217. To Dr Franz Brendel

[In this letter, the programme refers to some theater concerts, which were to be arranged according to Brendel's design. The sketch was as follows:--

"1st Concert: Paradise and the Peri.

2nd Concert: Eroica, Prometheus.

3rd Concert: Overture of Wagner. Solo (Bronsart). Overture of Beethoven.

2nd part: L'enfance du Christ of Berlioz.

4th Concert: Festival Song of Liszt. Solo. Draseke. Chorus for men's voices from his Opera.

2nd part: Walpurgisnacht of Mendelssohn.

5th Concert: Overture of Berlioz, Wagner, or Beethoven.

Solo. Preludes.

2nd part: Manfred.

6th Concert: Overture. Solo. Ta.s.so.

2nd part: B-flat major Symphony."

To this Liszt adds, besides some remarks about getting the parts for No. 5:

"An orchestral work of Hans von Bulow (possibly the Caesar Overture) would be suitable for this concert. I would also recommend that Bronsart's "Fruhlings-Phantasie" ["Spring Fancy"] should be included in one of the programmes.

"Of Berlioz' works I should recommend the following as the most acceptable for performance:--

"The festival at Capulet's house (Romeo), The Pilgrims' March (from Harold), Chorus and Dance of Sylphs (Faust), Terzet and Chorus (from Cellini), with the artists' oath, Overture to Lear.

"N.B.--We can bring out the Terzet from Cellini at the next Tonkunstler-Versammlung. It is a very important and effective piece."]

Dear Friend,

The sketch for your programme is excellent, and if I have some doubts as to the entire project, yet your proposed programme seems to me in any case the most suitable, both as regards choice of works and their order and grouping. With regard to the doubts which I have so often mentioned I will only make the general remark that a compet.i.tion with the Gewandhaus in Leipzig brings a good deal of risk with it, and for this winter a pa.s.sive att.i.tude on our side would not specially injure our cause (at least not according to my opinion). Whether Wirsing and Riccius will be able to give the requisite support to the theater concerts, or are willing to do so, I cannot undertake to say, as the ground of Leipzig lies in many ways too far removed from me. In this I rely entirely on your insight and circ.u.mspection, dear friend. In case you end by deciding in the affirmative I will willingly do something to help--as, for instance, to undertake the conducting of the "Prometheus." I would rather not let myself in for much more than that, because conductings in general become more burdensome to me every year, and I don't in the least desire to offer further active resistance to the ill-repute with which I am credited as a conductor. Indeed I owe my friend Dingelstedt many thanks for having (without perhaps exactly desiring to do so) given me the chance of freeing myself from the operatic time- beating here, and I am firmly resolved not to wield the baton elsewhere except in the most unavoidable cases! Bulow must now often mount the conductor's desk. He has the mind, liking, talent, and vocation for this. If the theater concerts should be arranged, be sure to secure his frequent co-operation. He will certainly bring new life into the whole affair, and possesses the necessary amount of experience and aplomb, [Employed in French by Liszt] to be their solid representative.

I have just written to Klitzsch [Music-conductor at Zwickau] and promised him to conduct the "Prometheus" in Zwickau. The concert will take place at the end of October (perhaps on my birthday, the 22nd). Although you have heard the Prometheus choruses in Dresden, I wish very much that you could come to Zwickau this time. I have again worked most carefully at it, have amplified some things, and have arranged others in a simple and more singable manner, etc. Now I hope that it will thoroughly hold its ground and stand the test of proof. So do come to Zwickau.

I have still one more request to make to you today, dear friend.

P. Lohmann [A music colleague of the Neue Zeitschrift fur Musik, living in Leipzig] was so kind as to send me his drama some weeks ago. I have read The Victory of Love with much interest, but I have not yet been able to get so far as the other, and as little have I been able to express my thanks to him in writing. Kindly undertake my excuses to him, and tell him that I am exceedingly obliged by his letter and what he sent me. On the occasion of my journey to Zwickau I will call on Lohmann in Leipzig, and tell him personally what an impression his dramas make on me. I specially take notice of his article in the paper.

I thank you most truly for the kindness which you have shown to B. He is in many things somewhat awkward, impractical--and almost looks as though he could not devote himself to any productive and consistently carried-out form of activity. None the less is there in him a certain capacity and worth which, in a somewhat more regular position than he has yet been able to attain, would make him appear worth more. A more frequent application of a few utensils such as soak tooth-brush, and nail brush might also be recommended to him!--I expect much good to result from your influence on B.'s further work and fortunes, and hope that your store of patience will not be too sorely tried by him.

With heartfelt greetings, your

F. Liszt

Weymar, September 2nd, 1859

Herewith the programme scheme with two or three little remarks appended. Weigh again the pros and cons of the matter, and keep the right balance between the risk and the possible gain. Motto: "First weigh, then risk it!"--[The nearest English equivalent seems to be "Look before you leap."

