The Project Gutenberg eBook of Letters of Franz Liszt -- Volume 2 from Rome to the End, by Franz Liszt

The Austrio-Hungarian composer Franz Liszt (1811-1886) was a pianistic miracle. He could play anything on site and composed over 400 works centered around "his" instrument. Among his key works are his Hungarian Rhapsodies, his Transcendental Etudes, his Concert Etudes, his Etudes based on variations of Paganinini's Violin Caprices and his Sonata, one of the most important of the nineteenth century. He also wrote thousands of letters, of which 399 are translated into English in this second of a 2-volume set of letters (the first volume contains 260 letters).

Those who knew him were struck by his extremely sophisticated personality. He was surely one of the most civilized people of the nineteeth century, internalizing within himself a complex conception of human civility, and attempting to project it in his music and his communications with people. His life was centered around people; he knew them, worked with them, remembered them, thought about them, and wrote about them using an almost poetic language, while pushing them to reflect the high ideals he believed in. His personality was the embodiment of a refined, idealized form of human civility. He was the consummate musical artist, always looking for ways to communicate a new civilized idea through music, and to work with other musicians in organizing concerts and gatherings to perform the music publicly. He also did as much as he could to promote and compliment those whose music he believed in.

He was also a superlative musical critic, knowing, with few mistakes, what music of his day was "artistic" and what was not. But, although he was clearly a musical genius, he insisted on projecting a tonal, romantic "beauty" in his music, confining his music to a narrow range of moral values and ideals. He would have rejected 20th-century music that entertained cynical notions of any kind, or notions that obviated the concept of beauty in any way. There is little of a Prokofiev, Stravinsky, Shostakovich, Cage, Adams, and certainly none of a Schoenberg, in Liszt's music. His music has an ideological "ceiling," and that ceiling is "beauty." It never goes beyond that. And perhaps it was never as "beautiful" as the music of Mozart, Bach or Beethoven, nor quite as rational (Are all the emotions in Liszt's music truly "controlled?"). But it certainly was original and instructive, and it certainly will linger.

FRONTISPIECE TO VOLUME II, HONORING LISZT

We welcome thee, from southern sunnier clime,
To England's shore,
And stretch glad hands across the lapse of time
To the once more.

II.

Full twice two decades swiftly have rolled by
Since thou wast here;
A meteor flashing through our northern sky
Thou didst appear.

III.

Thy coming now we greet with pleasure keen,
And loyal heart,
Adding tradition of what thou hast been
To what thou art.

IV.

No laurel can we weave into the crown
Long years entwine,
Nor add one honour into the renown
Already thine:

Yet might these roses waft to thee a breath
Of memory,
Recalling thy fair Saint Elizabeth
Of Hungary

VI.

We welcome her, from out those days of old,
In song divine,
But thee we greet a thousand fold,
The song is thine!

—C.B.

[Presumably written by Constance Bache, this trite paean would likely not have appealed to Liszt, who repeatedly affirmed his humility.]

TABLE OF LETTER CONTENTS (LETTER NUMBER, FOLLOWED BY ADDRESSEE)

1. Dr. Franz Brendel. December 20th, 1861 2. A. W. Gottschalg in Tieffurt. March 11th, 1862 3. Dr. Franz Brendel. April 12th, 1862 4. Mme. Jessie Laussot in Florence. May 3rd, 1862 5. Dr. Franz Brendel. June 12th, 1862 6. the same. July 12th, 1862 7. the same. August 10th, 1862 8. the same. August 29th, 1862 9. the same. November 8th, 1862 10. A.W. Gottschalg. November 15th, 1862 11. Eduard Liszt. November 19th, 1862 12. Dr. Franz Brendel. December 30th, 1862 13. Breitkopf and Hartel. March 26th, 1863 14. A.W. Gottschalg in Weimar. April 14th, 1863 15. Dr. Franz Brendel. May 8th, 1863 16. Eduard Liszt. May 22nd, 1863 17. Dr. Franz Brendel. June 18th, 1863 18. the same. July 18th, 1863 19. Breitkopf and Hartel. August 28th, 1863 20. Dr. Franz Brendel. September 7th, 1863 21. Dr. Gille in Jena. September 10th, 1863 22. Dr. Franz Brendel. October l0th, 1863 23. Mme. Jessie Laussot. October 15th, 1863 24. Dr. Franz Brendel. November 11th, 1863 25. Breitkopf and Hartel. November 16th, 1863 26. Dr. Franz Brendel. January 22nd, 1864 27. the same. May 28th, 1864 28. Dr. Franz Brendel. June 13th, 1864 29. The Committee of the Society for the Support of Needy Hungarian Musicians in Pest. June 18th, 1864 30. Eduard Liszt. June 22nd, 1864 31. Dr. Franz Brendel. July 1st, 1864 32. Walter Bache in London. July 2nd, 1864 33. ? August 7th, 1864 34. Eduard Liszt. September 7th, 1864 35. Breitkopf and Hartel. September 14th, 1864.93 36. the same. October 1st, 1864 37. Mme. Jessie Laussot. March 6th, 1865 38. Dr. Franz Brendel. April 3rd, 1865 39. Prince Constantine (Hohenzollern-Hechingen). May 11th, 1865 40. Breitkopf and Hartel. May 27th, 1865 41. Dr. Franz Brendel. July 21st, 1865 42. Abbe Schwendtner. September 20th, 1865 43. Dr. Franz Brendel. September 28th, 1865 44. Eduard Liszt. November 1st, 1865. 45. Dr. Franz Brendel. January 14th, 1866 46. the same. June 19th, 1866 47. the same. October 2nd, 1866 48. Breitkopf and Hartel. October 4th, 1866 49. Dr. Franz Brendel. January 6th, 1867 50. Dr. Cuturi in Pisa. January 22nd, 1867 51. Julius von Beliczay in Vienna. April 29th, 1867 52. Mme. Jessie Laussot. May 24th, 1867 53. Eduard Liszt. June 20th, 1867 54. William Mason. July 8th, 1867 55. E. Repos in Paris. July 12th, 1867 56. Prince Constantine Czartoryski.October 14th, 1867 57. Eduard Liszt. October 16th, 1867 58. the same. October 20th, 1867 59. Peter Cornelius. October 23rd, 1867 60. Eduard von Liszt. November 6th, 1867 61. E. Repos. November 8th, 1867 62. Mme. Jessie Laussot. January 13th, 1868 63. DP. Franz Brendel. January 26th, 1868 64. Walter Bache. January 30th, 1868 65. Dr. Franz Brendel. March 31st, 1868 66. Johann von Herbeck. June 9th, 1868 67. Dr. Franz Brendel. June 17th, 1868 68. E. Repos. July 1st, 1868 69. Carl Riedel in Leipzig. August 12th, 1868 70. E. Repos. August 26th, 1868 71. Dr. Siegmund Lebert in Stuttgart. September 10th, 1868 72. E. Repos. September 19th, 1868 73. C.F. Kahnt. September 20th, 1868 74. E. Repos. September 22nd, 1868 75. Dr. S. Lebert. October 19th, 1869 76. Richard Pohl in Baden-Baden. November 7th, 1868 77. Johann von Herbeck. December 1st, 1868 78. Dr. Siegmund Lebert. December 2nd, 1868 79. Eduard von Liszt. December 6th, 1868 80. Johann von Herbeck. December 29th, 1868 81. Edvard Grieg. December 29th, 1868 82. Carl Bechstein in Berlin. January 19th, 1869 83. Johann von Herbeck. January 27th, 1869 84. E. Repos. March 3rd, 1869 85. Laura Kahrer in Vienna. April 15th, 1868 86. Franz Servais. May 21st, 1869 87. William Mason. May 26th, 1869 88. Heinrich Schulz-Beuthen. June 18th, 1869 89. Franz Servais. July 4th, 1869 90. Mme. Jessie Laussot. July 16th, 1869 91. Camille Saint-Sa2ns. July 19th, 1869 92. the same. August 4th, 1869 93. Mme. Jessie Laussot. October 7th, 1869 94. Dr. Ludwig Nohl. November i7th, 1869 188 95. Princess Wittgenstein. November 27th, 1869 96. Franz Servais. December 20th, 1869 97. Dr. Franz Witt in Ratisbon. Towards end of 1869 98. Dr. Siegmund Lebert. January loth, 1870 99. C.F. Kahnt. February 11th, 1870 100. Dr. Gille. February 26th, 1870 101. Baroness Schwartz in Crete. March 15th, 1870 102. Camille Saint-Saens. May 12th, 1870 103. Johann von Herbeck. June 20th, 1870 104. Sophie Menter. August 11th, 1870 105. the same. August 29th, 1870 106. Kornel von Abranyi in Budapest, November 2nd, 1870 107. Sophie Menter. March 22nd, 1871 108. Edmund von Mihalovich in Budapest. May 29th, 1871 109. Marie Lipsius. July 23rd, 1871 110. Franz Servais. August 25th, 1871 111. Walter Bache. October 25th, 1871 112. Marie Lipsius. October 25th, 1871 113. Breitkopf and Hartel. November 22nd, 1871 114. Mme. Anton Rubinstein. January 9th, 1872 115. Edmund von Mihalovich. April 18th, 1872 116. Johanna Wenzel. June 10th, 1872 117. Wilhelm von Lenz. September 20th, 1872 118. Otto Lessmann. September 26th, 1872 119. Eduard von Liszt. November 6th, 1872 120. Princess Wittgenstein. January 10th, 1873 121. Eduard von Liszt. January 13th, 1873 122. Dr. Emil Thewrewk von Ponor in Budapest. January 14th, 1873 123. Dr. Franz Witt. January 20th, 1873 124. Eduard von Liszt. January 28th, 1873 125. the same. February 10th, 1873 126. the same. March 3rd, 1873 127. Mme. Jessie Laussot. March 30th, 1873 128. Casar Cui. May, 1873 129. Franz Servais. June 5th, 1873 130. Adelheid von Schorn. July 30th, 1873 131. Eduard von Liszt. August 19th, 1873 132. Franz Servais. August 19th, 1873 133. Walter Bache. August 20th, 1873 134. Max Erdmannsdorfer. September 16th, 1873 135. Otto Lessmann. September 24th, 1873 136. Kornel von Abranyi. October ist, 1873 137. Martha Remmert. December 27th, 1873 138. ? 1873 139. Countess Marie Donhoff in Vienna. January, 1874 140. B. Bessel in St. Petersburg. February 2nd, 1874 141. Skiwa in Vienna. March 21st, 1874 142. C. F. Kahnt. March 29th, 1874 143. Dr. Franz Witt. 1874? 144. Carl Riedel. April 17th, 1874 145. Dr. Franz Haberl, 1874? 146. Carl Riedel. May 5th, 1874 147. Princess Julie Waldburg. May 10th, 1874 148. Peter Cornelius. May 16th, 1874 149. A. F. Eggers in Liverpool. June 21st, 1874 150. Walter Bache. June 21st, 1874 151. Dr. Franz Witt. Early Summer, 1874 152. Dr. Franz Haberl. Early Summer, 1874 153. Edmund von Mihalovich. July 30th, 1874 154. Peter Cornelius. August 23rd, 1874 155. Ludwig Bosendorfer in Vienna. August 28th, 1874 156. Adelheid von Schorn. October 12th, 1874 157. Breitkopf and Hartel. November 24th, 1874 158. Count Albert Apponyi in Budapest. December 6th, 1874 159. Edmund von Mihalovich. December 8th, 1874 160. Carl Hoff bauer in Munich. End of 1874 161. Edmund von Mihalovich. December 29th, 1874 162. Carl Hoff bauer. Beginning of 1875 163. Julius Stern. February 4th, 1875 164. Count Albert Apponyi. February 18th, 1875? 165. Johann von Herbeck. March 3rd, 1875 166. Eduard von Liszt. April 22nd, 1875 167. Adelheid von Schorn. May 17th, 1875 168. Eduard von Liszt. July 17th, 1875 169. Louis Kohler. July 27th, 1875 170. Carl Hillebrand in Florence. August 2nd, 1875 171. Adelheid von Schorn. August 7th, 1875 172. Dr. Franz Witt. August or September, 1875 173. Lina Ramann. September 28th, 1875 174. Eduard von Liszt. September 29th, 1875 175. Kornel von Abranyi. October 14th, 1875 176. Walter Bache. October 26th, 1875 177. Eduard von Liszt. October 31st, 1875 178. Mme. Jessie Laussot. November 17th, 1875 179. Eduard von Liszt. November 26th, 1875 180 Hans Schmitt in Vienna. End of 1875 181. Kornel von Abranyi. January 20th, 1876 182. Eduard von Liszt. January 23rd, 1876 183. Dr. Eduard Kulke in Vienna. January 23rd, 1876 184. Marie Lipsius. February 3rd, 1876 185. August von Trefort in Budapest. March 1st, 1876 186. Walter Bache. March 8th, 1876 187. Mme. Jessie Laussot. March 9th, 1876 188. Dr. Leopold Damrosch in New York. April 15th, 1876 189. Friedrich von Bodenstedt. June 8th, 1876 190. B. Bessel. June 20th, 1876 191. Prince Carl Lichnowsky. June 21st, 1876 192. Max Erdmannsdorfer. June 27th, 1876 193. Kornel von Abranyi. August 6th, 1876, 194. Richard Wagner. August, 1876 195. Marie Breidenstein in Erfurt. September 18th, 1876 196. Camille Saint-Saens. October 2nd, 1876 197. L.A. Zellner in Vienna. October 31st, 1876 198. Hans Richter in Vienna. November 10th, 1876 199. Breitkopf and Hartel. November 12th, 1876 200. Constantin Sander in Leipzig. November 15th, 1876 201. Breitkopf and Hartel. November 23rd, 1876 202. Constantin Sander. November 29th, 1876 203. Vera Timanoff. November 29th, 1876 204. Otto Reubke in Halle. November, 1876 205. Marianne Brandt in Berlin. December 3rd, 1876 206. Committee of the Beethoven Monument. December 10th, 1876 207. Eduard von Liszt. January 2nd, 1877 208. Walter Bache. March 9th, 1877 209. Eduard von Liszt. July 3rd, 1877 210. Ludwig Bosendorfer. July 12th, 1877 211. Edmund von Mihalovich. July 20th, 1877 212. Kornel von Abranyi. July 28th, 1877 213. Constantin Sander. September 5th, 1877 214. Adelheid von Schorn. September 15th, 1877 215. Breitkopf and Hartel. September 26th, 1877 216. Frau Ingeborg von Bronsart. October 2lst, 1877 217. Eduard von Liszt. November 23rd, 1877 218. Jules de Zarembski. December 13th, 1877 219. Mme. Jessie Laussot. January 29th, 1878 220. the same. February 3rd, 1878 221. B. Bessel. March 11th, 1878 222. Walter Bache. March 19th, 1878 223. Dr. Ludwig Nohl. March 20th, 1878 224. Dr. Siegmund Lebert. March 27th, 1878 225. Edmund von Mihalovich. April 13th, 1878 226. Kornel von Abranyi. April 14th, 1878 227. Fran Ingeborg von Bronsart. April 20th, 1878 228. Eduard von Liszt. April 26th, 1878 229. Edmund Singer. May 10th, 1878 230. Adolf von Henselt. June 5th, 1878 231. Eduard von Liszt. June 6th, 1878 232. Carl Riedel. June 7th, 1878 233. Vera Timanof£ Summer, 1878 234. Eduard von Liszt. July 6th, 1878 235. Robert Franz. July 12th, 1878 236. Kornel von Abranyi. September 13th, 1878 237. Eduard von Liszt. November 4th, 1878 238. Freiherr Hans von Wolzogen. November 15th, 1878 239. Eduard von Liszt. November 21st, 1878 240. the same. January 22nd, 1879 241. Ludwig Bosendorfer. February 19th, 1879 242. Adolf von Henselt. February, 1879 243. Marie Lipsius. March 2nd, 1879 244. Otto Lessmann. March 23rd, 1879 245. Von Trefort. May 12th, 1879 246. Walter Bache, May 25th, 1879 247. Ludmilla Schestakoff. June 14th, 1878 248. A. Borodin, C. Cui, An. Liadoff, and N. Rimsky-Korsakoff. June 15th, 1879 249. Josef Bohm. June 22nd, 1879 250. Vera Timanoff. Summer, 1879 251. Adolf von Henselt. July 12th, 1879 252. Dr. Siegmund Lebert. September 25th, 1879 253. Bassani in Venice. October 28th, 1879 254. Anatole Liadoff. December 25th, 1879 255. Fran Reisenauer.Pauly in Rome. January 30th, 1880 256. Carl Klindwo1th. February 16th, 1880 257. Herrmann Scholtz. April 29th, 1880 258. Sophie Menter. May 26th, 1880 259. Jules de Zarembski. June 1st, 1880 260. Bassani. June 4th, 1880 261. Marie Lipsius. June l0th, 1880 262. Kornel von Abranyi. June 20th, 1880 263. Freiherr Hans von Wolzogen. July 28th, 1880 264. Friedrich Hofme1ster. August 17th, 1880 265. Baroness Helene Augusz. September 1st, 1880 266. Mme. Anton Rubinstein. October 24th, 1880 267. Frau Amalie von Fabry in Budapest. November 1st, 1880 268. Frau Anna Benfey-Schuppe. November 11th, 1880 269. Committee of Antwerp Musical Society. November 16th, 1880 270. Sophie Menter. December 2nd, 1880 271. Dr. Friedrich Stade. December 11th, 1880 272. S. Jadassohn. January l0th, 1881 273. Frau Reisenauer-Pauly in Konigsberg. January 29th, 1881 274. Dionys von Pazmandy. February 15th, 1881 275. Fran Colestine Bosendorfer. April 17th, 1881 276. the Committee of the Wagner-Verein. April 25th, 1881 277. Kornel von Abranyi. May 13th, 1881 278. the same. May 22nd, 1881 279. Frau Charlotte Blume-Arends. August 29th, 1881 280. Otto Lessmann. September 8th, 1881 281. Francois Auguste Gevaert in Brussels. September 19th, 1881 282. the same. October 8th, 1881 283. Edmund von Mihalovich. October 8th, 1881 284. Jules de Zarembski. December 4th, 1881 285. Camille Saint-Saens. December 6th, 1881 286. Ludwig Bosendorfer. December 8th, 1881 287. Pauline Viardot-Garcia. December 12th, 1881 288. Mme. Malwine Tardieu in Brussels. January 20th, 1882 289. Alexander Wereschagin. February 5th, 1882 290. Martha Remmert. February 20th, 1882 291. Mme. Malwine Tardieu. April 11th, 1882 292. Franz Servais. April 22nd, 1882 293. Mme. Malwine Tardieu. April 23rd, 1882 294. Otto Lessmann. April 23rd, 1882 295. Frau Charlotte Blume-Arends. April 23rd, 1882 296. Freiherr Hans von Wolzogen. April 25th, 1882 297. Frau Henriette von Liszt. May 11th, 1882 298. Camille Saint-Saens. May 14th, 1882 299. Mme. Malwine Tardieu. June 10th, 1882 300. Committee of Allgemeine Deutsche Musikverein. June, 1882 301. F. von Jagemann at Freiburg in Breisgau. July 6th, 1882 302. Nicolaus Oesterlein in Vienna. July 16th, 1882 303. Kornel von AbrAnyi. July 23rd, 1882 304. Freiherr Hans von Wolzogen. July 27th, 1882 305. Mme. Malwine Tardieu. September 12th, 1882 306. Otto Lessmann. September 16th, 1882 307. the same. September 20th, 1882 308. Frau Charlotte Blume-Arends. September 27th, 1882 309. Otto Lessmann. October 14th, 1882 310. the same. November 4th, 1882 3ll. Mme. Malwine Tardieu. November 6th, 1882 312. Otto Lessmann. November, 1882 313. Adelheid von Schorn. November 20th, 1882 314. Freiherr Hans von Wolzogen. November 24th, 1882 315. Franz Servais. November 26th, 1882 316. Adelheid von Schorn. December 8th, 1882 317. Carl Riedel. December 9th, 1882 318. Arthur Meyer in Paris. January 28th, 1883 319. Albert Fuchs. February 4th, 1883 320. Saissy in Budapest. February 6th, 1883 321. the same. February eth, 1883. 322. Rich and Mason in Toronto. 1883 323. Mme. Marie Jaell. February 12th, 1883 324. Adelheid von Schorn. February 14th, 1883 325. Otto Lessmann. February 18th, 1883 326. Lina Ramann. February 22nd, 1883 327. Mme. Malwine Tardieu. March 6th, 1883 328. Ferdinand Taborszky in Budapest. March 11th, 1883 329. Baroness M. E. Schwartz. March 22nd, 1883 330. Baroness Wrangel in St. Petersburg. May 20th, 1883 33I. Mason and Hamlin in Boston. June 12th, 1883 332. Mme. Malwine Tardieu. December 14th, 1883 333. Cšsar Cui. December 30th, 1883 334. Otto Lessmann. January 10th, 1884 335. Felix Mottl. February 8th, 1884 336. Frau Henriette von Uszt.February 8th, 1884 337. Camille Saint-Satins. April 29th, 1884 338. Otto Lessmann. May 7th, 1884 339. Camille Saint-SaŽns. May 18th, 1884 340. Walter Bache, May 23rd, 1884 341. Carl Navratil in Prague. May 30th, 1884 342. Baron Friedrich Podmaniczky in Budapest, 1884 343. Freiherr Hans von Wolzogen. June 18th, 1884 344. Auguste Gotze. June 22nd, 1884 345. Kornei von Abranyi. July 1st, 1884 345A. Mme. Malwine Tardieu. August 9th, 1884 346. Rahter in Hamburg. August 28th, 1884 347. Richard Pohl. September 12th, 1884 348. Sophie Menter. September 13th, 1884 349. Baron Friedrich Podmaniczky. September 2lst, 1884 350. Walter Bache. October 18th, 1884 351. Mili Balakireff in St. Petersburg. October 2lst, 1884 352. Countess Mercy-Argenteau. October 24th, 1884 353. Mme. Malwine Tardieu. December 7th, 1884 354. Freiherr Hans von Wolzogen. December 18th, 1884 355. Camille Saint-Saens. End of 1884 or beginning of 1885 356. Countess Mercy-Argenteau. January 20th, 1885 357. Camille Saint-Saens. January 27th, 1885 358. Mme. Malwine Tardieu. April 6th, 1885 359. Lina Ramann. April 27th, 1885 360. Camille Saint-Saens. May 8th, 1885 361. Alexander Siloti. May, 1885 362. J. P. von Kiraly in Eisenstadt. June 5th, 1885 363. Ferdinand Taborszky. June 8th, 1885 364. Alfred Reisenauer. September 1st, 1885 365. Otto Lessmann. September 5th, 1885 366. Casar Cui. October 18th, 1885 367. Countess Mercy-Argenteau. October 24th, 1885 368. Eduard Reuss in Carlsruhe. November 4th, 1885 369. Breitkopf and Hartel. November, 1885 370. Walter Bache. November 17th, 1885 370A. the same. November 26th, 1885 370B. the Philharmonic Society. November 26th, 1885 371. Countess Mercy-Argenteau. November 2lst, 1885 372. Camille Saint-Sans. November 28th, 1885 373. Eugen d'Albert. December 26th, 1885 374. Sophie Menter. December 30th, 1885 375. Eduard Reuss. January l0th, 1886 376. Walter Bache. February 11th, 1886 377. Countess Mercy- Argenteau. February 17th, 1886 379. Sophie Menter. March 18th, 1886 379. Countess Mercy-Argenteau. April 14th, 1886 380. Alexander Ritter. April 24th, 1886 381. Frau Amalie von Fabry. May 27th, 1886 382. Mme. Malwine Tardieu. May 29th, 1886 383. Eduard Reuss. June 5th, 1886 384. Frau Reuss-Belce. June 5th, 1886 385. Eduard Reuss. June 22nd, 1886 386. Sophie Menter. July 3rd, 1886

387. Freiherr von Spiegel in Weimar. September 30th, 1841 388. Eugenio Gomez in Sevilla. December 27th, 1844 389. Mme.? End of December, 1844 390. Mme.? Beginning of 1845 391. Mme.? in Milan. 1846 392. Frau Charlotte Moscheles (?). June 22nd, 1848 393. Heinrich Wilhelm Ernst. May 30th, 1801 394. Josef Dessauer (?). Beginning of the fifties 395. Testimonial for Joachim Raff. Beginning of the fifties. 396. Dr. Eduard Hanslick in Vienna. January 31st, 1856. 397. Minister von Bach in Vienna. September 18th 398. ? in Leipzig. Spring, 1859 399. Dr. Eduard Hanslick. September 24th, 1859

THE LETTERS OF FRANZ LISZT, VOLUME 2: FROM ROME TO THE END

For the New Year I bring you nothing new; my soon ageing attachment and friendship remain unalterably yours. Let me hope that it will be granted to me to give you more proof of it from year to year.

