Letters of Franz Liszt, Volume 1, "From Paris to Rome:
Franz Liszt; Letters assembled by La Mara and translated

Part 3 out of 9

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


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

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

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

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

As to our concert, fixed for the 19th (Saturday next), I assure
you frankly that I should not have ventured to speak to you of
it, and that I hardly venture now.

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

"I will sing in a perfunctory manner, but with the best
intentions and the best will in the world, the air from...(here
follows the name of the piece), and the duet from "Semairamide"
with Milde or Mademoiselle Aghte, next Saturday; and in order not
to put anybody out, I will arrive at the exact time of the
rehearsal, on Friday at four o'clock."

If any such idea as this should come into your head please let me
know (by telegram if need be), so that by Monday night, or, at
latest, Tuesday midday, I may be able to make the programme,
which must appear by Wednesday morning at latest.

With homage and friendship,

F. Liszt

Friday, October 11th, 1850 Be so kind as to give a friendly
shake of the hand from me to Joachim; recommend him not to be too
late in arriving at Weimar, where we expect him for the evening
of the 14th.

P.S.--At the moment when I was going to send my letter to the
post the following lines reached me. I send them to you intact,
and you will see by them that you could not have friends better
disposed towards you than those of Weimar.

Please do not fail to write direct to Ziegesar to thank him for
his kindness, of which you have been sensibly informed by me
(without alluding to his letter, which you will return to me),
and at the same time say exactly which week you will arrive in
Berlin; unless, however, you prefer to come and tell him this
verbally on Friday or Saturday evening at the Altenburg, after
you have again chanted to us and enchanted us. [Literal
translation, on account of play on words.]

70. To Carl Reinecke

Dear Reinecke,

Here are the letters for Berlioz and Erard that I offered you. I
add a few lines for the young Prince Eugene Wittgenstein, with
whom you will easily have pleasant relations; he is an
impassioned musician, and is remarkably gifted with artistic
qualities. In addition, I have had a long talk about your stay in
Paris, and the success which you ought to obtain, with Belloni,
who came to me for a few days. You will find him thoroughly well
disposed to help you by all the means in his power, and I would
persuade you to have complete confidence in him. Go and look for
him as soon as ever you arrive, and ask him for all the practical
information you require. Make your visit to Messrs. Escudier with
him. (N.B.--He will explain why I have not given you a letter for

The greater number of your pieces have hitherto been printed
exclusively by Escudier, and in my opinion you would do well to
keep well with them in consequence. In your position it is not at
all necessary to make advances to everybody--and, moreover, it is
the very way to have no one for yourself. Look, observe, and keep
an intelligent reserve, and don't cast yourself, German-wise,
precipitately into politeness and inopportune modesty.

In one of your leisure hours Belloni will take you to Madame
Patersi, who is entrusted with the education of my two daughters,
for whom I beg a corner of your kind attention. Play them your
Polonaise and Ballade, and let me hear, later on, how their very
small knowledge of music is going on. Madame Patersi, as I told
you, will have much pleasure in introducing you to her former
pupil, Madame de Foudras, whose salon enjoys an excellent

Need I renew to you here the request of my four cardinal points?-
-No, I am sure I need not!--Accept then, dear Reinecke, all my
heartiest wishes for this new year, as well as for your journey
to Paris. Let me hear of you through Belloni, if you have not
time to write to me yourself, and depend in all circumstances on
the very cordial attachment of

Yours sincerely and affectionately,

F. Liszt January 1st, 1851 My return to Weymar is unfortunately
again postponed for twenty days, by the doctor's orders, to which
I submit, although not personal to myself. [They referred to
Princess Wittgenstein, who was ill.]

71. To Leon Escudier, Music Publisher in Paris

[autograph in the possession of M. Arthur Pougin in Paris.--The
addressee was at that time the manager of the periodical "La
France Musicale," in which Liszt's Memoir of Chopin first
appeared in detached numbers (beginning from February 9th,

Weymar, February 4th, 1851

My dear Sir,

The proofs of the two first articles of my biographical study of
Chopin ought to have reached you some days ago, for I corrected
and forwarded them immediately on my return to Weymar. You will
also find an indication of how I want them divided, which I shall
be obliged if you will follow. Both on account of the reverence
of my friendship for Chopin, and my desire to devote the utmost
care to my present and subsequent publications, it is important
to me that this work should make its appearance as free from
defects as possible, and I earnestly request you to give most
conscientious attention to the revision of the last proofs. Any
alterations, corrections, and additions must be made entirely in
accordance with my directions, so that the definitive
publication, which it would be opportune to begin at once in your
paper, may satisfy us and rightly fulfill the aim we have in
view. If therefore your time is too fully occupied to give you
the leisure to undertake these corrections, will you be so good
as to beg M. Chavee [an eminent Belgian linguist, at that time a
collaborator on the "France Musicale"] (as you propose) to do me
this service with the scrupulous exactitude which is requisite,
for which I shall take the opportunity of expressing to him
personally my sincere thanks?

In the matter of exactitude you would have some right to reproach
me (I take it kindly of you to have passed it over in silence,
but I have nevertheless deserved your reproaches, apparently at
least) with regard to Schubert's opera ["Alfonso and Estrella,"
which Liszt produced at Weimar in 1854]. I hope Belloni has
explained to you that the only person whom I can employ to make a
clear copy of this long work has been overwhelmed, up to now,
with pressing work. It will therefore be about three months
before I can send you the three acts, the fate of which I leave
in your hands, and for which, by the aid of an interesting
libretto, we may predict good luck at the Opera Comique. I will
return to this matter more in detail when I am in the position to
send you the piano score (with voice), to which, as yet, I have
only been able to give some too rare leisure hours, but which I
promise you I will not put off to the Greek Calends!

As far as regards my opera, allow me to thank you for the
interest you are ready to take in it. For my own part I have made
up my mind to work actively at the score. I expect to have a copy
of it ready by the end of next autumn. We will then see what can
be done with it, and talk it over.

Meanwhile accept, my dear sir, my best thanks and compliments.

F. Liszt

The proofs of the third and fourth articles on Chopin will be
posted to you tomorrow.

Has Belloni spoken to you about F. David's "Salon Musical"
(twenty-four pieces of two pages each, very elegantly written and
easy to play)?--I can warmly recommend this work to you, both
from the point of view of art, and of a profitable, and perhaps
even popular, success. [Presumably Ferdinand David's "Bunte
Reihe," Op. 30, which Liszt transcribed for piano alone.]

72. To Carl Reinecke

My dear Mr. Reinecke,

I am still writing to you from Eilsen; your two kind and charming
letters found me here and have given me a very real pleasure. You
may rest quite assured during your life of the sincere and
affectionate interest I feel for you, an interest of which I
shall always be happy to give you the best proofs as far as it
depends on me.

Madame Patersi is loud in her praises both of your talent and of
yourself,--and I thank you sincerely for having so well fulfilled
my wishes with regard to the lessons you have been so kind as to
give to Blandine and Cosima. [Liszt's daughters. Blandine (died
1872) became afterwards the wife of Emile Ollivier; Cosima is the
widow of Wagner.] Who knows? Perhaps later on these girls will do
you honor in a small way by coming out advantageously with some
new composition by their master Reinecke, to the great applause
of Papa!

Hiller shows tact and taste in making sure of you as a coadjutor
at the Rhenish Conservatorium, which seems to be taking a turn
not to be leaky everywhere. Cologne has much good,
notwithstanding its objectionable nooks. Until now the musical
ground there has been choked up rather than truly cultivated!
People are somewhat coarse and stupidly vain there; I know not
what stir of bales, current calculations, and cargoes incessantly
comes across the things of Art. It would be unjust, however, not
to recognize. the vital energy, the wealth of vigor, the
praiseworthy activity of this country, in which a group of
intelligent men, nobly devoted to their task, may bring about
fine results, more easily than elsewhere.

At any rate I approve of what you have done, and compliment you
on having accepted Hiller's offer, [Namely, a position as
Professor at the Conservatorium of Cologne, which Reinecke
occupied from 1851 to 1854.] and shall have pleasure in sending
to your new address some of my latest publications, which will
appear towards the end of May (amongst others a new edition,
completely altered and well corrected, I hope, of my twelve great
Etudes, the Concerto without orchestra dedicated to Henselt, and
the six "Harmonies Poetiques et Religieuses"). I have also
written a very melancholy Polonaise, and some other trifles which
you will perhaps like to look over.

Let me hear from you soon, my dear Mr. Reinecke, and depend,
under all circumstances, on the faithful attachment of

Yours affectionately and sincerely,

F. Liszt

Eilsen, March 19th, 1851

73. To Dr. Eduard Liszt in Vienna

[An uncle of Liszt's (that is, the younger half-brother of his
father), although Liszt was accustomed to call him his cousin: a
noble and very important man, who became Solicitor-General in
Vienna, where he died February 8th, 1879. Franz Liszt clung to
him with ardor, as his dearest relation and friend, and in March,
1867, made over to him the hereditary knighthood.]

