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

Part 1 out of 10

This etext was produced by John Mamoun with the
Online Distributed Proofreading Team of Charles Franks.

Letters of Franz Liszt, Volume 2: "From Rome to the End"

by Franz Liszt; letters collected by La Mara and translated by
Constance Bache




The Austrio-Hungarian composer Franz Liszt (1811-1886) was a
pianistic miracle. He could play anything on site and composed
over 400 works centered around "his" instrument. Among his key
works are his Hungarian Rhapsodies, his Transcendental Etudes,
his Concert Etudes, his Etudes based on variations of
Paganinini's Violin Caprices and his Sonata, one of the most
important of the nineteenth century. He also wrote thousands of
letters, of which 399 are translated into English in this second
of a 2-volume set of letters (the first volume contains 260

Those who knew him were struck by his extremely sophisticated
personality. He was surely one of the most civilized people of
the nineteeth century, internalizing within himself a complex
conception of human civility, and attempting to project it in his
music and his communications with people. His life was centered
around people; he knew them, worked with them, remembered them,
thought about them, and wrote about them using an almost poetic
language, while pushing them to reflect the high ideals he
believed in. His personality was the embodiment of a refined,
idealized form of human civility. He was the consummate musical
artist, always looking for ways to communicate a new civilized
idea through music, and to work with other musicians in
organizing concerts and gatherings to perform the music publicly.
He also did as much as he could to promote and compliment those
whose music he believed in.

He was also a superlative musical critic, knowing, with few
mistakes, what music of his day was "artistic" and what was not.
But, although he was clearly a musical genius, he insisted on
projecting a tonal, romantic "beauty" in his music, confining his
music to a narrow range of moral values and ideals. He would have
rejected 20th-century music that entertained cynical notions of
any kind, or notions that obviated the concept of beauty in any
way. There is little of a Prokofiev, Stravinsky, Shostakovich,
Cage, Adams, and certainly none of a Schoenberg, in Liszt's
music. His music has an ideological "ceiling," and that ceiling
is "beauty." It never goes beyond that. And perhaps it was never
as "beautiful" as the music of Mozart, Bach or Beethoven, nor
quite as rational (Are all the emotions in Liszt's music truly
"controlled?"). But it certainly was original and instructive,
and it certainly will linger.



We welcome thee, from southern sunnier clime,
To England's shore,
And stretch glad hands across the lapse of time
To the once more.


Full twice two decades swiftly have rolled by
Since thou wast here;
A meteor flashing through our northern sky
Thou didst appear.


Thy coming now we greet with pleasure keen,
And loyal heart,
Adding tradition of what thou hast been
To what thou art.


No laurel can we weave into the crown
Long years entwine,
Nor add one honour into the renown
Already thine:


Yet might these roses waft to thee a breath
Of memory,
Recalling thy fair Saint Elizabeth
Of Hungary


We welcome her, from out those days of old,
In song divine,
But thee we greet a thousand fold,
The song is thine!


[Presumably written by Constance Bache, this trite paean would
likely not have appealed to Liszt, who repeatedly affirmed his