Since the beginning of October I have remained without news from Germany. How are my friends Bronsart, Draseke, Damrosch, Weissheimer? Give them my heartiest greetings, and let me see some notices of the onward endeavors and experiences of these my young friends, as also of the doings of the Redactions-Hohle [Editorial den] and the details of the Euterpe concerts.

Please send the numbers of the paper, from October onwards, to me at the address of the library Spithover-Monaldini, Piazza di Spagna, Rome. Address your letter "Herrn Commandeur Liszt," Via Felice 113. "Signor Commendatore" is my title here; but don't be afraid that any Don Juan will stab me—still less that on my return to Germany I shall appear in your Redactions-Hohle as a guest turned to stone!—

Of myself I have really little to tell you. Although my acquaintance here is tolerably extensive and of an attractive kind (if not exactly musical!), I live on the whole more retired than was possible to me in Germany. The morning hours are devoted to my work, and often a couple of hours in the evening also. I hope to have entirely finished the Elizabeth in three months. Until then I can undertake nothing else, as this work completely absorbs me. Very soon I will decide whether I come to Germany next summer or not. Possibly I shall go to Athens in April— without thereby forgetting the Athens of the elms! .—.

First send me the paper, that I may not run quite wild in musical matters. At Spithover's, where I regularly read the papers, there are only the Augsburger Allgemeine, the Berlin Stern-Zeitung [Doubtless the Kreusseitung], and several French and English papers, which contain as good as nothing of what I care about in the domain of music.

Julius Schuberth wrote a most friendly letter to me lately, and asks me which of Draseke's works I could recommend to him next for publication. To tell the truth it is very difficult for me in Rome to put myself in any publisher's shoes, even in so genial a man's as Julius Schuberth. In spite of this I shall gladly take an opportunity of answering him, and shall advise him to consult with Draseke himself as to the most advisable opportunity of publishing this or that Opus of his, if a doubt should actually come over our Julius as to whether his publisher's omniscience were sufficiently enlightened on the matter!—

Please give my best greetings to Kahnt. Later on I shall beg him for a copy of my songs for a very charming Roman lady.

["Der legendarische Cantor" [the legendary Cantor] the Master jokingly named this faithful friend of his. "I value him as a thoroughly honest, able, earnestly striving and meritorious comrade in Art, and interest myself in the further progress— which is his due," wrote Liszt to the late Schuberth. Meanwhile Gottschalg was long ago advanced to the post of Court organist in Weimar. He is widely known as the editor of the "Chorgesang" [chorus singing] and of the "Urania."]

Although I cannot think otherwise than that you remain ever equally true to me, yet the living expression of your kindly feelings towards me is always a pleasure and a comfort. First of all then accept my warmest thanks for your two letters, which bring back to me the best impressions of your morning and evening visits to me in my blue room on the Altenburg.

It goes without saying that I have no objection to make to the publication of the Andante from the Berg Symphony in the Jubilee Album in honor of Johann Schneider. I only beg, dear friend, that you will look the proof over accurately, and carefully correct any omissions or mistakes in the manuscript.

I should be very glad if I could send you a new Organ work, but unfortunately all incentive to that sort of work is wanting to me here; and until the Tieffurt Cantor makes a pilgrimage to Rome all my organ wares will certainly remain on the shelf.

Ad vocem of the Tieffurt Cantor, I will tell you that I have been thinking of him very particularly these last few days, whilst I was composing St. Francis's Hymn of Praise ("Cantico di San Francesco"). The song is a development, an offspring as it were, a blossom of the Chorale "in dulci jubilo," for which of course I had to employ Organ. But how could I be writing an Organ work without immediately flying to Tieffurt in imagination?—And lo, at the entrance to the church our excellent Grosse [The trombonist of the Weimar orchestra (died 1874), who was so faithfully devoted to Liszt, and whom the latter remembered in his will] met me with his trombone, and I recollected an old promise—namely, to compose a "piece" for his use on Sundays. I immediately set to work at it, and out of my "Cantico" has now arisen a Concertante piece for Trombone and Organ. I will send you the piece as an Easter egg by the middle of April. [Published by Kahnt in Leipzig] Meanwhile here are the opening chords:—

[Here, Liszt illustrates with a musical score excerpt of the opening chords of the Concertante, in F major]

and on a lovely evening in May will you play the whole with Grosse in your church at Tieffurt, and perpetuate me with Organ and Trombone!—

It has struck me that your name is not mentioned among the fellow-workers in the Johann Schneider Jubilee Album. If there is still time and space you might perhaps contribute your arrangement of the Fugue from the "Dante Symphony" (with the ending which I composed to it for you). This proposal is open to amendment, on the supposition that Hartels are willing to agree to it—and, above all, that it suits you.

.—. N.B.—I beg you most particularly to make no further use of the two Psalms "By the waters of Babylon," of which you have a copy, because I have undertaken to make two or three essential alterations in them, and I wish them only to be made known and published in their present form. I send the new manuscript at the same time as the Cantico di San Francesco.

My best greetings to your wife, and rest assured always of my sincere thanks, and of the complete harmony of my ideas with your own.

When I am sending several manuscripts at Easter, I will write a couple of letters to Weimar and thank Jungmann [A pupil of Liszt's in Weimar; died there in September 1892] for his letter. I feel the want of time almost as much in Rome as in Weimar, and I have observed a strict Fast in correspondence as a rule, so that for three months past I have hardly sent as many as three to four letters to Germany.

Remember me most particularly to Herr Regierungsrath Miller! [A friend of Liszt's, a multifarious writer on music; died 1876]

Your friendly letter has again brought me a whiff of German air, which is all the more welcome to me here as I have not too much of it. One sees extremely few German papers in Rome—also I read them very irregularly—and my correspondents from Germany are limited to two, of whom friend Gottschalg, my legendary Tieffurt Cantor, is the most zealous. His letters flow from his heart—and are therefore always welcome to me.

For all of good news that you tell me I give you twofold thanks. Firstly, because you have for the most part brought it about, prefaced it, and seen it through. And then, because you tell it me in so friendly a fashion. Although I have long been prepared to bear the fiasco of my works quietly and unmoved, yet still it is pleasant to me to learn that the "Faust" Symphony in Leipzig did not have such a very bad fate. [In one of the "Euterpe" concerts, under Bronsart's conducting, at which Schnorr of Carolsfeld sang the tenor solo.] Do not fail, dear friend, to give Herr Schnorr my best thanks—and if perchance my songs would be a little pleasure to him will Kahnt be so good as to send Schnorr a copy (bound) at my order?

With regard to the Bronsart affair, I sincerely regret that I had not the opportunity of smoothing matters down sooner. Between people of one mind dissension and variance should never appear— much less lead to an outbreak. As you ask me for my opinion, I openly confess that in the main Bronsart appears to me perfectly justified in vindicating his choice of new compositions for the musical directors, in spite of the fact that the two or three experiments he has made do not show in favor of the principle (as seen by the consequences). But between ourselves we must not conceal the fact that a great part of the laxity and corruption of our musical condition in Germany (as also elsewhere) is to be attributed to the too great—or too petty—yielding and pliancy of conductors and music-directors. I well know that the Euterpe Committee nourishes and cherishes quite another idea than that of the company X. Y. Z., or of the Court Theater directors A. B. C. D. Yet the question constantly arises—Shall the cook cook? Shall the coachman drive?—Ergo let the musician also have his own way. The harm that may spring from that is not so very terrible.

On the other side, I consider a change of persons in the management of a new institution is not desirable. In intellectual movements in particular the leaders of them are especially recommended to keep themselves conservative as regards their people. The public requires definiteness before all else—and just this is endangered by a change of persons. The substitute for B., whom you mention to me (his name also begins with B.), is certainly highly to be recommended in all that concerns talent, position, and I think also worthy character; none the less do I vote very decidedly that Bronsart be retained—if possible.

I do not need to add, dear friend, that this opinion of mine is a purely objective one. I have not heard a word from Bronsart since last September, and, as I said to you before, my musical news from Germany is limited to two, or at most three letters which Gottschalg wrote me.

With the wish that all difficulties may be smoothed in the best way by your intelligent gentleness and forbearance, I remain your warmly devoted

P.S.—More next time (though little of interest to you, as absolutely nothing occurs here that could touch you closely).—I am preparing to stay here for the summer, and somewhat longer.— In order not to lose the post I only send you today these few lines.

[Madame Laussot, an English lady, became later the wife of Dr. Carl Hillebrand, the celebrated writer. She was the intimate friend of Liszt, Von Bulow, etc., and is herself a musician of great repute, to whom many artists of note, Sgambati, Bache, Buonamici, etc., owe much of the success of their career. She started a musical society in Florence, the "Societa Cherubini;" which she conducted for many years, and introduced there much of the best music of Germany (Liszt's included).]

Your charming lines, Madame, reached me at the beginning of Holy Week. At that moment one no longer belongs to oneself in Rome; and I have felt this more than others, for the services and ceremonies of the Sistine Chapel and of St. Peter's, to which I attached a special musical interest, have absorbed all my time during the last fortnight. Pray excuse me therefore for not having thanked you sooner for your kind remembrance, which touches me much.

Some one has made a mistake in telling you that I am coming to Florence. I have no longer any taste for moving about from one place to another, and, unless something very unforeseen happens, I shall not stir from here so soon. Rome is a more convenient place than others for those who ask nothing better than to work in their own fashion. Now, although I have become very indifferent as to the fate of what I write, work none the less continues to be the first need of my nature. I write therefore simply to write—without any other pretensions or care—and for this it suits me best to remain in one place.

Will you be so kind, Madame, as to give my very affectionate respects to Madame Ritter [Mother of Carl Ritter—Wagner's friend—and of Alexander Ritter, the composer of "Der faule Hans."], to which please add my best remembrances to her family, and pray accept also the expression of my very sincere and affectionate regards.

Grand, sublime, immeasurably great things have come to pass here lately. The Episcopate of the whole world assembled here round the Holy Father, who performed the ceremony of the canonisation of the Japanese martyrs at Whitsuntide in the presence of more than 300 bishops, archbishops, patriarchs, and cardinals. I must abstain, dear friend, from giving you any picture of the overpowering moment in which the Pope intoned the "Te Deum;" for in Protestant lands that which I might call the spiritual illumination is wanting. Let us therefore, without any other transition, return to our everyday musical matters!

I am convinced that your determination to make a change in the choice of conductors of the Euterpe has been made only after mature consideration. .—. In my last letter I pointed out, as the chief thing, that in concert societies the principle of stability in the matter of the Musical Direction is the most important thing, whereby I did not in the least mean to say that one must on that account agree to extreme consequences—or rather inconsequences. Well, as your decision is made, any further discussion is useless. Blassmann [He moved to Dresden some years later, and there he died.] has now to approve himself, and actively to fulfil the favorable expectations which his talent and good name justify. So be it, and as Schuberth says, Punktum [a full stop.]

As regards the place of meeting for the next Tonkunstler- Versammlung I am quite of your opinion. First of all I advise you to consult Bulow. Owing to his long connection with the Court at Carlsruhe he is best qualified to take the preliminary measures ("to pave the way"!). If the Grand Duke and Grand Duchess take up the matter favorably, then without doubt all that is requisite and necessary will be done in the most desirable manner. The most essential things are

(a) Letting us have the theater free of charge for two to three evenings—(as at Weimar—would not it perhaps be best to mention this in the 1st letter?).

(b) Official preparatory measures by the Intendant to ensure the co-operation of the Carlsruhe orchestra and chorus, also free of charge.

You will have to consult more fully with Dr. Devrient and Kalliwoda as to the best time for it. But the thing to be done before all else is to gain the Grand Duke's interest—and if you think it would be practicable for me to write a few lines to H.R.H. later on I will do so with pleasure. I only beg that you will give me exact particulars of the steps already made and their results.

For my part I think that to Bulow, a priori, ought to be entrusted the conducting of the Musical Festival, and this point should be at once mentioned as settled in the introductory letter to the Grand Duke. Otherwise Bedow's position in the affair would not be sufficiently supported.

To sum up briefly: Request Bulow to undertake the conductorship of the Musical Festival; and address the Grand Duke of Baden, either by letter or by word of mouth (as opportunity may warrant), with the request that H.R.H. would graciously support the proposed Musical Festival of the third Tonkunstler- Versammlung, by giving it his patronage, as the Grand Duke of Weimar did last year, etc., etc.

.—. That excellent Pohl has quite forgotten me. I asked him, through Gottschalg, to send me my Gesam- melte Lieder [complete songs], the "Dante Symphony" (in score and arrangement for 2 Pianos), the 4-hand Symphonic Poems, and a couple of copies of my Catalogue (published by Hartel).

I have been waiting in vain for these for two months. A few days ago I wrote to Frau von Bulow to send Pohl an execution; perhaps this may help matters at length!

The Berlioz parts have remained at Weimar. Grosse knows about them—and possibly they have also gone to Pohl with the rest of the scores. As soon as they are found I shall be happy to make a present of them to the library of the Musikverein for their use, as well as the scores, and I authorise you with pleasure, dear friend, to do the same with the score and parts of the "Gran Mass."

F. L.

Well, as the parcel has come at last, Pohl shall not be scolded any more, and his "innocence" shall shine out in full splendor! .—.

I have just received a few lines from Berlioz; Schuberth, whom I commissioned, before I left, to send the dedication-copy of the "Faust" score to Berlioz, has again in his incompetent good nature forgotten it, and perhaps even from motives of economy has not had the dedication-plate engraved at all!!—Forgive me, dear friend, if I trouble you once more with this affair, and beg you to put an execution on Schuberth in order to force a copy with the dedication-page from him. The dedication shall be just as simple as that of the "Dante Symphony," containing only the name of the dedicatee, as follows,

After this indispensable matter has been arranged I beg that you will be so kind as to have a tasteful copy, bound in red or dark green, sent, perhaps through Pohl (?), to Berlioz at Baden (where he will be at the beginning of August. In case neither Pohl nor his wife should go to Baden this summer (which however I scarcely expect will be the case), send the copy to Fraulein Genast (who, as I learn from the "Zeitschrift" [periodical], is at present in Carlsruhe) with the request that she will give it to Berlioz.

Is there not any talk of bringing out an arrangement of the "Faust Symphony" for 2 Pianofortes?—Schuberth is sure to have far greater things in contemplation, and I almost regret having incommoded him by giving up the manuscripts!—

Nonetheless, please take him to task about it, or, better, bully him into action with "Faust-Recht" [Faust rights or Faust justice.] In truth the final chorus of Part III. of the Faust tragedy, "faithful to the spirit of Part II. as composed by Deutobold-Symbolizetti-Allegoriowitsch-Mystifizinsky"—

"Das Abgeschmackteste
Hier ward es geschmeckt,
Das Allvertrackteste
Hier war es bezweckt"

[A parody on the concluding lines of Goethe's Faust. The parody may be freely translated as follows:—

can often be applied to matters of publishing. And while I am touching on this, to me, very disagreeable chapter, may I also take the opportunity of inquiring how long our amiable friend and patron Julius Schuberth is intending to ignore the 2 Episodes from Lenau's "Faust" ("Nachtlicher Zug"—and "Mephisto Walzer"), which I recommended to his good graces more than a year ago, and gave him in manuscript?

Must the pages perchance become quite mouldy, or will he bring them out as an oeuvre posthume [posthumous work]? I am tired of doing silent homage to this noble mode of proceedings, and intend next time to help the publisher out of all his perplexities [Untranslatable pun on "Verleger" and "Verlegenheiten."] by putting the manuscripts back in their place again.—

"O Freunde, nicht diese Tone, sondern lasst uns angenchmere anstimmen!" [A quotation from Schiller's "Ode to joy" in Beethoven's "Choral Symphony:" "O friends, not tones like these, but brighter ones let us sing."] (I am perhaps not quoting exactly, although the sense of the apostrophe remains clearly present, especially in musical enjoyments and experiences!) Amongst the "more pleasant" things I at once place much information given in your letter and the newspaper (which reached me at the same time in some 16 numbers with Pohl's parcel). My most earnest wishes are, first and foremost, bound up in the complete prospering, upspringing, and blossoming of the "grain of mustard-seed" of our Allgemeine Deutsche Musik-Verein. With God's help I will also support this in other fashion than mere "wishes." According to my opinion the third Tonkunstler- Versammlung will be the chief factor in strengthening and extending the Allgemeine Deutsche Musik-Verein, which comprises in itself the entire development and advancement of Art.

Various reasons led me to recommend Carlsruhe to you in my last letter as the most suitable place for the third Tonkunstler- Versammlung, that is, supposing that H.R.H. the Grand Duke gives his countenance to the matter, and grants us favorable conditions with regard to the disposal of the theater, orchestra, and chorus. It behoves Bulow, as conductor of the musical performances, to undertake to "pave the way" towards a favorable promise on the Grand Duke's side. Within two to three months the necessary preliminaries can be fixed, and I shall then expect fuller tidings from you about the further plans and measures.

Without wishing to make any valid objection to Prague—rather with all due acknowledgment of what Prague has already accomplished and may still accomplish—yet it seems to me that the present political relations of the Austrian monarchy would make it inopportune to hold the Tonkunstler-Versammlung in Prague just now. On the other hand I am of opinion that a more direct influence than has yet been possible on South Germany, which is for the most part in a stagnating condition, would be of service. Stuttgart in particular, through Pruckner, Singer, Stark, etc., might behave at it differently from what it did at a previous Musical Festival in Carlsruhe!

Dr. Gille's interest in the statutes and deliberations of the M.V. [Musik-Verein] is very advantageous, as also Pohl's previous removal to Leipzig. .—. The constant intercourse with you, together with the Leipzig acids and gases, will be sure to suit him well.

From Weimar I have received a good deal of news lately from Count Beust, Dingelstedt, Gille, and Stor. To the latter my answer will be little satisfactory; but I cannot continue with him on any other road, and let the overpowering Dominant of his spasmodic vanity serve as the Fundamental note of our relations.

I am writing to Gille by the next post, and also to Muller, who rejoiced me lately by his Erinnerungs-Blatt [remembrance] from Weimar, (in the 8th November issue of the "Zeitschrift," which I have only now received). Will you, dear friend, when you have an opportunity, give my best thanks to Kulke for his article upon Symphony and Symphonic Poem—and also the enclosed lines to Fraulein Nikolas, from whom I have received a charming little note?

Already more than 140 pages of the score of my "Elizabeth" are written out complete (in my own little cramped scrawl). But the final chorus—about 40 pages—and the piano-arrangement have still to be done. By the middle of August I shall send the entire work

to Carl Gotze at Weimar to copy, together with the "Canticus of St. Francis," which I composed in the spring. ["Cantico del Sole," for baritone solo, men's chorus, and organ. Kahnt.] It would certainly be pleasanter for me if I could bring the things with me—but, between ourselves, I cannot entertain the idea of a speedy return to Germany. If later there seems a likelihood of a termination to my stay in Rome, you, dear friend, shall be the first to hear of it.

Your little commission about Lowenberg shall be attended to. Let me soon have news of you and of my intimate friends again. There is absolutely nothing to tell you from here that could interest you. In spite of the heat I shall spend the summer months in Rome.

[Letters 7, 8, 9, 18, and 24 to Brendel have been partially published in La Mara's "Musikerbriefe" (Letters of Musicians), Vol. II.]

What a delightful bunch of surprises your letter brings me, dear friend! So Pohl has really set to work on the Faust brochure—and Schuberth is actually not going to let the piano-arrangement of the "Faust Symphony" lie in a box till it is out of date. How curious it all sounds, just because it is so exactly the right thing and what I desired!—If you are back in Leipzig please send me soon a couple of copies of the Faust brochure (those numbers of the journal containing Pohl's articles have not reached me), and also send me the 2-pianoforte arrangement of the Faust Symphony (a few copies when convenient). I have as yet received nothing of the parcel which Kahnt announced as having sent me with some of my 4-hand things; and as I have fished out here a very talented young pianist, Sgambati [A pupil of Liszt's, and now one of the first pianoforte players and composers of Italy; has been, since 1871, Professor at the Academia Sta. Cecilia in Rome] by name, who makes a first-rate partner in duets, and who, for example, plays the Dante Symphony boldly and correctly, it would be a pleasure to me to be able to go through the whole cycle of the Symphonic Poems with him. Will you be so good therefore, dear friend, as to ask Hartel for the whole lot in the 2-pianoforte arrangement (a double copy of each Symphonic Poem, for with one copy alone I can do nothing, as I myself can only play the thing from notes!), and also the 4-hand arrangement, with the exception of the "Festklange," which Hartels have already sent me?

Besides these, I expect in the same parcel the Marches which
Schuberth has published (the "Goethe Marsch" and the Duke of
Coburg) and the "Kunstler Festzug" [Artists' procession] (for 4
hands), which I ordered previously.—

The "Legend of St. Elizabeth" is written out to the very last note of the score; I have now only to finish a part of the piano arrangement, and the 4-hand arrangement of the Introduction, the Crusaders' March, and the final procession—which shall be done by the end of this month at latest. Then I send the whole to Weimar to be copied, together with a couple of other smaller manuscripts. What will be its ultimate fate will appear according as…Meanwhile I will try one or two little excursions into the country (to Albano, Frascati, Rocca di Papa—and a little farther still, to the "Macchia serena" near Corneto, where in earlier times much robbery and violence took place!), and before the end of September I hope to be able to set steadily to work again, and to continue my musical deeds of "robbery and murder"! Would that I only could hear, like you, the Sondershausen orchestra, and were able to conjure friend Stein and his brave phalanx into the Colosseum! The locality would assuredly be no less attractive than the "Loh," [The Sondershausen concerts are, as is well known, given in the "Lohgarten."] and Berlioz's Harold Symphony, or Ce que l'on entend sur la montagne [One of Liszt's Symphonic Poems], would sound there quite "sonderschauslich" [curious] [Play of words on Sondershausen and "sonderbar" or "sonderlich"]. I often imagine the orchestra set up there, with the execrated instruments of percussion in an arcade—our well—wishers Rietz, Taubert, and other braggarts of criticism close by (or in the Aquarium!)—the directors of the Deutsche Musik-Verein resting on the "Pulvinare," and the members all around resting on soft cushions, and making a show in the reserved seats of the Subsellia, as senators and ambassadors used to do!—

Tell Stein of this idea, and give him my most friendly thanks for all the intelligent care and pains that he so very kindly gives to my excommunicated compositions. As regards the performances of the Sondershausen orchestra I am quite of your opinion, and I repeat that they are not only not outdone, but are even not often equalled in their sustained richness, their judicious and liberal choice of works, as well as in their precision, drilling, and refinement.—It is only a shame that no suitable concert-hall has been built in Sondershausen. The orchestra has long deserved such an attention; should such a thing ever fall to their lot, pray urge upon Stein to spread out the Podium of the orchestra as far as possible, and not to submit to the usual limited space, as they made the mistake of doing in the Gewandhaus, the Odeonsaal in Munich, etc., etc., and also, alas, in Lowenberg. The concert- hall of the Paris Conservatoire offers in this respect the right proportions, and a good part of the effect produced by the performances there is to be ascribed to this favorable condition.—

According to what I hear Bulow is not disposed to mix himself up in the preliminaries of the next Tonkunstler-Versammlung. Accordingly some one else must be entrusted with the afore- mentioned task in Carlsruhe, although Bulow was the best suited for it. If you do not care to enter at once into direct communication with Devrient, Pohl would be the best man to "pioneer" the way. It would not be any particular trouble to him to go from Baden to Carlsruhe, and to persuade Devrient to favor the matter. This is before all else needful, for without Devrient's co-operation nothing of the sort can be undertaken in Carlsruhe. If the Tonkunstler-Versammlung takes place not out of the theater season, then one or more theatrical performances can be given in conjunction with it, especially of Gluck's Operas; as also an ultra-classical Oratorio of Handel's might well be given over to the Carlsruhe Vocal Unions. .—.

