F. Liszt

252. To Dr. Siegmund Lebert

Dear friend,

I keep a long-standing promise today, by sending you the 3 last Concerti by Beethoven arranged for 2 pianos. This arrangement is distinctly different from all other existing arrangements of the same Concerti for 2 pianos. Till now it has been the habit of arrangers to content themselves with setting the Tutti (or better, the orchestral parts) for the 2nd piano only, leaving the 1st to rest entirely or to support the 2nd according to inclination. By this a grievous disproportion in the effect of the orchestra parts is induced, let alone the fact that some of the arrangements are exceedingly scanty.

In my opinion this sort of proceeding belongs to the past and is hackneyed. What good is there it the first player sitting there at all, if he does not know how to take part in the whole? Ergo, I had to occupy him almost constantly.

As a matter of course I have not altered a single note of Beethoven's original version (of the so-called Soli parts), and have only added a tolerable amount of indications for pedal and fingering, for the convenience of pupils and teachers.

2 identical copies (printed on 4 lines--excepting the Cadenzas) are necessary for the performance of this arrangement.

It may prove useful and effective, as well in studing at the "homely fireside" and in musical schools, as also in performances in small concerts (where there is no orchestra), in Conservatoires, at examination: and drawing-room performances.

The chief t.i.tle stands on the first page; on the 2 following ones are remarks for the printer, which I leave to your masterly hand as a pedagogue, dear friend, to render more distinct and to complete. With special regard I remain always yours sincerely,

F. Liszt

Rome, September 25th, 1879

I have great pleasure in the perusal of the 2nd edition of Weitzmann's "History of Pianoforte Playing."

253. To Professor Ba.s.sani in Venice

[A well-known teacher of the pianoforte in Venice, and friend of Liszt's]

Much-esteemed Colleague,

You are so forcibly exceptional a person, and prove this by truly uncommon musical and poetical works.

Mademoiselle Giuli has already written to tell you the lively pleasure I have had in hearing her play one of your compositions remarkably well; several others, for piano or for the voice, deserve a similar success, and will obtain it as soon as they are known.

Pray accept, dear Monsieur Ba.s.sani, the very sincere esteem and sympathy which is offered to you, together with best wishes for the extension and widespread fame of your "Armonie dell' Anima,"

by

F. Liszt

(Villa d'Este) October 28th, 1879

254. To the Composer Anatolie Liadoff in St. Petersburg

Dear Sir,

All your compositions bear the stamp of distinction and of good taste. This one is charmed to find again in the "Arabesques" you are kind enough to send me. Pray accept my thanks and the expression of my very sincere and devoted esteem.

F. Liszt

(Villa d'Este,) December 25th, 1879.

255. To Frau Reisenauer-Pauly in Rome

[The mother of Liszt's pupil, Alfred Reisenauer]

Dear Madame,

My best thanks for your kind notice of the Roman concert of January 23rd. It seems to me that "populations necessiteuses"

[distressed population] would have been better on the programme than "populations affamees" [starving population] of Silesia.

Mendelssohn's excellent Concerti always hold their ground without risk, especially since Berlioz's witty article (published nearly 30 years ago), according to which they are occasionally performed by the pianos alone, without further trouble on the part of the pianist.

While taking affectionate part in the success achieved by your son Alfred, whose talents are duly valued by me, I remain, dear Madame,

Yours truly,

F. Liszt

Budapest, January 30th, 1880.

My cordial greetings to Madame Helbig.

256. To Professor Klindworth in Moscow

Much-esteemed dear Friend,

My sincere thanks for your masterly arrangement of Chopin's Concerto. [The Concerto in F minor; score, orchestral parts and arrangement for 2 pianos published by Jurgenson (Moscow) and Bock (Berlin).] You showed me the first movement of it some years ago in Munich. I consider the modifications in the instrumentation and in the piano part successful. As much transparency as possible should be preserved in the melodious parts.

I conclude that you will impress on M. Jurgenson the necessity of not giving way to the ancient careless abuses of publishers in the 2-piano edition. Thus four lines and two identical copses are requisite for performance.

As leader and head of the now numerous Chopin-Editors, your excellent Jurgenson-Edition authorises you to advance a proudly modest "Sic vos non vobis."

Au revoir this summer in Hall, dear Klindworth. Give my kind regards to your wife.

Yours faithfully,

F. Liszt

Budapest, February 16th, 1880