1. Dr. Franz Brendel. December 20th, 1861
2. A. W. Gottschalg in Tieffurt. March 11th, 1862
3. Dr. Franz Brendel. April 12th, 1862
4. Mme. Jessie Laussot in Florence. May 3rd, 1862
5. Dr. Franz Brendel. June 12th, 1862
6. the same. July 12th, 1862
7. the same. August 10th, 1862
8. the same. August 29th, 1862
9. the same. November 8th, 1862
10. A.W. Gottschalg. November 15th, 1862
11. Eduard Liszt. November 19th, 1862
12. Dr. Franz Brendel. December 30th, 1862
13. Breitkopf and Hartel. March 26th, 1863
14. A.W. Gottschalg in Weimar. April 14th, 1863
15. Dr. Franz Brendel. May 8th, 1863
16. Eduard Liszt. May 22nd, 1863
17. Dr. Franz Brendel. June 18th, 1863
18. the same. July 18th, 1863
19. Breitkopf and Hartel. August 28th, 1863
20. Dr. Franz Brendel. September 7th, 1863
21. Dr. Gille in Jena. September 10th, 1863
22. Dr. Franz Brendel. October l0th, 1863
23. Mme. Jessie Laussot. October 15th, 1863
24. Dr. Franz Brendel. November 11th, 1863
25. Breitkopf and Hartel. November 16th, 1863
26. Dr. Franz Brendel. January 22nd, 1864
27. the same. May 28th, 1864
28. Dr. Franz Brendel. June 13th, 1864
29. The Committee of the Society for the Support of Needy
Hungarian Musicians in Pest. June 18th, 1864
30. Eduard Liszt. June 22nd, 1864
31. Dr. Franz Brendel. July 1st, 1864
32. Walter Bache in London. July 2nd, 1864
33. ? August 7th, 1864
34. Eduard Liszt. September 7th, 1864
35. Breitkopf and Hartel. September 14th, 1864.93
36. the same. October 1st, 1864
37. Mme. Jessie Laussot. March 6th, 1865
38. Dr. Franz Brendel. April 3rd, 1865
39. Prince Constantine (Hohenzollern-Hechingen). May 11th, 1865
40. Breitkopf and Hartel. May 27th, 1865
41. Dr. Franz Brendel. July 21st, 1865
42. Abbe Schwendtner. September 20th, 1865
43. Dr. Franz Brendel. September 28th, 1865
44. Eduard Liszt. November 1st, 1865.
45. Dr. Franz Brendel. January 14th, 1866
46. the same. June 19th, 1866
47. the same. October 2nd, 1866
48. Breitkopf and Hartel. October 4th, 1866
49. Dr. Franz Brendel. January 6th, 1867
50. Dr. Cuturi in Pisa. January 22nd, 1867
51. Julius von Beliczay in Vienna. April 29th, 1867
52. Mme. Jessie Laussot. May 24th, 1867
53. Eduard Liszt. June 20th, 1867
54. William Mason. July 8th, 1867
55. E. Repos in Paris. July 12th, 1867
56. Prince Constantine Czartoryski.October 14th, 1867
57. Eduard Liszt. October 16th, 1867
58. the same. October 20th, 1867
59. Peter Cornelius. October 23rd, 1867
60. Eduard von Liszt. November 6th, 1867
61. E. Repos. November 8th, 1867
62. Mme. Jessie Laussot. January 13th, 1868
63. DP. Franz Brendel. January 26th, 1868
64. Walter Bache. January 30th, 1868
65. Dr. Franz Brendel. March 31st, 1868
66. Johann von Herbeck. June 9th, 1868
67. Dr. Franz Brendel. June 17th, 1868
68. E. Repos. July 1st, 1868
69. Carl Riedel in Leipzig. August 12th, 1868
70. E. Repos. August 26th, 1868
71. Dr. Siegmund Lebert in Stuttgart. September 10th, 1868
72. E. Repos. September 19th, 1868
73. C.F. Kahnt. September 20th, 1868
74. E. Repos. September 22nd, 1868
75. Dr. S. Lebert. October 19th, 1869
76. Richard Pohl in Baden-Baden. November 7th, 1868
77. Johann von Herbeck. December 1st, 1868
78. Dr. Siegmund Lebert. December 2nd, 1868
79. Eduard von Liszt. December 6th, 1868
80. Johann von Herbeck. December 29th, 1868
81. Edvard Grieg. December 29th, 1868
82. Carl Bechstein in Berlin. January 19th, 1869
83. Johann von Herbeck. January 27th, 1869
84. E. Repos. March 3rd, 1869
85. Laura Kahrer in Vienna. April 15th, 1868
86. Franz Servais. May 21st, 1869
87. William Mason. May 26th, 1869
88. Heinrich Schulz-Beuthen. June 18th, 1869
89. Franz Servais. July 4th, 1869
90. Mme. Jessie Laussot. July 16th, 1869
91. Camille Saint-Sa2ns. July 19th, 1869
92. the same. August 4th, 1869
93. Mme. Jessie Laussot. October 7th, 1869
94. Dr. Ludwig Nohl. November i7th, 1869 188
95. Princess Wittgenstein. November 27th, 1869
96. Franz Servais. December 20th, 1869
97. Dr. Franz Witt in Ratisbon. Towards end of 1869
98. Dr. Siegmund Lebert. January loth, 1870
99. C.F. Kahnt. February 11th, 1870
100. Dr. Gille. February 26th, 1870
101. Baroness Schwartz in Crete. March 15th, 1870
102. Camille Saint-Saens. May 12th, 1870
103. Johann von Herbeck. June 20th, 1870
104. Sophie Menter. August 11th, 1870
105. the same. August 29th, 1870
106. Kornel von Abranyi in Budapest, November 2nd, 1870
107. Sophie Menter. March 22nd, 1871
108. Edmund von Mihalovich in Budapest. May 29th, 1871
109. Marie Lipsius. July 23rd, 1871
110. Franz Servais. August 25th, 1871
111. Walter Bache. October 25th, 1871
112. Marie Lipsius. October 25th, 1871
113. Breitkopf and Hartel. November 22nd, 1871
114. Mme. Anton Rubinstein. January 9th, 1872
115. Edmund von Mihalovich. April 18th, 1872
116. Johanna Wenzel. June 10th, 1872
117. Wilhelm von Lenz. September 20th, 1872
118. Otto Lessmann. September 26th, 1872
119. Eduard von Liszt. November 6th, 1872
120. Princess Wittgenstein. January 10th, 1873
121. Eduard von Liszt. January 13th, 1873
122. Dr. Emil Thewrewk von Ponor in Budapest. January 14th, 1873
123. Dr. Franz Witt. January 20th, 1873
124. Eduard von Liszt. January 28th, 1873
125. the same. February 10th, 1873
126. the same. March 3rd, 1873
127. Mme. Jessie Laussot. March 30th, 1873
128. Casar Cui. May, 1873
129. Franz Servais. June 5th, 1873
130. Adelheid von Schorn. July 30th, 1873
131. Eduard von Liszt. August 19th, 1873
132. Franz Servais. August 19th, 1873
133. Walter Bache. August 20th, 1873
134. Max Erdmannsdorfer. September 16th, 1873
135. Otto Lessmann. September 24th, 1873
136. Kornel von Abranyi. October ist, 1873
137. Martha Remmert. December 27th, 1873
138. ? 1873
139. Countess Marie Donhoff in Vienna. January, 1874
140. B. Bessel in St. Petersburg. February 2nd, 1874
141. Skiwa in Vienna. March 21st, 1874
142. C. F. Kahnt. March 29th, 1874
143. Dr. Franz Witt. 1874?
144. Carl Riedel. April 17th, 1874
145. Dr. Franz Haberl, 1874?
146. Carl Riedel. May 5th, 1874
147. Princess Julie Waldburg. May 10th, 1874
148. Peter Cornelius. May 16th, 1874
149. A. F. Eggers in Liverpool. June 21st, 1874
150. Walter Bache. June 21st, 1874
151. Dr. Franz Witt. Early Summer, 1874
152. Dr. Franz Haberl. Early Summer, 1874
153. Edmund von Mihalovich. July 30th, 1874
154. Peter Cornelius. August 23rd, 1874
155. Ludwig Bosendorfer in Vienna. August 28th, 1874
156. Adelheid von Schorn. October 12th, 1874
157. Breitkopf and Hartel. November 24th, 1874
158. Count Albert Apponyi in Budapest. December 6th, 1874
159. Edmund von Mihalovich. December 8th, 1874
160. Carl Hoff bauer in Munich. End of 1874
161. Edmund von Mihalovich. December 29th, 1874
162. Carl Hoff bauer. Beginning of 1875
163. Julius Stern. February 4th, 1875
164. Count Albert Apponyi. February 18th, 1875?
165. Johann von Herbeck. March 3rd, 1875
166. Eduard von Liszt. April 22nd, 1875
167. Adelheid von Schorn. May 17th, 1875
168. Eduard von Liszt. July 17th, 1875
169. Louis Kohler. July 27th, 1875
170. Carl Hillebrand in Florence. August 2nd, 1875
171. Adelheid von Schorn. August 7th, 1875
172. Dr. Franz Witt. August or September, 1875
173. Lina Ramann. September 28th, 1875
174. Eduard von Liszt. September 29th, 1875
175. Kornel von Abranyi. October 14th, 1875
176. Walter Bache. October 26th, 1875
177. Eduard von Liszt. October 31st, 1875
178. Mme. Jessie Laussot. November 17th, 1875
179. Eduard von Liszt. November 26th, 1875
180 Hans Schmitt in Vienna. End of 1875
181. Kornel von Abranyi. January 20th, 1876
182. Eduard von Liszt. January 23rd, 1876
183. Dr. Eduard Kulke in Vienna. January 23rd, 1876
184. Marie Lipsius. February 3rd, 1876
185. August von Trefort in Budapest. March 1st, 1876
186. Walter Bache. March 8th, 1876
187. Mme. Jessie Laussot. March 9th, 1876
188. Dr. Leopold Damrosch in New York. April 15th, 1876
189. Friedrich von Bodenstedt. June 8th, 1876
190. B. Bessel. June 20th, 1876
191. Prince Carl Lichnowsky. June 21st, 1876
192. Max Erdmannsdorfer. June 27th, 1876
193. Kornel von Abranyi. August 6th, 1876,
194. Richard Wagner. August, 1876
195. Marie Breidenstein in Erfurt. September 18th, 1876
196. Camille Saint-Saens. October 2nd, 1876
197. L.A. Zellner in Vienna. October 31st, 1876
198. Hans Richter in Vienna. November 10th, 1876
199. Breitkopf and Hartel. November 12th, 1876
200. Constantin Sander in Leipzig. November 15th, 1876
201. Breitkopf and Hartel. November 23rd, 1876
202. Constantin Sander. November 29th, 1876
203. Vera Timanoff. November 29th, 1876
204. Otto Reubke in Halle. November, 1876
205. Marianne Brandt in Berlin. December 3rd, 1876
206. Committee of the Beethoven Monument. December 10th, 1876
207. Eduard von Liszt. January 2nd, 1877
208. Walter Bache. March 9th, 1877
209. Eduard von Liszt. July 3rd, 1877
210. Ludwig Bosendorfer. July 12th, 1877
211. Edmund von Mihalovich. July 20th, 1877
212. Kornel von Abranyi. July 28th, 1877
213. Constantin Sander. September 5th, 1877
214. Adelheid von Schorn. September 15th, 1877
215. Breitkopf and Hartel. September 26th, 1877
216. Frau Ingeborg von Bronsart. October 2lst, 1877
217. Eduard von Liszt. November 23rd, 1877
218. Jules de Zarembski. December 13th, 1877
219. Mme. Jessie Laussot. January 29th, 1878
220. the same. February 3rd, 1878
221. B. Bessel. March 11th, 1878
222. Walter Bache. March 19th, 1878
223. Dr. Ludwig Nohl. March 20th, 1878
224. Dr. Siegmund Lebert. March 27th, 1878
225. Edmund von Mihalovich. April 13th, 1878
226. Kornel von Abranyi. April 14th, 1878
227. Fran Ingeborg von Bronsart. April 20th, 1878
228. Eduard von Liszt. April 26th, 1878
229. Edmund Singer. May 10th, 1878
230. Adolf von Henselt. June 5th, 1878
231. Eduard von Liszt. June 6th, 1878
232. Carl Riedel. June 7th, 1878
233. Vera Timanof£ Summer, 1878
234. Eduard von Liszt. July 6th, 1878
235. Robert Franz. July 12th, 1878
236. Kornel von Abranyi. September 13th, 1878
237. Eduard von Liszt. November 4th, 1878
238. Freiherr Hans von Wolzogen. November 15th, 1878
239. Eduard von Liszt. November 21st, 1878
240. the same. January 22nd, 1879
241. Ludwig Bosendorfer. February 19th, 1879
242. Adolf von Henselt. February, 1879
243. Marie Lipsius. March 2nd, 1879
244. Otto Lessmann. March 23rd, 1879
245. Von Trefort. May 12th, 1879
246. Walter Bache, May 25th, 1879
247. Ludmilla Schestakoff. June 14th, 1878
248. A. Borodin, C. Cui, An. Liadoff, and N. Rimsky-Korsakoff.
June 15th, 1879
249. Josef Bohm. June 22nd, 1879
250. Vera Timanoff. Summer, 1879
251. Adolf von Henselt. July 12th, 1879
252. Dr. Siegmund Lebert. September 25th, 1879
253. Bassani in Venice. October 28th, 1879
254. Anatole Liadoff. December 25th, 1879
255. Fran Reisenauer.Pauly in Rome. January 30th, 1880
256. Carl Klindwo1th. February 16th, 1880
257. Herrmann Scholtz. April 29th, 1880
258. Sophie Menter. May 26th, 1880
259. Jules de Zarembski. June 1st, 1880
260. Bassani. June 4th, 1880
261. Marie Lipsius. June l0th, 1880
262. Kornel von Abranyi. June 20th, 1880
263. Freiherr Hans von Wolzogen. July 28th, 1880
264. Friedrich Hofme1ster. August 17th, 1880
265. Baroness Helene Augusz. September 1st, 1880
266. Mme. Anton Rubinstein. October 24th, 1880
267. Frau Amalie von Fabry in Budapest. November 1st, 1880
268. Frau Anna Benfey-Schuppe. November 11th, 1880
269. Committee of Antwerp Musical Society. November 16th, 1880
270. Sophie Menter. December 2nd, 1880
271. Dr. Friedrich Stade. December 11th, 1880
272. S. Jadassohn. January l0th, 1881
273. Frau Reisenauer-Pauly in Konigsberg. January 29th, 1881
274. Dionys von Pazmandy. February 15th, 1881
275. Fran Colestine Bosendorfer. April 17th, 1881
276. the Committee of the Wagner-Verein. April 25th, 1881
277. Kornel von Abranyi. May 13th, 1881
278. the same. May 22nd, 1881
279. Frau Charlotte Blume-Arends. August 29th, 1881
280. Otto Lessmann. September 8th, 1881
281. Francois Auguste Gevaert in Brussels. September 19th, 1881
282. the same. October 8th, 1881
283. Edmund von Mihalovich. October 8th, 1881
284. Jules de Zarembski. December 4th, 1881
285. Camille Saint-Saens. December 6th, 1881
286. Ludwig Bosendorfer. December 8th, 1881
287. Pauline Viardot-Garcia. December 12th, 1881
288. Mme. Malwine Tardieu in Brussels. January 20th, 1882
289. Alexander Wereschagin. February 5th, 1882
290. Martha Remmert. February 20th, 1882
291. Mme. Malwine Tardieu. April 11th, 1882
292. Franz Servais. April 22nd, 1882
293. Mme. Malwine Tardieu. April 23rd, 1882
294. Otto Lessmann. April 23rd, 1882
295. Frau Charlotte Blume-Arends. April 23rd, 1882
296. Freiherr Hans von Wolzogen. April 25th, 1882
297. Frau Henriette von Liszt. May 11th, 1882
298. Camille Saint-Saens. May 14th, 1882
299. Mme. Malwine Tardieu. June 10th, 1882
300. Committee of Allgemeine Deutsche Musikverein. June, 1882
301. F. von Jagemann at Freiburg in Breisgau. July 6th, 1882
302. Nicolaus Oesterlein in Vienna. July 16th, 1882
303. Kornel von AbrAnyi. July 23rd, 1882
304. Freiherr Hans von Wolzogen. July 27th, 1882
305. Mme. Malwine Tardieu. September 12th, 1882
306. Otto Lessmann. September 16th, 1882
307. the same. September 20th, 1882
308. Frau Charlotte Blume-Arends. September 27th, 1882
309. Otto Lessmann. October 14th, 1882
310. the same. November 4th, 1882
3ll. Mme. Malwine Tardieu. November 6th, 1882
312. Otto Lessmann. November, 1882
313. Adelheid von Schorn. November 20th, 1882
314. Freiherr Hans von Wolzogen. November 24th, 1882
315. Franz Servais. November 26th, 1882
316. Adelheid von Schorn. December 8th, 1882
317. Carl Riedel. December 9th, 1882
318. Arthur Meyer in Paris. January 28th, 1883
319. Albert Fuchs. February 4th, 1883
320. Saissy in Budapest. February 6th, 1883
321. the same. February eth, 1883.
322. Rich and Mason in Toronto. 1883
323. Mme. Marie Jaell. February 12th, 1883
324. Adelheid von Schorn. February 14th, 1883
325. Otto Lessmann. February 18th, 1883
326. Lina Ramann. February 22nd, 1883
327. Mme. Malwine Tardieu. March 6th, 1883
328. Ferdinand Taborszky in Budapest. March 11th, 1883
329. Baroness M. E. Schwartz. March 22nd, 1883
330. Baroness Wrangel in St. Petersburg. May 20th, 1883
33I. Mason and Hamlin in Boston. June 12th, 1883
332. Mme. Malwine Tardieu. December 14th, 1883
333. Cšsar Cui. December 30th, 1883
334. Otto Lessmann. January 10th, 1884
335. Felix Mottl. February 8th, 1884
336. Frau Henriette von Uszt.February 8th, 1884
337. Camille Saint-Satins. April 29th, 1884
338. Otto Lessmann. May 7th, 1884
339. Camille Saint-SaŽns. May 18th, 1884
340. Walter Bache, May 23rd, 1884
341. Carl Navratil in Prague. May 30th, 1884
342. Baron Friedrich Podmaniczky in Budapest, 1884
343. Freiherr Hans von Wolzogen. June 18th, 1884
344. Auguste Gotze. June 22nd, 1884
345. Kornei von Abranyi. July 1st, 1884
345A. Mme. Malwine Tardieu. August 9th, 1884
346. Rahter in Hamburg. August 28th, 1884
347. Richard Pohl. September 12th, 1884
348. Sophie Menter. September 13th, 1884
349. Baron Friedrich Podmaniczky. September 2lst, 1884
350. Walter Bache. October 18th, 1884
351. Mili Balakireff in St. Petersburg. October 2lst, 1884
352. Countess Mercy-Argenteau. October 24th, 1884
353. Mme. Malwine Tardieu. December 7th, 1884
354. Freiherr Hans von Wolzogen. December 18th, 1884
355. Camille Saint-Saens. End of 1884 or beginning of 1885
356. Countess Mercy-Argenteau. January 20th, 1885
357. Camille Saint-Saens. January 27th, 1885
358. Mme. Malwine Tardieu. April 6th, 1885
359. Lina Ramann. April 27th, 1885
360. Camille Saint-Saens. May 8th, 1885
361. Alexander Siloti. May, 1885
362. J. P. von Kiraly in Eisenstadt. June 5th, 1885
363. Ferdinand Taborszky. June 8th, 1885
364. Alfred Reisenauer. September 1st, 1885
365. Otto Lessmann. September 5th, 1885
366. Casar Cui. October 18th, 1885
367. Countess Mercy-Argenteau. October 24th, 1885
368. Eduard Reuss in Carlsruhe. November 4th, 1885
369. Breitkopf and Hartel. November, 1885
370. Walter Bache. November 17th, 1885
370A. the same. November 26th, 1885
370B. the Philharmonic Society. November 26th, 1885
371. Countess Mercy-Argenteau. November 2lst, 1885
372. Camille Saint-Sans. November 28th, 1885
373. Eugen d'Albert. December 26th, 1885
374. Sophie Menter. December 30th, 1885
375. Eduard Reuss. January l0th, 1886
376. Walter Bache. February 11th, 1886
377. Countess Mercy- Argenteau. February 17th, 1886
379. Sophie Menter. March 18th, 1886
379. Countess Mercy-Argenteau. April 14th, 1886
380. Alexander Ritter. April 24th, 1886
381. Frau Amalie von Fabry. May 27th, 1886
382. Mme. Malwine Tardieu. May 29th, 1886
383. Eduard Reuss. June 5th, 1886
384. Frau Reuss-Belce. June 5th, 1886
385. Eduard Reuss. June 22nd, 1886
386. Sophie Menter. July 3rd, 1886