What "astonishing things" are you planning, dear friend? This word excites my curiosity; but, on the other hand, I share your superstition to speak only of actions accomplished ("faits accomplis"). In Schelle you will gain a really valuable colleague. Has his "History of the Sistine Chapel" come out yet? If so, please be so good as to send me the book with the other musical things.—

My daughter, Frau von Bulow, writes to me that Wagner's new work "Die Meistersinger" is a marvel, and amongst other things she says:—

"These 'Meistersinger' are, to Wagner's other conceptions, much the same as the 'Winter's Tale' is to Shakespeare's other works. Its phantasy is found in gaiety and drollery, and it has called up the Nuremberg of the Middle Ages, with its guilds, its poet- artisans, its pedants, its cavaliers, to draw forth the most fresh laughter in the midst of the highest, the most ideal, poetry. Exclusive of its sense and the destination of the work, one might compare the artistic work of it with that of the Sacraments-Hauschen of St. Lawrence (at Nuremberg). Equally with the sculptor, has the composer lighted upon the most graceful, most fantastic, most pure form,—boldness in perfection; and as at the bottom of the Sacraments-Hauschen there is Adam Kraft, holding it up with a grave and collected air, so in the 'Meistersinger' there is Hans Sachs, calm, profound, serene, who sustains and directs the action," etc.

This description pleased me so much that, when once I was started on the subject, I could not help sending you the long quotation. The Bulows, as you know, are with Wagner at Biebrich—at the end of this month there is to be a performance of "Lohengrin" at Frankfort under Wagner's direction. There must not fail to be a full account of this in the Neue Zeitschrift, and for this I could recommend my daughter as the best person. The letters in which she has written to me here and there of musical events in Berlin and elsewhere are really charming, and full of the finest understanding and striking wit.—

Berlioz was so good as to send me the printed pianoforte edition of his Opera "Les Troyens." Although for Berlioz's works pianoforte editions are plainly a deception, yet a cursory reading through of "Les Troyens" has nevertheless made an uncommonly powerful impression on me. One cannot deny that there is enormous power in it, and it certainly is not wanting in delicacy—I might almost say subtilty—of feeling.

Pohl will let you know about the performance of Berlioz's comic Opera "Beatrice and Benedict" in Baden, and I venture to say that this Opera, which demands but little outside aids, and borrows its subject from a well-known Shakespeare play, will meet with a favorable reception. Berlin, or any other of the larger theaters of Germany, would certainly risk nothing of its reputation by including an Opera of Berlioz in its repertoire. [This took place a quarter of a century later.] It is no good to try to excuse oneself, or to make it a reason, by saying that Paris has committed a similar sin of omission—for things in which other people fail we should not imitate. Moreover Paris has been for years past developing a dramatic activity and initiative which Germany is far from attaining—and if special, regrettable personal circumstances prevent Berlioz from performing his works in Paris, the Germans have nothing to do with that.

Hoping soon for news of you (even if not about the "astonishing things"), I remain, dear friend, with faithful devotion,

Who has corrected the proofs of the "Faust Symphony"? Please impress upon Schuberth not to send out into the world any unworthy editions of my works. Bulow is so good as to undertake the final revision, if only Schuberth will take the trouble to ask him to do so.

In explanation of the main point of your last letter (which crossed mine), namely, the question as to where the next Tonkunstler-Versammlung is to be held, let me add the following in colloquial form.

I should not, without further proof, exactly like to consider Carlsruhe as a town altogether unsuitable for the purpose— although Pohl and Bulow are afraid it is, and have various reasons for assuming it to be so. As regards Bulow, I have already asked you not to trouble him with any of the preliminary details. When the time comes, he is certain to do his part—that is, more than could be expected or demanded of him. Only he must not be tormented with secondary considerations, not even where, owing to his position and antecedents, he is best known (for instance, in Carlsruhe, as already said). His individuality is such an exceptional one that its singularities must be allowed scope. Hence let us meanwhile leave him out of the question, he being what he is, with this reservation—that he undertakes to conduct the musical performances—as I hope and trust he will finally arrange to do. But again as to Carlsruhe, I would propose that unless you have important, positive objections to the place, you should write to the Grand Duke yourself and beg him in my name to take the Musik-Verein under his patronage, etc.—The worst that could happen to me in return would be to receive a courteously worded refusal; this, it is true, is not a kind of thing I cultivate as a rule, but as a favor to such an honorable association I would gladly face the danger, in the hope that it might prove of some use and advantage.

Write and tell me, therefore, in what spirit Seifriz has answered you, and what information Riedel has gathered in Prague. Prague, for certain (yet rather uncertain?) considerations, is indeed much to be recommended; only one would need, in some measure, to have the support of the musical authorities and notabilities of the place, as well as that of the civic corporation (because of municipal approbation and human patronage). In short, if the Tonkunstler-Versammlung were taken up and set in a good light there by a few active and influential persons, everything else would be easy to arrange, whereas otherwise all further steps would be so much trouble thrown away. I cannot altogether agree with your opinion, dear friend, that "the difficulties would in no way be greater in Prague than in Leipzig"—you forget that you yourself, in the capacity of a Leipzig citizen, removed most of the difficulties by your unswerving perseverance and your personal influence, whereas in Prague you could act only through the intervention of others. The question, therefore, is whether you can confidently reckon upon reliable friends there.

Until I receive further news from you, it seems to me that Bulow's idea of preferring Lowenberg to all other places is one very well worth consideration. Our amiable Prince would certainly not fail to give his earnest support to the Tonkunstler- Versammlung, and the small miseries of the little town of Lowenberg might be put up with or put down, for a few days at all events. Think this plan over again carefully, and do not look at Lowenberg through the glasses of our excellent friend Frau von Bonsart!—Of course a date would have to be fixed when the orchestra is assembled there, and the whole programme arranged with Seifriz and drawn up with his friendly co-operation. In my opinion many things might be possible in Lowenberg that could scarcely be broached elsewhere; and as, in fact, Bulow conceived the idea I expressly recommend it you as a means for "paving the way" to a happy issue.—

Together with your last letter I received three of the Faust essays by Pohl. I shall send him my warm thanks for them by next post, and shall add, for his bibliographical and statistical edification, the little remark that Mademoiselle Bertin had an Italian opera performed in Paris before the Revolution of July, entitled "Faust" or "Fausto." Before Pohl's articles appear in pamphlet form I should like to have read them all through—but if he is in a hurry about them, do not mention this to him; perhaps, however, if it did not make the pamphlet too thick, it might be well to include Pohl's essay on the "Dante Symphony" (as it appeared in Hartel's edition of the score).

In spite of the unsatisfactory performance of the "Dante Symphony" in Dresden (partly, moreover, the fault of the bad, incorrectly written orchestral parts, and my careless conducting), and without regard to the rapture of the spiritual substance (a matter which the general public tolerates only when demanded by the higher authority of tradition, and then immediately gapes at it upside down!)—in spite, therefore, of this grievous Dresden performance, which brought me only theone satisfaction of directly setting to work at some not unessential improvements, simplifications, and eliminations in the score— that had taken hold of me during the rehearsals and the performance, and which I felt at once, without troubling myself about the audience present…—Now, what was I about to say, after all these parentheses and digressions? Yes, I remember now:—the "Dante Symphony" is a work that does not need to be ashamed of its title,—and what you tell me of the impression produced by the "Bergsymphonie" (in Sondershausen) strengthens me in my presumption. Hence I should be glad to see the preface by Pohl printed again, and placed at the end of the "Faust" pamphlet; for, considering what most people are, they require to read first, before attaining the capacity for learning, understanding, feeling, and appreciating.—

The edition of the "Faust Symphony" (arranged for two pianofortes) is worthy of all praise, and, in the language of music-sellers, elegant. The printer has done well in so arranging the type that a number of lines are brought on to one page and a number of bars on to every line. Schuberth shall ere long receive a complimentary note from me, together with a few "proof" indications for the "Faust Symphony." But, in fact, I have come across only a few and unimportant errors as yet.

The publication of Lenau's two "Faust Episodes" (a point Pohl touches upon in his essay with fine discrimination) Schuberth might undertake according as he sees fit. I am pretty well indifferent as to whether the pianoforte arrangement or the score appears first; only, the two pieces must appear simultaneously, the "Nachtlicher Zug" as No. 1 and "Mephisto's Walzer" as No. 2. There is no thematic connection between the two pieces, it is true; but nevertheless they belong together, owing to the contrast of ideas. A "Mephisto" of that species could proceed only from a poodle of that species!—.—.

With the "Elizabeth" (of which I have now to write only the pianoforte score, which will take about a fortnight's time) I am also sending to Weimar the three Psalms in their new definitive form. It would please me if, some day, a performance of the 13th Psalm, "How long wilt Thou forget me, O Lord?" could be given. The tenor part is a very important one;—I have made myself sing it, and thus had King David's feelings poured into me in flesh and blood!—

It is to be hoped that Schnorr will be kind enough to adapt himself to the tenor part (the only solo voice in the Psalm, but which affects everything, and penetrates and sways chorus and orchestra). Theodor Formes sang the part very well eight years ago in Berlin; but that performance at Stern's Concert was to me only a first trial performance!—

With notes alone nothing can be accomplished; one thirsts for soul, spirit, and actual life. Ah! composing is a misery, and the pitiful children of my Muse appear to me often like foundlings in a hospital, wandering about only as Nos. so and so!—

Please give my best thanks to Schnorr for having so kindly interested himself in my orphaned "Songs." His better self- consciousness—the God we carry in our breasts—requite him for it!—My daughter, Frau von Bulow, writes and tells me marvels about Schnorr and his wife, and of the performance of "Tristan" at Wagner's in Biebrich. If only we possessed electric telegraphs in favor of musical ubiquity! Assuredly I would not make any misuse of them, and only rarely put myself in correspondence with the music-mongers; but Tristan and Isolde are my "soul's longing"!

The French journals contain nothing but praise and exclamations of delight at the success of "Benedict and Beatrice," Berlioz's new opera, which was performed in Baden. Pohl is sure to give you a full report of it. To judge from his essay, the tenor solo at the end of the "Faust Symphony" caused less offence in Leipzig (it was the stumbling-block in the Weimar performance, so much so that influential and well-disposed friends have urgently advised me to strike out the solo and chorus and to end the Symphony with the C major common chord of the orchestra). It was really my intention at first to have the whole "Chorus mysticus" sung invisibly—which, however, would be possible only at performances given in theaters, by having the curtain lowered. Besides which, I felt doubtful whether the sound would not have thus become too indistinct…

However it may be with this and other things, I will not fail to exercise patience and goodwill—but neither will I make too great a demand upon yours. Enough, therefore, for today from your heartily devoted

P.S.—N.B.—With the next sending of music please enclose the choruses from Schumann's "Manfred" (Songs and pianoforte accompaniment). I shall probably this autumn be engaged with the same subject, which, in my opinion, Schumann has not exhausted.

You will have heard of the grievous shock I received in the middle of September. [Liszt's eldest daughter, Mme. Blandine Ollivier, had died.] Shortly afterwards Monsieur Ollivier came to Rome, and during his stay here, which lasted till the 22nd October, I could not calculate upon being able to take any interest in other outward matters. This last week I have had to spend in bed. Hence my long delay in answering you.

So far as I understand the position of affairs with regard to the Tonkunstler-Versammlung, it seems difficult to give any definite advice. The question here is not one of theoretical, but of absolutely practical considerations, with regard to which unfortunately my influence is very limited. In my last letter I believe I told you that I am prepared, in case you decide upon Prague, to subscribe my name to the petition addressed to the Austrian ministry in behalf of state support. At the same time I intimated to you that my cousin Dr. Eduard Liszt would be the best one to draw up the said petition (in accordance with a draft sent to him), and in fact might aid the undertaking with good advice, and otherwise promote its interests. I, on my side, will not spare myself any trouble in order to obtain from the Austrian government a favorable result for the objects of the Tonkunstler- Versammlung. I cannot, of course, guarantee success beforehand; still I consider it not impossible, and when the time comes I will communicate all further details to you.

In the first place, however, comes the question whether I can take any personal part in the meeting of the Tonkunstler- Versammlung in the year '63? [This meeting did not take place in 1863, but in 1864.] And unfortunately this question I am forced to answer decidedly in the negative. Owing to its being my custom not to enlighten others by giving an account of my own affairs, I avoid, even in this case, entering further into particulars. Of this much you may meanwhile be assured with tolerable certainty: I have neither the intention nor the inclination to make any lengthened stay in Germany. Probably, however, during the course of next summer I may go to Weimar for perhaps a three weeks' visit to my gracious Master the Grand Duke. From Weimar I should go to Leipzig, and then return here by way of Trieste or Marseilles.

Requests for concert performances of my works under my direction have been addressed to me from several quarters of late. Yesterday again I received a letter on this same subject from London, to which, as in the case of the others, I shall reply with grateful thanks and excuses.—

I am firmly resolved for some length of time to continue working on here undisturbed, unremittingly and with an object. After having, as far as I could, solved the greater part of the "Symphonic" problem set me in Germany, I mean now to undertake the "Oratorio" problem (together with some other works connected with this). The "Legend of Saint Elizabeth," which was altogether finished a couple of months ago, must not remain an isolated work, and I must see to it that the society it needs is forthcoming! To other people this anxiety on my part may appear trifling, useless, at all events thankless, and but little profitable; to me it is the one object in art which I have to strive after, and to which I must sacrifice everything else. At my age (51 years!) it is advisable to remain at home; what there is to seek, is to be found within oneself, not without; and, let me add, I am as much wanting in inclination to wander about as I am in the necessary means for doing so. But enough of my insignificant self. Let us pass over at once to the subject of those two brave fellows who, in your opinion, ought to play a chief part in the next Tonkunstler-Versammlung: Berlioz—and Wagner.

To class them together thus seemed strange to me at first, considering the present state of affairs. And, so far as their two-headed personality is drawn in, I hold it to be impossible even. So let us take each apart.

A) Berlioz. Considering what has occurred, and what has appeared in print, it strikes me as more than doubtful whether Berlioz would make up his mind to undertake the musical conductorship of the Tonkunstler-Versammlung, even though Benazet should come forward en personne as mediator. Besides which his moral influence at the Festival and the negotiations would be hindering and disturbing. Hence let us leave Berlioz in Paris or in Baden- Baden, and be content in being consistent and in giving him a proof of our admiration by getting up a performance of one of his larger works. (Perhaps the "Te Deum?"—if I am not mistaken it lasts a good hour. For Prague this choice would be appropriate— unless the "Requiem" might be preferred. We might even consider whether the two might not be given together; this would abundantly fill one concert. Discuss the requisite means, etc., for giving these, with Riedel.)

B) Wagner. What am I to say to you of Wagner? Have you had any talk with him lately in Leipzig? On what terms are you with him at present?…Ah, it is a pity that we cannot procure a stream of gold for him, or have some palaces of gold built for him! What can he do with admiration, enthusiasm, devotion, and all such non-essential things?

Nevertheless it is our indebtedness and duty to remain faithful and devoted to him. The whole German Musik-Verein shall raise up a brazen wall in his honor!—He is verily worthy of it!

Hence, dear friend, see what can be arranged with Wagner. Since I left Berlin we have not corresponded. But I am surprised almost that I did not receive a line from him after Blandine's death! .—.

Au revoir, therefore, dear friend. In Weimar or in Leipzig only can I tell you what I may be able to accomplish later. I must, however, most urgently beg to be exempted from undertaking to direct the German Musik-Verein for the year '63!—

Your kind letter reached me on October 22nd, and this day, which could not pass without sorrow, has this year been brightened by many loving and solemn remembrances. Accept my thanks, and present my best remembrances to all those whose names you mention, and who have so kindly thought of me. Unfortunately there is no prospect of my soon being able to celebrate the 22nd October with Weimar friends; but I may tell you that I intend paying H.R.H. the Grand Duke a visit during the course of the summer. And we two shall then also have a bright and happy day in Tieffurt—and look through a couple of new Organ pieces together. Grosse must not fail to be there likewise, nor his trombone box, which I have specially had in my mind ever since the journey to Paris. [Grosse took his instrument with him on the journey, in order that it might be at hand in case Liszt should want it.] Meanwhile, however, tell dear, good Grosse not to be vexed about the delay in connection with the promised despatch of his "Sonntags-Posaunenstuck." [Sunday piece for trombone.] It is long since finished, also some three or four Organ pieces, which, dear friend, I wrote for you last spring. But the postal arrangements are so little safe, under present circumstances, that I do not care to send manuscripts by this means. In despatching parcels to Vienna or Paris I could, of course, make use of the courtesy of the embassies; but it is more difficult with Weimar…and so the parcel with the "Legend of Saint Elizabeth," the three Psalms instrumented (and essentially remodelled), several Pianoforte and Organ pieces, together with Grosse's "Sunday-piece," must remain in my box till some perfectly reliable opportunity presents itself. If the worst comes to the worst I shall bring the whole lot myself.

The Schneider-Organ-Album, and the one to appear later—the Arnstadter-Bach-Organ-Album (which is to contain the magnificent fugal subject from Bach's Cantata that I arranged for the Organ— and not without difficulty), I beg you to keep in your library till my return.

I am very unpleasantly affected by the hyper-mercantile craftiness of one of my publishers whom you mention in your letter. It would truly be unjust if you were not to receive the usual discount, and indeed an exceptional amount, when purchasing the "Faust Symphony." But who would ever succeed in washing a negro white? And, in addition, one has generally to put up with the inky blackness of his bills!—I could tell many a tale of such doings, and indeed of persons who are afterwards not ashamed to talk braggingly of their friendship for me! "O friends, not these tones, rather let us strike up pleasanter ones," sings Beethoven.

The "Elizabeth," it is to be hoped, contains something of the sort. At least, as far as possible, I have labored carefully at the work, and, so to say, lived it through for more than a year. In No. 3 of the score—the "Crusaders"—you will come across the old pilgrim song from the days of the Crusades which you had the kindness to communicate to me. It has rendered me good service for the second subject of the "Crusaders' March." In the concluding notice of the score I acknowledge my thanks to you for it and give the whole song from your copy.

Among the pleasant bits of news (exceptions to the rule!) which reach me from our quarters is that about the improvement of your pecuniary position, which is probably accompanied by your appointment as teacher at the newly established Seminary classes. In the way of merit you lack nothing, and nothing in zeal and energetic perseverance. Let me hope, dear friend, that you may more and more meet with your due reward!

The feeling of our double relationship is to me always an elevating and comforting one. Truly you abide with me, as I do with you—cum sanguine, corde et mente.

Accept my thanks for your kind lines, and excuse my not having written to you long ago. I might indeed have told you many a thing of more or less interest; but all seemed to me tiresome and insufficient in writing to you. I needed more than ever, and above all things, ample time to compose myself, to gather my thoughts, and to bestir myself. During the first year of my stay here I secured this. It is to be hoped that you would not be dissatisfied with the state of mind which my 50th year brought me; at all events I feel it to be in perfect harmony with the better, higher aspirations of my childhood, where heaven lies so near the soul of every one of us and illuminates it! I may also say that, owing to my possessing a more definite and clearer consciousness, a state of greater peacefulness has come over me.

Blandine has her place in my heart beside Daniel. Both abide with me bringing atonement and purification, mediators with the cry of "Sursum corda!"—When the day comes for Death to approach, he shall not find me unprepared or faint-hearted. Our faith hopes for and awaits the deliverance to which it leads us. Yet as long as we are upon earth we must attend to our daily task. And mine shall not lie unproductive. However trifling it may seem to others, to me it is indispensable. My soul's tears must, as it were, have lacrymatoria made for them; I must set fires alight for those of my dear ones that are alive, and keep my dear dead in spiritual and corporeal urns. This is the aim and object of the Art task to me.

Yon know that I have finished the "Legend of Saint Elizabeth" (200 pages of score—2 and 1/2 hours' duration in performance). In addition to this some other compositions have been produced, such as: the "SunCanticus ("Cantico del Sole") of Saint Franciscus"—an instrumental Evocatio in the Sistine Chapel-two Psalms, etc. I trust you may again find us in these, in mind and feeling.

I am now about to set myself the great task of an Oratorio on Christ. By the 22nd October, '63, I hope to have solved the difficulty as far as my weakness and strength will permit.

As you see, dearest Eduard, it is impossible to get out of my head the idea of writing notes. [Notenkopfe] In spite of all good precepts and friendly counsellors (who mean it much better by me than I can ever understand!) I go so far as to maintain that for several years past and in many yet to come I have not done and shall not do anything more ingenuous than cheerfully to go on composing. And what more harmless occupation could there be? especially as I never force my little works upon any one, nay, have frequently begged persons to refrain from giving certain too unconscientious [Play on words "gewissen" and "ungewissenhaft"] renderings of them,—and that I ask for no further appreciation or approval than can, in fact, be granted according to taste and disposition.

From Pest I have lately received through Baron Pronay, in the name of the Council of the Conservatoire, an invitation to establish my domicile there, and to promote the interests of Hungarian music. Probably you will hear of my excusatory reply.

Between ourselves, and frankly said in plain German, it would be of no advantage to me again to take up any outward musical activity (such as my conductorship in Weimar which came to an end a few years ago, and after September 1861 became a locked door to me through my Chamberlain's key). But possibly I may later find a fitting opportunity for composing something for Hungary. After the precedent of the "Gran Mass" I might, for instance, on some extraordinary occasion, be entrusted, say, with a "Te Deum" or something of the kind. I would gladly do my best, and only on some such terms could I regard my return to Hungary as becoming.

Meanwhile remains quietly in Rome, honestly striving to do his duty as a Christian and an artist,

The difficulties and troubles of the musical situation of which you speak in your last letter but one, I can, unfortunately, only too well understand. No one is better acquainted with such matters than I am, and hence no one is better able to appreciate and recognise the value of your unselfish, persevering work and efforts, which also show you so sincere in your convictions. And one of the dark sides in my present position, dear friend, is that I can be of so little use to you, that I am compelled to remain in a state of passivity and forbearance that does not at all agree with me. However, you may rely upon my readiness to render any assistance wherever I may still be able to help.—In accordance with your wish I shall take an early opportunity of writing to Prince H[ohenzollern] concerning the Tonkunstler- Verein. It is to be hoped that our amiable, noble-minded patron will show himself no less disposed in our favor than he has done on former occasions. And you, on your part, do not fail to discuss with Seifriz by letter the points and modals of the support expected. It is a pity that Bulow's proposal to hold the next meeting of the T.K. Verein in Lowenberg has not proved feasible. Were it likely to be broached again I should not make any objections to it, because, in fact, the place seems to be precisely a favorable centre at present. But, as already said, it is not my place to express any definite opinion on the subject, and I am entirely satisfied in leaving all that has to be done to your judgment and foresight.

I am delighted to hear of Bulow's extraordinary success in Leipzig, and still more so to hear of your renewed and intimate relations with him. He is the born prototype of progress, and noble-minded to a degree! Without his active co-operation as director and standard-bearer a Tonkunstler-Versammlung at the present time would at least be an anachronism.

From Wagner I lately received a letter in which he informed me of a performance of his "Tristan" in Vienna towards the end of January. Afterwards he intends arranging some concerts in Berlin- -and, it seems, in St. Petersburg also. My endeavors to secure him comfortable quarters in Weimar seem for the time being to be useless, because of his dislike to an insignificant appointment, and the adverse circumstances of life in a small town. Certainly his project of drawing annually 3,000 thalers (*450 British pounds sterling*), by some agreement between the Grand Dukes of Weimar and Baden, is much more to the point. The question is only whether their Highnesses will consent to it? .—.

