Budapest, February 5th, 1882.

290. To the Kammervirtuosin Martha Remmert

Dear Martha,

Enclosed are the various readings [Varianten] to my "Todtentanz."

[Dance of Death.] I noted them down after hearing the piece last May for the first time with Orchestra at the Antwerp Musical Festival (played by Zarembski in a masterly way). The brief alterations are easy to insert into the instrumental parts, for they only apply to the Horns, and consist in the addition of 7 bars; the rest are pauses in the orchestra while the pianoforte solo continues.

All is accurately indicated in the enclosed copy, so that, should the publisher Siegel (Leipzig) feel disposed to add a complementary sheet to the score, it might be easily printed from this copy. I should not like to trouble Siegel about this; but I authorise you, dear Martha, to communicate the complementary pages A, B, C, to Siegel. [The alterations alluded to did not appear in print.]

I wish you all the success you deserve in your concert productions, and remain always, Yours sincerely,

F. Liszt

Budapest, February 20th, 1882.

291. To Madame Malwine Tardieu

Dear Madame,

You were beforehand with me in knowing that the performance of my St. Elizabeth is to take place, for the first time in French, at Brussels on Sunday, 30th April. If the date is not changed, I shall arrive on the 27th for the last rehearsals.

I hardly venture to accept the hospitality you are so good as to offer me, from delicacy; if, however, you help me ever so little to overcome my scruples, they will vanish. A thousand thanks for the good news you give me of the success of "Samson" and of other works by St. Saens in Germany. He has possessed my admiring friendship for many years.

My very affectionate and grateful regards.

F. Liszt

Budapest, April 11th, 1882

I shall return to Weimar in about ten days, where I shall expect to receive the printed programme from M. Becquet, which is to fix my arrival in Brussels.

Pray thank M. Tardieu for his obliging intention of reproducing the article of the Independance upon the first performance of the St. Elizabeth at Budapest in August 1865. I will tell you by word of mouth who penned those lines. [This article, which was signed Remenyi, was written by Frau Cosima Wagner, Liszt's daughter, and (according to Madame Tardieu's opinion) had "a high interest on account of its poetical and brilliant conception."]

292. To Franz Servais

Very Dear Friend,

It is a grief to me that you will be conspicuous by your absence on the approaching occasion of my return to Brussels. The Liszt- Concert set afloat and directed by you last spring remains one of my pleasantest recollections during my too long artistic career.

Even at that time you suggested a performance of my "Elizabeth,"

and I did not think that it would take place during your absence.

My approaching second visit to Brussels is entirely one of grat.i.tude for the sympathetic reception granted to me there at the concert which you directed--an excellent performance of some works of mine. Perhaps the "Elizabeth" may likewise be favored by good luck...M. Lagye has made an excellent French translation of it.

The one thing important for you, my dear Franz, is to complete your Ion [The original tile of the Opera now called "L'Apollonide", which Servais still keeps in his portfolio, though it is finished.]. This will be your advent as composer, for a complete and resounding success in which you have the best wishes of

Yours ever devotedly,

F. Liszt

Weimar, April 22nd, 1882.

Write to me at Brussels, where I shall be from May 1st to 4th, and address your letter to Zarembski.

293. To Madame Malwine Tardieu

Unless I receive a countermand from you, I shall be in Brussels on Sunday evening. [The first performance of "St. Elizabeth in French took place on the 3rd of May. Saint-Saens, Ma.s.senet, Francis Plante, and others besides were present.] I shall take the liberty of sending you a telegram on the road to give you the hour of my arrival. It will interest me greatly to hear the "Herodiade". [Liszt heard Ma.s.senet's opea on 2nd of May.] Bulow's exceedingly witty article on Saint-Saens' "Samson", which Bulow declares to be the best and most successful of all the Operas that have been performed for the last fifteen years (excepting Wagner's),--this article, which creates a sensation and makes a noise at "Landerneau," will reach you at the same time as these lines from your affectionate servant,

F. Liszt

Weimar, April 23rd, 1882

294. To Otto Lessmann

I owe you so many thanks, dear, esteemed friend, that I could never get to the end of them. If the canon form were less unfamiliar to me, I would dedicate a symphonic Canone perpetuo of thanksgiving to you.

Our friend Adelheid von Schorn tells me that you are likely to spend your holidays at Weimar. A hearty welcome to you.

This year the Tonkunstler-Versammlung, at which I am accustomed to appear as a superfluous necessity ("le superflu, chose si necessaire," according to Voltaire), ever since the foundation of these gatherings twenty years ago with Brendel--takes place at Zurich from the 9th to the 12th July.

Let us go there together, dear friend, from Weimar. I read by preference your excellent newspaper, and am making a lively propaganda for it.

Yours gratefully and cordially,

F. Liszt

Weimar, April 23rd, 1882

295. To Frau Charlotte Blume-Arends

Weimar, April 23rd, 1882.

Dear Madame,

Poetry is your domain. As a pretty French verse has it, "Meme quand l'oiseau marche, on sent qu'il a des ailes" [Even when it walks, we feel that a bird has wings].--My most cordial thanks therefore for the gift which you call prosaic, and my best regards to your husband. It would be charming if you came to Weimar again. From the middle of June to the 12th of July remains here uninterruptedly

Yours very truly,