Index of Supplemental Letters

387. Freiherr von Spiegel in Weimar. September 30th, 1841
388. Eugenio Gomez in Sevilla. December 27th, 1844
389. Mme.? End of December, 1844
390. Mme.? Beginning of 1845
391. Mme.? in Milan. 1846
392. Frau Charlotte Moscheles (?). June 22nd, 1848
393. Heinrich Wilhelm Ernst. May 30th, 1801
394. Josef Dessauer (?). Beginning of the fifties
395. Testimonial for Joachim Raff. Beginning of the fifties.
396. Dr. Eduard Hanslick in Vienna. January 31st, 1856.
397. Minister von Bach in Vienna. September 18th
398. ? in Leipzig. Spring, 1859
399. Dr. Eduard Hanslick. September 24th, 1859


1. To Dr. Franz Brendel

[Rome,] December 20th, 1861

Dear Friend,

For the New Year I bring you nothing new; my soon ageing
attachment and friendship remain unalterably yours. Let me hope
that it will be granted to me to give you more proof of it from
year to year.

Since the beginning of October I have remained without news from
Germany. How are my friends Bronsart, Draseke, Damrosch,
Weissheimer? Give them my heartiest greetings, and let me see
some notices of the onward endeavors and experiences of these my
young friends, as also of the doings of the Redactions-Hohle
[Editorial den] and the details of the Euterpe concerts.

Please send the numbers of the paper, from October onwards, to me
at the address of the library Spithover-Monaldini, Piazza di
Spagna, Rome. Address your letter "Herrn Commandeur Liszt," Via
Felice 113. "Signor Commendatore" is my title here; but don't be
afraid that any Don Juan will stab me--still less that on my
return to Germany I shall appear in your Redactions-Hohle as a
guest turned to stone!--

Of myself I have really little to tell you. Although my
acquaintance here is tolerably extensive and of an attractive
kind (if not exactly musical!), I live on the whole more retired
than was possible to me in Germany. The morning hours are devoted
to my work, and often a couple of hours in the evening also. I
hope to have entirely finished the Elizabeth in three months.
Until then I can undertake nothing else, as this work completely
absorbs me. Very soon I will decide whether I come to Germany
next summer or not. Possibly I shall go to Athens in April--
without thereby forgetting the Athens of the elms! .--.

First send me the paper, that I may not run quite wild in musical
matters. At Spithover's, where I regularly read the papers, there
are only the Augsburger Allgemeine, the Berlin Stern-Zeitung
[Doubtless the Kreusseitung], and several French and English
papers, which contain as good as nothing of what I care about in
the domain of music.

Julius Schuberth wrote a most friendly letter to me lately, and
asks me which of Draseke's works I could recommend to him next
for publication. To tell the truth it is very difficult for me in
Rome to put myself in any publisher's shoes, even in so genial a
man's as Julius Schuberth. In spite of this I shall gladly take
an opportunity of answering him, and shall advise him to consult
with Draseke himself as to the most advisable opportunity of
publishing this or that Opus of his, if a doubt should actually
come over our Julius as to whether his publisher's omniscience
were sufficiently enlightened on the matter!--

Remember me most kindly to your wife.

Yours most sincerely,

F. Liszt

Please give my best greetings to Kahnt. Later on I shall beg him
for a copy of my songs for a very charming Roman lady.

2. To A.W. Gottschalg, Cantor and Organist in Tieffurt

["Der legendarische Cantor" [the legendary Cantor] the Master
jokingly named this faithful friend of his. "I value him as a
thoroughly honest, able, earnestly striving and meritorious
comrade in Art, and interest myself in the further progress--
which is his due," wrote Liszt to the late Schuberth. Meanwhile
Gottschalg was long ago advanced to the post of Court organist in
Weimar. He is widely known as the editor of the "Chorgesang"
[chorus singing] and of the "Urania."]

Dear Friend,

Although I cannot think otherwise than that you remain ever
equally true to me, yet the living expression of your kindly
feelings towards me is always a pleasure and a comfort. First of
all then accept my warmest thanks for your two letters, which
bring back to me the best impressions of your morning and evening
visits to me in my blue room on the Altenburg.

It goes without saying that I have no objection to make to the
publication of the Andante from the Berg Symphony in the Jubilee
Album in honor of Johann Schneider. I only beg, dear friend, that
you will look the proof over accurately, and carefully correct
any omissions or mistakes in the manuscript.

I should be very glad if I could send you a new Organ work, but
unfortunately all incentive to that sort of work is wanting to me
here; and until the Tieffurt Cantor makes a pilgrimage to Rome
all my organ wares will certainly remain on the shelf.

Ad vocem of the Tieffurt Cantor, I will tell you that I have been
thinking of him very particularly these last few days, whilst I
was composing St. Francis's Hymn of Praise ("Cantico di San
Francesco"). The song is a development, an offspring as it were,
a blossom of the Chorale "in dulci jubilo," for which of course I
had to employ Organ. But how could I be writing an Organ work
without immediately flying to Tieffurt in imagination?--And lo,
at the entrance to the church our excellent Grosse [The
trombonist of the Weimar orchestra (died 1874), who was so
faithfully devoted to Liszt, and whom the latter remembered in
his will] met me with his trombone, and I recollected an old
promise--namely, to compose a "piece" for his use on Sundays. I
immediately set to work at it, and out of my "Cantico" has now
arisen a Concertante piece for Trombone and Organ. I will send
you the piece as an Easter egg by the middle of April. [Published
by Kahnt in Leipzig] Meanwhile here are the opening chords:--

[Here, Liszt illustrates with a musical score excerpt of the
opening chords of the Concertante, in F major]

and on a lovely evening in May will you play the whole with
Grosse in your church at Tieffurt, and perpetuate me with Organ
and Trombone!--

It has struck me that your name is not mentioned among the
fellow-workers in the Johann Schneider Jubilee Album. If there is
still time and space you might perhaps contribute your
arrangement of the Fugue from the "Dante Symphony" (with the
ending which I composed to it for you). This proposal is open to
amendment, on the supposition that Hartels are willing to agree
to it--and, above all, that it suits you.

.--. N.B.--I beg you most particularly to make no further use of
the two Psalms "By the waters of Babylon," of which you have a
copy, because I have undertaken to make two or three essential
alterations in them, and I wish them only to be made known and
published in their present form. I send the new manuscript at the
same time as the Cantico di San Francesco.

My best greetings to your wife, and rest assured always of my
sincere thanks, and of the complete harmony of my ideas with your

F. Liszt

Rome, March 11th, 1862

When I am sending several manuscripts at Easter, I will write a
couple of letters to Weimar and thank Jungmann [A pupil of
Liszt's in Weimar; died there in September 1892] for his letter.
I feel the want of time almost as much in Rome as in Weimar, and
I have observed a strict Fast in correspondence as a rule, so
that for three months past I have hardly sent as many as three to
four letters to Germany.

Remember me most particularly to Herr Regierungsrath Miller! [A
friend of Liszt's, a multifarious writer on music; died 1876]

3. To Dr. Franz Brendel.

[Autograph in the possession of Herr Alexander Meyer Cohn in

Dear Friend,

Your friendly letter has again brought me a whiff of German air,
which is all the more welcome to me here as I have not too much
of it. One sees extremely few German papers in Rome--also I read
them very irregularly--and my correspondents from Germany are
limited to two, of whom friend Gottschalg, my legendary Tieffurt
Cantor, is the most zealous. His letters flow from his heart--and
are therefore always welcome to me.