The four scores of the Beethoven Symphonies, of which you advised me in your friendly letter, reached me yesterday. My eyes are meanwhile revelling and delighting in all the glories of the splendid edition, and after Easter I shall set to work. Nothing shall be wanting on my part, in the way of goodwill and industry, to fulfil your commission to the best of my power. A pianoforte arrangement of these creations must, indeed, expect to remain a very poor and far-off approximation. How instil into the transitory hammers of the Piano breath and soul, resonance and power, fulness and inspiration, color and accent?—However I will, at least, endeavor to overcome the worst difficulties and to furnish the pianoforte-playing world with as faithful as possible an illustration of Beethoven's genius.

And I must ask you, dear Herr Doctor, in order that the statement on all the title pages—"critically revised edition"—may be complied with, to send me—together with your new edition of the scores of the "Pastoral," the C minor, and A major Symphonies—a copy of my own transcriptions of them. Probably I may alter, simplify, and correct passages—and add some fingerings. The more intimately acquainted one becomes with Beethoven, the more one clings to certain singularities and finds that even insignificant details are not without their value. Mendelssohn, at whose recommendation you formerly published my pianoforte scores of the "Pastoral" and C minor Symphonies, took great delight in these minutiae and niceties!—

With regard to the agreement about the A major Symphony I mean shortly to write to Carl Haslinger, and expect that he will be quite willing to meet my wish. [A pianoforte transcription of this Symphony by Liszt had been published by Haslinger.]

With grateful thanks, dear Herr Doctor, I remain yours in readiness and sincerity,

P.S.—The four Symphonies shall be finished before the end of summer and sent to Leipzig. If you are satisfied with my work would you entrust the arrangement of the Overtures to me when I have finished the Symphonies—provided, of course, that you have not made any agreement with any one else?

This year my name-day fell in the middle of Easter week, on Maundy Thursday. Your hearty letter again brought what to me is the pleasantest news in the world. Thank you for it, and let those know of it who share your sincere, friendly, and faithful sentiments! First let me mention Carl Gotze, [A chorister in Weimar (a favorite copyist of the Master's) became a musical conductor in Magdeburg and died in 1886.] whose kindly words I should so gladly like to answer in accordance with his wish, and then my dear Kammer-virtuoso, Grosse. Grosses trombone no doubt officiated brilliantly at Bulow's concert and at the performance of Berlioz's opera! An echo of the former reached me, thanks to your inspired notice in Brendel's paper, where I accidentally came across a little remark which you had addressed to one of the most estimable and graceful of German lady-singers anent my little-heeded songs. I certainly cannot find fault with you for showing some interest in the songs and for thus frankly expressing your opinion. On the contrary, your sympathetic appreciation is always welcome, amid the direct and indirect disparagement which falls to my lot. Unfortunately, however, I must make up my mind that only by way of an exception can I expect to find friends for my compositions. The blame is mine; why should one presume to feel independently, and set the comfortable complacency of other folks at defiance?—Everything that I have written for several years past shows something of a pristine delinquency which is as little to be pardoned as I am unable to alter it. This fault, it is true, is the life-nerve of my compositions, which, in fact, can only be what they are and nothing else.—

In the Psalms I have made some important alterations, and shall shortly send Kahnt the manuscript. A few passages (especially the verse "Sing us one of the songs of Zion") which had always appeared awkward to me in the earlier version, I have now managed to improve. At least they now pretty well satisfy my soul's ear.

The "Christus" Oratorio is progressing but slowly, owing to the many interruptions which I have to put up with this winter. It is to be hoped I may obtain some entire months of work during the summer. I thirst for it.

Of the musical undertakings here you will learn the more noteworthy events from a paper I sent to Brendel last week. Further and fuller news about myself is meanwhile uncertain. Probably I shall in the end not find myself able to do anything better than to put my whole story in the musical notes that I am incessantly writing down, but which need not either be printed or heard.

However that may be, I remain, dear friend, in sincere affection, yours gratefully and in all friendship,

P.S.—The Bach-Album and other music which you say you had to send me (e.g., your arrangement of the Dante fugue if it has been printed) please let me have through Kahnt. Enclose also a copy of the Ave Maria for Organ.

The last months brought so many interruptions in my work that I still feel quite vexed about it. Easter week I had determined should, at last, see me regularly at work again; but a variety of duties and engagements have prevented my accomplishing this. I must, therefore, to be true to myself and carry out my former intention, shut myself up entirely. To find myself in a net of social civilities is vexatious to me; my mental activity requires absolutely to be free, without which I cannot accomplish anything.

How things will turn out later about my proposed journey to Germany I do not yet know. Probably my weary bones will be buried in Rome. Till then their immovability will serve you better than my wandering about on railways and steamboats. On the other hand, there is but little for me to do in Germany. War is at the door; drums and cannon will come to the fore; God protect the faith of heroes and give victory to the righteous among humanity! .—.

Where is Wagner, and what about the performances of "Tristan", the "Nibelungen", and the "Meistersinger" in Weimar or elsewhere? Tell me of this. I have not written to Weimar for long, and have also not had any news from there. My only German correspondent (Frau von Bulow) is suffering from some eye-trouble, which has interrupted our exchange of letters…so I am absolutely ignorant of what is going on. The February numbers of the "Neue Zeitschrft" are the last I have received. Your articles on Criticism are excellent, and, indeed, nothing else was to be expected. Give Louis Kohler my most friendly thanks for his kind perseverance in "paving the way for my scores to receive more kindly appreciation." The more thankless the task the more heartily grateful do I feel to my friends.

Weariness or something of the sort carried my thoughts back to my "Berceuse." Various other "Berceuses" rose up in my dreams. Do you care to join my dreams? It shall not cost you any trouble; without touching the keyboard yourself, you will only need to rock yourself in the sentiments that hover over them. A really amiable and variously gifted lady will see to this. She plays the little piece delightfully, and has promised me to let it exercise its charms upon you. I shall, therefore, ere long send you a copy of the new version of the "Berceuse" addressed "to the Princess Marcelline Czartoryska, Klostergasse 4." [A pupil of Chopin's] Wend yourway thither—and, in case you do not find the Princess at home, leave the manuscript with your card. I have already told her of your contemplated visit, and have spoken of you as my heart's kinsman and friend. You will find the Princess Cz. possessed of a rare and fine understanding, the most charming figure in society, and a kindly and enthusiastic worshipper of Mozart, Beethoven, and Chopin, and, above all this, the illuminating faith of the Catholic Church reflected in Polish blood.

"Patria in Religione et Religio in patria" might be the motto of
Poland. God protect the oppressed!

One other commission for the Princess Cz. please undertake for me. During her residence here she on several occasions expressed the wish to become acquainted with some of my compositions (to which, whether intentionally or not, she had hitherto not paid much attention). I played with her my arrangement of the Symphonic Poems for 2 pianofortes—the "Heroide funebre," "Tasso," and the "Preludes"—which she received with kindly and courteous tolerance. Without desiring more—for ample experience has taught me that my compositions more readily rouse estrangement than attraction—I should, nevertheless, like the musical threads of our pleasant relations not to be entirely dropped, and wish therefore to present her, first of all, with various pieces of music by way of making amends. In the badly stocked music shops of Rome I could not find anything suited to her talent, and promised to ask your help in the matter. I beg you, therefore, dearest Eduard, to get the following works simply and neatly bound in one volume (in the following order), and to present them soon to the Princess Cz.:—

1. "Glanes de Woronice" (Leipzig, Kistner). 2. "Melodies de Chopin", transcrites par Liszt (Berlin, Schlesinger). 3. "Mazurka" (Senff, Leipzig). 4. "2 Polonaises" (idem). 5. "2 Ballades" (1 and 2. Kistner, Leipzig.) 6. "Consolations" (Hartel, Leipzig).

If the volume is not too thick with the above you might add the "Valse melancolique" and "Romanesca" (second edition of Haslinger). Of course let all this, contents and binding, be put down to my account, and given to the Princess-artist as a present from me. If the pieces cannot be procured in Vienna, order them speedily from Leipzig through Haslinger or Spina.

A propos of Spina: has the arrangement for 2 pianofortes of my orchestral setting of Schubert's magnificent C major "Fantasia" not yet been published? This delay, or, more properly, this remissness, is by no means a pleasant matter to me. With all my heart, thine,

I had to remain in bed all last week—and am still pretty weak on my legs. But there is nothing further wrong: my head is free again; the rest can be imagined. The day after tomorrow I quit my rooms in the Via Felice and move to Monte Mario (an hour's distance from the city). Father Theimer is kind enough to allow me to occupy his apartments in the almost uninhabited house of the Oratorian. The view is indescribably grand. I mean now, at last, to try and lead a natural kind of life. I hope I may succeed in approaching more closely to my monastico-artistic ideal…Meanwhile you may laugh at me about it. In my next letter I will tell you where to address me.

Pastor Landmesser will bring you further news about me to Leipzig, before the end of July, on his way back to Dantzig. I shall get him to take you the manuscript of the Psalms (of which I spoke to you). They are now ready for publication, and will not disgrace Kahnt's house of business.

The corrected copy of the Faust Symphony, too, I will send you by this opportunity, for Schuberth.

With regard to performances of my works generally, my disposition and inclination are more than ever completely in the negative. My friends, and you more especially, dearest friend, have done their part in this respect fully and in the kindest manner. It seems to me now high time that I should be somewhat forgotten, or, at least, placed very much in the background. My name has been too frequently spoken of; many have taken umbrage at this, and been uselessly annoyed at it. While "paving the way for a better appreciation," it might be advisable to regard my things as a reserve corps, and to introduce new works by other composers.

This will sufficiently intimate that the "Legend of St. Elizabeth" may quietly go on slumbering in my paper-box. As may also the work upon which I am now engaged, and which to my regret is making but very slow progress, owing to the many interruptions which perpetually plague me.

Should any one of the programmes be filled with one of my compositions, it would be best to select one of those already published, in order that, at all events, the publisher's approval may, in some measure, be held up to view.

In my opinion you have made a good choice in Porges. The young man is reliable, intelligent, and capable of inspiration, and what he may still lack in skilfulness he will easily acquire. The essential point in a task of this kind is a modest, honest, and not too dry effort. What I have heard and know of Porges makes me feel assured that he will best fulfil the various demands made by the editorial office.

What is one to think of the marvels which Pohl has brought back from Lowenberg? I haven't sufficient imagination to form any clear idea about them from the preliminary hints you communicated to me. Let me have a fuller report, therefore, if you think that, under certain conditions, I should mix myself up with the matter. And also tell me frankly, without periphrase, what the Musik- Verein wishes and expects from the patronage of the Grand Duke of Weimar?—One ought not to shoot about at random with Royal Highnesses! It would only lead to a vexatious loss of powder.

How is Kap[ellmeister] Wehner? Is he still in his King's good graces? [He was in the service of the King of Hanover; and is long since dead.] Kapellmeister Bernhard Scholz was here last month—but he did not honor me with a visit.

Today's post has brought me some very friendly lines from my worthy precentor Gottschalg in Tieffurt. He tells me of a concert in Denstedt, where several pieces of mine were performed—among others one of the Psalms (which I shall shortly send to Kahnt by Landmesser, an essentially improved version); they were sung by Fraulein Genast. This lady, so Gottschalg writes, is to be married today. Do you know to whom? I am so entirely cut off from all my Weimar connection that I had not heard anything about this. But as I still retain a very friendly recollection of this excellent lady-exponent of my songs, I beg you, dear friend, to let me have her new name and to tell me whether her husband resides in Weimar or elsewhere.

I am perfectly satisfied with my new abode at Monte Mario.—
Pastor Landmesser will give you a description of it—and perhaps
I may find a photograph of the place—if not I shall order one
for you later.

You will receive these lines in the lovely Sondershausen Park. One gladly accustoms oneself to the place, and the admirable performances of the Loh-concerts—I derive the word from "Lohe" [flame]—give the atmosphere a certain spiritual stimulus. My friendly greetings to Stein—and present my warm thanks to the courageous orchestra, which has not been scandalised by the "Symphonic Poems"! . . .

The parcel from Kahnt reached me safely a few days after your letter (of 26th June). Mililotti [Director of the Classical Music Association in Rome; he had requested Professor Riedel to send him the programmes of his concerts.] intends writing to Riedel to thank him for his kindness in forwarding his programmes. When Mililotti's concerts prove more of a success he may, by way of a return, send his Roman programmes to Leipzig. But at present the musical doings here are of but small interest to other countries.

By sending me the score edition of "Mignon" and "Loreley" Kahnt has given me peculiar pleasure. It seems to me correct, and I am foolish enough to find the instrumentation pretty. By the way, other instrumental settings occur to me: those of several of Schubert's songs ("Erlking," "Gretchen," "The Young Nun," and a few others) that I wrote for Fraulein Genast. They are not mere manufactured arrangements, and might not altogether displease musicians of fine feeling. The manuscript of the scores was left with Seifriz in Lowenberg. If any publisher should feel inclined to accept them they are at his disposal. .—.

In answer to an important point in your letter, I quite agree about presenting the Grand Duke of Weimar with a Report describing the object and aims of the Allgemeine Deutsche Musik- Verein. And on this occasion H.R.H. should be respectfully and graciously invited to address an appeal to his illustrious relatives to take some interest in the progress and success of the Association; in plain language, to strengthen his protectorship by letters of recommendation, or in some other way. In presenting the Report (which might most appropriately be undertaken by Pohl and Regierungsrath Muller) the Grand Duke or His Excellency Count Beust might be addressed directly by word of mouth, and be distinctly given to understand the desirability of obtaining the sympathy of the Grand Duchess, the Queen of Prussia, the King of Holland, T.R.H. the Grand Duchesses Helene and Marie (of Russia), the Grand Duke Peter of Oldenburg (in St. Petersburg), the Grand Duke and Grand Duchess of Baden, the Hereditary Prince of Meiningen, the Dukes of Altenburg and Coburg, etc. I give these names because, owing to their near relationship with the Grand Duke and their own personal fondness for music, they should stand first as patrons and supporters of the Allgemeine Deutsche Musik-Verein.

Gladly would I have undertaken the duties of diplomatist to the Association in Weimar, and endeavored to obtain the Grand Duke's active intervention…But at this distance I cannot, for the time being, accomplish anything. My gracious Master has no leisure for lectures on artistic subjects that I might concoct in the Eternal City; and if I tried to enlighten him in any such way his first and only word in reply would be "Why does not Liszt come back, in place of writing such allotria?" [Observations beside the mark.]- -A short time ago I received from him a very kind, monitory letter, calling upon me to return to Weimar for the Kunstler- Versammlung in August. .—. I would advise you to make use of your stay at Sondershausen by getting an introduction to the Prince, and by obtaining his support as regards the Musik-Verein. Discuss this matter with Stein, for he is best able to attend to it. Possibly a larger performance in the Loh might be got up for the benefit of the Association. .—.

This letter is so filled up with Royal Highnesses, Majesties, and illustrious personages, that it offers me a natural transition to tell you of an extraordinary, nay, incomparable honor I received last Saturday evening, the 11th of July. His Holiness Pope Pius IX. visited the Church of the Madonna del Rosario, and hallowed my apartments with his presence. After having given His Holiness a small proof of my skill on the harmonium and on my work-a-day pianino, he addressed a few very significant words to me in the most gracious manner possible, admonishing me to strive after heavenly things in things earthly, and by means of my harmonies that reverberated and then passed away to prepare myself for those harmonies that would reverberate everlastingly.—His Holiness remained a short half-hour; Monsign. de Merode and Hohenlohe were among his suite—and the day before yesterday I was granted an audience in the Vatican (the first since I came here), and the Pope presented me with a beautiful cameo of the Madonna.—

I must add one other princely personage to this letter, and with this I am obliged to close. A visit at this very moment is announced from the Principe della Rocca, who has driven up with his photographic apparatus. You shall, therefore, ere long have a little picture of the Madonna del Rosario which, since the Pope's visit here, has been the talk of Rome.

F. L.

The work that you were good enough to entrust to me is almost finished, and by the same post you will receive the Piano score of 8 Symphonies of Beethoven, whilst awaiting the 9th, which I propose to send you with the proofs of the preceding ones. Nos. 1, 2, 3, 4, and 8 are bound in one volume; there is only the "Funeral March" from the "Eroica Symphony" wanting, which is published in the Beethoven-Album by Mechetti, Vienna. I shall require to see this arrangement again (which you will oblige me by sending with the next proofs), for probably I shall make numerous corrections and modifications in it, as I have done in the Symphonies in C minor, in A, and the "Pastoral," which were edited some twenty years ago. The copies of these are returned to you today with a great many alterations, errata and addenda, inasmuch as—in order to satisfy my own criticism—I have been obliged to apply to them the torture of red pencil and gum, and to submit them to a very considerable alteration.

Whilst initiating myself further in the genius of Beethoven, I trust I have also made some little progress in the manner of adapting his inspirations to the piano, as far as this instrument admits of it; and I have tried not to neglect to take into account the relative facility of execution while maintaining an exact fidelity to the original. Such as this arrangement of Beethoven's Symphonies actually is, the pupils of the first class in the Conservatoires will be able to play them off fairly well on reading them at sight, save and except that they will succeed better in them by working at them, which is always advisable. What study is deserving of more care and assiduity than that of these chefs d'oeuvre? The more one gives oneself to them the more one will profit by them, firstly in relation to the sense and aesthetic intelligence, and then also in relation to the technical skill and the attaining of perfection in virtuosity—of which one should only despise the bad use that is sometimes made.

By the title of Pianoforte score (which must be kept, and translated into German by Clavier-Partitur or Pianoforte- Partitur?) I wish to indicate my intention of associating the spirit of the performer with the orchestral effects, and to render apparent, in the narrow limits of the piano, sonorous sounds and different nuances. With this in view I have frequently noted down the names of the instruments: oboe, clarinet, kettle- drums, etc., as well as the contrasts of strings and wind instruments. It would certainly be highly ridiculous to pretend that these designations suffice to transplant the magic of the orchestra to the piano; nevertheless I don't consider them superfluous. Apart from some little use they have as instruction, pianists of some intelligence may make them a help in accentuating and grouping the subjects, bringing out the chief ones, keeping the secondary ones in the background, and—in a word—regulating themselves by the standard of the orchestra.

In order to be perfectly satisfied with regard to my work allow me, my dear sir, to beg you to let Mr. Ferdinand David and Monsieur Moscheles see it before it is printed. The minute familiarity they have acquired with the Symphonies of Beethoven will show them in a moment any errors, oversights, faults and misdeeds of which I, very unwittingly, may have been guilty. Will you please assure them that any information from them in these respects will be most valuable to me, and that I shall not fail to profit by it for the honor of your edition. In particular I should like to know from Mr. David whether the N.B. placed on page 78 of the manuscript (Finale of the 8th Symphony—"the execution of the principal figure, etc.") is authorised,—and I should be very grateful to him for any other particulars he is kind enough to give me. As to Mr. Moscheles, I hope he will not disapprove of my having followed his example in putting a profuse fingering for the greater ease of the mass of performers; but perhaps he would be so kind as to suggest a better fingering himself, and to let me know his observations upon such and such an artifice of "piano arrangement" of which he is a consummate master. There is only one point on which I would venture even to an act of rebellion—it is that of the pedals, a bass [base] passion of which I cannot correct myself, no matter how annoying the reproaches it may draw upon me!—["Even if one may presuppose," he writes on another occasion (27th August, 1861) to Breitkopf and Hartel, "a correct use of the pedal on the part of piano-players, I am nevertheless, through manifold unpleasant experiences to my ears, brought back to giving the most minute indications of it."]

If, as I venture to flatter myself, my arrangement of the Symphonies satisfies you, I should be tempted to propose to you, for next year, a similar work on the Quartets, those magnificent jewels in Beethoven's crown which the piano-playing public has not yet appropriated in a measure suitable to its musical culture.

But I really fear to exhaust your patience by giving you proofs of mine…consider therefore this project of the Quartets as not having been proposed if it seems to you inopportune, and pray accept, my dear sir, the expression of my very sincere and devoted sentiments.

P.S.—As it has been impossible for me to hunt out here a copyist who will fulfil the conditions that may reasonably be exacted (the one whom I employed pretty much last year divides his time between the prison and the public-house!), I am compelled to send you the manuscript such as it is, with many apologies for its badly written appearance. To make a fair copy of it someone with plenty of experience is needed; and I can safely recommend you such an one in Mr. Carl Gotze ("Member or Vice-director of the theater chorus") at Weimar. He is accustomed of old to my writing, and would make the copy of the Symphonies with intelligence and care.

N.B.—A copy of the Orchestral Score of the Symphonies will be a great help to the work of the copyist of my manuscript, for exactness in nuances, division of parts and indication of the instruments.

Let me add, in conclusion, that I shall be glad to receive, with the proofs or even sooner, a copy of my "Etudes d'execution transcendante," and also those "d'apres Paganini" (Breitkopf and Hartel edition), which I have promised to give to an excellent pianist here, Mr. Sgambati, who is most capable of playing them well in public;—and, besides these, a copy of my "Ave Maria" (for chorus with Organ accompaniment) which is shortly to be performed here.

This morning I sent off manuscripts and corrections to Hartel and Schuberth—and thus had to write the word Leipzig several times. It struck me as a reproach as regards yourself, and I mean forthwith to get rid of it. You shall not hear of me through others without having the trouble of reading my own bad handwriting yourself. I have not, however, anything very special to relate. The summer has passed quietly and I have not wandered abroad much; have, in fact, been pretty constantly sitting at my work. My abode continues to suit me more and more, so I intend to spend the winter here. You no doubt received with my last letter the photograph of the "Madonna del Rosario." Unfortunately I cannot send you a picture of the grand, truly sublime view that can be enjoyed from every window. So you must imagine it to embrace all Rome, the wondrous Canmpagna, and all the past and present glories of the district.

For some time past I have had no other news of you than your excellent articles on "artistic individuality," etc., in which, among many other right and fine observations, I was specially pleased with the axiom: "The artistic temperament, when genuine, corrects itself in consequence of the change of contrasts." May it prove so in my case;—this much is certain,—that in the tiresome business of self-correction few have to labor as I have, as the process of my mental development, if not checked, is at all events rendered peculiarly difficult by a variety of coincidences and contingencies. A clever man, some twenty years ago, made the not inapplicable remark to me: "You have in reality three individuals to deal with in yourself, and they all run one against the other; the sociable salon-individual, the virtuoso and the thoughtfully-creative composer. If you manage one of them properly, you may congratulate yourself."—Vedremo! [We shall see!]

Weitzmann's "Carnival in Rome towards the Middle of the Seventeenth Century," I read with great pleasure in the "Neue Zeitschrift." It is a pleasant, lively sketch, spiced with learning but without pedantic lead. Did a very remarkable "History of the Pianoforte," etc., by the same author, appear in your paper? Frau von Bulow wrote to me lately that Hans is busy with some essays for the N. Z. Probably he is writing a review of Weitzmann's "History of the Pianoforte," which would be most appropriate; if this is not the case I would advise you to get one of your staff to undertake the work and to give several quotations from it. The confounded pianoforte has its unmistakable significance, were it only because of the general abuse to which it is put!—In honor of Hartel's edition of Beethoven I have been occupying myself again with studies and experiments in pianoforte pieces. The arrangements of the 8 Beethoven Symphonies which I am about to send to Leipzig are, I trust, successful. They cost me more trouble, in attempts of various sorts, in corrections, eliminations and additions, than I had anticipated. As we grow old we deliberate more and are less readily satisfied…

To Schuberth I have sent the corrections of the 2-pianoforte arrangement of the "Faust Symphony," together with a pretty, tuneful arrangement of the "Preludes" by Herr Klauser (of New York), and was thus induced to play the hackneyed piece through again, to touch up the closing movement and give it new figuration. In the hands of a skilful player it will prove brilliantly effective.

