Although your shop is already saddled with two editions of my "Concerto pathetique," I recommend you most particularly the excellent orchestral arrangement of the same piece, [By Eduard Reuss. It was published by Breitkopf and Hartel.] to which I have added some bars for more completion, which should also be included in the possible (?) later piano editions.

The poet and the writer often make alterations. With the engraving of music this is more difficult, though not entirely to be put aside.

With esteem,

F. Liszt

Rome, November, 1885

370. To Walter Bache

My very dear Friend,

Certainly your invitation takes precedence of all others. So choose the day that suits yourself and I will appear. Without Walter Bache and his long years of self-sacrificing efforts in the propaganda of my works my visit to London were indeed not to be thought of.

Do you know your namesake (without the final E), Herr Emil Bach, Prussian Court-pianist? I enclose herewith a second letter, which I have answered, as I did the first, that I must not be the occasion of expense and inconvenience to any one. Orchestral concerts are expensive everywhere, especially in London.

Consequently I cannot encourage Emil Bach's project, and can only dissuade him from putting it into execution. Send me word about this.

Gratefully and faithfully yours,

F. Liszt

Rome, Hotel Alibert, November 17th, 1885

Mr. Stavenhagen, [Now one of the most celebrated pianists] a pianist and musician of real talent, wants to come out in London, and is writing to you on this subject.

370a. To Walter Bache

My very dear Friend,

It is fixed then: Thursday, 8th April, Ricevimento [Reception] at Walter Bache's house. Enclosed is the letter of the Philharmonic Society, together with the rough copy of my reply which I send off today. Please observe the postscript:

"If, in the concert at which one of my Symphonic Poems will be performed, Mr. Walter Bache would play some Pianoforte composition of mine, that would give me great pleasure. I permit myself to give this simple hint without the slightest desire of influencing your programme, which it is for you to fix."--

I am quite of your opinion, dear friend. The accented poaht of my coming to London is to be present at the "Elizabeth" performance.

It was this that decided my coming, and it is to be hoped it will be a success. [It was given on the 6th April, 1886, under the conductorship of Mackenzie. Bache had already given it in London in 1876.]

I have answered Emil Bach's first and second letters to the effect that I should not wish to involve any one in expense, and that consequently I must dissuade him from giving an orchestral Liszt concert. Beg Littleton personally to make my wish quite clear to Herr Emil Bach, that his proposed concert should not be given. .--.

Faithfully yours,

F. Liszt

November 26th, 1885

I have just received a second letter from the "Philharmonic Society."--To my answer to the first (sent yesterday) I have nothing to add.

370b. To the Philharmonic Society

Very honored Directors,

Much flattered with your kind intention to admit one of my "Poemes Symphoniques" on to the programme of the Philharmonic Society, during my stay in London, I beg you to accept my sincere thanks.

Will you please choose, according to your own pleasure, the work which suits you best, and also ask your "conductor," Sir Arthur Sullivan, from me, to direct it?

For twenty years past I have been quite outside of any work as orchestral conductor and pianist.

Distinguished consideration and loyal devotion.

F. Liszt

Rome, November 26th, 1885

P.S.--If, in the concert at which one of my Symphonic Poems will be performed, Mr. Walter Bache would [etc., see quotation in previous letter].

371. To Countess Mercy-Argenteau

Dear admirable Propagandist,

Herewith is a different rendering of the shake, with an indication to the left hand of the motive which is then taken up again in full. This new shake is a little awkward to do, but not too troublesome. Will you be so kind as to send it to Cui, and beg him to be my emissary to the editor of the original of Cui's brilliant "Tarantelle," for the publication of the transcription?

To my regret the smallness of my income obliges me to leave no stone unturned to make money out of my transcriptions, [La modicite de man revenu m'oblige a faire fleche, non pas de tout bois, mais de f.a.gots de mes transcriptions. The literal translation is, "Obliges me to utilise, not the wood, but the f.a.ggots of my transcriptions," the point of the sentence turning upon the French idiom "faire fleche de tout bois," which in English is rendered by a totally different idiom.--Trans.] for which I am now paid in Germany, Russia, France, at the rate of from twelve to 1500 marks apiece, for the copyright in all countries.

Observe that I choose works to be transcribed, and refuse myself to any other demands. This year, for instance, I have confined myself to the volume that you condescend to accept--and that you will, I hope, bring to the light by the diamonds and pearls of your fingers.

Mr. Bessel therefore only has either to send me 1200 marks in payment, or else to return me the ma.n.u.script without being ashamed.

Most humble and constant homage.

F. Liszt

Rome, November 21st, 1885

When you have sent me word of the result of the negotiation with Bessel, I will write my thanks and acknowledgments to Cui.

N.B.--The new shape should be printed as an Ossia, above the old one.

372. To Camille Saint-Saens