this charming music a libretto which is worthy of it,—and, if you are fortunate in doing this, success, and a popular and productive success, is undoubted.
Allow me to beg you once more to send me a copy of the ballet of Gluck’s “Don Juan” and of the “Dictionary of Music” which you have just published,—I have already asked Belloni for them, but he is a little subject to distractions in these matters,—and accept, my dear sir, together with my best thanks, the assurance of my affectionate regard.
F. Liszt
Weymar, January 21st, 1854
107. To Monsieur Marie Escudier, Music Publisher in Paris.
[Autograph in the possession of M. Alfred Bovet at Valentigney.]
My Dear Sir,
Mr. Franck [Cesar Aug. Franck, born at Liege in 1822, composer and professor at the Paris Conservatoire, teacher of Faure, Chabrie, and d’Indy, the chief representatives of the new French school of music.] having written to me for a special introduction to you, I have great pleasure in fulfilling his request by writing these few lines to you. For many years past I have had a favorable opinion of Mr. Franck’s talent in composition, through having heard his trios (very remarkable, as I think, and very superior to other works of the same kind published latterly).—
His oratorio “Ruth” also contains beautiful things, and bears the stamp of an elevated and well-sustained style. If the opera which he wants to have performed at the Lyric theater answers to these antecedents and to what I expect of Mr. Franck, the Lyric theater could only congratulate itself on its choice, and the best chance of success would be assured. Being unable to judge of it at a distance, and the score of this opera being unknown to me, I confine myself simply to drawing your attention to the very real talent of Mr. Franck, at the same time recommending him affectionately to your kindness.
Pray accept, my dear Sir, the expression of my sincere regard.
F. Liszt
Weymar, January 28th, 1854