For all of good news that you tell me I give you twofold thanks.
Firstly, because you have for the most part brought it about,
prefaced it, and seen it through. And then, because you tell it
me in so friendly a fashion. Although I have long been prepared
to bear the fiasco of my works quietly and unmoved, yet still it
is pleasant to me to learn that the "Faust" Symphony in Leipzig
did not have such a very bad fate. [In one of the "Euterpe"
concerts, under Bronsart's conducting, at which Schnorr of
Carolsfeld sang the tenor solo.] Do not fail, dear friend, to
give Herr Schnorr my best thanks--and if perchance my songs would
be a little pleasure to him will Kahnt be so good as to send
Schnorr a copy (bound) at my order?

With regard to the Bronsart affair, I sincerely regret that I had
not the opportunity of smoothing matters down sooner. Between
people of one mind dissension and variance should never appear--
much less lead to an outbreak. As you ask me for my opinion, I
openly confess that in the main Bronsart appears to me perfectly
justified in vindicating his choice of new compositions for the
musical directors, in spite of the fact that the two or three
experiments he has made do not show in favor of the principle (as
seen by the consequences). But between ourselves we must not
conceal the fact that a great part of the laxity and corruption
of our musical condition in Germany (as also elsewhere) is to be
attributed to the too great--or too petty--yielding and pliancy
of conductors and music-directors. I well know that the Euterpe
Committee nourishes and cherishes quite another idea than that of
the company X. Y. Z., or of the Court Theater directors A. B. C.
D. Yet the question constantly arises--Shall the cook cook? Shall
the coachman drive?--Ergo let the musician also have his own way.
The harm that may spring from that is not so very terrible.

On the other side, I consider a change of persons in the
management of a new institution is not desirable. In intellectual
movements in particular the leaders of them are especially
recommended to keep themselves conservative as regards their
people. The public requires definiteness before all else--and
just this is endangered by a change of persons. The substitute
for B., whom you mention to me (his name also begins with B.), is
certainly highly to be recommended in all that concerns talent,
position, and I think also worthy character; none the less do I
vote very decidedly that Bronsart be retained--if possible.

I do not need to add, dear friend, that this opinion of mine is a
purely objective one. I have not heard a word from Bronsart since
last September, and, as I said to you before, my musical news
from Germany is limited to two, or at most three letters which
Gottschalg wrote me.

With the wish that all difficulties may be smoothed in the best
way by your intelligent gentleness and forbearance, I remain your
warmly devoted

F. Liszt

[Rome] April 12th, 1862

P.S.--More next time (though little of interest to you, as
absolutely nothing occurs here that could touch you closely).--I
am preparing to stay here for the summer, and somewhat longer.--
In order not to lose the post I only send you today these few

4. To Madame Jessie Laussot in Florence

[Madame Laussot, an English lady, became later the wife of Dr.
Carl Hillebrand, the celebrated writer. She was the intimate
friend of Liszt, Von Bulow, etc., and is herself a musician of
great repute, to whom many artists of note, Sgambati, Bache,
Buonamici, etc., owe much of the success of their career. She
started a musical society in Florence, the "Societa Cherubini;"
which she conducted for many years, and introduced there much of
the best music of Germany (Liszt's included).]

Your charming lines, Madame, reached me at the beginning of Holy
Week. At that moment one no longer belongs to oneself in Rome;
and I have felt this more than others, for the services and
ceremonies of the Sistine Chapel and of St. Peter's, to which I
attached a special musical interest, have absorbed all my time
during the last fortnight. Pray excuse me therefore for not
having thanked you sooner for your kind remembrance, which
touches me much.

Some one has made a mistake in telling you that I am coming to
Florence. I have no longer any taste for moving about from one
place to another, and, unless something very unforeseen happens,
I shall not stir from here so soon. Rome is a more convenient
place than others for those who ask nothing better than to work
in their own fashion. Now, although I have become very
indifferent as to the fate of what I write, work none the less
continues to be the first need of my nature. I write therefore
simply to write--without any other pretensions or care--and for
this it suits me best to remain in one place.

Will you be so kind, Madame, as to give my very affectionate
respects to Madame Ritter [Mother of Carl Ritter--Wagner's
friend--and of Alexander Ritter, the composer of "Der faule
Hans."], to which please add my best remembrances to her family,
and pray accept also the expression of my very sincere and
affectionate regards.

F. Liszt

May 3rd, 1862 (Via Felice, 113--Rome.)

5. To Dr. Franz Brendel

Rome, June 12th, 1862

Grand, sublime, immeasurably great things have come to pass here
lately. The Episcopate of the whole world assembled here round
the Holy Father, who performed the ceremony of the canonisation
of the Japanese martyrs at Whitsuntide in the presence of more
than 300 bishops, archbishops, patriarchs, and cardinals. I must
abstain, dear friend, from giving you any picture of the
overpowering moment in which the Pope intoned the "Te Deum;" for
in Protestant lands that which I might call the spiritual
illumination is wanting. Let us therefore, without any other
transition, return to our everyday musical matters!

I am convinced that your determination to make a change in the
choice of conductors of the Euterpe has been made only after
mature consideration. .--. In my last letter I pointed out, as
the chief thing, that in concert societies the principle of
stability in the matter of the Musical Direction is the most
important thing, whereby I did not in the least mean to say that
one must on that account agree to extreme consequences--or rather
inconsequences. Well, as your decision is made, any further
discussion is useless. Blassmann [He moved to Dresden some years
later, and there he died.] has now to approve himself, and
actively to fulfil the favorable expectations which his talent
and good name justify. So be it, and as Schuberth says, Punktum
[a full stop.]

As regards the place of meeting for the next Tonkunstler-
Versammlung I am quite of your opinion. First of all I advise you
to consult Bulow. Owing to his long connection with the Court at
Carlsruhe he is best qualified to take the preliminary measures
("to pave the way"!). If the Grand Duke and Grand Duchess take up
the matter favorably, then without doubt all that is requisite
and necessary will be done in the most desirable manner. The most
essential things are

(a) Letting us have the theater free of charge for two to three
evenings--(as at Weimar--would not it perhaps be best to mention
this in the 1st letter?).

(b) Official preparatory measures by the Intendant to ensure the
co-operation of the Carlsruhe orchestra and chorus, also free of

You will have to consult more fully with Dr. Devrient and
Kalliwoda as to the best time for it. But the thing to be done
before all else is to gain the Grand Duke's interest--and if you
think it would be practicable for me to write a few lines to
H.R.H. later on I will do so with pleasure. I only beg that you
will give me exact particulars of the steps already made and
their results.

For my part I think that to Bulow, a priori, ought to be
entrusted the conducting of the Musical Festival, and this point
should be at once mentioned as settled in the introductory letter
to the Grand Duke. Otherwise Bedow's position in the affair would
not be sufficiently supported.

To sum up briefly: Request Bulow to undertake the conductorship
of the Musical Festival; and address the Grand Duke of Baden,
either by letter or by word of mouth (as opportunity may
warrant), with the request that H.R.H. would graciously support
the proposed Musical Festival of the third Tonkunstler-
Versammlung, by giving it his patronage, as the Grand Duke of
Weimar did last year, etc., etc.

.--. That excellent Pohl has quite forgotten me. I asked him,
through Gottschalg, to send me my Gesam- melte Lieder [complete
songs], the "Dante Symphony" (in score and arrangement for 2
Pianos), the 4-hand Symphonic Poems, and a couple of copies of my
Catalogue (published by Hartel).

I have been waiting in vain for these for two months. A few days
ago I wrote to Frau von Bulow to send Pohl an execution; perhaps
this may help matters at length!

The Berlioz parts have remained at Weimar. Grosse knows about
them--and possibly they have also gone to Pohl with the rest of
the scores. As soon as they are found I shall be happy to make a
present of them to the library of the Musikverein for their use,
as well as the scores, and I authorise you with pleasure, dear
friend, to do the same with the score and parts of the "Gran

The newspaper has not reached me from Pohl any more than the

Hearty greetings to your wife from yours in all friendship,

F. L.

6. To Dr. Franz Brendel

Dear Friend,

Well, as the parcel has come at last, Pohl shall not be scolded
any more, and his "innocence" shall shine out in full splendor!

I have just received a few lines from Berlioz; Schuberth, whom I
commissioned, before I left, to send the dedication-copy of the
"Faust" score to Berlioz, has again in his incompetent good
nature forgotten it, and perhaps even from motives of economy has
not had the dedication-plate engraved at all!!--Forgive me, dear
friend, if I trouble you once more with this affair, and beg you
to put an execution on Schuberth in order to force a copy with
the dedication-page from him. The dedication shall be just as
simple as that of the "Dante Symphony," containing only the name
of the dedicatee, as follows,

"To Hector Berlioz."

After this indispensable matter has been arranged I beg that you
will be so kind as to have a tasteful copy, bound in red or dark
green, sent, perhaps through Pohl (?), to Berlioz at Baden (where
he will be at the beginning of August. In case neither Pohl nor
his wife should go to Baden this summer (which however I scarcely
expect will be the case), send the copy to Fraulein Genast (who,
as I learn from the "Zeitschrift" [periodical], is at present in
Carlsruhe) with the request that she will give it to Berlioz.

Is there not any talk of bringing out an arrangement of the
"Faust Symphony" for 2 Pianofortes?--Schuberth is sure to have
far greater things in contemplation, and I almost regret having
incommoded him by giving up the manuscripts!--

Nonetheless, please take him to task about it, or, better, bully
him into action with "Faust-Recht" [Faust rights or Faust
justice.] In truth the final chorus of Part III. of the Faust
tragedy, "faithful to the spirit of Part II. as composed by

"Das Abgeschmackteste
Hier ward es geschmeckt,
Das Allvertrackteste
Hier war es bezweckt"

[A parody on the concluding lines of Goethe's Faust. The parody
may be freely translated as follows:--

The most insipid
Here was tasted;
In queerest nonsense
Here all was wasted."]

can often be applied to matters of publishing. And while I am
touching on this, to me, very disagreeable chapter, may I also
take the opportunity of inquiring how long our amiable friend and
patron Julius Schuberth is intending to ignore the 2 Episodes
from Lenau's "Faust" ("Nachtlicher Zug"--and "Mephisto Walzer"),
which I recommended to his good graces more than a year ago, and
gave him in manuscript?