But enough of all this pianoforte stuff! I feel forced to set to work again in blackening score-sheets—and first of all the "Christus Oratorio" shall be proceeded with.—Write and tell me whether Kahnt is publishing the two Psalms which Pastor Landmesser took him, and advise him to request Herr von Bulow to revise the last proofs. There is nothing more vexatious to me than careless editions, full of errors, such as Schuberth would like to have if one gave free reins to his good nature! From the Committee of the Association for the Completion of Cologne Cathedral I have received an invitation to the Festival arranged for the 14th and 15th October. The letter reminds me, in the most courteous terms, that in the year '42 I had the honor of being a member of the Council. I had not forgotten this peculiar distinction; but the worthy gentlemen seem absolutely not to have considered how my activity could now appropriately be of service, and they wisely guard against mentioning any of my ecclesiastical compositions, although it might have occurred to them that I could manage something in that species of music. However, the worthy Committee find the old story of the "period of my brilliancy," and the "bewitching strains I drew from the keys," etc., more voluble and convenient. Besides which some small sum would have to be forthcoming were I to agree in considering myself what the good folks would like to consider me. Fortunately the determination of my work does not lie in their hands, and on account of this very evident conviction I answered their communication most courteously, modestly referring to my present occupation in Rome, and enclosing an extract from one of the Hymns of St. Ambrosius, from the Liturgy of the "Three Holy Kings," an incident intimately connected with Cologne Cathedral. At the same time I feel satisfied that I have not shown any intention to give annoyance, and declared myself as perfectly content to fulfil my duties as an honorary member of the Council, in quietude, by composing a work specially for the Cathedral (which I shall not fail to do), but without laying the slightest claim to the sympathy—much less to the patronage—of the worthy gentlemen of Cologne.—I flatter myself that I am not in the bad graces of the Three Holy Kings, consequently do not need to trouble myself about the rest of the Cologne folk!

P.S.—Sgambati, an excellent Roman pianist, wishes to study my A major Concerto. Schott has as yet omitted to send me the complimentary-copy of this piece, to which I am entitled, so I beg you to enclose in Kahnt's next sending a duplicate copy (arranged for 2 pianofortes, as there can be no thought of an orchestral performance of it here). From Hartel I have also ordered for Sgambati and Bach [This is no doubt meant for Bache.] my Etudes, the Paganini ones, and my "Ave Maria" (chorus-score and voice parts, for a performance at the Classical Concerts conducted by Mililotti). It would be advisable, owing to the expense of forwarding music, to send the things all in one parcel; please be kind enough to suggest this to Hartel, and to get the 3 opus from him, and I do not wish to have to wait beyond the end of October for them. Gottschalg will soon have some copy to send me which might come at the same time.

I trust you will forgive my long silence. I could not excuse myself in any other way than by a worse lamentation about the variety of circumstances, moods and occupations that have more and more encouraged my habitual dislike to letter-writing. Unless some definite object demands it of me, I do not write to any one in Germany, with the exception of Bulow, my cousin Eduard in Vienna, and Brendel, to whom I am very grateful for the kindness with which he looks after the more important details connected with my musical affairs. As regards my Weimar friends, my inclination to communicate with them is spoilt by my imagining that they would as gladly see me among them as I should feel at home among them. And as I cannot write to them and say: "I am coming to remain with you," I get more and more silent.

My stay in Rome is not an accidental one; it denotes, as it were, the third part—(probably the close) of my life, which is often troubled, but ever industrious and striving upwards. Hence I require ample time to bring various long works and myself to a good ending. This requisite I find in my retirement here, which will probably become even more emphatic; and my present monastic abode provides me not only with the most glorious view over all Rome, the Campagna and the mountains, but also what I had longed for; quiet from without and peacefulness.—Enclosed is a photograph of the "Madonna del Rosario," as an illustration to the notices that have lately appeared in the newspapers in connection with the Holy Father's visit here.

Your friendly lines came strangely in conjunction with the "Dettingen Te Deum" to which you refer, and which I was playing through at the very moment your letter was handed to me. A very amiable English lady delighted me a little while ago by presenting me with the praiseworthy London edition-"Novello's Centenary Edition"—of the Oratorios of Handel, Haydn, Mendelssohn, etc. (and all sold at from 1 to 3 shillings each); these works are always welcome society to me. The number containing the "Dettingen Te Deum" also contains the "Coronation Anthem" (composed in 1741). "Zadok the priest, and Nathan the prophet, anointed Solomon King." [This sentence is written in English by Liszt.]

However notwithstanding all my admiration for Handel, my preference for Bach still holds good, and when I have edified myself sufficiently with Handel's common chords, I long for the precious dissonances of the Passion, the B minor Mass, and other of Bach's polyphonic wares.

Remember me kindly to your wife, and with heartiest greetings to
M. Gille, junior, I am Your sincerely attached

Do not omit in your next letter to tell me something about your musical Jubilee in Jena.

I am deep in my work. The more we sow a field the more it spreads. One would need to live to the age of a Methuselah to accomplish anything plentiful!

Your letters, unlike so many others, are always so welcome, and I thank you most sincerely for all the goodness, kindness, honesty and warmth of feeling that the continuance of our friendship brings with it. For even though you may not always be able to communicate pleasant or enjoyable news, still things disagreeable I can tolerate more readily from you, because of your ever moderate and characteristically steadfast interpretation. The experience you had lately to make with Y.Z. I regret sincerely, and would gladly make you some compensation for a loss that is as unexpected as it is unfortunate. But I am sorry to say I do not know of any one who would exactly suit you. There is truly a great dearth of men [Menschen] in this world! When they are put to the test they prove themselves useless. My ten years' service in Weimar gave me abundant proof of this!

Probably you will just have to drag on with your contributors, till we finally get into smoother water again. It is more than three months since I received any numbers of the Neue Zeitschr.; do not forget to enclose the numbers in the next sending (together with the music I want from Hartel), and address always to "Madonna del Rosario (of which a photograph herewith), Monte Mario—Rome."

Kahnt's willingness to publish the score of the two Psalms is very flattering to me. He shall have the manuscript soon, and I should like to enclose the instrumentation of the Songs from Wilhelm Tell. Should a convenient opportunity occur some kindly- disposed singer might be found to bring them into notice (perhaps Schnorr?). The instrumental-fabric is not plain or ordinary, and enhances the effect of the vocal part. My critical ex-colleague Stor praised it formerly when performed at one of the Court- Concerts at which Caspari sang the songs,—and since then I have added some dainty little bits. One must praise oneself, especially when others too often fail in doing so!—

With regard to the Tonkunstler-Versammlung, it seems to me that the choice of Leipzig is most advantageous for the purpose at present, and I would advise you to adhere to this. In the course of the winter we will have an "exchange of thoughts" ("un echange d'idees," as Prince Gortschakoff is ever saying) about the programme and arrangements, and this will assuredly lead to more harmonious results than the Russian notes. Fortunately we do not need to quarrel about the extent of the treaties of 1815!

P.S.—About six weeks ago there appeared in the Leipzig "Illustrirte Zeitung" a biographical notice of F. Liszt, together with a portrait. Let me have the number, and tell me who wrote the article.

.—. Has anything new in the way of scores or pianoforte pieces been published that is likely to interest me? Here people speak of Mendelssohn and even Weber as novelties!

Herewith, dear Madame, are a few lines that I beg you to forward to Madame Ritter (mere), as I do not know where to address to her. [She had lost her daughter Emilie, the sister of Carl and Alexander Ritter.]

The melancholy familiarity with death that I have perforce acquired during these latter years does not in the least weaken the grief which we feel when our dear ones leave this earth. If at the sight of the opening graves I thrust back despair and blasphemy, it is that I may weep more freely, and that neither life nor death shall be able to separate me from the communion of love.—

She whom we are mourning was especially dear to me. Her bodily weakness had perfected the intuitive faculties in her. She took her revenge inwardly and lived in the beyond…At our first meeting I thought I should meet her again. It was at Zurich at Wagner's, whose powerful and splendid genius she so deeply felt. During several weeks she always took my arm to go into the salle a manger at the hour of dinner and supper,—and she spread a singular charm of amenity, of sweet and conciliatory affection in that home to which a certain exquisite degree of intimacy was wanting. She possessed in a rare degree the secret of making her presence agreeable and harmonious. Everything in her, even to her very silence, was comprehensive, for she seemed to understand, or rather to determine the thoughts which words render in only an unformed manner, and worked them out in her noble heart.

Pray excuse my delay in these few lines. It was only yesterday that I learned your address through Mr. Sgambati.

Kahnt's last sending that reached me last week brought me much that I found pleasant and encouraging in the numbers of the Neue Zeitschrift. I could verily not have imagined that so mild and kindly a ray of light could have been shed over my compositions discussed there, as is given under cipher 8. Let me know who writes under cipher 8—I promise not to divulge the secret—and meanwhile present my as yet unknown reviewer with my sincerest thanks for his appreciation of my nature, which he manifests in so kind and sympathetic a manner in his commentary to the "Seligkeiten" [Beatitudes] and the instrumentation of "Mignon's Song." [The review was written by Heinrich Porges.] He has formed the most correct estimate of my endeavors by pointing to the result, namely, to throw life into the truly Catholic, universal and immortal spirit—hence to develop it—and to raise the "culture that has been handed down to us from the remote Middle Ages, out of the heavy atmosphere of the monasteries and, as it were, to weave it into the life-giving ether of the free spirit pervading the universe."

I also perfectly agree with the extremely applicable close of the same article: "Our age has not yielded its right to feel itself connected with the Infinite," and I intend to set to work in earnest to comply, as far as possible, with the kindly expectations of my reviewer. His reference to my Psalms leads me to wish that I might soon see the four Psalms published in score (they are very diverse, both as regards feeling and musical form). Kahnt's willingness to publish them is, therefore, welcome news to me, and I beg he will give me a proof of his goodwill by kindly having them ready for next Easter's sale.

He can settle everything about the form and equipment "al suo commodo" (as people say here).

Still the Psalms should be published in the same form, and should Kahnt decide upon retaining the form of the Prometheus score (as he writes to me) I shall be quite content and satisfied. The day after tomorrow I shall send him the instrumentation of the 23rd and 137th Psalms together with the score of the 13th. The latter is one of those I have worked out most fully, and contains two fugue movements and a couple of passages which were written with tears of blood. Were any one of my more recent works likely to be performed at a concert with orchestra and chorus, I would recommend this Psalm. Its poetic subject welled up plenteously out of my soul; and besides I feel as if the musical form did not roam about beyond the given tradition. It requires a lyrical tenor; while singing he must be able to pray, to sigh and lament, to become exalted, pacified and biblically inspired.—Orchestra and chorus, too, have great demands made upon them. Superficial or ordinarily careful study would not suffice…

Pardon me, dear friend, for having troubled you to such an extent with marginal comments to my manuscripts. I will only add that I should be glad to see the short Choral Psalm for men's voices ("The Heavens declare the glory of God") printed in time for the Easter's sale, in score-form from the copy I left Kahnt before I went away;—and now to return to the Articles in the Neue Zeitschrift, I feel specially grateful, in the first place, for the communications concerning the Hungarian orchestra in Breslau.

To hear again of my Ex-Chamber-Virtuoso Josy in so friendly a way pleased me extremely, and I beg you to send my sincerest thanks to the author of the article for having so carefully studied my Rhapsodies and the less well-known book (not to speak of the erroneous interpretation it has had to endure at other hands!) on "Hungarian Gipsy Music"; at the same time will you beg him to accept the enclosed photograph of my humble self, in return for the one he gave Josy?

[An extremely musical gipsy boy of this name was presented to Liszt in Paris in 1844 by Count Sandor Teleki. Liszt's endeavors to train the boy as an artist failed, however, owing to the impossibility of accustoming the child of nature to engage in earnest study, as Liszt himself relates in "Die Zigeuner und ihre Musik in Ungarn" [The Gipsies and their Music in Hungary] (Ges. Schriften, Bd, vi.)]

In your next let me have some account of the position and work of this worthy Breslau correspondent, for I have not before met with anything from his pen in the Neue Zeitschrift. I herewith send you a second photograph of my present abode, "Madonna del Rosario," as the first one went astray, but to prevent a like accident in the post I shall register this letter.

Bulow's searches into and out of the subject are splendid, and his farewell words in memory of Fischl show the noblest beat of heart. When are the articles on Offenbach, etc., from the same intellectual region, to appear?…I am curious also to see what news there will be of the Berlin Orchestral concerts, instituted and conducted by Bulow.

You mention cursorily some new programme-form concerning which "you rather flatter yourself." Tell me more about this and send me a few of the programmes.

From Pohl I lately received a very cordial letter which I answered forthwith. His Vorschlag zur Gute, etc., in the N. Z. I have not yet read, and this is the case with many other articles in the last numbers, which, however, I mean ere long to overtake. In spite of my retirement and seclusion I am still very much disturbed by visitors, duties of politeness, musical proteges— and wearisome, mostly useless correspondence and obligations. Among other things the St. Petersburg Philharmonic Society has invited me, during the Lent season, to direct two of their concerts, giving performances of my own compositions. The letter certainly reads somewhat more rationally than that of the Cologne Cathedral Committee (of which, I told you); but the good folks can nevertheless not refrain from referring to the trash about "my former triumphs, unrivalled mastery as a pianist," etc., and this is utterly sickening to me—like so much stale, lukewarm champagne. Committee gentlemen and others should verily feel somewhat ashamed of their inane platitudes, in thus unwarrantably speaking to my discredit by reminding me of a standpoint I occupied years ago and have long since passed.—Only one Musical Association can boast of forming an honorable exception to this since my departure from Germany, namely the Society "Zelus pro Domo Dei," in Amsterdam, which, in consequence of the approval and performance of my Gran Mass last week, has conferred on me their diploma by appointing me an honorary member, in addition to a very kind letter written in a becoming tone.

The diploma is headed: "Roomsch Catholiek Kerkmusiek Collegie," and the Society was founded in 1691.

For your wife's amusement and as a piece of French reading I send a copy of my answers to the letters from St. Petersburg and Amsterdam. When you have read them please send both copies to my daughter in Berlin, as an addition to her small collection of my miscellaneous correspondence.

.—. Pray present my kindest thanks to Conzertmeister David for his consent to the N.B. in the Finale of the 8th Symphony. The method of execution, as indicated, was the one important question to me; by the satisfactory solution of this I am now perfectly content, and it is pleasant to me, therefore, to be able to agree to your wish to undertake the publication of the 9 piano-scores forthwith, without asking advice elsewhere. My former request on this subject was meant only to serve as a proof of my sincerest conscientiousness; as soon as you consider it superfluous let it be so.

Your letter also settles the copyist-difficulty. Still, notwithstanding all the model-works that issue from the House of Breitkopf and Hartel, I could scarcely expect that the printers would worry over my bad musical writing, that is rendered even more indistinct by my numerous erasures and corrections—and for this reason I recommended Herr Carl Gotze of Weimar by way of help; he is very quick at deciphering my untidy manuscripts. But of the best copyists it may be said "Better none," to use Beethoven's words in pronouncing his verdict upon Malzel's metronome.

Permit me therefore, dear sirs, to reduce all these preliminaries and details to the simplest form, by giving you absolute power concerning the publication of the 9 Symphonies—provided that the last proofs are sent to me for revision.

While awaiting the Beethoven scores (Quartets, Egmont, and "Christ on the Mount of Olives") I send you my best thanks in advance, and shall hope to send you later a specimen of my small savoir-faire in the matter of Quartet arrangements to look at. If it should meet with your approval I would gladly, next summer, proceed in working out a former pet idea of mine; to make pianoforte transcriptions of Beethoven's Quartets "for the home circle," and, as it were, to make them a link in the Master's catena aurea, between his Sonatas and Symphonies.—No considerations in the way of honorarium need form any hindrance to this project, especially as in such matters not the smallest difficulty has ever arisen in our relations with one another, which have now lasted over 20 years. Besides, the way and manner you accept my proposal offers the best prospect for its realisation, to our mutual satisfaction in tempore opportuno.

.—. I beg you, dear sirs, to accept my sincere thanks as well as the assurance of my respectful attachment.

By way of excusing my delay in writing I must tell you at once of an indisposition, which during Christmas week prevented my undertaking any other occupation or amusement than that of keeping in bed. For several weeks after that there were other things, entirely unconnected with musical doings and affairs, which, however, urgently demanded attention. Your admirable New Year's letter I received yesterday. It perfectly confirms my opinion of the state of affairs (as became clear to me long since), and my agreement with you as regards our "Debit and Credit." The latter, unfortunately, does not show the right equilibrium—but must be made to do so. In the first place three points have to be secured; and to save useless explanations between us, I shall describe these in geographical style, under the names of Weimar, Lowenberg, Carlsruhe. They at present embrace and solve all the essential questions: division of work, appointment of suitable persons, procuring adequate means, active organisation of the Musik-Verein, etc., etc. And, granted that you are not deceiving yourself about my very limited influence, my personal presence and intervention would seem indispensable. Still I will not conceal the fact that it is, at least, inconvenient for me to leave Rome even for a short time, and people should not object to my finding more satisfaction in my retirement here than in the barren unpleasantries of a so-called "circle of activity." But if, as you assure me, the question affects the good cause, and I could really be of service to a few dear friends,—well in that case every other consideration shall give way and my willingness be put to the proof. Although it will be very difficult for me to make up my mind to start, I will towards the beginning of June have my passport vise'd for Carlsruhe, in order that I may attend the Musical Festival there, provided that Bulow conducts. In the intervals between the rehearsals and performances we should discuss with active friends the Whys and Wherefores connected with the Musik-Verein which, first of all, requires to be placed on a firm footing. And so far as I can assist in doing this (especially by advocating its cause with our patron and the Hohenzollern princes) it certainly shall be done.

Pohl seems to have put on wrong spectacles if he reads in my letter that I have no greater wish than to return to unique Germany! People may think about it what they please; the positive truth is that I do not bother myself about fools of any species, whether German, French, English, Russian or Italian, but am peacefully industrious in my seclusion here. "Let me rest, let me dream," not indeed beneath blossoming almond trees, as Hoffmann sings, [A song which Liszt set to music] but comforted and at peace under the protection of the Madonna del Rosario who has provided me with this cell. My German friends would certainly be acting much more reasonably were they to come and visit me here, instead of tempting me abroad. However you may assure the rest of my acquaintances that I will not inconvenience them with my presence for any length of time, and that my interference at the Musical Festival in Carlsruhe is only a temporary one and altogether harmless. By the middle of July, at latest, I intend to be back here again, or earlier if possible.

The Pro memoria of the A. D. Musik-Verein, addressed to the Grand Duke, together with the protocol of the audience on the 17th of November, I received through Gille. My thanks and reply I shall send shortly. Likewise also the programme of a very exceptional solemnity which takes place on the 5th February, and which is already engaging my attention in a variety of ways.

To Kahnt my best thanks for having sent the last parcel of music correctly. Postage and dues cost over 13 Prussian thalers. By the way, do not offend me any longer by franking your letters. I on my part frank my letters only when I send you a letter-parcel containing copies, etc.

Last postscript. .—. Do me the one other favor of seeing that my enclosed answer safely reaches Herr B. I do not know his address- -and, although we may have met in Weimar, as he once wrote to me, I have scarcely any recollection of the fact.

Do not be vexed at the apparent presumption and vain-glory of this last communication for today…My modesty will sufficiently come to my rescue to prevent my putting too many feathers in my cap! [The German proverb of which Liszt makes use is "allzugrosse Rosinen im Kopfe tragen." Besides, thank God, I am too honest and truth-loving to fall a victim to vanity.

Excuse an intermezzo on music-publishers today. I have received from Julius Schuberth and from Peters' Bureau de Musique contradictory letters about some right or unrighteous edition of my arrangement of Beethoven's "Septet". Schuberth's communication is many-sided, the other very one-sided, but neither of them enlightens me in the least, for it is a question of long since, and I scarcely remember where and for whom I arranged the "Septet", now more than 20 years ago. And although Schuberth has given me but little cause to be satisfied with his editions, still I should not wish to do him any injury by this piece of business, [An untranslatable pun on the words Handel and Handel] and hence I have not sent him any reply. For the same reason I shall leave Peters' communication unanswered, and must get you, dear friend, to make these two gentlemen understand that I cannot mix myself up with any of their disputes as publishers. And in order that you may obtain an insight into the matter I send you, herewith, Peters' letter, with regard to which I can only say that I have no recollection of having made a duet arrangement of Beethoven's "Septet"…Yet this is precisely what I do not wish to say. Let the two gentlemen settle the matter amicably between themselves and ignore my existence altogether.

As Bulow is happily back, the programmes of the Carlsruhe Musical Festival will now soon be finally drawn up. Remenyi, who has played here some half-dozen times in the Teatro Argentina with extraordinary success, has a decided inclination to appear at the Musical Festival; I told him, however, that Conzertmeister Singer had probably already been engaged. Should Singer not be able to come, I would recommend Remenyi with absolute confidence. Of all the violinists I know, I could scarcely name three who could equal him as regards effect. Tell Bulow of Remenyi's friendly offer, and let me know at your convenience whether it is accepted.—

As soon as I hear more definitely about the programme I shall answer Gille's friendly note. Meanwhile (after 4 months' incessant interruptions) I have again set to work, and cannot now leave it till the time comes for my journey.

What a royal and marvellous act is Ludwig of Bavaria's letter to Wagner! It ought verily to be engraved in the Walhalla in letters of gold. Oh that some other Princes would adopt a similar style!—

Shortly after sending off my letter anent the Peters-Schuberth squabble, I received the programme-sketch of your last letter but one. Exceedingly important and indispensable are the Wagner- numbers. Let me hope he has already given you a favorable reply. Bulow will be the best one to arrange things and to conduct. I wrote to him the day before yesterday to advise him again to be strictly moderate with regard to the number of my compositions. The half of what is given in your sketch of the programme would be amply sufficient. People do not want to hear so much of my things, and I do not care to force them upon them…On this occasion, especially, my wish is only to see some of my friends again—in no way to seek appreciative approval from the public. Such misleading abuses have long since and entirely ceased for me. Hence, dear friend, do not have me playing the braggart on your programme! If a place is to be retained for Remenyi he will fill it brilliantly. For both as a soloist and a quartet player his accomplishments are extraordinary.

You ask me about "definite news of my journey." As already said, I am determined to attend the Tonkunstler-Versamammlung, and afterwards to go to Weimar for a few days. My departure from here depends upon the date of the Carlsruhe concerts. I shall arrange to be there a few days previously, and shall ask Bulow to secure apartments for me. A variety of considerations (among which are economical ones too) compel me not to extend my absence from Rome beyond a month, and before returning I am in duty bound to pay my mother a visit in Paris. Hence I shall have but little time for strolls on the banks of the Ilm or elsewhere…But let me hope that my journey will not prove pure idling, and I shall do my best "to pave the way" to meeting all your wishes in as satisfactory a manner as possible. Further details on this subject I shall give you by word of mouth towards the end of August. All mere reports about my remaining in Germany for some length of time I beg of you to contradict most emphatically. Some newspapers seem anxious that it should be known that I am about to settle in Hungary. There is nothing whatever in this report beyond the anticipated order for my composing a second "Gran Mass", and perhaps publishing an Hungarian translation of the "Elizabeth." These two tasks may, during the course of next year, lead to my revisiting Hungary (?).

Kindly present my excuses to Riedel, who wishes me to attend his concert in the St. Thomas Church (at the beginning of July). I am delighted that the "Seligkeiten" find a place in his programme, and I am sincerely grateful to H. von Milde for having contributed so much to their success by his fine interpretation and inspired delivery. Whether the Psalm ("By the waters of Babylon") is not somewhat too low for Frau v. Milde's voice, I should not like to say. I remember, however, that she sang it on one occasion at the Altenburg gloriously. Of course I can consider it only a very flattering mark of attention and amiability on the part of Frau von Milde to venture anywhere to introduce any one of my compositions under her vocal protection, but especially in Leipzig.

29. To the Committee of the Society for the Support of Needy Hungarian Musicians in Pest.

You are good enough to invite me in a very flattering manner to take part in the Association that you are starting, with the object of helping needy and infirm musicians in Hungary. Every tie which unites me to our noble country is dear to me. I cordially accept to be entirely yours, and am pleased to hope that the esteem in which you are held, added to your intelligent solicitude for this good work, will secure it speedily and lastingly excellent results.

The good that you propose to realise is not liable to controversy, but is so plainly evident that you will receive on all sides nothing but approbation, encouragement, help and support. Nevertheless, as you do me the honor to ask my explicit opinion with regard to the statutes of your Society, I will venture to observe that it seems to me desirable not to limit oneself exclusively and for ever to helping sick and infirm musicians—and their needy heirs. Those who are in health, when they are at the same time well-deserving, have a claim also on your sympathy…Without enlarging on this point here, I only recommend to your attention, gentlemen, the statutes (published at Leipzig) of the Association which was formed at Weimar in August 1861, under the name of "Allgemeiner Deutscher Musik- Verein," in which the needs of music and of musicians of our day have been taken into consideration simultaneously.