[Weimar, 1851]

Dear, excellent Eduard ,

It will be a real joy to me to take part in your joy, and I thank
you very cordially for having thought first of me as godfather to
your child. I accept that office very willingly, and make sincere
wishes that this son may be worthy of his father, and may help to
increase the honor of our name. Alas! it has been only too much
neglected and even compromised by the bulk of our relations, who
have been wanting either in noble sentiments, or in intelligence
and talent--some even in education and the first necessary
elements--to give a superior impulse to their career and to
deserve serious consideration and esteem. Thank God it is
otherwise with you, and I cannot tell you what a sweet and noble
satisfaction I derive from this. The intelligent constancy which
you have used to conquer the numerous difficulties which impeded
your way; the solid instruction you have acquired; the
distinguished talents you have developed; the healthy and wise
morality that you have ever kept in your actions and speech; your
sincere filial piety towards your mother; your attachment,
resulting from reflection and conviction, to the precepts of the
Catholic religion; these twenty years, in fine, that you have
passed and employed so honorably,--all this is worthy of the
truest praises, and gives you the fullest right to the regard and
esteem of honest and sensible people. So I am pleased to see that
you are beginning to reap the fruits of your care, and the
distinguished post to which you have just been appointed [He had
been made Assistant Public Prosecutor in 1850.] seems to justify
the hopes that you confided to me formerly, and which I treated,
probably wrongly, as so much naive ambition. At the point at
which you have arrived it would be entirely out of place for me
to poke advice and counsel out of season at you. Permit me, for
the sake of the lively friendship I bear you, and the ties of
relationship which bind us together, to make this one and only
recommendation, "Remain true to yourself!" Remain true to all you
feel to be highest, noblest, most right and most pure in your
heart! Don't ever try to be or to become something (unless there
were opportune and immediate occasion for it), but work
diligently and with perseverance to be and to become more and
more some one.--Since the difficult and formidable duty has
fallen upon you of judging men, and of pronouncing on their
innocence or guilt, prove well your heart and soul, that you may
not be found guilty yourself at the tribunal of the Supreme
Judge,--and under grave and decisive circumstances learn not to
give ear to any one but your conscience and your God!--

Austria has shown lately a remarkable activity, and a military
and diplomatic energy the service of which we cannot deny for the
re-establishment of her credit and political position. Certainly
by the prevision of a great number of exclusive Austrians--a
prevision which, moreover, I have never shared--it is probable
that the Russian alliance will have been a stroke of diplomatic
genius very favorable to the Vienna Cabinet, and that, in
consequence of this close alliance, the monarchical status quo
will be consolidated in Europe, notwithstanding all the
democratic ferments and dissolving elements which are evidently,
whatever people may say, at their period of ebb. I do not
precisely believe in a state of tranquility and indefinite peace,
but simply in a certain amount of order in the midst of disorder
for a round dozen of years, the main spring of this order being
naturally at Petersburg. From the day in which a Russian
battalion had crossed the Austrian frontier my opinion was fixed,
and when my friend Mr. de Ziegesar came and told me the news I
immediately said to him, "Germany will become Russian, and for
the great majority of Germans there is no sort of hesitation as
to the only side it remains to them to take."

The Princess having very obligingly taken the trouble to tell you
my wishes with regard to my money matters, I need not trouble you
further with them, and confine myself to thanking you very
sincerely for your exactness, and for the discerning integrity
with which you watch over the sums confided to your care. May
events grant that they may prosper, and that they may not become
indispensable to us very soon.--

Before the end of the winter I will send you a parcel of music
(of my publications), which will be a distraction for your
leisure hours. I endeavour to work the utmost and the best that I
can, though sometimes a sort of despairing fear comes over me at
the thought of the task I should like to fulfill, for which at
least ten years more of perfect health of body and mind will be
necessary to me.

Give my tender respects to Madame Liszt; you two form henceforth
my father's entire family; and believe in the lively and
unalterable friendship of

Your truly devoted,

F. Liszt

74. To Count Casimir Esterhazy

[Autograph (without address) in the possession of Herr Albert
Cohn, bookseller in Berlin.--The addressee was presumably Count
Esterhazy, whose guest Liszt was in Presburg in 1840.]

Let me thank you very sincerely for your kind remembrance, dear
friend, and let me also tell you how much I regret that my
journey to Hohlstein cannot come to pass during your short stay
there. But as by chance you already find yourself in Germany,
will you not push on some fine day as far as Weymar?--I should
have very great pleasure in seeing you there and in receiving
you--not in the manorial manner in which you received me at
Presburg, but very cordially and modestly as a conductor, kept by
I know not what strange chance of fate at a respectful distance
from storms and shipwrecks!--

For three weeks past a very sad circumstance has obliged me to
keep at Eilsen, where I had already passed some months of last
winter. The reigning Prince is, as you have perhaps forgotten,
the present proprietor of one of your estates,--the Prince of
Schaumburg-Lippe. If by chance you are owing him a debt of
politeness, the opportunity of putting yourself straight would be
capital for me. Nevertheless I dare not count too much on the
attractions of the grandeur and charms of Buckeburg! and I must
doubtless resign myself to saying a longer farewell to you.

Let me know by Lowy of Vienna where I shall address to you some
pieces in print which you can look over at any leisure hour, and
which I shall be delighted to offer you. I will add to them later
the complete collection of my "Hungarian Rhapsodies," which will
now form a volume of nearly two hundred pages, of which I shall
prepare a second edition next winter. Hearty and affectionate
remembrances from

Yours ever,

F. Liszt

Eilsen, June 6th, 1851

75. To Theodor Uhlig, Chamber Musician in Dresden

[Autograph in the possession of Herr Hermann Scholtz, Chamber
virtuoso in Dresden.--The addressee, who was an intimate friend
of Wagner's (see "Wagner's Letters to Uhlig, Fischer, Heine"--
London: H. Grevel & Co., 1890), gained for himself a lasting name
by his pianoforte score of Lohengrin. He died January, 1853.]

The perusal of your most kind and judicious article in Brendel's
Musical Gazette on the "Goethe Foundation" [By Liszt, 1850. See
"Gesammelte Schriften," vol. v.] confirms me in the belief that I
could not fail to be understood by you in full intelligence of
the cause. Allow me then, my dear Mr. Uhlig, to thank you very
cordially for this new proof of your obligingness and of your
sympathy--in French, as this language becomes more and more
familiar and easy to me, whereas I am obliged to make an effort
to patch up more or less unskillfully my very halting German

The very lucid explanation that you have made of my pamphlet, as
well as the lines with which you have prefaced and followed it,
have given me a real satisfaction, and one which I did not expect
to receive through that paper, which, if I am not mistaken, had
hitherto shown itself somewhat hostile to me personally, and to
the ideas which they do me the small honor to imagine I possess.
This impression has been still further increased in me by reading
Mr. Brendel's following article on R. Wagner, which seems to me a
rather arranged transition between the former point of view of
the Leipzig school or pupils and the real point of view of
things. The quotation Brendel makes of Stahr's article on the
fifth performance of "Lohengrin" at Weymar, evidently indicates a
conversion more thought than expressed on the part of the former,
and at the performance of "Siegfried" I am persuaded that Leipzig
will not be at all behindhand, as at "Lohengrin."

I do not know whether Mr. Wolf (the designer) has had the
pleasure of meeting you yet at Dresden; I had commissioned him to
make my excuses to you for the delay in sending the manuscript of
Wiland. Unfortunately it is impossible for me to think of
returning to Weymar before the end of July, and the manuscript is
locked up among other papers which I could not put into strange
hands. Believe me that I am really vexed at these delays, the
cause of which is so sad for me.

If by chance you should repass by Cologne and Minden, it would be
very nice if you could stay a day at Buckeburg (Eilsen), where I
am obliged to stay till the 15th of July. I have not much
pleasure to offer you, but in return we can talk there at our
ease of the St. Graal...

My pamphlet "Lohengrin and Tannhauser" will appear in French at
Brockhaus' towards the end of July. It will have at least the
same circulation as the "Goethe Foundation," and I will send you
by right one of the first copies.

Kind regards to Wagner, about whom I have written a great deal
lately without writing to him; and believe me yours very

F. Liszt

Eilsen (Buckeburg), June 25th, 1851.

76. To Rosalie Spohr in Brunswick

[niece of Louis Spohr, and an incomparable harpist,--"The most
ideal representative of her beautiful instrument," according to
Bulow; after her marriage with Count Sauerma she retired from
public life and now lives in Berlin.]

After your amiable authorization to do so, Mademoiselle, I have
had your concert announced at Eilsen for Tuesday next, July 8th,
and you may rest assured that the best society of Buckeburg and
of the Badegaste [visitors who go for the baths] will be present.

The price of the tickets has been fixed for 1 florin, which is
the maximum customary in this country. With regard to the
programme, I await your reply, in which I shall be glad if you
will tell me the four or five pieces you will choose, amongst
which will be, I hope, Parish Alvars' Fantaisie on motives from
"Oberon" and the "Danse des Fees."

A distinguished amateur, Monsieur Lindemann of Hanover, has
promised me to play one or two violoncello solos, and the rest of
the programme will be easily made.

As to your route, you had better take the Schnellzug [express]
next Monday, which starts about 11 in the morning from Brunswick,
and brings you to Buckeburg in less than three hours. From here
it will only take you thirty-five minutes to get to Eilsen. The
most simple plan for you would be not to write to me beforehand
even, but to improvise your programme according to your fancy
here. Only let me beg you not to arrive later than Monday
evening, so that the public may be free from anxiety, and to set
my responsibility perfectly at rest in a corner of your harp-

May I beg you, Mademoiselle, to remember me affectionately to
your father? and be assured of the pleasure it will be to see
you, hear you, and admire you anew, to your sincere and devoted

F. Liszt

Eilsen, July 3rd, 1851

I beg you once more not to be later than next Monday, July 7th,
in coming to Eilsen.