Must the pages perchance become quite mouldy, or will he bring
them out as an oeuvre posthume [posthumous work]? I am tired of
doing silent homage to this noble mode of proceedings, and intend
next time to help the publisher out of all his perplexities
[Untranslatable pun on "Verleger" and "Verlegenheiten."] by
putting the manuscripts back in their place again.--


"O Freunde, nicht diese Tone, sondern lasst uns angenchmere
anstimmen!" [A quotation from Schiller's "Ode to joy" in
Beethoven's "Choral Symphony:" "O friends, not tones like these,
but brighter ones let us sing."] (I am perhaps not quoting
exactly, although the sense of the apostrophe remains clearly
present, especially in musical enjoyments and experiences!)
Amongst the "more pleasant" things I at once place much
information given in your letter and the newspaper (which reached
me at the same time in some 16 numbers with Pohl's parcel). My
most earnest wishes are, first and foremost, bound up in the
complete prospering, upspringing, and blossoming of the "grain of
mustard-seed" of our Allgemeine Deutsche Musik-Verein. With God's
help I will also support this in other fashion than mere
"wishes." According to my opinion the third Tonkunstler-
Versammlung will be the chief factor in strengthening and
extending the Allgemeine Deutsche Musik-Verein, which comprises
in itself the entire development and advancement of Art.

Various reasons led me to recommend Carlsruhe to you in my last
letter as the most suitable place for the third Tonkunstler-
Versammlung, that is, supposing that H.R.H. the Grand Duke gives
his countenance to the matter, and grants us favorable conditions
with regard to the disposal of the theater, orchestra, and
chorus. It behoves Bulow, as conductor of the musical
performances, to undertake to "pave the way" towards a favorable
promise on the Grand Duke's side. Within two to three months the
necessary preliminaries can be fixed, and I shall then expect
fuller tidings from you about the further plans and measures.

Without wishing to make any valid objection to Prague--rather
with all due acknowledgment of what Prague has already
accomplished and may still accomplish--yet it seems to me that
the present political relations of the Austrian monarchy would
make it inopportune to hold the Tonkunstler-Versammlung in Prague
just now. On the other hand I am of opinion that a more direct
influence than has yet been possible on South Germany, which is
for the most part in a stagnating condition, would be of service.
Stuttgart in particular, through Pruckner, Singer, Stark, etc.,
might behave at it differently from what it did at a previous
Musical Festival in Carlsruhe!

Dr. Gille's interest in the statutes and deliberations of the
M.V. [Musik-Verein] is very advantageous, as also Pohl's previous
removal to Leipzig. .--. The constant intercourse with you,
together with the Leipzig acids and gases, will be sure to suit
him well.

From Weimar I have received a good deal of news lately from Count
Beust, Dingelstedt, Gille, and Stor. To the latter my answer will
be little satisfactory; but I cannot continue with him on any
other road, and let the overpowering Dominant of his spasmodic
vanity serve as the Fundamental note of our relations.

I am writing to Gille by the next post, and also to Muller, who
rejoiced me lately by his Erinnerungs-Blatt [remembrance] from
Weimar, (in the 8th November issue of the "Zeitschrift," which I
have only now received). Will you, dear friend, when you have an
opportunity, give my best thanks to Kulke for his article upon
Symphony and Symphonic Poem--and also the enclosed lines to
Fraulein Nikolas, from whom I have received a charming little

Already more than 140 pages of the score of my "Elizabeth" are
written out complete (in my own little cramped scrawl). But the
final chorus--about 40 pages--and the piano-arrangement have
still to be done. By the middle of August I shall send the entire

to Carl Gotze at Weimar to copy, together with the "Canticus of
St. Francis," which I composed in the spring. ["Cantico del
Sole," for baritone solo, men's chorus, and organ. Kahnt.] It
would certainly be pleasanter for me if I could bring the things
with me--but, between ourselves, I cannot entertain the idea of a
speedy return to Germany. If later there seems a likelihood of a
termination to my stay in Rome, you, dear friend, shall be the
first to hear of it.

With hearty greetings to your wife, I remain

Yours in sincere and friendly attachment,

F. Liszt

Rome, July 12th, 1862

Your little commission about Lowenberg shall be attended to. Let
me soon have news of you and of my intimate friends again. There
is absolutely nothing to tell you from here that could interest
you. In spite of the heat I shall spend the summer months in

7. To Dr. Franz Brendel

[Letters 7, 8, 9, 18, and 24 to Brendel have been partially
published in La Mara's "Musikerbriefe" (Letters of Musicians),
Vol. II.]

What a delightful bunch of surprises your letter brings me, dear
friend! So Pohl has really set to work on the Faust brochure--and
Schuberth is actually not going to let the piano-arrangement of
the "Faust Symphony" lie in a box till it is out of date. How
curious it all sounds, just because it is so exactly the right
thing and what I desired!--If you are back in Leipzig please send
me soon a couple of copies of the Faust brochure (those numbers
of the journal containing Pohl's articles have not reached me),
and also send me the 2-pianoforte arrangement of the Faust
Symphony (a few copies when convenient). I have as yet received
nothing of the parcel which Kahnt announced as having sent me
with some of my 4-hand things; and as I have fished out here a
very talented young pianist, Sgambati [A pupil of Liszt's, and
now one of the first pianoforte players and composers of Italy;
has been, since 1871, Professor at the Academia Sta. Cecilia in
Rome] by name, who makes a first-rate partner in duets, and who,
for example, plays the Dante Symphony boldly and correctly, it
would be a pleasure to me to be able to go through the whole
cycle of the Symphonic Poems with him. Will you be so good
therefore, dear friend, as to ask Hartel for the whole lot in the
2-pianoforte arrangement (a double copy of each Symphonic Poem,
for with one copy alone I can do nothing, as I myself can only
play the thing from notes!), and also the 4-hand arrangement,
with the exception of the "Festklange," which Hartels have
already sent me?

Besides these, I expect in the same parcel the Marches which
Schuberth has published (the "Goethe Marsch" and the Duke of
Coburg) and the "Kunstler Festzug" [Artists' procession] (for 4
hands), which I ordered previously.--

The "Legend of St. Elizabeth" is written out to the very last
note of the score; I have now only to finish a part of the piano
arrangement, and the 4-hand arrangement of the Introduction, the
Crusaders' March, and the final procession--which shall be done
by the end of this month at latest. Then I send the whole to
Weimar to be copied, together with a couple of other smaller
manuscripts. What will be its ultimate fate will appear according
as...Meanwhile I will try one or two little excursions into the
country (to Albano, Frascati, Rocca di Papa--and a little farther
still, to the "Macchia serena" near Corneto, where in earlier
times much robbery and violence took place!), and before the end
of September I hope to be able to set steadily to work again, and
to continue my musical deeds of "robbery and murder"! Would that
I only could hear, like you, the Sondershausen orchestra, and
were able to conjure friend Stein and his brave phalanx into the
Colosseum! The locality would assuredly be no less attractive
than the "Loh," [The Sondershausen concerts are, as is well
known, given in the "Lohgarten."] and Berlioz's Harold Symphony,
or Ce que l'on entend sur la montagne [One of Liszt's Symphonic
Poems], would sound there quite "sonderschauslich" [curious]
[Play of words on Sondershausen and "sonderbar" or "sonderlich"].
I often imagine the orchestra set up there, with the execrated
instruments of percussion in an arcade--our well--wishers Rietz,
Taubert, and other braggarts of criticism close by (or in the
Aquarium!)--the directors of the Deutsche Musik-Verein resting on
the "Pulvinare," and the members all around resting on soft
cushions, and making a show in the reserved seats of the
Subsellia, as senators and ambassadors used to do!--

Tell Stein of this idea, and give him my most friendly thanks for
all the intelligent care and pains that he so very kindly gives
to my excommunicated compositions. As regards the performances of
the Sondershausen orchestra I am quite of your opinion, and I
repeat that they are not only not outdone, but are even not often
equalled in their sustained richness, their judicious and liberal
choice of works, as well as in their precision, drilling, and
refinement.--It is only a shame that no suitable concert-hall has
been built in Sondershausen. The orchestra has long deserved such
an attention; should such a thing ever fall to their lot, pray
urge upon Stein to spread out the Podium of the orchestra as far
as possible, and not to submit to the usual limited space, as
they made the mistake of doing in the Gewandhaus, the Odeonsaal
in Munich, etc., etc., and also, alas, in Lowenberg. The concert-
hall of the Paris Conservatoire offers in this respect the right
proportions, and a good part of the effect produced by the
performances there is to be ascribed to this favorable

According to what I hear Bulow is not disposed to mix himself up
in the preliminaries of the next Tonkunstler-Versammlung.
Accordingly some one else must be entrusted with the afore-
mentioned task in Carlsruhe, although Bulow was the best suited
for it. If you do not care to enter at once into direct
communication with Devrient, Pohl would be the best man to
"pioneer" the way. It would not be any particular trouble to him
to go from Baden to Carlsruhe, and to persuade Devrient to favor
the matter. This is before all else needful, for without
Devrient's co-operation nothing of the sort can be undertaken in
Carlsruhe. If the Tonkunstler-Versammlung takes place not out of
the theater season, then one or more theatrical performances can
be given in conjunction with it, especially of Gluck's Operas; as
also an ultra-classical Oratorio of Handel's might well be given
over to the Carlsruhe Vocal Unions. .--.

What "astonishing things" are you planning, dear friend? This
word excites my curiosity; but, on the other hand, I share your
superstition to speak only of actions accomplished ("faits
accomplis"). In Schelle you will gain a really valuable
colleague. Has his "History of the Sistine Chapel" come out yet?
If so, please be so good as to send me the book with the other
musical things.--

My daughter, Frau von Bulow, writes to me that Wagner's new work
"Die Meistersinger" is a marvel, and amongst other things she

"These 'Meistersinger' are, to Wagner's other conceptions, much
the same as the 'Winter's Tale' is to Shakespeare's other works.
Its phantasy is found in gaiety and drollery, and it has called
up the Nuremberg of the Middle Ages, with its guilds, its poet-
artisans, its pedants, its cavaliers, to draw forth the most
fresh laughter in the midst of the highest, the most ideal,
poetry. Exclusive of its sense and the destination of the work,
one might compare the artistic work of it with that of the
Sacraments-Hauschen of St. Lawrence (at Nuremberg). Equally with
the sculptor, has the composer lighted upon the most graceful,
most fantastic, most pure form,--boldness in perfection; and as
at the bottom of the Sacraments-Hauschen there is Adam Kraft,
holding it up with a grave and collected air, so in the
'Meistersinger' there is Hans Sachs, calm, profound, serene, who
sustains and directs the action," etc.