If I had not the sad honor of being poor I should hasten to put a considerable sum at your disposal. Pray pardon me, then, the moderate offering of a hundred florins which you will shortly receive (through my cousin Dr. Eduard Liszt, of Vienna), and I beg you to accept, gentlemen, the assurance of my sincere desire to render in future the best service to your work, as also the expression of my very distinguished and devoted sentiments.

Assuredly I have not been "complaining" of you to Count Gallenberg nor to anybody else in the world. Quite the contrary, and on every occasion I boast of my beloved cousin, and am happy and proud of his loyal, delicate and noble friendship, which is one of the sweetest kindnesses of Providence to me.

Nevertheless I am much obliged to Count Gallenberg for having somewhat driven you to write to me, extra, so good and tender a letter, for which I thank you from my heart and soul.

The electoral circular you added to it gives me real satisfaction, and I am pleased at the public evidence that has been attained of your "honorableness, firmness of character and great capability." It seems to me that it was not possible, under the actual circumstances, to have obtained a more complete success in the competition with Schuselka; [Eduard Liszt was at that time standing against Schuselka as a andidate for the Reichstag (Parliament), but without success.] but I hope that your turn will come soon. The waiting is painful for you, without doubt, and is also too prolonged as regards your deserts…still one must be resigned to it, and that as simply as possible, by abstaining from useless words and taking useless steps. To be ever deserving, though only occasionally obtaining—much or little—is still the wisest thing to do in this world, where "he who endures little will not endure long!"—

.-. Shall I see you at Carlsruhe at the end of August? I hope so most truly. Before returning here (at the beginning of October) I shall spend a few days with my mother in Paris. You will not be vexed with me for beginning with her first, and for postponing till another year my transient visit to you at Vienna, which I accept in the same manner as you offer it, and for which the occasion will be found when I return to Hungary, supposing that they are inclined (as appears likely) to give me an order similar to that of the "Graner Messe." Otherwise, and unless there be any determining circumstance for me, I am resolved not to tire people with my presence, as also to withdraw myself from the idle fatigue that people cause me. Thank God I have something to work at without disturbing myself at my work further than is necessary for the good conscience I hope always to keep. For this Rome is peculiarly adapted to me, and I shall not go away for the smallest thing without well knowing what it is for.

I send herewith my answer to the Committee of the Association in aid of poor musicians in Hungary, [See the foregoing letter of 18th June.] to which I beg the Princess to authorise you to add the sum of 200 florins. Let them be sent at once to the Committee, begging for an acknowledgment, which you will send to me.

Remenyi will come and see you shortly. He has spent nearly two months here, and has been heard very often at the Argentina Theater with extraordinary success. I have invited him to come to Carlsruhe, as I am persuaded that he will succeed no less well there than in Rome. Meanwhile I beg you to give him a cordial reception.

It goes without saying also that I think most affectionately of
Cornelius and Tausig, which you will tell them.

.—. I can assure you of Remenyi's co-operation. By the middle of July I expect a letter from him with his fuller address. It will be superfluous to mention him in the preliminary programme of the concert-performances. But what about Wagner?—Frau von Bulow sends me very sad news of him…If he definitely refuses to attend the Tonkunstler-Vers. all we can do is to obtain his consent to give the extracts—previously enumerated in the programme—from his "Meistersanger" and other of his works (together with the scores and voice parts). In my opinion these pieces are indispensable for the principal day of the Carlsruhe programme. It would be best if Bulow alone brought the matter to the desired issue. It seems to me impossible that Wagner could give him and all of us the pain of an absolute refusal! At all events everything must be done to avoid such a misfortune—nay, I may even say, such a scandal.

For the future, dear friend, you shall be totally relieved of the trouble of sending me these detailed communications. Frau von Bulow is going to report to me of the further progress of the preliminary arrangements concerning the Tonk.-Vers.; you yourself have more than enough to do with writing, negotiating, deciding, preparing, weighing to and fro, and in thinking things out, etc., etc.

It is settled, therefore, that I am coming, and you will have to look after me during my couple of weeks' stay in Germany, as it is mainly your fault that I am coming. Between ourselves I may tell you that, had it not been for your pressing letters, I should probably have confined myself to giving the Bulows a rendez-vous in Marseilles, and to paying my mother a few days' visit in Paris. Of other roads there are extremely few for me nowadays—and those that I have still to tread are not to be found in journeys, but only indeed at my quiet writing-table!

Yesterday I received a friendly letter from Seroff. Could not some fragment from his "Judith" be fitted into your Carlsruhe programme?

[The addressee (1842-1888), a pupil of Liszt's, settled in London as teacher, pianist and conductor, devoted his whole life there to making Liszt's music known in England. His annual Recitals and Orchestral concerts were devoted mainly to this object.]

I reply to your letter, dear Mr. Bache, by assuring you once more of my very sincere and affec-* *tionate interest. You will never find me wanting or behindhand when it is a question of proving this to you; be very sure of that.

The good news you give me of Madame Laussot is very welcome to me. I hope she will give me the pleasure of coming again to Rome, for I see no chance of my coming to Florence. Towards the middle of August I shall start for Carlsruhe, where I have promised to be present at the third Tonkunstler-Versammlung. Thence I shall go to Weimar, and shall take Paris on the way in order to see my mother again before returning here at the beginning of October.

Please tell Madame Laussot that she would wrong me if she did not count me amongst her most truly affectionate and devoted adherents. I especially preserve a grateful remembrance of her in connection with the "Ideale," and all that attaches to it. She is of the very small number of noble and intelligent exceptions in the too great number of my friends and acquaintances. I was speaking to this purpose the day before yesterday to a young person of Grecian origin who lives in Florence at the Count de Sartiges' house (and who frequents Madame Laussot's concerts). The Athenian plays the piano marvellously and charmingly.

Thanks for the triple photograph, [Probably of Mme. Laussot, Pinelli and Bache, who were taken together.] which is thrice welcome.

[Autograph letter (without address) in the possession of Monsieur Etienne Charavay in Paris. The letter appears to be addressed to a friend in Vienna.]

The parcel of music you kindly announce has not yet come; but I will not delay in sending you my thanks, as I am about to leave here for six or seven weeks.

The day after tomorrow I travel to Carlsruhe to attend the Tonkunstler-Versammlung, the concerts there (conducted by Bulow) being given between August 22nd and 26th. Thence I go to Weimar on a visit. By the end of September I shall be with my dear mother in Paris, and back here by the middle of October. You must not be surprised if in newspaper-fashion I leave it undecided whether or not I change my abode and remain in Rome for ever.

The words for ever remind me of the 22nd Psalm (according to the usual Protestant numbering the 23rd) which, in reality, I composed for a tenor, whereas the 137th is meant for a mezzo- soprano (Fraulein Genast, now married to Herr Merian, in Basle).

I am therefore surprised that you should have proposed the latter Psalm and not the 22nd for Herr Erl, and I fear the effect of it will not be good sung by a tenor. The violin accompaniment which on several occasions is in unison, as well as the concluding chorus, "Jerusalem, Jerusalem," are written exclusively for women's (or boys') voices, and thus demand a female soloist. Besides which it seems to me that the sentiment and spiritual tonality of the Psalm do not move in the masculinum. Israelitish gentlemen must not be called upon to sigh, to dream and to abandon themselves to their grief in any such way.

I shall be much pleased to become fully acquainted with the new works by Kremser, Hasel and Ziehrer, which you promise me, on my return.

It grieved me to have to do without your presence at the Tonkunstler-Versammlung in Carlsruhe, dearest Eduard. Your letter, however, speaks of your having made some advance in your career, and this greatly delights me. I hope you will soon have more definite news to communicate to me on the subject. You know that to see you prosperous is one of the satisfactions I most desire in life!—

As regards the Tonkunstler-Versammlung you will find a kindly and satisfactory resume of the proceedings in the supplement of the Allgemeine Augsburger Zeitung—3lst August, 1st to 3rd September. Bulow was unfortunately prevented by serious illness from conducting. From a personal as well as an artistic point of view I felt his absence very keenly—however no complaint whatever can be made about the performance, and the reception accorded by the audience, especially to my Psalms, was extremely favorable. I assuredly never expected to meet with such sympathetic appreciation, after my experiences of former years. Friend Lowy had, on this occasion, no reason to hide himself in a seat at the back! In the Chamber-music soirees three of my Songs ("Es muss ein Wunderbares sein," "Ich liebe Dich," and "Mignon") were sung by Herr and Frau Hauser, and an encore was demanded. Remenyi played magnificently, and Fraulein Topp [Alida Topp, a pupil of Liszt's.] is a marvel.

At the conclusion of the Tonkunstler-Versammlung I started early on Sunday morning for Munich with Cosima (who remained with me the whole week of the concerts). Hans was confined to bed at the Bairischer Hof; his nervous rheumatic complaint has now settled in his left arm, which he will probably be unable to move for several weeks to come. In addition to the physical pain he suffers most grievously from this enforced state of inactivity. To endure things patiently is to some natures an absolute impossibility. He travelled back to Berlin, ill as he was, last Saturday, accompanied by his wife, and I have promised to go and spend a couple of days with him after my visit to Prince Hohenzollern in Lowenberg, where I go in a day or so.

Of Wagner's wondrous fortune you are sure to have heard. No such star has ever before beamed upon a tone-or a word-poet. N.B.— H.M. the King of Bavaria addresses his communication, "To the Word-and Tone-Poet, Richard Wagner." More by-and-by about this remarkable affair of Wagner's. I saw him in Munich on several occasions, and spent one day alone with him in his villa on the Starnberger See.

Address me to Weimar (at the Altenburg). I must return here from Lowenberg (between the 15th and 8th September) in order to await the Grand Duke at the Wartburg.

Together with the corrected proofs of the Pastoral and the C minor Symphonies (in which I found one or two errors) I sent you (from Weimar) my pianoforte arrangement of the 3rd instrumental movements of the 9th Symphony. After various endeavors one way and another, I became inevitably and distinctly convinced of the impossibility of making any pianoforte arrangement of the 4th movement for two hands, that could in any way be even approximately effective or satisfactory. I trust you will not bear me any ill-will for failing in this, and that you will consider my work with the Beethoven Symphonies as concluded with the 3rd movement of the 9th, for it was not a part of my task to provide a simple pianoforte score of this overwhelming 4th movement for the use of chorus directors. Arrangements of this kind have already been made, and I maintain that I am not able to furnish a better or a more satisfactory one for helpless pianofortes and pianists, and believe that there is no one nowadays who could manage it.

In my edition of the 9th Symphony for two pianos, prepared for Schott, the possibility was offered to me of reducing the most essential parts of the orchestra-polyphony to ten fingers, and of handing over the chorus part to the second piano. But to screw both parts, the instrumental and vocal, into two hands cannot be done either "a peu pres or a beaucoup pres!"

In case other proofs of the remaining Beethoven Symphonies are ready, you might send me them to Weimar before Tuesday, 20th September. I should be glad at the same time to receive the splendid 6 Mottets of Bach in eight-voice parts (among which is "Sing unto the Lord a new song"). I am all the more in need of reading such works, as I am at present unable to hear a performance of them.

Next week I shall again spend a few days in Weimar (or Wilhelmsthal); thence I go to pay my mother a visit in Paris, and by 18th October, at latest, I shall be back in Rome.

I requested Herr Kahnt to return to you with my best thanks the copy of the Symphonic Poems which was kindly forwarded to me in Carlsruhe.

In compliance with the wish you so kindly express, I will again make an attempt to "adapt" the 4th movement of the 9th Symphony to the piano, and soon after my return to Rome will set to work upon the required tentative. Let us hope that the variation of the proverb: "Tant va la cruche a l'eau qu'a la fin…elle s'emplit"—may prove true. [So often goes the pitcher to the water that at last it is filled.]

While talking of various readings allow me to draw your attention to an exceptionally valuable collection. A very carefully and well-trained musician with whom I have been acquainted for many years past—Herr Franz Kroll (in Berlin)—has, with industrious and unceasing perseverance, been collecting, copying and arranging for publication the noteworthy various readings of Bach's manuscripts of the "Wohltemperiertes Clavier." [The well- tempered Piano] Last week he showed me several of them, and I became convinced of the substantial interest of the collection and encouraged friend Kroll to send you a full account of them. In now enclosing his letter to you—written at my instigation—I take upon myself, with pleasure and the fullest conviction, the musical duty of advocating the publication of these various Bach readings, and of heartily recommending Kroll's work as an essentially useful, complementary addition to your admirable edition of the "Bach-Gesellschaft" [The Bach Society].

Pray accept, dear Herr Stadtrath, the assurance of my sincere esteem and devotion.

You will be good enough to excuse me, dear Madame, for having delayed replying to your kind letter. Amongst your many rare qualities there is one that I particularly admire; it is the prowess of your musical sympathies. Nevertheless I must scruple to expose you to too harsh trials, and, knowing by experience with how little favor my works meet, I have been obliged to force a sort of systematic heedlessness on to myself with regard to them, and a resigned passiveness. Thus during the years of my foreign activity in Germany I constantly observed the rule of never asking any one whatsoever to have any of my works performed; more than that, I plainly dissuaded many persons from doing so who showed some intention of this kind—and I shall do the same elsewhere. There is neither modesty nor pride in this, as it seems to me, for I simply take into consideration this fact—that Mr. Litz [Liszt quotes the very common misspelling of his name which has frequently been seen since he was "le petit Litz" in Paris.] is, as it were, always welcome when he appears at the Piano (—especially since he has made a profession of the contrary—) but that it is not permitted to him to have anything to do with thinking and writing according to his own fancy. The result is that, for some fifteen years, so-called friends, as well as indifferent and ill-disposed people on all sides, sing, enough to split your head, to this unhappy Mr. Litz, who has nothing to do with it, "Be a pianist, and nothing but that. How is it possible not to be a pianist when, etc., etc."

Possibly they are right—but it would be too much to expect me to sign my own condemnation. Far from that, I confess that contradiction ends by tempting me seriously, and that I am resolved to pursue it to the end, without any illusion or approbation whatever. Only at certain moments I fancy that that judicious maxim of Champfort is somewhat applicable to me "Celebrity is the punishment of talent and the chastisement of merit."

Our friend Sgambati is happily in a fair way to incur this punishment and chastisement—and certainly with very good reason. He has done wonders this winter at his four concerts, which have had a success both of fashion and of real good taste. I, for my part, have gained a thorough affection for Sgambati, and the remarkable development of his talent of so fine and noble a quality interests me keenly.

While awaiting from you definite word about the next Tonkunstler- Versammlung in Dessau, let me, meanwhile, thank you for your last communication. The main interest of the musical performances is, of course, on this occasion centred in Riedel and his Verein. In the programme-sketch I notice my Psalm 137 at the very beginning. What lady takes the solo?—mind and soul are indispensable in it.

Bronsart wrote to me at the beginning of March that he entertained the idea of a concert-tour to the Russian provinces on the Baltic. I should be glad to hear that the Euterpe squabble and quarrel in connection with the T.K.V. in Dessau were at an end, and that Bronsart was to undertake the conductorship.

As a supplement to this I send you herewith the programme of the concert held in the hall of the Capitol, where for some years past no special festivities have been given, and probably never anything of this kind before. For the first time the different orchestras in Rome (the Sistine, St. Peter's, Lateran and Liberian) all united to give a performance which upon the whole may be said to have been as successful as it was well received.

The concert was proposed to the Holy Father, and approved of by him. Owing to the exceptional character of the undertaking, which, like that of last year, was made to fit in with the plan of the detailed arrangements—(some ladies belonging to the aristocracy, and commissionaires distributed the tickets which were sold at a minimum, no advertising, etc.), I determined to give my co-operation. I played the "Cantique" (the last number of the "Harmonies poetiques et religieuses" published by Kistner), and, as there was no end to the applause, I added my transcription of Rossini's "Charite" (published by Schott). Everybody in Rome with any claim to culture was present, and the hall was more than full.

P.S.—Please get Kahnt to inquire of Hartel as soon as possible, how far the printing of my arrangement of the Beethoven Symphonies has progressed, and whether I may rely upon his sending—during Easter week as already settled—the orchestral parts (autographed) of several of my Symphonic Poems,—more especially of the Dante Symphony? It is possible that the Dante Symphony may be performed here towards the end of April. But you shall have further news of me before that.

Bote and Bock will shortly publish a very simple Hymn of mine (for pianoforte) entitled "The Pope's Hymn."

Your Highness will understand that it is a necessity of my heart to speak to you of a very happy juncture that assures me henceforth, in full degree, the stability of feeling and of conduct to which I aspired. It seems to me that I should be guilty of ingratitude and wanting in respect to the condescending friendship with which you are good enough to honor me, did I not let you know of the determination I have taken. On Tuesday the 25th April, the festival of St. Mark the Evangelist, I entered into the ecclesiastical state on receiving minor orders in the chapel of H.S.H. Monseigneur Hohenlohe at the Vatican. Convinced as I was that this act would strengthen me in the right road, I accomplished it without effort, in all simplicity and uprightness of intention. Moreover it agrees with the antecedents of my youth, as well as with the development that my work of musical composition has taken during these last four years,—a work which I propose to pursue with fresh vigor, as I consider it the least defective form of my nature.—

To speak familiarly; if "the cloak does not make the monk" it also does not prevent him from being one; and, in certain cases, when the monk is already formed within, why not appropriate the outer garment of one?—

But I am forgetting that I do not in the least intend to become a monk, in the severe sense of the word. For this I have no vocation, and it is enough for me to belong to the hierarchy of the Church to such a degree as the minor orders allow me to do. It is therefore not the frock, but the cassock that I have donned. And on this subject Your Highness will pardon me the small vanity of mentioning to you that they pay me the compliment of saying that I wear my cassock as though I had worn it all my life.

I am now living at the Vatican with Monseigneur Hohenlohe, whose apartment is on the same floor as the Stanze of Raphael. My lodging is not at all like a prison cell, and the kind hospitality that Monseigneur H. shows me exempts me from all painful constraints. So I shall leave it but rarely and for a short time only, as removals and especially journeys have become very burdensome to me for many reasons…It is better to work in peace at home than to go abroad into the world,—except in important cases. One of these is awaiting me in the month of August, and I shall fulfil my promise of going to Pest at the time of the celebration of the musical fetes that are being got up for the 25th anniversary of the establishment of the Conservatoire. My Oratorio of "Saint Elizabeth" and the Symphony of the "Divina Commedia" form part of the programme.

Next year, if Your Highness still thinks of realising your noble project of a musical congress at Lowenberg, I should be very happy to take part in it, and place myself entirely at your orders and service.

Permit me, Monseigneur, to express anew to you my most grateful thanks for the evidences of sympathy you have so generously accorded to myself and to my works; and graciously accept the homage of unchanging sentiments of most respectful devotion with which I have the honor to be

My old musical weaknesses have not left me! The weakest and worst thing about them is perhaps that I never cease composing; but such wondrous things go wandering about in my head that I cannot help putting them down on paper. And I have wanted to hear something about the fate of the manuscripts I sent you for printing. Have the pianoforte scores of the Beethoven Symphonies been published? How has the printing of the Concerto for 2 pianos (in E minor) [Concerto pathetique] progressed? Would you kindly let me have a few copies soon?

With regard to the autographed orchestral parts of my "Symphonic Poems," I should be glad if they could be out by the end of July. Probably at the beginning of August I go to Pest, where several of my compositions (more especially the "Dante Symphony") are to be performed in connection with the festivities at the Conservatoire. If the parts should be ready, please, dear Herr Doctor, forward them to me to Pest. At present I do not require them here; but should the "Preludes" be ready you would greatly oblige me by sending all the orchestral parts, with four copies of the quartet, if possible by the beginning of next month, to Dr. R. Pohl (571, Hirschgasse, Baden-Baden). I have been asked for the loan of them for some festival in Baden conducted by Monsieur Reyer.

Pray kindly excuse all the trouble I am giving you, and receive the expression of my most sincere esteem.

Your favorable accounts of the Tonkunstler-Versammlung in Dessau delighted me greatly. Owing to the crooked way in which my works have been listened to in past years, I have felt oppressed; and in order that my freedom in my work might remain unaffected, I was obliged wholly to disregard their outward success. Hence my absolute distrust of performances of my own compositions, and this was not to be accounted for by any exaggerated modesty on my part. As to the "Battle of the Huns" I was specially doubtful; the Christian significance of Kaulbach's picture—as represented in the "Chorale"—seemed to me a stumbling-block in the way of favorable criticism. Kaulbach had indeed suggested this interpretation by having thrown a special light upon the cross…yet there are neither mendicant friars nor bishops in the picture…and, besides, at the time of the "Battle of the Huns" the organ was not yet invented! This last sweeping argument was triumphantly hurled at me in Weimar by the infallible censors. Since then I have hesitated to allow the work to be performed, and have remained satisfied with sending Kaulbach the arrangement for 2 pianofortes. And in that form it was executed [Executirt.] in his salon, whereupon, of course, there were loud lamentations about my squandering my time upon such an abominable jumble of sounds, when I might be charming people in a more agreeable fashion with my piano-playing!…So if the Dessau Meeting really derived some pleasure from the "Battle of the Huns" I feel richly rewarded for my small amount of suffering.

I beg you to present my best thanks to Fraulein Wigand. [Emilie Wigand, studied under Prof. Gotze in Leipzig.] It is a good deed of hers to have obtained willing ears for my Psalm—and if I am in Germany again next year I shall want to hear it.

I will with pleasure take Weitzmann's place as examiner of the manuscripts sent in. Send them to me in parcel form to Rome; I promise to look through them quickly and to let you have my good or bad opinion of them. For such work I am always inclined, and am, perhaps, not an awkward hand at it.

.—. From the Committee in Pest I have not had any news for some time past. I shall, however, hold myself in readiness to start from here by the beginning of August. Meanwhile let nothing be sent to me to Rome. As soon as I know anything definite about my stay in Hungary I will let you know.

Any probable performance of the "Elizabeth" in Coburg we can discuss later. I should consider it advisable to have my name but little mentioned in the programme of the next Meeting of the Tonkunstler-Versammlung. As regards a larger work (one to occupy a whole concert) it would be well for Gille to leave the choice of it to the Duke. The local taste would be a very important point in the matter, and, for my own part, I know only too well that people do not want to know or to hear too much of me—in Coburg as well as in many other places!—

[Autograph in the possession of Frl. Therese v. Lavner in Pest.— Liszt became acquainted with the Abbe in 1865, and frequently enjoyed his hospitality when visiting Pest, up to the time when he himself became connected with the Musik-Academie there.]

Having returned to my abode here, I cannot refrain from again thanking you most heartily for all the goodness and kindness you showed me in so unusually abundant a measure, during my stay in the town-vicarage of Pest. The five weeks I spent there in the pleasantest way—owing to your considerate care and attention— will remain an unextinguishable point of light in my life. You admonish, and at the same time encourage and strengthen me, to carry out further the artistic task that is set me. In the hope that your Reverence will in the future continue to show me the sympathy so kindly and generously expressed, I pray you to implore God's blessing to keep me ever a good child of the State and Church.

May I add another request? On the 22nd October (my birthday) for some years past a Mass has been read in the Franciscan Church in Pest, and at the words: "Memento Domini" I [am] held in remembrance…I would ask your Reverence to remember my wish that this may be done also on the same day in the parish church.

My respectful compliments to the amiable lady president of the morning coffee—Fraulein Resi [A niece of the Abbe's.]—who conducts and beautifies the real Magyar hospitality at the Vicarage in an incomparably graceful manner. I shall take the liberty one day of sending Fraulein Resi a few Roman trifles. Bulow has undertaken to send you the medallion of my humble self, a masterly piece of work by Rietschel. As you will know, Rietschel is the sculptor who made the Lessing statue in Brunswick, the Goethe and Schiller group in Weimar, etc.—

Accept my best thanks for having admitted into your Neue Zeitschrift Bulow's account of the Musical Festival in Pest. These three articles are a masterly piece of work, and, as your paper has for several years past followed the difficult process of my development as a composer in so kind and careful a manner, I wished specially that the very successful performances of the "Elizabeth" and of the "Dante Symphony" in Pest should receive confirmation in the Neue Zeitschrift.

