Our "Musak-Verein" has not the advantage of material wealth; nevertheless we have existed bravely for 25 years without getting into debt, and faithfully put in practice our princ.i.p.al rule, which is to perform every year in different towns the valid works of contemporary composers of any country whatsoever (exclusive of works for the theater, with the exception of occasional vocal numbers). This rule, which is difficult to maintain, considering the expenses and the difficult preparations, distinguishes us from other musical societies and gives us the character of pioneers of progress. We have not been behindhand with the group of composers of young Musical Russia, Rimsky-Korsakoff, Borodine, Cui, etc., for we have been giving their works for four years past.

The very gracious Countess of Mercy-Argenteau has been making them known lately at Liege, with a brilliant success, quite justified by the qualities of the works and the charm of the patroness.

Will you, dear friend, be so kind as to express my acknowledgments to Mr. de Fourcaud, [Musical and Art Correspondent of the Paris Gaulois, with outspoken Wagner tendencies and opinions.] and accept the expression of my cordial affection?

F. Liszt.

Budapest, April 6th, 1885.

In a few days I shall be back at Weimar.

359. To Lina Ramann.

[Weimar] April 27th, 1885.

I am sending you at once, my very dear friend, the volumes of scores which I have by me in Weimar. [Works of Palestrina's.] The celebrated Missa Papoe Marcelli is not amongst them, but can easily be found; the last edition of it by Amelli, Milan, the editor-in-chief of the Church-Music paper there. I got him to add a few indications of expression because, according to my opinion, without such indications any further editions of Palestrina and La.s.sus--the two great Cardinals of old Catholic Church-music-- would serve only for reading, and not for actual performances. Of course no one can fix with absolute certainty the figures to the ba.s.ses of Palestrina and La.s.sus; yet there are determining points from which one can steer.

The best model of all is and will continue to be--Wagner's arrangement of Palestrina's "Stabat Mater"--with marks of expression and plan of the division of the voices into semi- chorus, solos, and complete chorus.

Wagner made this model arrangement at the time when he was conductor in Dresden. It appeared 15 years later, published by Kahnt. It is to be hoped that people will gradually regulate themselves by this with judgment--and time.

Faithfully yours,

F. Liszt

360. To Camille Saint-Saens

Thank you cordially, my very dear friend, for the concession you are willing to make to me.

The Society of Musicians, in which I have taken part for 25 years, holds to the principle of producing the works of living Symphonic composers of all countries. I claim then your superior and continued share in it, and remain your admiring and attached friend,

F. Liszt

Weimar, May 8th, 1885

361. To Alexander Siloti

[Well known as one of the most gifted pupils of Liszt, and one of the first pianists of the present day. Born 1863, and lives now in Paris]

In Weimar it is wisest to keep oneself negative and pa.s.sive.

Therefore, dear Siloti, attempt no "Liszt-Verein."

[In consequence of the above letter the Liszt-Verein (Liszt Society) was not founded in Weimar, as Siloti intended, but in Leipzig in 1885, where it has flourished brilliantly under the direction of Professor Martin Krause.]

With thanks, yours truly,

F. Liszt

May, 1885

362. To the Composer J.P. von Kiraly in Eisenstadt

[From a copy by Director Aug. Gollerich in Nuremberg.]

Dear Friend,

Ninety years ago my father was preparing for his duties as book- keeper to Prince Nikolaus Esterhazy in Eisenstadt. At that time he often took part, as an amateur, among the violoncellos in the Prince's frequent Court concerts, under the conductorship of the happy great master Josef Haydn. My father often told me about his intercourse with Haydn, and the daily parties he made up with him. In 1848 I visited the dear, affectionate Father Albach at the Franciscan monastery of Eisenstadt, and dedicated to him my Ma.s.s for men's voices, which will be brilliantly performed here very shortly. May the simple, artless genius of Haydn ever rule over the Eisenstadt Kindergarten conducted by your daughter.

"Joke and earnest!" Bravo, friend! The work honors the master who knows so well the Muses. In Oedenburg and Eisenstadt surely every one will subscribe. At the beginning of July I shall send you a small contribution for the Kindergarten. Perhaps later on I shall be able to do more; unfortunately I am anything but well off, and must content myself with a small amount.

F. Liszt

Antwerp, June 5th, 1885

363. To Ferdinand Taborszky, Music Publisher in Budapest

Antwerp, June 8th, 1885

Very dear Friend,

From Weimar, where I shall once more be in ten days' time, you will receive at the beginning of July some short Hungarian pianoforte pieces, which I shall orchestrate later on, ent.i.tled:

To the memory of Stephan | Szechenyi Franz | Deak Josef | Eotvos ----------------------- Ladislas | Telek Michael | Vorosmarti Alexander | Petofi

The last piece has already been published by Taborszky, but must have a few more concluding bars in the new edition.

"Mosonyi's Trauerklange" (Mosonyi's funeral music), which you have already had by you for fifteen years, shall make No. 7. Our friend Mosonyi, so excellent and full of character, and so pre- eminent a musician, must also not be forgotten.

The seven numbers make altogether sixty pages of print. All the new pieces are perfectly ready, written out in ma.n.u.script, only requiring a copyist, whom I cannot find while I am on my journey.

[Liszt's intention to orchestrate the pieces remained unfulfilled.]

When I send you the ma.n.u.scripts I will write all further particulars with regard to the publishing of them.

First of all, dear friend, will you be so kind as to go to my house with Frau von Fabry? I stupidly forgot there--in the bedroom, not in the salon--the beautiful and revised copy of a composition for piano and violin or violoncello, together with the transcription of the same for pianoforte alone. The t.i.tle is "La lugubre Gondola" (the funeral gondola). As though it were a presentiment, I wrote this elegie in Venice six weeks before Wagner's death.

Now I should like it to be brought out by Fritzsch (Leipzig), Wagner's publisher, as soon as I receive it from you in Weimar.

[Published by Frizsch] Hearty greetings to your family.