77. To Rosalie Spohr

I am deeply sensible of your charming lines, Mademoiselle, the
impression of which is the completion for me of the harmonious
vibrations of your beautiful talent,--vibrations which are still
resounding in the woods and in your auditors at Eilsen. While
expressing to you my sincere thanks I should reproach myself were
I to forget the piquant and substantial present that your father
has sent me, and I beg you to tell him that we have done all
honor to the savory product of Brunswick industry. The Buckeburg
industry having a certain reputation in petto in the matter of
chocolate, the Princess, who sends her best regards to you and
your family, wishes me to send you a sample, which you will
receive by tomorrow's post. The chocolate, in its quality of a
sedative tonic, will, moreover, not come amiss in the intervals
of your study.

May I beg you, Mademoiselle, to give my affectionate compliments
to your parents as well as to the clever drawing-historiographer
[The younger sister of the addressee, Ida Spohr, at that time
sixteen years old, who was a most gifted creature, both in
poetry, painting, and music. She died young, at the age of
twenty-four] whom you know? and receive once more the best wishes
of yours most truly,

F. Liszt

Eilsen, July 22nd, 1851

78. To Breitkopf and Hartel

Allow me, my dear Mr. Hartel, to make known to you, as a kind of
curiosity, a very long piece I composed last winter on the
chorale "Ad Nos" from the "Prophete." If by chance you should
think well to publish this long Prelude, followed by an equally
long Fugue, I could not be otherwise than much obliged to you;
and I shall take advantage of the circumstance to acquit myself,
in all reverence and friendship, of a dedication to Meyerbeer,
which it has long been my intention to do; and it was only for
want of finding among my works something which would suit him in
some respect, that I have been obliged to defer it till now. I
should be delighted therefore if you would help me to fill up
this gap in the recognition I owe to Meyerbeer; but I dare not
press you too much for fear you may think that my Fugue has more
advantage in remaining unknown to the public in so far that it is
in manuscript, than if it had to submit to the same fate after
having been published by your care.

In accordance with your obliging promise, I waited from week to
week for the preface that Mr. Wagner has added to his three opera
poems. I should be glad to know how soon you expect to bring them
out, and beg you to be so good as to send me immediately three

Believe me, my dear Mr. Hartel,

Yours affectionately and most truly,

F. Liszt

Weymar, December 1st, 1851

P.S.--Would it perhaps do to bring out my Fugue on the "Prophete"
as No. 4 of my "Illustrations du Prophete"? That was at least my
first intention. [It was published in that form by Breitkopf and
Hartel.] In the same parcel you will find the piano score of the
"Prophete," which I am very much obliged to you for having lent

79. To Louis Kohler in Konigsberg

[An important piano teacher and writer on music, and composer of
valuable instructive works (1820-86).]

Dear Sir,

The friendly kindness with which you have spoken of a couple of
my latest compositions lays me under an obligation of warm
thanks, which I must no longer delay having the pleasure of
expressing to you. I should be very glad if you find anything
that suits you in my next impending piano publication (the new,
entirely revised edition of my Studies, the "Harmonies Poetiques
et Religieuses," and the two years of "Annees de Pelerinage,
Suite de Compositions," etc.). In any case I shall venture to
send this work, with the request that you will accept it as a
token of my gratitude for the favorable opinion which you
entertain of my artistic efforts.

At this moment I have to compliment you also very much on your
arrangement of the Hungarian "Volkslieder" [Folk Songs]. For
several years past I have been occupied with a similar work, and
next winter I think of publishing the result of my national
studies in a pretty big volume of "Hungarian Rhapsodies." Your
transcriptions have interested me much through the correct
perception of the melodies, and their elegant though simple

Senff [The well-known Leipzig music publisher.] showed me also in
manuscript a book of Russian melodies, that seemed to me most
successful. When will it come out?

If by any chance you have a spare copy of your new work, the
exact title of which I do not remember, but it is somewhat as
follows, "Opern am Clavier" [Operas at the Piano] or "Opern fur
Clavierspieler" [Operas for Pianoforte Players] (or, in French,
"Repertoire d'Opera pour les Pianistes"), I should be much
obliged if you would let me have one.

Accept, dear sir, my best respects, and believe me

Yours truly,

F. Liszt

Weymar, April 16th, 1852

80. To Carl Reinecke

My dear Mr. Reinecke,

A very good friend of mine, Professor Weyden of Cologne, who has
just been spending a few days with me here, kindly promises to
give you these few lines and to tell you what pleasure your
present of the "Variations on a Theme of Bach" has given me. It
is a very eminent work, and perfectly successful in its actual
form. While complimenting you sincerely upon it, I must also add
my thanks that you have joined my name to it.

I should have liked to be able to send you some of my new works
for piano, of which I spoke to you before; but, as I have been
altering them and touching them up, the publication of them has
been delayed; nevertheless, I expect that in the course of this
summer the twelve "Grandes Etudes" (definitive edition) and the
"Harmonies Poetiques et Religieuses" will successively appear,
and in December or January next the "Annees de Pelerinage, Suite
de Compositions pour le Piano," and the complete collection of my
"Hungarian Rhapsodies." Meanwhile, let me offer you the "Concert
Solo" and the two Polonaises which were written at Eilsen shortly
after your visit to me there.

Joachim starts tomorrow for London, and I have commissioned him
to persuade you to come and see me at Weymar on his return. I
have been much attached to him this winter, and I hold his talent
as well as himself in high esteem and true sympathy.--

Try not to delay too long the pleasure I should have in hearing
your trio; I shall be delighted to make the acquaintance of
Madame Reinecke, and would not wish to be among the last to
congratulate you on your happiness.

In cordial friendship, yours ever,

F. Liszt

Weymar, April 16th, 1852

81. To Carl Czerny

[Autograph in the archives of the Musik-Verein in Vienna.]

My dearest and most honored Master and Friend,

A melancholy event which has thrown our Court into deep mourning-
-the sudden death of the Duchess Bernard of Saxe-Weimar--has not
allowed of my presenting your letter to Her Imperial Highness the
Grand Duchess until a day or two ago. She has been pleased to
receive your letter and your intentions with marked kindness, the
expression of which you will find in the accompanying letter
which she charged Baron de Vitzthum to write you in her name.

May I beg you then to advise Mr. Schott to send me immediately on
the publication of your "Gradus ad Parnassum" a dedication copy,
which I will get suitably bound in velvet here, and which I will
immediately remit to H.I.H.--As regards the form of dedication, I
advise you to choose the most simple:--

Gradus ad Parnassum, etc.,

Compose et tres respectueusement dedie a Son Altesse Imperiale et
Royale Madame la Grande Duchesse de Saxe-Weimar-Eisenach Marie
Paulowna, par Ch. Czerny.

[Composed and most respectfully dedicated to Her Royal and
Imperial Highness Marie Paulowna, Grand Duchess of Saxe-Weimar-
Eisenach by Ch. Czerny.]

Or if the title be in German:--

Componirt und I. kais. kon. Hoheit der Frau Grossherzogin zu
Sachsen-Weimar-Eisenach Marie Paulowna, in tiefster Ehrfurcht
gewidmet, von C. Cz.

What you tell me of the prodigious activity of your Muse obliges
me to make a somewhat shameful acknowledgment of my relative
slowness and idleness. The pupil is far from the master in this
as in other points. Nevertheless I think I have made a better use
of the last three years than of the preceding ones; for one thing
I have gone through a rather severe work of revision, and have
remodeled entirely several of my old works (amongst others the
Studies which are dedicated to you, and of which I will send you
a copy of the definitive edition in a few weeks, and the "Album
d'un Voyageur," which will reappear very considerably corrected,
increased, and transformed under the title of "Annees de
Pelerinage, Suite de Compositions pour le Piano-Suisse et
Italie"): for another thing I have been continuing writing in
proportion as ideas came to me, and I fancy I have arrived at
last at that point where the style is adequate to the thought.
Unfortunately my outside occupations absorb much of my time. The
orchestra and opera of Weymar were greatly in need of reform and
of stirring up. The remarkable and extraordinary works to which
our theater owes its new renown--"Tannhauser," "Lohengrin,"
"Benvenuto Cellini"--required numerous rehearsals, which I could
not give into the hands of anybody else. The day before yesterday
a very pretty work, in an elegant and simple melodic style, was
given for the first time--"Der lustige Rath," [The Merry
Councillor (or counsel)] by Mr. de Vesque, which met with
complete success. Carl Haslinger, who had arrived for the first
performance of "Cellini," was also present at this, and can tell
you about it. In the interval between these two works, on Sunday
last, he had his Cantata-Symphony "Napoleon" performed, and
conducted it himself (as a rather severe indisposition has
obliged me to keep my room for several days).

In the course of the month of June my mother, who proposes to pay
a visit to her sister at Gratz, will have the privilege of going
to see you, dear master, and of renewing to you, in my name and
her own, our expressions of sincere gratitude to you for the
numerous kindnesses you have shown me. Believe me that the
remembrance of them is as lively as it is constant in my heart.

I owe you still further thanks for the trouble you have taken to
make Mr. de Hardegg study Schubert's Fantasia, scored by me, and
I beg you to give him my best compliments. It is perhaps to be
regretted that this work, which contains many fine details,
should have been played for the first time in the Salle de
Redoute, so "redoutable" and ungrateful a room for the piano in
general; in a less vast space, such as the salle of the Musik-
Verein, the virtuoso and the work would assuredly have been heard
more to advantage, and if I did not fear to appear indiscreet I
should ask Mr. de Hardegg to play it a second time, in a concert
room of moderate size.

I have inquired several times as to the talent and the career of
Mr. de Hardegg, in whom I naturally feel an interest from the
fact of the interest you take in him. If by chance he should be
thinking of making a journey to this part of Germany, beg him
from me not to forget me at Weymar. I shall be delighted to make
his acquaintance, and he may be assured of a very affectionate
reception from me.