This description pleased me so much that, when once I was started
on the subject, I could not help sending you the long quotation.
The Bulows, as you know, are with Wagner at Biebrich--at the end
of this month there is to be a performance of "Lohengrin" at
Frankfort under Wagner's direction. There must not fail to be a
full account of this in the Neue Zeitschrift, and for this I
could recommend my daughter as the best person. The letters in
which she has written to me here and there of musical events in
Berlin and elsewhere are really charming, and full of the finest
understanding and striking wit.--

Berlioz was so good as to send me the printed pianoforte edition
of his Opera "Les Troyens." Although for Berlioz's works
pianoforte editions are plainly a deception, yet a cursory
reading through of "Les Troyens" has nevertheless made an
uncommonly powerful impression on me. One cannot deny that there
is enormous power in it, and it certainly is not wanting in
delicacy--I might almost say subtilty--of feeling.

Pohl will let you know about the performance of Berlioz's comic
Opera "Beatrice and Benedict" in Baden, and I venture to say that
this Opera, which demands but little outside aids, and borrows
its subject from a well-known Shakespeare play, will meet with a
favorable reception. Berlin, or any other of the larger theaters
of Germany, would certainly risk nothing of its reputation by
including an Opera of Berlioz in its repertoire. [This took place
a quarter of a century later.] It is no good to try to excuse
oneself, or to make it a reason, by saying that Paris has
committed a similar sin of omission--for things in which other
people fail we should not imitate. Moreover Paris has been for
years past developing a dramatic activity and initiative which
Germany is far from attaining--and if special, regrettable
personal circumstances prevent Berlioz from performing his works
in Paris, the Germans have nothing to do with that.

Hoping soon for news of you (even if not about the "astonishing
things"), I remain, dear friend, with faithful devotion,

F. Liszt

Rome, August 10th, 1862 Via Felice, 113

Who has corrected the proofs of the "Faust Symphony"? Please
impress upon Schuberth not to send out into the world any
unworthy editions of my works. Bulow is so good as to undertake
the final revision, if only Schuberth will take the trouble to
ask him to do so.

8. To Dr. Franz Brendel

Via Felice, 113 [Rome], August 29th [1862]

Dear Friend,

In explanation of the main point of your last letter (which
crossed mine), namely, the question as to where the next
Tonkunstler-Versammlung is to be held, let me add the following
in colloquial form.

I should not, without further proof, exactly like to consider
Carlsruhe as a town altogether unsuitable for the purpose--
although Pohl and Bulow are afraid it is, and have various
reasons for assuming it to be so. As regards Bulow, I have
already asked you not to trouble him with any of the preliminary
details. When the time comes, he is certain to do his part--that
is, more than could be expected or demanded of him. Only he must
not be tormented with secondary considerations, not even where,
owing to his position and antecedents, he is best known (for
instance, in Carlsruhe, as already said). His individuality is
such an exceptional one that its singularities must be allowed
scope. Hence let us meanwhile leave him out of the question, he
being what he is, with this reservation--that he undertakes to
conduct the musical performances--as I hope and trust he will
finally arrange to do. But again as to Carlsruhe, I would propose
that unless you have important, positive objections to the place,
you should write to the Grand Duke yourself and beg him in my
name to take the Musik-Verein under his patronage, etc.--The
worst that could happen to me in return would be to receive a
courteously worded refusal; this, it is true, is not a kind of
thing I cultivate as a rule, but as a favor to such an honorable
association I would gladly face the danger, in the hope that it
might prove of some use and advantage.

Write and tell me, therefore, in what spirit Seifriz has answered
you, and what information Riedel has gathered in Prague. Prague,
for certain (yet rather uncertain?) considerations, is indeed
much to be recommended; only one would need, in some measure, to
have the support of the musical authorities and notabilities of
the place, as well as that of the civic corporation (because of
municipal approbation and human patronage). In short, if the
Tonkunstler-Versammlung were taken up and set in a good light
there by a few active and influential persons, everything else
would be easy to arrange, whereas otherwise all further steps
would be so much trouble thrown away. I cannot altogether agree
with your opinion, dear friend, that "the difficulties would in
no way be greater in Prague than in Leipzig"--you forget that you
yourself, in the capacity of a Leipzig citizen, removed most of
the difficulties by your unswerving perseverance and your
personal influence, whereas in Prague you could act only through
the intervention of others. The question, therefore, is whether
you can confidently reckon upon reliable friends there.

Until I receive further news from you, it seems to me that
Bulow's idea of preferring Lowenberg to all other places is one
very well worth consideration. Our amiable Prince would certainly
not fail to give his earnest support to the Tonkunstler-
Versammlung, and the small miseries of the little town of
Lowenberg might be put up with or put down, for a few days at all
events. Think this plan over again carefully, and do not look at
Lowenberg through the glasses of our excellent friend Frau von
Bonsart!--Of course a date would have to be fixed when the
orchestra is assembled there, and the whole programme arranged
with Seifriz and drawn up with his friendly co-operation. In my
opinion many things might be possible in Lowenberg that could
scarcely be broached elsewhere; and as, in fact, Bulow conceived
the idea I expressly recommend it you as a means for "paving the
way" to a happy issue.--

Together with your last letter I received three of the Faust
essays by Pohl. I shall send him my warm thanks for them by next
post, and shall add, for his bibliographical and statistical
edification, the little remark that Mademoiselle Bertin had an
Italian opera performed in Paris before the Revolution of July,
entitled "Faust" or "Fausto." Before Pohl's articles appear in
pamphlet form I should like to have read them all through--but if
he is in a hurry about them, do not mention this to him; perhaps,
however, if it did not make the pamphlet too thick, it might be
well to include Pohl's essay on the "Dante Symphony" (as it
appeared in Hartel's edition of the score).

In spite of the unsatisfactory performance of the "Dante
Symphony" in Dresden (partly, moreover, the fault of the bad,
incorrectly written orchestral parts, and my careless
conducting), and without regard to the rapture of the spiritual
substance (a matter which the general public tolerates only when
demanded by the higher authority of tradition, and then
immediately gapes at it upside down!)--in spite, therefore, of
this grievous Dresden performance, which brought me only theone
satisfaction of directly setting to work at some not unessential
improvements, simplifications, and eliminations in the score--
that had taken hold of me during the rehearsals and the
performance, and which I felt at once, without troubling myself
about the audience present...--Now, what was I about to say,
after all these parentheses and digressions? Yes, I remember
now:--the "Dante Symphony" is a work that does not need to be
ashamed of its title,--and what you tell me of the impression
produced by the "Bergsymphonie" (in Sondershausen) strengthens me
in my presumption. Hence I should be glad to see the preface by
Pohl printed again, and placed at the end of the "Faust"
pamphlet; for, considering what most people are, they require to
read first, before attaining the capacity for learning,
understanding, feeling, and appreciating.--

The edition of the "Faust Symphony" (arranged for two
pianofortes) is worthy of all praise, and, in the language of
music-sellers, elegant. The printer has done well in so arranging
the type that a number of lines are brought on to one page and a
number of bars on to every line. Schuberth shall ere long receive
a complimentary note from me, together with a few "proof"
indications for the "Faust Symphony." But, in fact, I have come
across only a few and unimportant errors as yet.

The publication of Lenau's two "Faust Episodes" (a point Pohl
touches upon in his essay with fine discrimination) Schuberth
might undertake according as he sees fit. I am pretty well
indifferent as to whether the pianoforte arrangement or the score
appears first; only, the two pieces must appear simultaneously,
the "Nachtlicher Zug" as No. 1 and "Mephisto's Walzer" as No. 2.
There is no thematic connection between the two pieces, it is
true; but nevertheless they belong together, owing to the
contrast of ideas. A "Mephisto" of that species could proceed
only from a poodle of that species!--.--.

With the "Elizabeth" (of which I have now to write only the
pianoforte score, which will take about a fortnight's time) I am
also sending to Weimar the three Psalms in their new definitive
form. It would please me if, some day, a performance of the 13th
Psalm, "How long wilt Thou forget me, O Lord?" could be given.
The tenor part is a very important one;--I have made myself sing
it, and thus had King David's feelings poured into me in flesh
and blood!--

It is to be hoped that Schnorr will be kind enough to adapt
himself to the tenor part (the only solo voice in the Psalm, but
which affects everything, and penetrates and sways chorus and
orchestra). Theodor Formes sang the part very well eight years
ago in Berlin; but that performance at Stern's Concert was to me
only a first trial performance!--

With notes alone nothing can be accomplished; one thirsts for
soul, spirit, and actual life. Ah! composing is a misery, and the
pitiful children of my Muse appear to me often like foundlings in
a hospital, wandering about only as Nos. so and so!--

Please give my best thanks to Schnorr for having so kindly
interested himself in my orphaned "Songs." His better self-
consciousness--the God we carry in our breasts--requite him for
it!--My daughter, Frau von Bulow, writes and tells me marvels
about Schnorr and his wife, and of the performance of "Tristan"
at Wagner's in Biebrich. If only we possessed electric telegraphs
in favor of musical ubiquity! Assuredly I would not make any
misuse of them, and only rarely put myself in correspondence with
the music-mongers; but Tristan and Isolde are my "soul's

The French journals contain nothing but praise and exclamations
of delight at the success of "Benedict and Beatrice," Berlioz's
new opera, which was performed in Baden. Pohl is sure to give you
a full report of it. To judge from his essay, the tenor solo at
the end of the "Faust Symphony" caused less offence in Leipzig
(it was the stumbling-block in the Weimar performance, so much so
that influential and well-disposed friends have urgently advised
me to strike out the solo and chorus and to end the Symphony with
the C major common chord of the orchestra). It was really my
intention at first to have the whole "Chorus mysticus" sung
invisibly--which, however, would be possible only at performances
given in theaters, by having the curtain lowered. Besides which,
I felt doubtful whether the sound would not have thus become too

However it may be with this and other things, I will not fail to
exercise patience and goodwill--but neither will I make too great
a demand upon yours. Enough, therefore, for today from your
heartily devoted

F. Liszt

P.S.--N.B.--With the next sending of music please enclose the
choruses from Schumann's "Manfred" (Songs and pianoforte
accompaniment). I shall probably this autumn be engaged with the
same subject, which, in my opinion, Schumann has not exhausted.

9. To Dr. Franz Brendel

Dear Friend,

You will have heard of the grievous shock I received in the
middle of September. [Liszt's eldest daughter, Mme. Blandine
Ollivier, had died.] Shortly afterwards Monsieur Ollivier came to
Rome, and during his stay here, which lasted till the 22nd
October, I could not calculate upon being able to take any
interest in other outward matters. This last week I have had to
spend in bed. Hence my long delay in answering you.