With regard to the "Elizabeth" I have received offers from Vienna and a few other places; but it is in no way my intention to wage war in a hurry with this work. I shall, therefore, decline the invitations with thanks, and await an opportunity more convenient to myself for the next performance. Whether this may be at the Tonkunstler-Versammlung in Coburg I do not know, and, frankly said, this will depend upon the Duke's bon plaisir. [It was not performed at a Tonkunstler-Versammlung in Coburg.] For my own part I am in no great hurry, as I have heard enough of the work in Pest, and found no alterations to make in it. Then also there is no hurry with regard to its publication, and my reply a short time ago to a willing publisher (who, curiously enough, offered me a respectable honorarium for it!) was, that only by next summer could I decide whether to have it published or not.

Gille has the kind intention of arranging a performance of the "Elizabeth" in Jena as soon as possible. I don't want to enter into a fuller correspondence with him on the subject; but please tell him, in all friendliness, that I regret to be obliged somewhat to check his admirable zeal. Apart from certain considerations of propriety (which I will never disregard in the slightest degree) there is an irremovable difficulty in the matter of the performance itself. It cannot be given in Jena without the co-operation of the Weimar performers. And why plague our dear and excellent Weimar singers and artists, and how—with their many theatrical engagements—could they find the necessary time for studying the parts, for rehearsals?—etc., etc.—

Hence let us give a simple no as regards Jena, and put a sign of interrogation? nay, even two or more??? as regards the Tonkunstler-Versammlung in Coburg, for (as I told you in my last letter but one) we shall there have entirely to submit to the Duke's opinion concerning the larger (or longer) work which is to fill the first day's programme.

(N.B.—"Elizabeth" lasts about three hours, including the intervals. Bulow's conductorship would be indispensable.)

For ten days past I have again been back in the Vatican, and think of remaining here over the winter. At the present moment I am engaged in arranging the Pope's Hymnus, published last month by Bote and Bock for pianoforte as a solo and in duet-form, for chorus (with Italian words). I think something of this piece, for which Kaulbach has made a splendid drawing. If it is performed here you shall hear about it. As soon as possible I mean to set to work with my "Christus Oratorio." Unfortunately I have had to set it aside for a year, as the "Vocal Mass" and other smaller works prevented my doing anything to it. I shall require from six to eight months before I get the "Christus" finished, for I am scarcely half-way through yet.

My health is good, and I can unconcernedly allow people the pleasure of referring to me as "physically broken down" and a "decayed wreck" (as I have been described in the Augsburger Allgemeine Zeitung).

One favor do me at once, dear friend. Request Kahnt to purchase for me the steel-plates (or woodcuts) of Schwind's "Elisabeth- Galerie" in the Wartburg, published in Leipzig by Weigel or Brockhaus, and let them be sent safely, quickly and correctly, addressed to "Herr Baron Anton von Augusz—Szegzard" (Tolnaer Comitat—Hungary). If I am not mistaken, the drawings are published in two parts. The first part contains the pictures of St. Elisabeth's arrival at the Wartburg, the miracle of Roses—up to her death. The second part gives the medallions depicting her works of charity. I wish to send the complete "Elisabeth-Galerie" to Baron Augusz. The price is not high, and the money shall be refunded to Kahnt as soon as I get the bill.

By the way Kahnt would be doing me a favor by presenting "Remenyi," through Roszavogli (Pest), with a copy of Pflughaupt's arrangement for pianoforte and violin of my "Cantique d'amour" and "Ave Maria"—and by granting my humble self a copy also, at his convenience. Remenyi will be glad to play the pieces with Plotenyi and thus make them known, and I would get Sgambati and Pinelli [A Roman violin virtuoso (born 1843), was appointed in 1872 Director of the "Societa musicale romana," in Rome.] to do the same here.

Let me know of the despatch of the "Elisabeth-Galerie," and also send me a few copies of Bulow's three articles.

Why have my organ-pieces (from Korner, Erfurt) not yet reached me? Please remind Kahnt or Gottschalg of this.

My heartiest thanks to you for remembering the 22nd October. The day was celebrated quietly and happily like last year in my former residence (Madonna del Rosario)—and you were present with me in my inmost heart.

Before I received your lines I had already answered Dunkl's and Herbeck's letters relating to the "Elizabeth" Oratorio. You know how much against my wish it is to put this work into circulation. And, however flattering it may be to me (perhorrescised composer!) to receive offers from various places about it, still I think it advisable to avoid precipitancy, and not to expose my friends so soon again to unpleasantnesses such as my earlier works brought upon them. Lowy's empty stalls (with the Preludes) are significant…and, considering the various kinds of abuse which my works have had to endure, silence would seem to be most becoming.

Therefore be good enough, dearest Eduard, to tell those kindly disposed "Musical Friends," emphatically that I cannot make up my mind to the proposed performance of the "Elizabeth," and beg them to pardon this small-mindedness in me. Besides the score is no longer at my disposal, as I have sent it to Bulow, who requires it for a performance desired by H.M. the King, for which I have already invited Herbeck. Bulow is giving some concerts this month and next in Berlin, Dresden, Prague, etc. Hence he cannot begin rehearsing the Elizabeth till later. Of the Munich performance you shall hear details when the time comes.

With regard to your communication to the Princess, I assure you again that as soon as and as often as it is possible for me to do you a service, as certainly shall it be done.

My answer to you has been delayed in order that I might at the same time tell you of a variety of things.

A) At the beginning of March I intend going to Paris. The Gran Mass is to be given on March 15th in the Church of St. Eustache at the anniversary "de l'oeuvre des ecoles" to which the Maire of the 2nd Arrondissement, M. Dufour, sent me an official invitation the other day.

B) The report spread in various newspapers about the Hungarian Coronation-Mass which I am to compose, is for the present only officiously correct. Probably it may become true shortly. [This did occur, as is well known.]

C) At the opening of the Dante Gallery here at the end of the month my "Dante Symphony" is to be performed. I enclose the article from the Osservatore Romano in which this extraordinary event is discussed in detail—also another number of the same paper containing a short notice on the "Stabat mater speciosa" (a very simple chorus from my "Christus Oratorio"), that was sung last Thursday in the Franciscan Church Ara Coeli (on the Capitol).

D) I am quite determined to attend the Tonkunstler-Versammlung in Coburg, and expect to hear from you shortly more about it. It is to be hoped that Bulow will conduct. If there should be any thought of giving the "Elizabeth," Bulow will be indispensable.—

As regards the Elizabeth, pray make my best excuses to Kahnt. I did not reply to his friendly request, because I have made up my mind not to have this work published meanwhile, and hold fast to this negative determination. Do not let Kahnt take this ill of me, and let him be assured of my sincere willingness to meet his wishes in all other matters.

.—. I am in want of a great many things, but most of all in want of more time!

So there is to be no Tonkunstler-Versammlung this year; in place of it war-cries, and symphonies of bayonets and cannon! Here, probably, we shall remain in peaceful quietude under the protection of France.—As regards my humble self, I mean to try, during the second half of this 66th year, to overtake what I was compelled to neglect during the first half of it. My "Christus Oratorio" shall be finished by Christmas.—Prince Hohenlohe, with whom I have been residing since April 1865, has been made Cardinal and shortly leaves the Vatican. Last Sunday I returned to my old quarters at Monte Mario, Madonna del Rosaraio, where I am as comfortable as possible. Next year I think of going to Germany, first to Munich. As you know, the King of Bavaria has conferred upon me the title of Knight of the Grand Cross of the Order of St. Michael. And the Emperor Maximilian that of the Guadeloup order.—

My stay in Paris will not prove unfruitful. People may say of it what they like.—I must mention to you the name of Camille Saint- Saens in Paris, as specially deserving of notice in the Neue Zeitschrft as a distinguished artist, virtuoso and composer. Last year he was in Leipzig, so he told me, and played his Concerto at the Gewandhaus there. But people could not make anything out of him, and in dignified ignorance allowed him to pass. Langhans [A Berlin musical composer and critic who died in 1892.] sees him frequently and could give you fuller information about him for the Zeitschrift.

Give Kahnt my grateful thanks for carefully carrying out the orders from Paris. I mean to wait another year before publishing the "Elizabeth." I also want several illustrations for it, for, as the work is dedicated to the King of Bavaria, I wish it to present the choicest and noblest appearance.

If Kahnt should be disposed to take it next year, I shall be glad to come to some arrangement with him about it. Still I am determined not to have the "Elizabeth" published till then; to several publishers who have offered to undertake the publication I have already replied,—may every kind of printing long be held at a distance from this score.—

Allow me to recommend to your friendly interest a few other things I have at heart.

Ask Kahnt, in my name, not to be sparing in supplying Bulow with copies of the Liszt-compositions he has published. I should more especially like my Quartets for male voices circulated, and a few complimentary copies from Kahnt would be useful in this respect. No fear need be entertained of Bulow's making indiscreet demands, and one may confidently grant him all he wishes.

.—. Hartel will shortly be sending me some music. Please enclose the last numbers of the Neue Zeitschrft in the parcel in order that my ignorance on matters musical may be relieved.

The score of the Gran Mass presumably reached Riedel safely (6 weeks ago). The vocal parts I have meanwhile left with Giacomelli. Later an edition of the choral and orchestral parts will become a necessity.

Your last letter but one, the registered one, has reached me safely. As it contained more in the way of answers than was wanted I hesitated to write to you. As already said, I have made up my mind to wait another year before publishing the "Elizabeth." In the first place it is necessary that I should correct the frequent errors in the copy of the score—a piece of work that will take a couple of weeks.—Then, before its appearance, I should like an opportunity of quietly hearing the work once in Germany, and this perhaps might occur next year. Meanwhile give Kahnt my best thanks for his ready consent, of which, however, I cannot make use till later, provided that an honorarium of a couple of thousand francs (which has been offered me elsewhere) does not frighten him. .—. So far as one can plan a journey nowadays, I intend to be in Germany again for a few weeks during the summer of 1867.—Tomorrow I shall write to Dr. Hartel and tell him that you have kindly expressed yourself ready to discuss with him the small matter about the Draseke brochure. It would please me greatly to hear that some amicable arrangement had been made.

With regard to the publications of the Allgemeine Deutsche Musikverein, I would vote for the Overture by Seifriz. Likewise for the continuation of the Chamber music performances in Leipzig—and, of course, for the compensation from the Society's purse due to you.

Stade's article on the "Faust Symphony" I have not yet received. My last number of the Zeitschrift is that of July 6th. I am glad that Stade does not disapprove of these Faust-things.— Schondorf's Polonaise, Impromptu, etc., which Kahnt has sent me, I have read through with pleasure and interest. With the next sending to Rome please enclose the "Petrus" Oratorio by Meinardus (the pianoforte score). In case the pianoforte score has not appeared, then let me have the full score. And together with the "Petrus" Oratorio please also send me the fragment of the "Christus" Oratorio by Mendelssohn (published by Hartel).

My "Christus" Oratorio has, at last, since yesterday got so far finished that I have now only got the revising, the copying and the pianoforte score to do. Altogether it contains 12 musical numbers (of which the "Seligkeiten" and the "Pater Noster" have been published by Kahnt), and takes about three hours to perform. I have composed the work throughout to the Latin text from the Scriptures and the Liturgy. After a time I shall ask Riedel for his assistance and advice with regard to the German wording.

I cannot, at present, promise you any literary contributions for the proposed Annual of the D. M. If the instrumental Introduction to the "Elizabeth" (for piano-forte) would suit you I would gladly place it at your disposal, reserving the copyright for the subsequent publisher of the score, that is, his right to publish the same Introduction again.

As far as I can foresee I shall remain here the whole winter. My address is simply: To Commandeur Abbe Liszt—Rome.

Fuller performances of the Beethoven Symphonies and of the Dante
Symphony are to be given next Advent in the Dante Gallery.
Sgambati is to conduct them, and I have promised to attend the
rehearsals.

Heugel of Paris (Director of the Menestrel) is shortly to publish a new edition of my Franciscus-legends.

It is very mortifying to me to have to confess that I have most awkwardly come to a standstill with the transcription of the Beethoven Quartets. After several attempts the result was either absolutely unplayable—or insipid stuff. Nevertheless I shall not give up my project, and shall make another trial to solve this problem of pianoforte arrangement. If I succeed I will at once inform you of my "Heureka." [Discovery (from a Greek word).- TRANS.] Meanwhile I am occupied exclusively with the "Christus Oratorio," which has, at last, advanced so far that all I have now to do is to put the marks of expression in the score and the pianoforte score.

Pray kindly excuse me if a small piece of vanity leads me to address you with a wish. My "Symphonic Poems" have, as you know, had a regular deluge of halberds hurled at them by the critics. After all these murderous and deadly blows that have been aimed at them, it would be very gratifying to me if the analyses of these "Symphonic Poems" in which, a few years ago, Felix Draseke discussed them severally in the Anregungen [Notices] could now be published by you all together in the form of a brochure, for they are written with a thorough knowledge of the subject, yet in a kindly spirit.

On this account I begged Dr. Brendel to discuss the matter with you, and now take the liberty of addressing you personally on the subject of my wish.

Will you kindly send Cantor Gottschalg in Tieffurt a good copy of my pianoforte scores of the nine Beethoven Symphonies? 49. To Dr. Franz Brendel

My heartfelt sympathy in the grievous loss which you have sustained. [On November 15th, 1866, Dr. Brendel lost his wife, Elizabeth nee Trautmann (born in St. Petersburg 1814). She was a pianist and a pupil of Field and Berger. Dr. Brendel survived her only two years.] It is an immeasurable sorrow on which one can only be silent!—

Let us pass over to the business part of your letter. Our Grand Duke informs me that there is to be a Wartburg Festival this summer (a Jubilee in celebration of the 800th year of the Wartburg's existence). And for this fete he wishes a performance of the "Elizabeth-Legend" under my personal direction. I have agreed to this, for, as the occasion is an exceptional one, I too am enabled to make an exception to meet his commands. Now as the Duke is Patron of the Tonkunstler-Verein, it seems to me appropriate that this year's T. K. Versammlung should be brought into some connection with the Wartburg Jubilee. Think the matter over and discuss it with Gille. The date of the Wartb. Festival has not been announced to me, and will probably not be settled till later. As for myself I could not promise to remain more than one month in Germany. Hence it would be agreeable to me personally if the T. K. Versammlung were not kept apart from the Wartburg Jubilee, and were arranged for about the same date; I could then attend both. In case Bulow cannot undertake to act as conductor, those to be mentioned as substitutes would be, no doubt, Seifriz, Riedel, Damrosch, Lassen.— Seifriz's hesitation with regard to the publication of his Overture I consider to be scrupulous beyond measure, and am of the opinion that he should not hold to it any longer. Gille's circular (of December 9th) I, of course, agree with, only the compensation of 50 thalers [about 71 British pounds sterling, 0s., 0d.] is somewhat too modest. I should like to see an 0 added to the 50.—

The full score and pianoforte score of the "Elizabeth" contain a mass of errors. The revising will take me a couple of weeks. At the beginning of February I will send you the manuscript for Kahnt's disposal, that is, if he is willing to comply with my conditions about the publication (which I will write out carefully for you). You know that I should have preferred to postpone the publication of the "Elizabeth" for some time longer- -still I understand Kahnt's difference of opinion, and desire to prove myself willing, provided that you approve of my willingness.

.—. Kindly, when you have an opportunity, remind Hartel about sending the dedication-copy of my pianoforte scores of the Beethoven Symphonies to Bulow. The copy ought to be properly bound (in three volumes—3 Symphonies in every volume), and addressed to Bulow, Johanniss-Vorstadt 31, Basel.

With sincere thanks and hearty good wishes for the year 1867, I remain in unchanging friendship, yours,

I am told that you would be good enough to take into consideration my recommendation of Mr. Alexander Ritter. I hasten therefore to assure you of the sincere esteem in which I hold his remarkable talent as a violinist and his capability as an orchestral conductor. His very extensive musical knowledge, his frequent and close connection with virtuosi and celebrated composers, and his practical experience of the best-known works and orchestras qualify him in a high degree for the post that would be offered to him at Pisa. The best judges discern in Mr. Ritter not merely a brilliant virtuoso, able to obtain everywhere applause and approbation, but also—which is more rare—a consummate musician, endowed with the most noble feeling for Art, and possessing the most perfect understanding of the works of the great masters.

Besides this, sir, I am sure that you will find much pleasure in your personal relations with him. All who know him bear testimony to his honorable character as well as to his gentlemanly manners; and I will merely add that amongst all my German friends there are few of whom I preserve so affectionate a remembrance.

Pray accept, Monsieur le Docteur, the expression of my esteem and distinguished consideration.

Accept my sincere thanks for your very friendly letter and for the dedication of the Beethoven Cadenza. It sounds well and is pleasant to play. Of course somewhat more might have been made of the thing, and a different key taken at the outset than C minor. But it is easier for me to play the critic than to do things myself, and so today I will merely thank you and assure you of my interest in your efforts and your success.

I cannot tell you how your generosity of mind and heart touches me. The favorable reception you have obtained at Florence for the "Beatitudes" and the "Pater noster" is a link the more in the chain of my musical obligations to you, dear and valliant Maestra. Will you kindly convey my best thanks to your co- operators. .—.

As a slight musical indication observe that in the "Pater noster"
I simply modulate and develop somewhat,—in the somewhat confined
limits of a sentiment of trusting and pious submission,—the
Gregorian intonation as sung in all our churches—

[Figure: Musical score excerpt setting the words "Pater noster qui es in coelis"]

following the traditional intonations for each verse. This framework was naturally adapted to the arranging of my Oratorio— "Christ",—in which I employed two or three other intonations of the plain-song, without considering myself guilty of a theft by such a use.

You know that the rehearsals of the "Christ" have begun. With the help of our dear and admirable Sgambati it will be able to be given here at the end of June. I shall invite you to come and hear it, and shall send you shortly the programme of the whole work, which is going to be published previously.

But since you interest yourself with so rare a zeal in my poor works and in making them known, I am tempted to propose to you the 23rd and 137th Psalms for your Florence programmes. The latter has been sung here this winter with some success. It is not very troublesome to study; provided that the singer understands what she has to say the rest goes of itself. The accompaniment is limited to four instruments,—Harp, Violin, Harmonium and Piano; and, as in the Magnificat of the Dante Symphony, the chorus is written for Soprano and Alto voices (without Tenors or Basses). The text is excessively simple, and is reduced to the one word, Jerusalem!

Perhaps you may also meet with a kind soul who is willing to translate into Italian the Chorus of Reapers ("Schnitterchor") from the Prometheus, which could be performed quite simply with piano accompaniment.

I will permit myself to send you the two Psalms next week by Mrs. Pearsoll (of New York), to whom I have sung your praises, a matter in which I yield to no one. Happily the opportunity for practising this recurs often: Mme. d'Usedom (whom I met the other evening at Bn. Arnim's) will speak to you of it. .—.

As soon as I receive positive tidings about the coronation at Pest you shall know. I shall certainly not stir from Rome this time without coming to spend some hours with you at Florence.

The success of Bronsart's Trio delights me. You will give him great pleasure if you will write him a couple of lines, which you must address simply "H. v. B. Intendant des Hoftheaters. Hannover." Tell him about Sgambati and his Trio at Rome and Florence. I, on my side, will write to Bronsart as soon as my summer plans are fixed.

You know that the Coronation Mass has met with the most kind reception. [At its performance at Ofen (Budapest)] None of my works up to the present time had been so favorably accepted. I have begged Franz Doppler in particular to let you know about it, knowing that you would like to hear me praised, even with some exaggeration, by a friend as competent as he is affectionate. Since the performance of the "Gran Mass" Doppler has always shown the kindest feelings towards me. Tell him that I am very sincerely grateful to him. I am anxious to thank Schelle [Musical critic of the Vienna Presse, since dead] for his excellent article in the Presse, and send you herewith a few lines which you will be good enough to give him…

The rehearsals of my Oratorio "Le Christ" are progressing. It will probably be performed in the early part of July, and I will have the programme sent to you.

Towards the end of July I shall go to Weimar. The "Wartburg Festival" is fixed for the 28th August. On that day the Elisabeth will be heard in the hall of the Minnesingers. A fortnight before that the concerts of the Tonkunstler-Versammlung will take place at Meiningen. Possibly you may be able to come and look me up in the course of this same month of August.

Your kind letter gives me a very cordial pleasure, and I beg you to be assured of the continuance of my very affectionate feelings. I frequently hear your success in America spoken of. You deserve it, and I rejoice to know that your talent is justly appreciated and applauded. Your compositions have not yet reached me, but I am fully disposed to give them a good reception. In about a fortnight I shall start for Weimar. The Tonkunstler- Versammlung is to take place at Meiningen this year from the 22nd to the 25th August. I shall be present at it, as also at the Jubilee Festival at the Wartburg, at which my Oratorio "Saint Elizabeth" will be performed on the 28th August. Perhaps I shall meet there Mr. Theodore Thomas and Mr. S.B. Mills, of whom you speak. I have heard the highest praises of the capability of Mr. Thomas, whom I have to thank particularly for the interest he takes in my Symphonic Poems. Artists who are willing to take the trouble to understand and to interpret my works cut themselves off from the generality of their fraternity. I, more than any one, have to thank them for this, therefore I shall not fail to show my thanks to Messrs. Thomas and Mills when I have the pleasure of making their acquaintance.

The news which reaches me from time to time about musical matters in America is generally favorable to the cause of the progress of contemporaneous Art which I hold it an honor to serve and to sustain. It seems that, among you, the cavillings and blunders and stupidities of a criticism adulterated by ignorance, envy and venality exercise less influence than in the old continent. I congratulate you on this, and give you my best wishes that you may happily pursue this noble careerof an artist,—with work, perseverance, resignation, modesty, and the imperturbable faith in the Ideal, such as was indicated to you at Weimar, dear Mr. Mason, by your very sincerely affectionate and attached

[Autograph of all the letters to Repos in the possession of Herr
Dr. Oscar von Hase in Leipzig.]

I am very much obliged to you for the kind feelings you express to me, and beg to assure you of my desire to correspond to them. By your activity and the character of your publications our interests are naturally similar; I will take care to make them as agreeable as possible to you.

The day after tomorrow I will send you four or five small pages which, if I mistake not, will suit you,—and which may be propagated. It is a simple and easy version for Organ of the hymn "Tu es Petrus," lately performed here on the eighteen-hundredth anniversary of St. Peter. I hope you will find an organist in Paris who is willing to appropriate this piece and by his talent to make it worth hearing.

As I am anxious that your edition should be perfectly correct I beg that you will send me the proofs. Address them to me, from the loth to the 30th August, at Weimar, Grand Duke of Saxe- Weimar, Germany. The performance of my Oratorio "Saint Elizabeth," at the jubilee Festival of the Wartburg on the 28th August, calls me into those parts of Thuringia which "Saint Elizabeth" has illustrated.

I shall start from here in about a week. Will you therefore defer what you are so kindly intending to send me until my return to Rome (end of October)? Accept, dear sir, my best thanks, together with the assurance of my very distinguished and devoted sentiments.

[From a rough copy in Liszt's own handwriting enclosed in the
following letter. The addressee, President of the Society of the
Friends of Music, died in 1891 in Vienna, where he was Vice-
President of the Herrenhaus.]

The two letters which you have done me the honor to address to me at Rome and Munich have reached me at the same time. I cannot but feel myself highly flattered at your kind proposition with regard to the performance of my Oratorio "Saint Elizabeth" at one of the concerts of the musical society over which you preside. The great renown of these concerts, the rare capability of their conductor Mr. Herbeck, the talent of the artists who take part in them, and the care that is taken to maintain the traditions of the musical glory of Vienna, make it very desirable for every serious composer to take a place in their programme. Thus I am most sincerely grateful to you, my Prince, for procuring me this honor, which however, much to my regret, I should not be able to accept without some delay.