Accept, my dear and honored friend, every assurance of my high
esteem, and believe that I shall ever remain

Your very faithful and grateful

F. Liszt

Weymar, April 19th, 1852

82. To Gustav Schmidt, Capellmeister at Frankfort-on-the-Maine

[Autograph (without address) in the possession of M. Alfred Bovet
at Valentigney.--The addressee was, in any case, the above-
mentioned (1816-82), finally Court-Capellmeister (conductor) at
Darmstadt, the composer of the operas "Prinz Eugen," "Die Weiber
von Weinsberg," and others.]

Dear Friend,

.--. The idea of a Congress of Capellmeisters is indeed a very
judicious one, and from a satisfactory realization of it only
good and better things could result for the present divided state
of music. There is no question that in the insulation and
paralyzing of those who are authorities in Art lies a very
powerful hindrance, which, if it continues, must essentially
injure and endanger Art. Upon certain principles an union is
necessary, so that the results of it may be actively applied, and
it especially behooves Capellmeisters worthily to maintain the
interests of music and musicians. A meeting such as you propose
would be a timely one; only you will approve of my reasons when I
renounce the honor of proposing this meeting for Weimar, and
indicate Spohr to you as the proper head. The master Spohr is our
senior; he has always furthered the cause of music as far as
circumstances at Cassel permitted--the "Fliegender Hollander" was
given at Cassel under his direction earlier than "Tannhauser" was
given at Weymar. Talk it over with him, which from the near
vicinity of Frankfort you can easily do, and if, as I do not
doubt, he enters into your project, fix the date and let me know.
I shall gladly take part in the matter, and will make it my
business to do my share towards bringing about the desired

"Tannhauser" is announced for the 31st of this month (on occasion
of the presence of Her Majesty the Empress of Russia). Beck takes
the title-role at this performance. We shall give Schumann's
"Manfred" a few days later. For next season the "Fliegender
Hollander" and Spohr's "Faust," with the new Recitatives which he
wrote for London, are fixed.

Farewell, and happiness attend you, dear friend; remember me
kindly to your wife, and believe me ever

Yours most sincerely, F. Liszt

Weymar, May 18th, 1852.

83. To Robert Schumann

[Autograph in the Royal Library in Berlin.]

My very dear Friend,

It is with great pleasure that I am able to announce to you the
first performance of "Manfred" for next Sunday, June 13th, and to
invite you to come to it. ["Manfred" was put on the stage for the
first time by Liszt] I hope that, at this time of year, your
Dusseldorf duties will allow of your coming here for a couple of
days, and that probably you will bring Clara with you, to whom
please remember me very kindly. Should you, however, come alone,
I beg that you will stay with me at the Altenburg, where you can
make yourself perfectly at home. The last rehearsal is fixed for
Friday afternoon; perhaps it would be possible for you to be
present at it, which of course would be very agreeable to me.
Your Leipzig friends will see the announcement of this
performance in the papers, and I think you will consider it your
bounden duty not to be absent from us at this performance.

Wishing you always from my heart the best spirits for your work,
good health, and "every other good that appertains thereto," I
remain unalterably

Yours most sincerely, F. Liszt

Weymar, June 8th, 1852.

84. To Robert Schumann

[Autograph in the Royal Library in Berlin.]

My very dear Friend,

I regret extremely that you could not come to the second
performance [This might perhaps also be read "first
performance."] of your "Manfred," and I believe that you would
not have been dissatisfied with the musical preparation and
performance of that work (which I count among your greatest
successes). The whole impression was a thoroughly noble, deep,
and elevating one, in accordance with my expectations. The part
of Manfred was taken by Herr Potsch, who rendered it in a manly
and intelligent manner. With regard to the mise-en-scene
something might be said; yet it would be unfair not to speak in
praise of the merits of the manager, Herr Genast. It seems to me
therefore that it would be nice of you to write a friendly line
of thanks to Herr Genast, and commission him to compliment Herr
Potsch (Manfred) and the rest of the actors from you.

One only remark I will permit myself: the introduction music to
the Ahriman chorus (D minor) is too short. Some sixty to a
hundred bars of symphony, such as you understand how to write,
would have a decidedly good effect there. Think the matter over,
and then go fresh to your desk. Ahriman can stand some polyphonic
phrases, and this is an occasion where one may rant and rage away
quite comfortably.

Shall I send you your manuscript score back, or will you make me
a lovely present of it? I am by no means an autograph-collector,
but the score, if you don't require it any longer, would give me

A thousand friendly greetings to Clara, and beg your wife to let
me soon hear something of you.

In truest esteem and friendship,

Yours ever,

F. Liszt

Weymar, June 26th, 1852

85. To Peter Cornelius

[The exquisite poet-composer of the operas "The Barber of
Baghdad," "The Cid," and "Gunlod," which have at last attained
due recognition (1824-74).]

Weymar, September 4th, 1852

It has been a great pleasure to me, my dear Mr. Cornelius, to
make the acquaintance of your brother, and I only regret that he
passed several days here without letting me know of his stay.
Your letter, which reached me through him, has given me a real
pleasure, for which I thank you very affectionately. Short though
our acquaintance has been, I am pleased to think that it has been
long enough to establish between us a tie which years will
strengthen without changing the natural and reciprocal charm. I
congratulate you very sincerely in having put the fine season to
so good a use by finishing the church compositions you had
planned. That is an admirable field for you, and I strongly
advise you not to give in till you have explored it with love and
valor for several years. I think that, both by the elevation and
the depth of your ideas, the tenderness of your feelings, and
your deep studies, you are eminently fitted to excel in the
religious style, and to accomplish its transformation so far as
is nowadays required by our intelligence being more awake and our
hearts more astir than at former periods. You have only to
assimilate Palestrina and Bach--then let your heart speak, and
you will be able to say with the prophet, "I speak, for I
believe; and I know that our God liveth eternally."

We spoke with your brother about your vocation for composing
religious--Catholic music. He enters thoroughly into this idea,
and will give you help to realize it under outer conditions
favorable to you. Munster, Cologne, and Breslau appeared to us to
be the three places for the present where you would find the
least obstacles in the way of establishing your reputation and
making a position. But before you go to the Rhine I hope you will
do me the pleasure of coming to see me here. The room adjoining
that which Mr. de Bulow occupies is entirely at your service, and
it will be a pleasure to me if you will settle yourself there
without any ceremony, and will come and dine regularly with us
like an inhabitant of the Altenburg. The theatrical season
recommences on Sunday next, September 12th, with Verdi's
"Ernani." In the early days of October (at the latest)
"Lohengrin" will be given again; and on the 12th of November I
expect a visit from Berlioz, who will spend a week at Weymar.
Then we shall have "Cellini," the Symphony of Romeo and Juliet,
and some pieces from the Faust Symphony.

Kindest regards from yours ever,

F. Liszt

86. To Clara Schumann

Weymar, September 11th, 1852.

It is not without regret that I obey your wish, Madame, in
returning to you the autograph score of "Manfred," for I confess
that I had flattered myself a little in petto that Robert would
leave it with me in virtue of possession in a friendly manner.
Our theater possesses an exact copy, which will serve us for
subsequent performances of "Manfred;" I was tempted to send you
this copy, which, for revision of proofs, would be sufficient,
but I know not what scruple of honor kept me from doing so.
Perhaps you will find that it is possible generously to encourage
my slightly wavering virtue, and in that case you will have no
trouble in guessing what would be to me a precious reward...

How is Robert's health? Have the sea baths done him good? I hope
he will soon be restored all right to his home circle--and to his
composing desk.--

It would have been very pleasant to me to renew our visit of last
year to you at Dusseldorf, and I was indeed touched by the
gracious remembrance of it which your letter gives me; but, alas!
an unfortunate accident which has happened to my mother, by which
she nearly broke her leg in coming downstairs, has obliged her to
keep her bed for more than nine weeks, and even now she can only
walk with the help of crutches, and it will be some months before
she is all right again.

Forced as she was to remain at Weymar, I have not liked to leave
her all this summer, and had to give up the pleasure of a holiday
excursion.--The Princess Wittgenstein, and her daughter (who has
become a tall and charming young girl), desire me to give their
very affectionate remembrances to you and Robert, to which 1 add
my most sincere wishes for the speedy restoration of our friend,
and cordial assurances of my constant friendship.

F. Liszt

87. To Carl Czerny

[Autograph in the archives of the Musik-Verein in Vienna. The
date is wanting; it may be placed, judging from Liszt's letter of
October 30th, 1852, at the above-mentioned date.]

[September or October, 1852]

My Dear, Honored Master And Friend,

Permit me to recommend particularly to you Professor Jahn [The
afterwards celebrated biographer of Mozart], with whose many
interesting works of criticism and musical literature you are
doubtless familiar (among others his Introduction to the original
score of Beethoven's "Leonora," published by Hartel in Leipzig).

Mr. Jahn's object in going to Vienna is to collect documents for
a biography of Beethoven, which will, I am persuaded, supply a
want so much felt hitherto by the public and by artists. May I
beg you--in honor of the great man whom you have had the merit of
comprehending and admiring, long before the common herd joined in
chorus around his name--to open the treasures of your
reminiscences and knowledge to Mr. Jahn, and accept beforehand my
sincere thanks for the good service you will render to Art in
this matter?

It is with unchangeable attachment that I remain, dear master,
your very grateful and devoted

F. Liszt

P.S.--When will the "Gradus ad Parnassum" come out?--You will
receive the copy of my Studies, which are dedicated to you,
through Mr. Lowy in a few days.