So far as I understand the position of affairs with regard to the
Tonkunstler-Versammlung, it seems difficult to give any definite
advice. The question here is not one of theoretical, but of
absolutely practical considerations, with regard to which
unfortunately my influence is very limited. In my last letter I
believe I told you that I am prepared, in case you decide upon
Prague, to subscribe my name to the petition addressed to the
Austrian ministry in behalf of state support. At the same time I
intimated to you that my cousin Dr. Eduard Liszt would be the
best one to draw up the said petition (in accordance with a draft
sent to him), and in fact might aid the undertaking with good
advice, and otherwise promote its interests. I, on my side, will
not spare myself any trouble in order to obtain from the Austrian
government a favorable result for the objects of the Tonkunstler-
Versammlung. I cannot, of course, guarantee success beforehand;
still I consider it not impossible, and when the time comes I
will communicate all further details to you.

In the first place, however, comes the question whether I can
take any personal part in the meeting of the Tonkunstler-
Versammlung in the year '63? [This meeting did not take place in
1863, but in 1864.] And unfortunately this question I am forced
to answer decidedly in the negative. Owing to its being my custom
not to enlighten others by giving an account of my own affairs, I
avoid, even in this case, entering further into particulars. Of
this much you may meanwhile be assured with tolerable certainty:
I have neither the intention nor the inclination to make any
lengthened stay in Germany. Probably, however, during the course
of next summer I may go to Weimar for perhaps a three weeks'
visit to my gracious Master the Grand Duke. From Weimar I should
go to Leipzig, and then return here by way of Trieste or

Requests for concert performances of my works under my direction
have been addressed to me from several quarters of late.
Yesterday again I received a letter on this same subject from
London, to which, as in the case of the others, I shall reply
with grateful thanks and excuses.--

I am firmly resolved for some length of time to continue working
on here undisturbed, unremittingly and with an object. After
having, as far as I could, solved the greater part of the
"Symphonic" problem set me in Germany, I mean now to undertake
the "Oratorio" problem (together with some other works connected
with this). The "Legend of Saint Elizabeth," which was altogether
finished a couple of months ago, must not remain an isolated
work, and I must see to it that the society it needs is
forthcoming! To other people this anxiety on my part may appear
trifling, useless, at all events thankless, and but little
profitable; to me it is the one object in art which I have to
strive after, and to which I must sacrifice everything else. At
my age (51 years!) it is advisable to remain at home; what there
is to seek, is to be found within oneself, not without; and, let
me add, I am as much wanting in inclination to wander about as I
am in the necessary means for doing so. But enough of my
insignificant self. Let us pass over at once to the subject of
those two brave fellows who, in your opinion, ought to play a
chief part in the next Tonkunstler-Versammlung: Berlioz--and

To class them together thus seemed strange to me at first,
considering the present state of affairs. And, so far as their
two-headed personality is drawn in, I hold it to be impossible
even. So let us take each apart.

A) Berlioz. Considering what has occurred, and what has appeared
in print, it strikes me as more than doubtful whether Berlioz
would make up his mind to undertake the musical conductorship of
the Tonkunstler-Versammlung, even though Benazet should come
forward en personne as mediator. Besides which his moral
influence at the Festival and the negotiations would be hindering
and disturbing. Hence let us leave Berlioz in Paris or in Baden-
Baden, and be content in being consistent and in giving him a
proof of our admiration by getting up a performance of one of his
larger works. (Perhaps the "Te Deum?"--if I am not mistaken it
lasts a good hour. For Prague this choice would be appropriate--
unless the "Requiem" might be preferred. We might even consider
whether the two might not be given together; this would
abundantly fill one concert. Discuss the requisite means, etc.,
for giving these, with Riedel.)

B) Wagner. What am I to say to you of Wagner? Have you had any
talk with him lately in Leipzig? On what terms are you with him
at present?...Ah, it is a pity that we cannot procure a stream of
gold for him, or have some palaces of gold built for him! What
can he do with admiration, enthusiasm, devotion, and all such
non-essential things?

Nevertheless it is our indebtedness and duty to remain faithful
and devoted to him. The whole German Musik-Verein shall raise up
a brazen wall in his honor!--He is verily worthy of it!

Hence, dear friend, see what can be arranged with Wagner. Since I
left Berlin we have not corresponded. But I am surprised almost
that I did not receive a line from him after Blandine's death!

Au revoir, therefore, dear friend. In Weimar or in Leipzig only
can I tell you what I may be able to accomplish later. I must,
however, most urgently beg to be exempted from undertaking to
direct the German Musik-Verein for the year '63!--

With cordial and most friendly greetings,

Yours sincerely,

November 8th [1862]

F. Liszt

P.S.--Best thanks for your Sondershausen essays.

10. To A. W. Gottschalg

Dear Friend,

Your kind letter reached me on October 22nd, and this day, which
could not pass without sorrow, has this year been brightened by
many loving and solemn remembrances. Accept my thanks, and
present my best remembrances to all those whose names you
mention, and who have so kindly thought of me. Unfortunately
there is no prospect of my soon being able to celebrate the 22nd
October with Weimar friends; but I may tell you that I intend
paying H.R.H. the Grand Duke a visit during the course of the
summer. And we two shall then also have a bright and happy day in
Tieffurt--and look through a couple of new Organ pieces together.
Grosse must not fail to be there likewise, nor his trombone box,
which I have specially had in my mind ever since the journey to
Paris. [Grosse took his instrument with him on the journey, in
order that it might be at hand in case Liszt should want it.]
Meanwhile, however, tell dear, good Grosse not to be vexed about
the delay in connection with the promised despatch of his
"Sonntags-Posaunenstuck." [Sunday piece for trombone.] It is long
since finished, also some three or four Organ pieces, which, dear
friend, I wrote for you last spring. But the postal arrangements
are so little safe, under present circumstances, that I do not
care to send manuscripts by this means. In despatching parcels to
Vienna or Paris I could, of course, make use of the courtesy of
the embassies; but it is more difficult with Weimar...and so the
parcel with the "Legend of Saint Elizabeth," the three Psalms
instrumented (and essentially remodelled), several Pianoforte and
Organ pieces, together with Grosse's "Sunday-piece," must remain
in my box till some perfectly reliable opportunity presents
itself. If the worst comes to the worst I shall bring the whole
lot myself.

The Schneider-Organ-Album, and the one to appear later--the
Arnstadter-Bach-Organ-Album (which is to contain the magnificent
fugal subject from Bach's Cantata that I arranged for the Organ--
and not without difficulty), I beg you to keep in your library
till my return.

I am very unpleasantly affected by the hyper-mercantile
craftiness of one of my publishers whom you mention in your
letter. It would truly be unjust if you were not to receive the
usual discount, and indeed an exceptional amount, when purchasing
the "Faust Symphony." But who would ever succeed in washing a
negro white? And, in addition, one has generally to put up with
the inky blackness of his bills!--I could tell many a tale of
such doings, and indeed of persons who are afterwards not ashamed
to talk braggingly of their friendship for me! "O friends, not
these tones, rather let us strike up pleasanter ones," sings

The "Elizabeth," it is to be hoped, contains something of the
sort. At least, as far as possible, I have labored carefully at
the work, and, so to say, lived it through for more than a year.
In No. 3 of the score--the "Crusaders"--you will come across the
old pilgrim song from the days of the Crusades which you had the
kindness to communicate to me. It has rendered me good service
for the second subject of the "Crusaders' March." In the
concluding notice of the score I acknowledge my thanks to you for
it and give the whole song from your copy.

Among the pleasant bits of news (exceptions to the rule!) which
reach me from our quarters is that about the improvement of your
pecuniary position, which is probably accompanied by your
appointment as teacher at the newly established Seminary classes.
In the way of merit you lack nothing, and nothing in zeal and
energetic perseverance. Let me hope, dear friend, that you may
more and more meet with your due reward!

With kindest greetings,

F. Liszt

Rome, November 15th, 1862

11. To Eduard Liszt

Dearest Eduard,

The feeling of our double relationship is to me always an
elevating and comforting one. Truly you abide with me, as I do
with you--cum sanguine, corde et mente.

Accept my thanks for your kind lines, and excuse my not having
written to you long ago. I might indeed have told you many a
thing of more or less interest; but all seemed to me tiresome and
insufficient in writing to you. I needed more than ever, and
above all things, ample time to compose myself, to gather my
thoughts, and to bestir myself. During the first year of my stay
here I secured this. It is to be hoped that you would not be
dissatisfied with the state of mind which my 50th year brought
me; at all events I feel it to be in perfect harmony with the
better, higher aspirations of my childhood, where heaven lies so
near the soul of every one of us and illuminates it! I may also
say that, owing to my possessing a more definite and clearer
consciousness, a state of greater peacefulness has come over me.

Blandine has her place in my heart beside Daniel. Both abide with
me bringing atonement and purification, mediators with the cry of
"Sursum corda!"--When the day comes for Death to approach, he
shall not find me unprepared or faint-hearted. Our faith hopes
for and awaits the deliverance to which it leads us. Yet as long
as we are upon earth we must attend to our daily task. And mine
shall not lie unproductive. However trifling it may seem to
others, to me it is indispensable. My soul's tears must, as it
were, have lacrymatoria made for them; I must set fires alight
for those of my dear ones that are alive, and keep my dear dead
in spiritual and corporeal urns. This is the aim and object of
the Art task to me.

Yon know that I have finished the "Legend of Saint Elizabeth"
(200 pages of score--2 and 1/2 hours' duration in performance).
In addition to this some other compositions have been produced,
such as: the "SunCanticus ("Cantico del Sole") of Saint
Franciscus"--an instrumental Evocatio in the Sistine Chapel-two
Psalms, etc. I trust you may again find us in these, in mind and

I am now about to set myself the great task of an Oratorio on
Christ. By the 22nd October, '63, I hope to have solved the
difficulty as far as my weakness and strength will permit.

As you see, dearest Eduard, it is impossible to get out of my
head the idea of writing notes. [Notenkopfe] In spite of all good
precepts and friendly counsellors (who mean it much better by me
than I can ever understand!) I go so far as to maintain that for
several years past and in many yet to come I have not done and
shall not do anything more ingenuous than cheerfully to go on
composing. And what more harmless occupation could there be?
especially as I never force my little works upon any one, nay,
have frequently begged persons to refrain from giving certain too
unconscientious [Play on words "gewissen" and "ungewissenhaft"]
renderings of them,--and that I ask for no further appreciation
or approval than can, in fact, be granted according to taste and

From Pest I have lately received through Baron Pronay, in the
name of the Council of the Conservatoire, an invitation to
establish my domicile there, and to promote the interests of
Hungarian music. Probably you will hear of my excusatory reply.