.--. I have had so much of notes [musical] to write lately that my writing of letters [of the alphabet] has got still worse. But where you can't read what I have written, you can guess it all the easier.--

218. To Louis Koehler

Dear Friend,

Your letter was a real joy to me, for which I thank you heartily.

You are far too honorable, brave, and admirable a musician for our paths to remain long sundered. For the very reason that people cannot (as you so wittily remark) immediately "label and catalogue me correctly and place me in an already existing drawer," I am in hopes that my efforts and working will eventually prove in accordance with the spirit of the time, and will fructify. I promise you also that I am not wanting in pains and labour in honor of my friends. But I certainly cannot recognize weaklings and cowards as such. It is only with high- minded, brave, and trusty comrades that we move forwards, no matter though the number remain small. In matters of intelligence the majority always follows the minority, when the latter is sufficiently strong to hold its own.--Welcome, therefore, dear friend, welcome most truly. If there is still a lot of scandal which we have to bear quietly and without mortification, we will by no means let ourselves be confounded by it!

I have written at once to Hartel to send you the arrangements for two pianofortes of the Symphonic Poems that you wished for. But there is a better way for the scores than that of a bookseller.

Fraulein Ingeborg Stark is going to St. Petersburg on the 20th of this month, and will stay a day in Konigsberg. She will bring you the Dante Symphony, etc., and if there should be an opportunity she will play the things through with Bronsart (who is also going to Konigsberg at the same time). I have grown very much attached to Fraulein Stark, as hers is a very particularly gifted artistic nature. The same will happen to you if you hear her striking Sonata. Ingeborg composes all sorts of Fugues, Toccatas, etc., into the bargain. I remarked to her lately that she did not look a bit like that. "Well, I am quite satisfied not to have a fugue countenance," was her striking answer.

The Pohls are both still in Baden-Baden (whence I hear the excerpts from Berlioz' ma.n.u.script opera Les Troyens [The Trojans]

spoken of with enthusiasm). Madame Viardot sang a grand scena and a duet from it in the concert conducted by Berlioz--and Fraulein Emilie Genast is staying a couple of weeks longer with her sister Frau Raff in Wiesbaden. On her return I will give her your greetings, and Emilie will certainly be glad to make known the concert song which you mention to her. In her performance a beautiful and sympathetic "melody of speech" is reflected. As I write this word I can't help at the same time wishing that you may find in my "Gesammelte Lieder" something that appeals to your feelings, which you have so cleverly represented in the "melody of speech." You will receive a proof-copy of the six numbers at the same time as the Dante Symphony. I wanted to dedicate the last number, "Ich mochte hingehn" (poem by Herwegh), specially to you, and when next you have occasion to come to Weymar, I will look for the ma.n.u.script for you on which your name is put. But as I have left out all other dedications in this complete edition, I propose to dedicate something else to you later--probably some bigger and longer work.

A Ballade of Draeseke's--"Koenig Helge"--has just appeared, which pleases me extremely. You must look closely into this wonderful Opus 1.

In conclusion one more request, dear friend. Do me the kindness to be perfectly free and open and regardless of consequences in the discussion of my works. Do not imagine that the slightest vanity comes over me or impels me. I have long ago done with all that sort of thing. So long as you allow that I possess the necessary musical equipments to create freely in Art, as I gather from your letter that you do, I can but be grateful to you for all else, even were it severe blame. I have often expressed my opinion to my friends that, even if all my compositions failed to succeed (which I neither affirm nor deny), they would not on that account be quite without their use, owing to the stir and impetus which they would give to the further development of Art. This consciousness so completely satisfies me that I can consistently persevere and go on composing.

With all respect and attachment I remain,

Yours most sincerely,

F. Liszt

Weymar, September 3rd, 1859

If the Koenigsberg Academy does not take alarm at my name (as has indeed been the case in other places, owing to the foolish prattle of the critics), they might try the "Prometheus" choruses there by-and-by. They are to be given almost directly (at the end of October) at Zwickau, and probably later on in Leipzig, where I shall then also have them published.

In the matters of the prize-subject we will wait and see what comes. You very justly remark that it hinges now upon enharmony.

It is a pity that you do not bring something. Perhaps you will still find time to do so.

219. To Dr. Franz Brendel

Dear Friend,

I beg you to send me by return of post a copy of the intricate biography ("Liszt's Life and Work"--if I am not mistaken) by Gustav Schilling. Siegel and Stoll in Leipzig have taken the work from the Stuttgart publisher, and there will surely be some way of getting a copy in Leipzig. Ask Kahnt to be so good as to see after one and to send it me immediately by post, for I require the work in connection with a special and pressing question which I can best answer by a quotation from Schilling's book.

With friendliest greetings, your

F. Liszt

Weymar, September 8th, 1859

Why does not Schuberth send me my dedicatory copy of Draeseke's Ballade "Koenig Helge"?