88. To Breitkopf and Hartel

[Autograph in the possession of M. Alfred Bovet at Valentigney]

Weymar, October 30th, 1852

My Dear Mr. Hartel,

I have given up to a friend the piano which you have been so good
as to lend me for some years, and he (as I have already informed
you verbally) asks me to let him defer the payment of it till the
end of this month. I therefore take this opportunity of proposing
to you either to let you immediately have the sum fixed upon for
the piano (400 thalers), or else to make a settlement of
reciprocal terms up to now, by which we shall be quits towards
each other. The pleasure and advantage which I find in my
relations with your house are too valuable to me for me not to do
all in my power properly to maintain them, by conforming to your
wishes and intentions. Of my works published by your house there
are, if I mistake not, five--

12 Etudes d'execution transcendante (2 books), 6 Etudes d'apres
Paganini (2 books), Grand Concerto Solo, Fantaisie and Fugue on
the Chorale from the Prophete (No. 4 of the "Illustrations du
Prophete"), Mass (with Pater Noster and Ave Maria) for four male
voices with organ accompaniment

--upon which we have deferred putting a price until now. Without
trying to deceive myself as to the moderate returns which these
(as it happens, rather voluminous) works may bring to your house,
I should venture however to flatter myself that they have not
been an expense to you, and that they are even works not unsuited
to your catalogue. However things may be, I beg you to be so good
as to use towards me the same sincerity that I employ towards
you, persuaded as I am that sincerity is the only basis of any
lasting connection, especially when one has to do with things
which divers circumstances may render more delicate and
complicated. Allow me then at last, my dear Mr. Hartel, to
propose to you to square our accounts by my keeping your piano in
exchange for the above-mentioned five manuscripts, which should
also acquit me for the works of Marx and Kiesewetter that you
have sent me, so that, if my proposition suits you, we should be
entirely quits.

I was glad to hear that Mr. Jahn had had occasion to be satisfied
with his journey to Vienna, and I beg you to assure him that I am
entirely at his disposal with regard to any steps to be taken to
help on his work on Beethoven, for which I am delighted to be of
any service to him.

In a fortnight's time I am expecting Mr. Berlioz here. The
performances of "Benvenuto Cellini" will take place on the 18th
and 20th November, and on the 21st the Symphonies of "Romeo and
Juliet" and "Faust" will be performed, which I proposed to you to
publish. If your numerous occupations would allow of your coming
here for the 20th and 21st I am certain that it would be a great
interest to you to hear these exceptional works, of which it is a
duty and an honor to me not to let Weymar be in ignorance.

Will you, my dear Mr. Hartel, accept this information as an
invitation, and also tell your brother, Mr. Raymond, what
pleasure a visit from him would give me during the Berlioz week?
We shall, moreover, be at that time in good and romantic company
of artists and critics from all points, meeting at Weymar.

I will send you shortly my Catalogue, which you will greatly
oblige me by bringing out without very much delay. The dispersion
and confusion through which my works have had to make their way
hitherto have done them harm, over and above any wrong that they
already had by themselves; it is therefore of some importance to
classify them, and to present to the public a categorical insight
into what little I am worth. As I have promised to send this
catalogue to many people living in all sorts of countries, I beg
that you will put to my account, not gratis, some sixty copies,
which I fear will not be enough for me, but which will at least
serve to lessen the cost of printing.

In this connection allow me to recur to a plan of which I have
already spoken to you--the publication in German of my book on
Chopin. Has Mr. Weyden of Cologne written to you, and have you
come to terms with him on this subject? The last time he wrote to
me he told me that he had not yet had an answer from you. As he
is equally master of French and German, and as he thoroughly
succeeded in his translation of my pamphlet on "Tannhauser and
Lohengrin," I should be glad for the translation of Chopin to be
done by him; and in case you decide to publish his work please
put me down for fifty copies.

Pray excuse this long letter, my dear Mr. Hartel, and believe me
very sincerely,

Yours affectionately and devotedly,

F. Liszt

89. To Breitkopf and Hartel

[Autograph in the possession of M. J. Crepieux-Jamin at Rouen.]

My dear Mr. Hartel,

I thank you very heartily for the fresh proof of your kind
intentions towards me which your last letter gives me, and I
hasten to return to you herewith the two papers with my signature
by which our little accounts are thus settled. With regard to the
extra account of about eighty crowns, which I thank you for
having sent me by the same opportunity, I will not delay the
paying of it either. Only, as it contains several things which
have been got by the theater management (such as "Athalie," the
piano scores of "Lohengrin," Schubert's Symphony, etc.), you will
allow me to leave it a few days longer, so that I may get back
the sum which is due to me,--and which, till the present time, I
was not aware of having been placed to my account, thinking
indeed that these various works for which I had written for the
use of the theater had long ago been paid for by the

I beg that you will kindly excuse this confusion, of which I am
only guilty quite unawares.

With regard to the publication of the "Pater Noster" and of the
"Ave Maria," please do it entirely to your own mind, and I have
no other wish in the matter but that the "Pater" should not be
separated from the "Ave," on account of the former being so small
a work; but whether you publish these two pieces with the Mass,
or whether they appear separately (the two being in any case kept
together), either of these arrangements will suit me equally
well. For more convenience I have had them bound in one, as
having been written at the same time and as belonging to the same
style.--Berlioz has just written me word that he will probably
arrive here two or three days sooner--and the proprietors of our
repertoire have fixed the 17th November (instead of the 18th) for
the first performance of the revival of "Cellini." Immediately
after he is gone I will put in order the Catalogue that you are
kindly bringing out, and which I should be glad to be able to
distribute about before the end of the winter. You shall have the
manuscript before Christmas.--

As Mr. Weyden has been a friend of mine for several years I may
be permitted to recommend him to you, and have pleasure in hoping
that your relations with him, on occasion of the translation of
the Chopin volume, will be of an easy and agreeable nature. [The
German translation of the work was not done until it appeared, by
La Mara, in 1880, after the publication of a second edition.]

Pray accept once more, my dear Mr. Hartel, my best thanks,
together with every assurance of the sincere affection of

Yours most truly,

F. Liszt

November l0th, 1852

90. To Professor Julius Stern in Berlin

[1820-83; founder of the Stern Vocal Union (which he conducted
from 1847-74), and of the Stern Conservatorium (1850), which he
directed, firstly with Marx and Kullak, and since 1857 alone.]

November 24th, 1852.

My dear Mr. Stern,

I hope you will excuse my delay in replying to your friendly
lines, for which I thank you very affectionately. Mr. Joachim was
absent when they reached me, and all this last week has been
extremely filled up for Weymar (and for me in particular) by the
rehearsals and performance of Berlioz's works. Happily our
efforts have been rewarded by a success most unanimous and of the
best kind. Berlioz was very well satisfied with his stay at
Weymar, and I, for my part, felt a real pleasure in being
associated with that which he experienced in the reception
accorded to him by the Court, our artists, and the public. As
this week has, according to my idea, a real importance as regards
Art, allow me, my dear Mr. Stern, to send you, contrary to my
usual custom, the little resume that the Weymar Gazette has made
of the affair, which will put you very exactly au courant of what
took place. You will oblige me by letting Schlesinger see it
also, and he will perhaps do me the pleasure of letting the
Berlin public have it through his paper (The Echo).

I did not fail to conform to the wish expressed in your last
letter, immediately that Joachim returned to Weymar, and I urged
him much to accept the proposition you have made him to take part
in the concert of the 13th of December. You know what high esteem
I profess for Joachim's talent, and when you have heard him I am
certain you will find that my praises of him latterly are by no
means exaggerated. He is an artist out of the common, and one who
may legitimately aspire to a glorious reputation.

Moreover he has a thoroughly loyal nature, a distinguished mind,
and a character endowed with a singular charm in its rectitude
and earnestness.

The question of fee being somewhat embarrassing for him to enter
into with you, I have taken upon myself to speak to you about it
without any long comment, and to mention to you the sum of twenty
to twenty-five louis d'or as what seems to me fair. If Joachim
had already been in Berlin, or if his stay there could take place
at the same time with some other pecuniary advantage, I feel sure
that he would take a pleasure in offering you his co-operation
for nothing; but in the position he is in now, not intending at
present to give concerts in Berlin, and not having as yet any
direct relations with you, I think you will appreciate the
motives which lead me to fix this sum with you...

If, as I hope, you do not consider it out of proportion, please
simply to be so good as to write a few lines to Joachim direct,
to tell him what day he ought to be in Berlin for the rehearsal
of your concert, so that he may ask a little beforehand for his
holiday from here.

Will you also please give my best regards to Th. Kullak? I have
had the opportunity of talking rather fully about him these last
days with two of his pupils, Princesses Anne and Louise (of
Prussia), and also with their mother, Princess Charles. Mr. Marx
(to whom I beg you to remember me kindly, until I write more
fully to him about the performance of his "Moses") will shortly
receive a letter from Mr. Montag, whom I have begged to bring
with him the arrangements relating to the song parts, which Mr.
Marx will be so kind as to lend us. Probably this oratorio can be
given here towards the end of next January or the middle of next
February, and as soon as the rehearsals are sufficiently advanced
I shall write to Marx to give him positive tidings and to invite
him to pay us a short visit at Weymar.

A thousand frank and cordial regards from

Yours ever,

F. Liszt

You probably already know that Joachim is leaving Weymar to
settle in Hanover at the beginning of next year.

91. To Wilhelm von Lenz in St. Petersburg

[A well-known writer on music and especially on Beethoven;
Imperial Russian Councillor of State (1809-83).]