Between ourselves, and frankly said in plain German, it would be
of no advantage to me again to take up any outward musical
activity (such as my conductorship in Weimar which came to an end
a few years ago, and after September 1861 became a locked door to
me through my Chamberlain's key). But possibly I may later find a
fitting opportunity for composing something for Hungary. After
the precedent of the "Gran Mass" I might, for instance, on some
extraordinary occasion, be entrusted, say, with a "Te Deum" or
something of the kind. I would gladly do my best, and only on
some such terms could I regard my return to Hungary as becoming.

Meanwhile remains quietly in Rome, honestly striving to do his
duty as a Christian and an artist,

Thine from his heart,

F. Liszt

Rome, November 19th (St. Elizabeth's Day), 1862

12. To Dr. Franz Brendel

Dear Friend,

The difficulties and troubles of the musical situation of which
you speak in your last letter but one, I can, unfortunately, only
too well understand. No one is better acquainted with such
matters than I am, and hence no one is better able to appreciate
and recognise the value of your unselfish, persevering work and
efforts, which also show you so sincere in your convictions. And
one of the dark sides in my present position, dear friend, is
that I can be of so little use to you, that I am compelled to
remain in a state of passivity and forbearance that does not at
all agree with me. However, you may rely upon my readiness to
render any assistance wherever I may still be able to help.--In
accordance with your wish I shall take an early opportunity of
writing to Prince H[ohenzollern] concerning the Tonkunstler-
Verein. It is to be hoped that our amiable, noble-minded patron
will show himself no less disposed in our favor than he has done
on former occasions. And you, on your part, do not fail to
discuss with Seifriz by letter the points and modals of the
support expected. It is a pity that Bulow's proposal to hold the
next meeting of the T.K. Verein in Lowenberg has not proved
feasible. Were it likely to be broached again I should not make
any objections to it, because, in fact, the place seems to be
precisely a favorable centre at present. But, as already said, it
is not my place to express any definite opinion on the subject,
and I am entirely satisfied in leaving all that has to be done to
your judgment and foresight.

I am delighted to hear of Bulow's extraordinary success in
Leipzig, and still more so to hear of your renewed and intimate
relations with him. He is the born prototype of progress, and
noble-minded to a degree! Without his active co-operation as
director and standard-bearer a Tonkunstler-Versammlung at the
present time would at least be an anachronism.

From Wagner I lately received a letter in which he informed me of
a performance of his "Tristan" in Vienna towards the end of
January. Afterwards he intends arranging some concerts in Berlin-
-and, it seems, in St. Petersburg also. My endeavors to secure
him comfortable quarters in Weimar seem for the time being to be
useless, because of his dislike to an insignificant appointment,
and the adverse circumstances of life in a small town. Certainly
his project of drawing annually 3,000 thalers (*450 British
pounds sterling*), by some agreement between the Grand Dukes of
Weimar and Baden, is much more to the point. The question is only
whether their Highnesses will consent to it? .--.

With heartiest greetings, most sincerely yours,

F. Liszt

December 30th, 1862

13. To Breitkopf and Hartel

Dear Herr Doctor,

The four scores of the Beethoven Symphonies, of which you advised
me in your friendly letter, reached me yesterday. My eyes are
meanwhile revelling and delighting in all the glories of the
splendid edition, and after Easter I shall set to work. Nothing
shall be wanting on my part, in the way of goodwill and industry,
to fulfil your commission to the best of my power. A pianoforte
arrangement of these creations must, indeed, expect to remain a
very poor and far-off approximation. How instil into the
transitory hammers of the Piano breath and soul, resonance and
power, fulness and inspiration, color and accent?--However I
will, at least, endeavor to overcome the worst difficulties and
to furnish the pianoforte-playing world with as faithful as
possible an illustration of Beethoven's genius.

And I must ask you, dear Herr Doctor, in order that the statement
on all the title pages--"critically revised edition"--may be
complied with, to send me--together with your new edition of the
scores of the "Pastoral," the C minor, and A major Symphonies--a
copy of my own transcriptions of them. Probably I may alter,
simplify, and correct passages--and add some fingerings. The more
intimately acquainted one becomes with Beethoven, the more one
clings to certain singularities and finds that even insignificant
details are not without their value. Mendelssohn, at whose
recommendation you formerly published my pianoforte scores of the
"Pastoral" and C minor Symphonies, took great delight in these
minutiae and niceties!--

With regard to the agreement about the A major Symphony I mean
shortly to write to Carl Haslinger, and expect that he will be
quite willing to meet my wish. [A pianoforte transcription of
this Symphony by Liszt had been published by Haslinger.]

With grateful thanks, dear Herr Doctor, I remain yours in
readiness and sincerity,

F. Liszt

Rome, March 26th, 1863

P.S.--The four Symphonies shall be finished before the end of
summer and sent to Leipzig. If you are satisfied with my work
would you entrust the arrangement of the Overtures to me when I
have finished the Symphonies--provided, of course, that you have
not made any agreement with any one else?

14. To A. W. Gottschalg in Weimar

Dear Friend,

This year my name-day fell in the middle of Easter week, on
Maundy Thursday. Your hearty letter again brought what to me is
the pleasantest news in the world. Thank you for it, and let
those know of it who share your sincere, friendly, and faithful
sentiments! First let me mention Carl Gotze, [A chorister in
Weimar (a favorite copyist of the Master's) became a musical
conductor in Magdeburg and died in 1886.] whose kindly words I
should so gladly like to answer in accordance with his wish, and
then my dear Kammer-virtuoso, Grosse. Grosses trombone no doubt
officiated brilliantly at Bulow's concert and at the performance
of Berlioz's opera! An echo of the former reached me, thanks to
your inspired notice in Brendel's paper, where I accidentally
came across a little remark which you had addressed to one of the
most estimable and graceful of German lady-singers anent my
little-heeded songs. I certainly cannot find fault with you for
showing some interest in the songs and for thus frankly
expressing your opinion. On the contrary, your sympathetic
appreciation is always welcome, amid the direct and indirect
disparagement which falls to my lot. Unfortunately, however, I
must make up my mind that only by way of an exception can I
expect to find friends for my compositions. The blame is mine;
why should one presume to feel independently, and set the
comfortable complacency of other folks at defiance?--Everything
that I have written for several years past shows something of a
pristine delinquency which is as little to be pardoned as I am
unable to alter it. This fault, it is true, is the life-nerve of
my compositions, which, in fact, can only be what they are and
nothing else.--

In the Psalms I have made some important alterations, and shall
shortly send Kahnt the manuscript. A few passages (especially the
verse "Sing us one of the songs of Zion") which had always
appeared awkward to me in the earlier version, I have now managed
to improve. At least they now pretty well satisfy my soul's ear.

The "Christus" Oratorio is progressing but slowly, owing to the
many interruptions which I have to put up with this winter. It is
to be hoped I may obtain some entire months of work during the
summer. I thirst for it.

Of the musical undertakings here you will learn the more
noteworthy events from a paper I sent to Brendel last week.
Further and fuller news about myself is meanwhile uncertain.
Probably I shall in the end not find myself able to do anything
better than to put my whole story in the musical notes that I am
incessantly writing down, but which need not either be printed or

However that may be, I remain, dear friend, in sincere affection,
yours gratefully and in all friendship,

F. Liszt

Rome, April 14th, 1863

P.S.--The Bach-Album and other music which you say you had to
send me (e.g., your arrangement of the Dante fugue if it has been
printed) please let me have through Kahnt. Enclose also a copy of
the Ave Maria for Organ.

[Figure: Musical Score Excerpt]

15. To Dr. Franz Brendel

Dear friend,

The last months brought so many interruptions in my work that I
still feel quite vexed about it. Easter week I had determined
should, at last, see me regularly at work again; but a variety of
duties and engagements have prevented my accomplishing this. I
must, therefore, to be true to myself and carry out my former
intention, shut myself up entirely. To find myself in a net of
social civilities is vexatious to me; my mental activity requires
absolutely to be free, without which I cannot accomplish

How things will turn out later about my proposed journey to
Germany I do not yet know. Probably my weary bones will be buried
in Rome. Till then their immovability will serve you better than
my wandering about on railways and steamboats. On the other hand,
there is but little for me to do in Germany. War is at the door;
drums and cannon will come to the fore; God protect the faith of
heroes and give victory to the righteous among humanity! .--.

Where is Wagner, and what about the performances of "Tristan",
the "Nibelungen", and the "Meistersinger" in Weimar or elsewhere?
Tell me of this. I have not written to Weimar for long, and have
also not had any news from there. My only German correspondent
(Frau von Bulow) is suffering from some eye-trouble, which has
interrupted our exchange of letters...so I am absolutely ignorant
of what is going on. The February numbers of the "Neue
Zeitschrft" are the last I have received. Your articles on
Criticism are excellent, and, indeed, nothing else was to be
expected. Give Louis Kohler my most friendly thanks for his kind
perseverance in "paving the way for my scores to receive more
kindly appreciation." The more thankless the task the more
heartily grateful do I feel to my friends.

Most sincerely yours,

F. Liszt

Rome, May 8th, 1863

16. To Eduard Liszt

Dearest Eduard,

Weariness or something of the sort carried my thoughts back to my
"Berceuse." Various other "Berceuses" rose up in my dreams. Do
you care to join my dreams? It shall not cost you any trouble;
without touching the keyboard yourself, you will only need to
rock yourself in the sentiments that hover over them. A really
amiable and variously gifted lady will see to this. She plays the
little piece delightfully, and has promised me to let it exercise
its charms upon you. I shall, therefore, ere long send you a copy
of the new version of the "Berceuse" addressed "to the Princess
Marcelline Czartoryska, Klostergasse 4." [A pupil of Chopin's]
Wend yourway thither--and, in case you do not find the Princess
at home, leave the manuscript with your card. I have already told
her of your contemplated visit, and have spoken of you as my
heart's kinsman and friend. You will find the Princess Cz.
possessed of a rare and fine understanding, the most charming
figure in society, and a kindly and enthusiastic worshipper of
Mozart, Beethoven, and Chopin, and, above all this, the
illuminating faith of the Catholic Church reflected in Polish

"Patria in Religione et Religio in patria" might be the motto of
Poland. God protect the oppressed!

One other commission for the Princess Cz. please undertake for
me. During her residence here she on several occasions expressed
the wish to become acquainted with some of my compositions (to
which, whether intentionally or not, she had hitherto not paid


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