I am doubly in your debt, my dear Lenz (you will allow me, will
you not, to follow your example by dropping the Mr.?), firstly
for your book, ["Beethoven and his Three Styles" (St. Petersburg,
1852).] so thoroughly imbued with that sincere and earnest
passion for the Beautiful without which one can never penetrate
to the heart of works of genius; and, secondly, for your friendly
letter, which reached me shortly after I had got your book, the
notice of which had very much excited my curiosity. That I have
put off replying to you till now is not merely on account of my
numerous occupations, which usually preclude my having the
pleasure of correspondence, but chiefly on account of you and
your remarkable work, which I wanted to read at leisure, in order
to get from it the whole substance of its contents. You cannot
find it amiss that it has given me much to reflect upon, and you
will easily understand that I shall have much to say to you on
this subject--so much that, to explain all my thoughts, I should
have to make another book to match yours--or, better still,
resume our lessons of twenty years ago, when the master learned
so much from the pupil,--discuss pieces in hand, the meaning,
value, import, of a large number of ideas, phrases, episodes,
rhythms, harmonic progressions, developments, artifices;--I
should have to have a good long talk with you, in fact, about
minims and crotchets, quavers and semi-quavers,--not forgetting
the rests which, if you please, are by no means a trifling
chapter when one professes to go in seriously for music, and for
Beethoven in particular.

The friendly remembrance that you have kept of our talks, under
the name of lessons, of the Rue Montholon, is very dear to me,
and the flattering testimony your book gives to those past hours
encourages me to invite you to continue them at Weymar, where it
would be at once so pleasant and so interesting to see you for
some weeks or months, ad libitum, so that we might mutually edify
ourselves with Beethoven. Just as we did twenty years ago, we
shall agree all at once, I am certain, in the generality of
cases; and, more than we were then, shall we each of us be in a
position to make further steps forward in the exoteric region of
Art.--For the present allow me, at the risk of often repeating
myself hereafter, to compliment you most sincerely on your
volume, which will be a chosen book and a work of predilection
for people of taste, and particularly for those who feel and
understand music. Artists and amateurs, professors and pupils,
critics and virtuosi; composers and theorists--all will have
something to gain from it, and a part to take in this feast of
attractive instruction that you have prepared for them. What
ingenious traits, what living touches, what well-dealt blows,
what new and judiciously adapted imagery should I not have to
quote, were I to enter in detail into your pages, so different
from what one usually reads on similar subjects! In your
arguments, and in the intrinsic and extrinsic proofs you adduce,
what weight--without heaviness, what solidity--without stiffness,
of strong and wholesome criticism--without pedantry! Ideas are
plentiful in this by turns incisive, brilliant, reflected, and
spontaneous style, in which learning comes in to enhance and
steady the flow of a lively and luxuriant imagination. To all the
refinement and subtle divination common to Slavic genius, you
ally the patient research and learned scruples which characterize
the German explorer. You assume alternately the gait of the mole
and of the eagle--and everything you do succeeds wonderfully,
because amid your subterranean maneuvers and your airy flights
you constantly preserve, as your own inalienable property, so
much wit and knowledge, good sense and free fancy. If you had
asked me to find a motto for your book I should have proposed

"Inciter et initier,"

as best summing up, according to my ideas, the aim that you
fulfill by your twofold talent of distinguished writer and
musician ex professo. It is really curious to observe how the
well-known saying, "It is from the north that light comes to us
today," has been verified lately with regard to musical
literature. After Mr. Oulibicheff had endowed us with a Mozart,
here come you with a Beethoven. Without attempting to compare two
works which are in so many respects as different and separate as
the two heroes chosen by their respective historiographers, it is
nevertheless natural that your name should be frequently
associated with that of Mr. Oulibicheff--for each is an honor to
Art and to his country. This circumstance, however, does not do
away with your right to lecture Mr. Oulibicheff very wittily, and
with a thorough knowledge of the subject, for having made of
Mozart a sort of Dalai-Lama, [The head of the temporal and
spiritual power in Thibet (Translator's note)] beyond which there
is nothing. In all this polemical part (pp. 26, 27, etc.), as in
many other cases, I am entirely of your opinion, with all due
justice to the talents and merits of your compatriot. From a
reading of the two works, Mozart and Beethoven, it is evident
that, if the studies, predilections, and habits of mind of Mr.
Oulibicheff have perfectly predisposed him to accomplish an
excellent work in its entirety, yours, my dear Lenz, have led you
to a sort of intimacy, the familiarity of which nourished a sort
of religious exaltation, with the genius of Beethoven. Mr.
Oulibicheff in his method proceeds more as proprietor and
professor; you more as poet and lawyer. But, whatever may be said
about this or that hiatus in your work, the plan of which has
confined you disadvantageously to the analysis of the piano
sonatas, and however much people may think themselves justified
in cavilling at you about the distribution of your materials, the
chief merit, which none could refuse you without injustice, is
that you have really understood Beethoven, and have succeeded in
making your imagination adequate to his by your intuitive
penetration into the secrets of his genius.

For us musicians, Beethoven's work is like the pillar of cloud
and fire which guided the Israelites through the desert--a pillar
of cloud to guide us by day, a pillar of fire to guide us by
night, "so that we may progress both day and night." His
obscurity and his light trace for us equally the path we have to
follow; they are each of them a perpetual commandment, an
infallible revelation. Were it my place to categorize the
different periods of the great master's thoughts, as manifested
in his Sonatas, Symphonies, and Quartets, I should certainly not
fix the division into three styles, which is now pretty generally
adopted and which you have followed; but, simply recording the
questions which have been raised hitherto, I should frankly weigh
the great question which is the axis of criticism and of musical
aestheticism at the point to which Beethoven has led us--namely,
in how far is traditional or recognized form a necessary
determinant for the organism of thought?--

The solution of this question, evolved from the works of
Beethoven himself, would lead me to divide this work, not into
three styles or periods,--the words "style" and "period" being
here only corollary subordinate terms, of a vague and equivocal
meaning,--but quite logically into two categories: the first,
that in which traditional and recognized form contains and
governs the thought of the master; and the second, that in which
the thought stretches, breaks, recreates, and fashions the form
and style according to its needs and inspirations. Doubtless in
proceeding thus we arrive in a direct line at those incessant
problems of "authority" and "liberty." But why should they alarm
us? In the region of liberal arts they do not, happily, bring in
any of the dangers and disasters which their oscillations
occasion in the political and social world; for, in the domain of
the Beautiful, Genius alone is the authority, and hence, Dualism
disappearing, the notions of authority and liberty are brought
back to their original identity.--Manzoni, in defining genius as
"a stronger imprint of Divinity," has eloquently expressed this
very truth.--

This is indeed a long letter, my dear Lenz, and as yet I am only
at the preliminaries. Let us then pass on to the Deluge,--and
come and see me at Weymar, where we can chat as long and fully as
we like of these things in the shade of our fine park. If a
thrush chances to come and sing I shall take advantage of the
circumstance to make, en passant, some groundless quarrels with
you on some inappropriate terms which one meets with here and
there in your book,--as, for example, the employment of the word
"scale" (ut, fa, la, etc.) instead of arpeggio chord; or, again,
on your inexcusable want of gallantry which leads you maliciously
to bracket the title of "Mamselle" (!) on to such and such a
Diva, a proceeding which will draw down upon you the wrath of
these divinities and of their numerous admirers. But I can assure
you beforehand that there are far more nightingales than thrushes
in our park; and, similarly, in your book the greater number of
pages, judiciously thought out and brilliantly written, carry the
day so well in worth and valor over any thinly scattered
inattentions or negligences, that I join with my whole heart in
the concert of praise to which you have a right.

Pray accept, my dear Lenz, the most sincere expressions of
feeling and best thanks of

Your very affectionate and obliged

F. Liszt

Weymar, December 2nd, 1852

As Madame Bettina d'Arnim has been passing some weeks at Weymar,
I let her know about your book. Feeling sure that the good
impression it has made on her would be a pleasure to you to hear,
I begged her to confirm it by a few lines, which I enclose

92. To Robert Radecke in Leipzig

[Printed in the Neue Berliner Musik-Zeitung, November 20th,
1890.--The addressee, afterwards Conductor of the Royal Opera,
and present Director of the Royal Academical Institute for Church
Music in Berlin, was formerly Vice-director of the Leipzig
"Singacademie" with Ferdinand David, and, intoxicated with the
first performance of Berlioz's Faust at Weimar, he had determined
to give such another in the Vocal Union of which he was Co-
director. With this object he begged Liszt for the score. But the
plan was not carried out, as Radecke exchanged his post at New
Year, 1853, for that of a Music Director at the Leipzig Town

Best thanks, dear Radecke, for your letter and the approved good

The "Faust" score will be at your service with great pleasure as
soon as I have got it back from Berlioz. It is probable that the
copy which Berlioz will see about for me in Paris will be ready
by Christmas, so that I shall be able to send it you soon after
New Year.

In the course of the winter I intend also to give a performance
of the little oratorio "La Fuite en Egypte," attributed to the
imaginary Maitre de Chapelle Pierre Ducre. This graceful and
interesting work should meet with approbation in Leipzig, and
offers no difficulty either for voice or orchestra. If you keep
the secret, and let your Gesangverein [Vocal Union] study it
under the name of Pierre Ducre, a composer of the sixteenth
century, I am convinced that it will not fail to make an effect.

[Liszt's playful suggestion about the Flight into Egypt was based
upon the fact that Berlioz, on its first performance, had
mystified the Paris public and brought forward the work under the
feigned name of Pierre Ducre, the organist of the Sainte Chapelle
in Paris in the year 1679.]

Joachim goes the day after tomorrow to Berlin; Cossmann is in
Paris; and Nabich [The first trombone player of the Weimar
orchestra, and a most admirable performer on his instrument.] is
performing in London, Liverpool, and Manchester. None the less we
are giving "Tannhauser" next Sunday (12th) (with subscriptions
suspended!), and for this occasion the entire Finale of the
second act and the new ending of the third will be studied.

Now farewell, and be active and cheerful, is the wish of yours
most sincerely,

F. Liszt

December 9th, 1852

93. To Bernhard Cossmann

[Weimar, December, 1852.]

[The date and ending of the letter are wanting, but from its
contents it may be ascribed to this date.]

Thanks, dear friend, for your kind few lines, which have given me
sincere pleasure. Joachim is not yet back from Berlin, and Beck
[The chief tenor (hero-tenor) at the Court Opera] has again got
his old attack of the throat, and I fear rather seriously, from
which these six years of cures, it appears, have not succeeded in
curing him radically. In consequence of this dearth of tenors,
the performances of Wagner's and Berlioz's operas are going to be
put off till February, when I hope that Tichatschek will be able
to come from Dresden and sing "Tannhauser," "Lohengrin," and the
"Flying Dutchman."

As for Cellini [Berlioz's opera]; we shall unfortunately have to
wait until Dr. Lieber, the new tenor engaged for next season, at
present at the Cologne theater, has learnt the part. I hear
Lieber's voice highly spoken of, and it seems that he possesses
also a dose of intelligence sufficient to understand how he ought
to behave here.--

In the matter of news I have one small item to give you--namely,
that on your return your salary will be raised fifty crowns, to
make the round sum of four hundred.--Laub [Ferdinand Laub, a
noteworthy violinist, was engaged for the 1st of January, 1853,
as Joachim's successor as Concertmeister at Weimar.] will arrive
very shortly, and accepts the propositions which have been made
to him. He will not be...

94. To Wilhelm Fischer, Chorus Director in Dresden

[Autograph in the possession of Herr Otto Lessmann at
Charlottenburg.--The addressee was an intimate friend of Wagner's
("Letters to Uhlig, Fischer, and Heine"--Leipzig, Breitkopf and
Hartel, 1889).]

Dear Sir,

By today's post I have sent you a minutely corrected copy of the
score of the "Flying Dutchman."

As this copy was my own property (Wagner had left it for me after
his stay here in 1869) I could not suppose that Uhlig could
expect it back from me as a theater score. The last letter from
Wagner to me has made the matter clear, and I place this score
with pleasure at his further disposal. I have replied to Wagner
direct and fully; he is therefore aware that I have sent you my
copy. [For fuller particulars about this see the "Wagner-Liszt
Correspondence," vol. i., pp. 207-9.]

Allow me to beg you kindly to make my excuses to Herr Heine
[Ferdinand Heine, Court actor and costumier, famous through
Wagner's letters to him.] that I do not answer his letter just
now. His indulgent opinion of our Lohengrtn performance is very
flattering to me; I hope that by degrees we shall deserve still
better the praise which comes to us from many sides: meanwhile,
as the occasion of his writing was just the matter of the
"Hollander" score, and as this is now quite satisfactorily
settled, it does not require any further writing.

With best regards, yours truly,

F. Liszt

Weymar, January 13th, 1853

Is Tichatschek coming to our "Lohengrin" performance in February?
Please beg him to try to do so. On Weymar's side nothing will be
neglected, and it will be a real joy to us both.

95. To Edmund Singer

[Formerly Concertmeister at Weimar; at present Court
Concertmeister and Professor at the Stuttgart Conservatorium.]

Dear Sir,

I thank you much for your friendly letter, and commission Herr
Gleichauf (in whom you will recognize an admirable viola
virtuoso) to persuade you not to retract your promised visit to
me at Weymar. It would be very pleasant to me to be able to keep
you here a longer time, yet I doubt whether you would be
satisfied with such a modest post as our administrative
circumstances warrant. When we have an opportunity we will talk
further of this; meanwhile it will be a pleasure to me to see and
hear you again. Laub's acquaintance will also interest you; he
has just been playing some pieces with a really extraordinary
virtuosity and bravura, so that we have all become quite warm
about it.

Come, then, as soon as you have a couple of spare days, and be
assured beforehand of the most friendly reception.

With my very best regards,

Yours truly,

F. Liszt

Saturday, January 15th, 1853

96. To Frau Dr. Lidy Steche in Leipzig

[The addressee sang for two winters in the Gewandhaus concerts
(as Frl. Angermann). After her marriage she started a Vocal
Union, in the forties, with which, in December 1853, she gave so
excellent a pianoforte performance of "Lohengrin" at her own
house, and afterwards at the Minerva "lodge," that Hoplit, in his
account of stage performances (Neue Zeitschrift fur Musik), spoke
of the Steche undertaking as a "model performance." This was
before the performance of "Lohengrin" at the Leipzig theater in
January 1854.]

My dear Madame,

I have the pleasure of answering your inquiries in regard to the
performances of the Wagner operas with the following dates:--

For next Wednesday, February 16th, the birthday of H.R.H. the
Grand Duchess, the first performance of the "Flying Dutchman" is
fixed. (N. B.--For that evening all the places are already taken,
and, as a great many strangers are coming, it will be difficult
to find suitable rooms in Weymar.) The following Sunday, February
20th, the "Flying Dutchman" will be repeated; and on the 27th
(Sunday) "Tannhauser" is promised, and on March 5th (Saturday)
"Lohengrin." Between these two performances of February 27th and
March 5th the third performance of the "Flying Dutchman" will
probably take place, of which I can give you more positive
information at the end of this week. The Wagner week proper
begins therefore with February 27th and closes with March 5th,
and if it were possible to you to devote a whole week to these
three glorious works of art I should advise you to get here by
the 27th,--or, better still for you (as you are already quite
familiar with "Tannhauser"), to come in time for the third
performance of the "Flying Dutchman," the date of which is still
somewhat uncertain, but which will probably be fixed for the 2nd
or 3rd March. Immediately after the first performance we shall
get quite clear about it, and I will not fail to let you know
officially the result of the theater Conference here (in which I
am not concerned).

Accept, my dear Madame, the assurance of the high esteem of

Yours most truly,

F. Liszt

Weymar, February 4th, 1853

97. To Gustav Schmidt, Capellmeister at Frankfort-On-The-Maine

[Autograph (without address) in the possession of M. Alfred Bovet
at Valentigney.--The contents show to whom the letter was

Dear Friend,

Berlioz's two symphonies, "Romeo and Juliet" and "Faust," have
been twice given here in the course of this winter with the
utmost success. Berlioz was so good as to lend me the score and
parts,--but with the express condition that they should not go
out of my hands. When, at the request of the Leipzig Academy of
Singing [Singacademie], I asked him some weeks ago whether he
would not allow me to place "Faust" at the disposal of the
Leipzig Institute for a proposed performance, he replied to me as

"Considering the deplorable performances of which my works have
often been the victims both in Germany and elsewhere, I have
resolved never to lend them in manuscript. Moreover there are
enough of my works printed in score and in separate parts (the
three Symphonies, several Overtures, the 5th May, the Requiem,
etc.) to make it unnecessary to seek for others. If I made an
exception for you," ["Pour toi." Showing that Liszt and Berlioz
employed the "tutoyer" towards one another.] etc...

Although I was perfectly certain that the Leipzig performance
would be a very satisfactory one, as many of my friends took a
lively interest in it, and although I have not the least doubt
that you would be anxious to give "Faust" its full value in
Frankfort, yet you see from the above lines of Berlioz that I, to
my regret, dare not risk any further application to him in this
matter. "Faust," moreover, will appear in score this year in
Paris, and I sent Berlioz his manuscript back a short time ago.

Should you be disposed to perform something or other of Berlioz's
in Frankfort, I can recommend you, first of all, most warmly:-

The two Overtures to "Cellini" and the "Carnaval Romain";

Two numbers out of the Symphony "Romeo and Juliet" -the feast at
Capulet's house and the Queen Mab (Scherzo);

And two Marches from the "Harold" Symphony and the "Symphonie
Fantastique"-the March of the Pilgrims and the "Marche de
Supplice" ["March on the Way to Execution"].

But it will be necessary for you to have several rehearsals--and
indeed separate rehearsals for the quartet, and separate
rehearsals for the wind instruments.

The effect of Berlioz's works can only be uncommonly good when
the performance of them is satisfactory.

They are equally unsuited to the ordinary worthy theater and
concert maker, because they require a higher artistic standpoint
from the musician's side.

I looked through Kittl's [1809-68. Director of the Prague
Conservatorium.] opera some years ago in a piano arrangement,
and, between ourselves, I do not think the work will last. Kittl
is a personal friend of mine, and I should have been glad to be
able to give his work here; but...nevertheless...etc., etc.

Raff's "King Alfred" is a much more successful and important
work; and, without wishing to injure Kittl, there is in Raff
quite other musical stuff and grist. [Steckt doch in Raff ein
ganz anderer musikalischer Kern and Kerl: untranslatable play on

During your last stay in Weymar I spoke to you of Vesque's new
opera "Der lustige Rath." Various local circumstances have
delayed the performance at Vienna of this really pretty, nicely
worked out opera. The mise-en-scene does not require any special
efforts; the piece only requires a somewhat piquant and not
unskillful soprano singer. Altogether the opera appears to me to
be written in a charming style, not too superficially
conservative, and to be one of the best among the new operas
mezzo-carattere. In case you still have time and are not
indisposed to give the opera in Frankfort, I can send you the
score. You would do Vesque an essential service if you could give
the opera soon, and would have friendly relations with him, for
Vesque is a cultivated, intelligent, and first-rate man. [Vesque
von Puttlingen (pseudonym, Hoven), 1803-83, Councillor of the
Austrian Foreign Ministry, composer of songs and operas.] There
are not too many such!

Yours in all friendship,

F. Liszt

Weimar, February 27th, 1853

98. To Heinrich Brockhaus, Bookseller in Leipzig

[Published in a German translation: La Mara, "Letters of
Musicians during Five Centuries, vol. ii., 1887.]

My dear Mr. Brockhaus,

In thanking you for your kind mention of the notice joined to my
name in the Conversations Lexikon, I wish above all things not to
go beyond the limits of most scrupulous delicacy, which in these
sorts of things have always appeared to me all the more desirable
to maintain because they are so very often passed. Consequently I
will only allow myself to point out three misstatements of fact
in the article about myself: firstly, my supposed title of ex-St.
Simonien; secondly, my supposed journey to America; thirdly, my
diploma of the University of Konigsberg, which my biographer
arbitrarily changes into a diploma of Doctor of Music, which was
not the one given to me.--

I have never had the honor of belonging to the association, or,
to put it better, to the religious and political family of St.
Simonisme. Notwithstanding my personal sympathy with this or that
member of it, my zeal has been but little beyond that which
Heine, Boerne, and twenty others whose names are in the
Conversations Lexikon showed at the same period, and they limited
themselves to following pretty often the eloquent preachings of
the Salle Taitbout. Among my numerous tailors' bills, I can
certify that there is not one to be found of a bleu-barbot coat
[The dress of the St. Simonists.]; and, as I have mentioned
Heine, I ought to add that my fervor was far short of his, for I
never thought of wishing to "Commune through space with the
Child-lake Father," by correspondence or dedication, as he has

Further, I can also assure you that my practical course of the
geography of Europe has not extended beyond it, and that the four
or five other parts of the globe are entirely unknown to me. And
when you come to see me at Weymar I can show you, amongst other
diplomas, that of the University of Konigsberg, in virtue of
which I have the honor to belong, exceptionally, to the class of
Doctors in Philosophy, an honor for which I have always been
peculiarly grateful to this illustrious University.

As to the summary judgment passed upon my person and my works in
this article, you will easily understand that I only accept it as
transitory and with due reserve, much obliged though I am besides
to the author for his kind intentions. After having attained,
according to my biographer, the first aim of my youth,--that of
being called the Paganini of the Piano,-it seems to me it is
natural that I should seriously have the ambition of bearing my
own name, and that I should count somewhat on the results of a
desire and of persevering work, so far as to hope that in one of
the later editions of the Conversations Lexikon I may have a
place more in accordance with my aims. [The article in question,
which was published at a time when Liszt's greater works had
partly not yet been written, and partly were not yet known in the
wider circles, speaks of poverty of invention, and considers his
compositions rather those of a virtuoso than of imaginative

Accept, my dear Mr. Brockhaus, the expression of my most sincere
regard, and believe me

Yours very truly,

F. Liszt

Weymar March 22nd, 1853

99. To Dr. Franz Brendel in Leipzig

[Autograph of the letter to Brendel in the possession of Frau Dr.
Riedel in Leipzig.--Brendel (born 1811, died November 25th, 1868,
in Leipzig) rendered great services to the New German (i.e., the
Wagner-Liszt) musical tendencies, as a writer on music
(Geschichte der Musik, History of Music), and as editor of the
Neue Zeitschrift fur Musik (founded by R. Schumann). He also,
together with Liszt, originated the "Allgemeine Deutsche
Musikverein" (the "German Universal Musical Union"), and was its
president up to his death.]

Dear Friend,

A little trip to Gotha, where the Duke had invited me to be
present at the performance of his opera "Casilda" the day before
yesterday, must bear the blame of my delay in writing to you.
After duly thinking over and considering your letter, I must tell
you first and foremost my exact opinion with regard to the
immediate appearance of the proposed paper. In my opinion at
least two or three months are requisite to establish the
necessary relations with the chief co-operators, and to give due
weight to the whole undertaking. Without complete agreement as to
means and aims we should compromise rather than help the matter.
We must have the positive agreement and assurance of Semper,
Stahr, Hettner, Hauenschild, and others (among whom Vischer of
Tübingen must be sure not to be forgotten), before the first
number appears. We have to struggle for a far higher and more
difficult end than, for instance, the Unterhallungen am
hausliehen Herd [Entertainments at Home] or the Fliegende Blatter
fur Musik. [Fly-leaves for Music.] The most important step for us
is the very first, at the house door; and if we do not weigh this
step with due reflection we shall run a great risk of winning
only imaginary future subscribers for the Art Work of the Future,
and of seeing our best wishes for its feasibility shipwrecked.

Whether also the title Kunstwerk der Zukunft [Art Work of the
Future.] should be employed, or what other definition should
be the axis of our united efforts in the opening number, I will
put on one side for the present. The full discussion of this and
other things I will keep for your next visit to Weymar. Raff's
opera is announced for this day fortnight (Sunday, April 17th).
If it is agreeable to you to come here sooner, you will be most
welcome at any moment. This time and every time that you come to
Weymar, I beg you to stay with me, both for your own convenience
and mine.

Förster's exact address I will send you very soon, although I
conclude that letters addressed Herr Hofrath Ernst Forster would
be safely delivered by the post office. Stahr is the best person
to give you information about Herr von Hauenschild (Max Waldau--
not Count, as far as I know), and Hettner is a Professor in Jena.

Further, it is my opinion that you had better not send your
communications to these gentlemen until we have settled some of
the chief points in this matter.

I shall undertake a security of four hundred thalers on this
proposed agreement between us, in return for a receipt from the
management which you will give me. I cannot at present hold out
the prospect of further support; yet it is possible that I may
succeed in getting three to five hundred thalers annually, under
certain conditions, for which there is no personal ground
whatever (and which I hinted to you in our last conversation in
Leipzig), for the pages of The Present and Future.

Remember me kindly to your wife, and be assured of the entire
willingness of

Yours truly,

F. Liszt

Weymar, April 3rd, 1853

100. To Dr. Franz Brendel

Dear Friend,

Good advice is seldom cheap, and I must honestly confess that in
my present very fluctuating circumstances I am not rich enough to
help you efficaciously by lending you a helping hand, however
much I might wish to do so. Stahr's refusal is very much to be
regretted, for, in order to attain your end and to influence the
world of literature, you positively require more literary men of
great note to join you. Next to the money question the formation
of the nucleus of management is the most important matter in this
undertaking. However zealous and self-sacrificing you and
Schlonbach [Arnold Schlonbach, journalist, died long ago.] may be
in devoting your talents and powers to the paper, yet I doubt
whether you will be able to keep it going unless you get some
further capable men of talent as co-operators. This brings us,
however, again to the money question, which I unfortunately am
not in a position to solve. To be obliged to give it up after six
months would be a far worse fate than not to begin it at all.
Therefore, before everything, the moral guarantee must be
forthcoming for its continuance, and for the constantly
increasing spread of the paper, and these depend principally on
the guarantee which the first five or six co-operators warrant.
You remark quite truly that, if Wagner would take an interest in
the matter, it would be of the greatest help. Perhaps he might be
persuaded to do so, and I will willingly start the subject to

The title, size (as well as the limits of the paper, and cover),
and fortnightly issue give me thorough satisfaction, and
according to my opinion nothing more need be altered in these
three particulars. A weekly issue has its advantages--
nevertheless I have always thought that two papers per month are
on the whole better than four. But whether it is possible and
advisable to make the first start as early as July I much
question. "Tout vient a point a qui sait attendre," says the
French proverb. It certainly is important to seize the right
moment, and that must be decided by you. Let me only beg you not
to give too much weight to passing and local influences, and only
to come forward when you can hold your ground with quiet,
deliberate courage. Retreat belongs to the enemy. For us it is
"Gradatim vincimus."

The matter of the security remains as promised. If you should not
be ready by July, October would be just as favorable, if not more
so--only, in Heaven's name, no backward step when once started!--
Some articles of provision and ammunition seem to me to be
absolutely necessary before you begin. Two months are a short
time to get them ready, and I scarcely think it will be possible
for you to be ready for action by July. Have you written yet to
Wagner? You must not expect much from Hettner without Stahr. But,
through Hinrichs or Franz, Hauenschild might perhaps be won over.
I advise you to stick fast to Schwind. One of his last pictures,
"Beethoven's Fancy," bought by the King of Greece, points to him
above all others as the representative of painting in your paper.

May I beg you also to send a few lines to Kurnberger to tell him
that I have given you his manuscript? It would be discourteous if
I were to leave him without any answer, and, as I cannot say
anything further to him, we should save useless circumlocution if
you would be so good as to correspond with him direct.

Incidentally you would also save me another letter about nothing,
if you would write to Lenz (on the subject of this conference).

Whilst I am talking with you, Senora Pepita Oliva is doing her
favorite tricks at the theater, which are more prized and rated
higher than they deserve, so I am assured. "J'aime mieux y croire
qu'y aller voir." [I would rather take it for granted than go and
see it.] The brothers Wieniawski have also been here some days.
The violinist is a virtuoso of importance,--that is to say, in
the ordinary, but not quite correct, sense of this word; for
Virtuoso comes from Virtu, and should neither be so falsified nor
so misapplied.


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