It would be wearisome to enter into many details; one fact alone will suffice: the score of the "Elizabeth" is to be sent back to be engraved, and I promised the editor not to let it go anywhere else before its publication. Besides this the voice and orchestral parts which were used at the Wartburg are no longer available.

Kindly pardon me therefore that I cannot in this matter satisfy your favorable intentions as I should like. "What is deferred is not lost," says a proverb to which I prefer to attach myself today, while begging you to accept, my Prince, the expression of the sentiments of high esteem and consideration with which I have the honor to be

My hearty thanks to you for your letter. It almost made me determine to send Prince Czartoryski an answer in the affirmative; but when I came to think the matter over more fully it did not seem suitable, considering my peculiar position. Enclosed is a copy of my letter to Czartoryski; I hope you may not disapprove of it; let me give you a few more reasons.

1st. I really cannot at present send off the only existing copy of the score of the "Elizabeth", for it is required for printing. Nor should I care to have the orchestra and chorus parts from Munich used, and this I wrote to Prince Cz. It was for this very same reason that I declined offers respecting performances of the "Elizabeth" from Dusseldorf, Leipzig, Dresden, etc.

2nd. I do not share your rosy hopes of this work proving a success in towns where my earlier works not only met with little appreciation, but even received unseemly rebuffs. In Vienna, Leipzig, Berlin and even larger cities, the hisses of half a dozen stupid boys or evil-disposed persons were always sufficient to delude the public, and to frustrate the best intentions of my somewhat disheartened friends. In the newspaper criticisms these hissing critics are sure to find numerous supporters and pleasant re-echoes as long as the one object of the majority of my judges of this species is to get me out of their way. The improvement, which is said of late to have shown itself in regard to my position, may be interpreted somewhat thus: "For years in his Symphonic Poems, his Masses, Pianoforte works, Songs, etc., Liszt has written mere bewildering and objectionable stuff; in his "Elizabeth" he appears to have acted somewhat more rationally— still, etc., etc."—Now as I am in no way inclined to cry peccavi for all my compositions, or to assume that the castigations they received were just and justifiable, I do not consider it advisable to subscribe to the supposed extenuating circumstances of the "Elizabeth". I well know the proverb: "Non enim qui se ipsum commendat, ille probatus est," and do not think I am sinning against it. However it is possible that my resolute friends may, in the end, be right in asserting that my things are not so bad as they are made out to be!—Meanwhile what I have to do is to go on working quietly and undismayed, without in the smallest degree urging the performance of my works-nay in restraining some friendly disposed conductors from undertaking them.

3rd. After having two years ago excused myself to Herbeck about allowing a performance of the "Elizabeth" in Vienna, I cannot now immediately accept the friendly offer of Prince Czartoryski. It might be somewhat different had Herbeck attended the Wartburg performance, as I invited him to do through Schelle. But much as I appreciate and admire Herbeck's talent as a conductor, still I cannot know in advance whether he likes my work or not, or how far he agrees with my intentions. At all events I should have to come to some personal understanding with him on the subject before a performance is given in Vienna, just because this is a matter of importance to me, and the performance ought not to be a dementi of the preceding ones. It is much more to my advantage not to have my works performed at all, than to allow them to be performed in a half-and-half or unsatisfactory manner.—I may say quite frankly that it would certainly be very agreeable to me to stand in a somewhat better light in Vienna as a composer than I have hitherto done. But the time has not come for that—and if it should ever come, half a dozen of my compositions, for instance the 13th Psalm, the Faust and Dante Symphonies, some of the Symphonic Poems, and even, horribile dictu! the Prometheus Chorus, would have to be introduced to the public in proper style. Three concerts would be necessary for this, and would have to be announced beforehand, arranged and rehearsed, and there the "Elizabeth" might also then find a place among them. Herbeck would be an excellent one to arrange and conduct these concerts, provided he were not too much afraid of the obligations due to criticism. My personal position will not permit of my taking any part in them as a conductor; nevertheless I should not care to be altogether idle on the occasion, and hence should like, first of all, to have a careful discussion with Herbeck about various points that must absolutely be given thus and in no other way. It was in this sense that I wrote to Czartoryski that: "Ce qui est differe nest pas perdu" ("Aufgeschoben ist nicht aufgehoben") ["Put off is not given up."]—and so I may possibly come to Vienna—in the winter of '69.

First of all, however, I need several quiet months in Rome in order again to take up the work that has been interrupted for so long. The Bulows have persuaded me to spend my birthday with them. The Munich Musik-Schule is in full activity and seems as if it were likely to outstrip the other Conservatoires. Bulow is assuredly justified in saying, "Go and do likewise"!—

Before the end of the month I shall be back in Rome. All hearty good wishes to you and yours, from your faithfully attached,

P.S.—Before long you will receive a visit from August Rockel. This name will probably call up to your imagination—as it has done in many other cases—an ultra-revolutionary agitator; in place of which you will find a gentle, refined, kindly and excellent man. I should like you to cultivate his acquaintance, and can cordially recommend him to you. His daughter (at the Burg Theater) you are sure to know—and you will also know of his old friendship with Wagner and Bulow. It was not till I came here that I became acquainted with Rockel and learned to value him.

Have you read in the Augsburger Allgem. Zeitung the extremely kind notice of my stay in Stuttgart? Best thanks also for sending me your article on the "Wanderer."

By some mistake I did not receive your letter of the 16th till today. From my last you will have clearly seen that I do not wish any further performance of the "Elizabeth" before the score is published. As I told you, I have declined the offers from Dusseldorf, Dresden and other towns. Even as regards Leipzig, where I am under special obligations to Riedel (for he has on several occasions got his Society to give excellent performances of the "Gran Mass," the "Prometheus" choruses, the "Seligkeiten," etc.), I shall endeavor to defer the promised performance of the "Elizabeth." The matter would be one of special importance to me as regards Vienna,—and for this very reason I am anxious not to be in too great a hurry. Hence I most gratefully accept your mediation with Prince Czartoryski. Be my kind mediator and point out to him my peculiar position, so that there may not be any sort of vexation—and let the "Elizabeth" remain unperformed. I think I have clearly stated my reasons for this passive, or, if you prefer it, this expectative mode of action.

It would interest me to know how the "Coronation Mass" was performed and received in Vienna. Ask Herbeck in my name not to drag the tempi; the "Gloria," more especially, must be taken the more rapidly as it proceeds—the time to be beaten throughout alla breve. Send me word about this to Rome.

To please the Bulows I shall remain here till October 24th,—and be back in Rome, at latest, on the 30th.

If Bulow goes on working here for a couple of years, Munich will become the musical capital of Germany. In addition to my interest in all musical matters here, my stay has offered many other points of interest and pleasure by my intercourse with Kaulbach, Liebig, Heyse, Geibel, Redwitz, etc.—

I am grieved not to have met you yesterday, so as to have thanked you at once for the indescribable pleasure your poem gave me. The little interpreter Lulu [Daniela, the eldest daughter of H. v. Bulow, now married to Prof. Dr. Thode] recited it twice admirably without the smallest error or stumbling. I most sincerely wish that all your works may find such interpreters as Lulu, so fully able to grasp your sentiments that your audience has nothing to do but to weep—as was our feeling yesterday with Cosima, when we both wept like children!

The enclosed letter from Chordirector Kumenecker [The Director of the Altlerchenfelder Kirchenmusik-Verein, in Vienna, had requested Liszt to grant him permission to give a performance of the "Coronation Mass."] I received only on my return to Rome (November 6th). Be so good as to pay the writer of it a visit in my name, and ask him kindly to excuse my not complying with his request. Also tell him that I have not got either the chorus or the orchestral parts of the "Coronation Mass." The only existing copies are those belonging to the Court orchestra of Vienna; hence these parts would have either to be obtained or to be copied if a performance of the work is to be given elsewhere, and this I should not care either to advise or disadvise.

The Mass fulfilled its object in Pest on the Coronation Day. If it should be given on any future occasion, I would recommend the conductor to take the tempi solemnly always, but never dragging, and to beat the time throughout alla Breve. And the "Gloria," more especially towards the middle and before the commencement of the "Agnus Dei" up to the Prestissimo, must be worked up brilliantly and majestically. Whether and when the "Coronation Mass" is to appear in print I do not know. Dunkl (Roszavoglyi) in Pest had intended to publish it, but the honorarium of 100 ducats seems to make him hesitate, and I will not accept any smaller sum. Two movements from it (the "Offertorium" and "Benedictus") I have transcribed for the piano, and these may be bought separately, which will be an advantage to the publisher. And the pianoforte arrangements for one or two performers are to appear simultaneously with the score.—It is of no importance to me to have the work published immediately. If you should meet Carl Haslinger and have an opportunity, ask him whether he would risk 100 ducats upon it. As he has already published a number of Masses, this one might suit him as well. If not, it is all the same to me. Only I cannot make any alteration about the honorarium I have now fixed upon. [The "Coronation Mass," like the "Gran Mass," was published by Schuberth, Leipzig.]

Pray excuse me for replying so late to your kind and cordial letter. Various matters detained me in Germany longer than I expected, and I have only been back three days at my house at "Santa Francesca Romana," where I shall spend the winter. Your publications will be excellent company to me here. I accept with gratitude the Gradual and Vesperal [Gradual—a portion of the Mass. Vesperal—book of evening prayer] (in—12) that you are kind enough to offer me, and beg you to let me have them shortly. What can I on my side send you that will be agreeable to you? Something will be found, I hope, for I sincerely desire to satisfy you.

It seems to me that it would not be of any use for you to undertake to publish now one or two large works of my composition. In order to be somewhat accredited, they must first of all be performed and heard, not en passant, but seriously and several times. For this I have no support in France, and should even expose myself to unpleasant dispositions and interpretations if I in the least endeavored to bring myself forward there. It is only in Germany, Hungary, and Holland that, in spite of frequent and lively opposition, my name as a composer has acquired a certain weight. In those countries they continue performing my music by inclination, curiosity, and interest, without my asking anybody to do so. You have probably heard of the favorable reception that the "Legend of St. Elizabeth" met with at the Festival of the Wartburg at the end of August. For two years past this work has been performed several times at Pest, Prague, Munich, and I have recently been asked for it from Vienna, Dresden, Leipzig, Aix-la-Chapelle, etc., but as the score has to be sent to be engraved I have not been able to lend it further. I shall give myself the pleasure of sending you a copy towards Easter.-It is also in Germany (probably at Munich) that my Oratorio "Le Christ" will be first given: now, as it is important to me that the first complete performance (for the one in Rome on the occasion of the centenary of St. Peter was only a tentative and partial one) should be as satisfactory as possible, I must be present at it. Consequently it will not take place till the winter of '69—if I am still in this world then,—it being my intention not to leave Rome for a year.

Pardon me these details, dear sir. As the cordiality of your letter assures me that we shall have long business relations with one another, it is better to put you at once in possession of the facts of my musical situation. It prescribes to me duties attached to many restrictions which my ecclesiastical capacity increases still more. "Providemus enim bona non solum coram Deo sed etiam coram hominibus."—

To return to your publications. Palestrina, Lassus, the masters of the 16th and 17th centuries, are your models par excellence. You have plenty of work for years to come to edit their admirable works, and to put yourself on a par with the collection published (cheap) at Ratisbon under the title of "Musica divina." Moreover there is nothing to prevent you from adding many a composition more or less modern. Dispose of my few, as you are pleased to admit them. You might begin with the "Credo" (from the "Coronation Mass"), and the "Te Deum" in plain song [cantus planus] of which you speak. Later on a tolerably simple Mass, with organ accompaniment only, might perhaps find a place. Then, two excerpts from the Oratorio "Christ,"—"the Beatitudes" and the "Pater noster"—which have already appeared at Leipzig, might reappear in Paris, especially if there were any favorable opportunity of getting them heard. As to the Oratorio entire, it will be better still to wait awhile longer.

"Expectans expectavi"…and let my biographical notice which you have in view also wait. In order to make it exact and comprehensive, it would be necessary for me to give some data to the writer who would undertake the task of representing me today to the public. Many things have been printed about me in a transient way. Amongst the most remarkable articles that of Mr. Fetis, in his "Biographie universelle des Musiciens" (second edition), of which you tell me, takes the foremost place. Nevertheless, however much disposed I am to acknowledge the conscientious and kind intentions towards myself of the illustrious and learned man, and even whilst really thanking him for raising the importance of my works which he connects with "one of the transformations of Art," I shall not have the false humility of accepting some of his valuations as definitive judgments. Of all the theorists whom I know, Mr. Fetis is the one who has best ascertained and defined the progress of harmony and rhythm in music; on such chief points as these I flatter myself that I am in perfect accord with him. For the rest he must excuse me for escaping in different ways from the critical school whose ways he extols. According to his theory Art ought to progress, develop, be enriched, and clothed in new forms; but in practice he hesitates, and kicks against the pricks,—and, for all that, would insist that the "transformation" should take place without in the least disturbing existing customs, and so as to charm everybody with the greatest ease. Would to Heaven that it might be so! Between this and them, pray accept, dear sir, my best thanks, together with the expressions of my very distinguished and devoted sentiments.

P.S.—My sincere congratulations for the cross of St. Sylvestre. People outside are quite mistaken in thinking that they are lavish with decorations here.

I have informed the Princess W. of your kind arrangements relative to the edition of the work that Monseigneur de Montault mentioned to you.

No one knows better than you how to relieve the virtue of obligingness by the most cordial kindness. You make a point of persuading your friends that you are in their debt for the services you render them. In so far as they give you the opportunity of exercising your fine qualities you are perfectly right, but further than that you are not; and for my part I beg you to be as fully assured of my sincere gratitude as of my entire devotion.

I am not going to set about pitying you much for the difficulties and contradictions that your artistic zeal encounters. The world is so formed that the practice of the Good and the search for the Better is not made agreeable to any one; not in the things of Art, which appear the most inoffensive, any more than in other things. In order to deserve well one must learn to endure well. The best specific for the prejudice, malice, imbroglios and injustice of others is not to trouble oneself about them. It seems that such and such people find their pleasure where we should not in the least look for it: so be it, reserving to ourselves to find ours in nobler sources. Besides, how could we dare to lament over difficulties that run counter to our good pleasure? Have not the worthiest and most illustrious servants of Art had to suffer far more than we?…This consolation has its melancholy side, I know; nevertheless it confirms the active conscience in the right road.

This a propos of the prelude extra muros of your last concerts.
Let us pass on to the programmes of them, dear and victorious
Maestra.

The "Panis Angelicus," [By Palestrina.] the Schumann Quintet and the sublime Prelude to "Lohengrin" are works which a well- brought-up public ought to know by heart. You will do well therefore to reproduce them often. There is no criticism admissible on this subject; and, if you absolutely exact it that I should make one at all, it would only be on the adjective "celebrated," appended to the Schumann Quintet, which would do without it without disadvantage. Pardon me this hairsplitting.-

As to the "Beatitudes" I entirely approve of your not having exhibited them a second time. You know, moreover, that I usually dissuade my friends from encumbering concert programmes with my compositions. For the little they have to lose they will not lose it by waiting. Let us then administer them in homoeopathic doses- -and rarely.

I am delighted with what you tell me of Wilhelmj. Please assure him of my best regard and of the pleasure I shall have in showing it to him with more consequence. The Concerto for which he asks has already been begged for several times from me by Sivori and Remenyi. I don't know when I shall find time to write it. There is not the least hurry for it, as long as criticism constrains violin-virtuosi to limit themselves to a repertoire of four or five pieces, very beautiful doubtless, and no less well known. Joachim naively confessed to me that after he had played the Beethoven and Mendelssohn Concertos and the Bach Chaconne he did not know what to do with himself in a town unless it were to go on playing indefinitely the same two Concertos and the same Chaconne.

Sgambati and Pinelli announce six matinees of Chamber Music every Wednesday, beginning the day after tomorrow. The audience will be more numerous this year than formerly. People are beginning to talk about these matinees in the aristocratic salons in which it is often de bon ton not to listen to good music.—

Towards spring Sgambati will bring you his new laurels, and will also tell you about his future prospects. The deciding of his marriage will influence all the rest: it might almost be regretted that our friend should abandon himself to an excess of honorable feeling!

Without offending any one, the famous saying about the Chassepot rifle may be applied to the Chickering Piano; it is doing wonders at Rome. Everybody talks to me of it, and wants to see and hear it. One of my archeological friends calls it "the Coliseum of Pianos"!

My affectionate respects to your mother;—sympathetic remembrances to Miss Williams; a friendly shake of the hand to Callander;—admiring chirps to Bocage;—warmest compliments to the Pearsolls, and

My hearty congratulations upon our Falcon-colleagueship [Brendel had received the Weimar Order of the Falcon of Watchfulness (Falkenorden der Wachsamkeit)] and henceforth always, "Vigilando ascendimus."

As I was expecting parcels and news from Leipzig I delayed answering your friendly letter. I have not yet received either the Almanack, or the corrected proofs of the "Elizabeth". How did the performance in the Pauliner Church [Riedel had arranged a performance of the "Elizabeth" in Leipzig.] go off? Ask Kahnt to let me have one or two of the notices of it—especially the unfavorable ones. Remind him also to write to Otto Roquette about the translation of the Latin chorus at the end, to which I referred in my last letter to him.

Berlioz's "Requiem" is the corner-stone of the programme for the Altenburg Tonkunstler-Versammlung. I have often speculated about the possibility of having this colossal work produced. Unfortunately the Weimar churches were not sufficiently spacious, and in Brunswick, where the Egidien church would be a magnificent place for musical festivals of any kind, other difficulties stood in the way. Probably Altenburg also does not possess any building sufficiently large to hold an orchestra for the "Dies Irae", and Riedel will have to reduce the 16 drums, 12 horns, 8 trumpets and 8 trombones to a minimum. But, even though it should not be possible to give a performance of the whole work, still there are portions of it—such as the "Requiem Aeternam," the "Lacrymosa and Sanctus"—that are extremely well worth hearing and appreciating.

The sketch of the programme furnishes an excellent antidote to Berlioz's Requiem, in Handel's "Acis and Galatea"; and some smaller things of Draseke, Lassen and my humble self might be introduced in between.

Sgambati's co-operation will depend upon my journey. I am unable as yet to say anything definite about it. Not till June can I decide whether I can come or not. To speak frankly it will be difficult for me to leave Rome at all this year.

With regard to your personal affairs I can but again assure you that I take the liveliest interest in them. The modesty of your claims, dear friend, is very much out of proportion with the importance of the services you have rendered. One rarely meets with demands that are as just and as unpretending as yours. Be assured of my sincere readiness to promote your interest in higher quarters, and to do what I can to satisfy you.

Sgambati's matinees for Chamber-music are better attended than ever this winter. They include all that is musically interesting as regards Rome.

I thank you cordially for your kind letter, and beg you to rely always on my feelings of sincere affection and esteem.

It would certainly be a great pleasure to me to see you again in London this summer, yet I could not venture to promise or to keep my promise, and must abstain from either.

Please therefore to make my excuses to the Secretary of the Philharmonic Society, and to thank him for his kind intentions towards me. If an opportunity of realising them should occur later on,—without disappointment or disagreeableness to any one,—I should be much pleased. As regards the present time it is superfluous to give any thought to the proposition you transmit to me, in view of the obligations which will retain me elsewhere. I am even doubtful whether it will be possible for me to accept the invitation of my German friends to the Tonkunstler- Versammlung at Altenburg in July.—

The good news you give me of Klindworth is very pleasant to me. May he remember me sufficiently well to know how much I appreciate him and what an affection I have for him.

Sgambati is very much in fashion this winter, and the fashion is perfectly right in this. He sends you a thousand affectionate greetings, and Lippi, [A Roman pupil of Liszt's] Mdlle. Giuli [Liszt's best lady-pupil in Rome] and the other patients of the "Scuola" [School] hold you in warm remembrance.

The performance of my symphonic works in London must, like the concert of the Phil. Society, be postponed. Your zeal in this matter touches me much. I would not wish tosuppress it, and only beg you to moderate it so that it may be all the more fruitful.

I have nothing to find fault with in the sketch of the Altenburg programme except that my name occurs too often in it. I am afraid of appearing obtrusive if several works of mine are produced at every Tonkunstler-Versammlung. Certainly the repetition of the 13th Psalm might be permissible and even advantageous to myself, as you kindly remark; also I should not care to raise any protest against the chorus "An die Kunstler," and simply because it has hitherto been more screamed at than heard, for it has been accounted one of my most culpable heresies to have set these words of Schiller's to music after Mendelssohn, and indeed without copying Mendelssohn and without humoring the customary taste of Vocal Societies. Parenthetically be it said that Schiller and "Manhood's dignity" forbade me to make this composition any pleasanter. I dreamt a temple and not a kiosk!—

If you run the risk of giving this Artists' Chorus in Altenburg I must beg the conductor to take all possible care in rehearsing it—and to aim at the most dignified composure in the performance. Like reverberating marble-pillars must be the effect of the singing!—

Please thank Stade [Director of the Court orchestra, and Court organist in Altenburg (born 1817); he was a friend of Liszt's for many years.] most warmly for his friendly intention to play one of my Organ pieces. He will probably choose either the Variations on the Basso continuo of Bach's Cantata "Weinen, sorgen, seufzen, klagen" ("Weeping, grieving, sighing, lamenting")—or the BACH- Fugue.

Discuss the matter again with Riedel and Stade, as to whether 3 items by Liszt on the programme are not too much. I will gladly yield to your decision, and wish only there were more prospect of my being able to attend this Tonkunstler-Versammlung. However I cannot say anything definite about it till June.

Sgambati gives a concert next week in Florence. On his return at the end of April it will be decided whether he can undertake the journey to Altenburg or will have to remain here all summer.

Sgambati is decidedly not an artist for a watering-place, although as a virtuoso his talent is extraordinary and undoubtedly effective. He plays Bach, Beethoven, Chopin, Schumann, and my most troublesome things with perfect independence and in a masterly style. His artistic tendencies and sympathies are altogether "new-German." This winter we heard two of his larger works: a Pianoforte-Quintet and a Nonet for strings. Both of these deserve to be brought out by our Musik- Verein.

Ad vocem of the dedication of Seifritz's Overture, you have come to the right resolution in dedicating the 2nd year's issue of the Almanack to Prince Hohenzollern. I likewise approve of the following numbers being dedicated to the Princes in whose capitals the Tonkunstler-Versammlungen are held.

The first number of the Almanack seems to me very successful. But the historical Calendar might gain in interest by omissions and additions. Mediocre local celebrities such as "H.S. in E., T.D. in B., L.A. in L.," etc., etc., do not need to figure as historical. As little do a couple of first performances that were given in Weimar under my conductorship. See to it, dear friend, that more important data are collected in good time, and that superfluous data are rejected.

As I told you in Leipzig, the Grand Duke has determined to have me in Weimar for a couple of months during the winter (towards the beginning of '69). Perhaps I may go somewhat sooner.

With the next sending of proofs please ask Kahnt to enclose the manuscript of the 18th Psalm ("The Heavens declare the glory of God") for male voices. It is written on very large sheets of music-paper and bound in boards. But in order that the parcel may be made a more convenient size let the boards be removed and the manuscript paper doubled up. Kahnt will remember that I left him this manuscript seven years ago.

My cousin Eduard will bring you the score of the 18th Psalm intended for the Mannergesang-Verein [Vocal Society for Men's Voices] in Vienna. Allow me at this opportunity again to offer you my sincerest thanks for the kindly feelings you have always entertained for me. The further fate of the Psalm forwarded to you I leave wholly in your hands. You will have to decide whether it is suitable for being performed at the Jubilee Festival of the Mannergesang-Verein. If you think it is I shall be glad; still I beg you not to make it any special consideration, and if you think it more advisable not to burden the Festival-programme with it, I shall be quite content, feeling convinced, dear friend, that you will know best what is most to my advantage.

Otherwise the study of it would give no trouble. The Psalm is very simple and massive—like a monolith. And, as in the case of other works of mine, the conductor has the chief part to play. He, as the chief virtuoso and artifex, is called upon to see that the whole is harmoniously articulated and that it receives a living form. In the rhythmical and dynamical climax, from letters B to E (repeated from H to L), as also in some of the ritenuti; especially in the passage:

"The law of the Lord is perfect,
Converting the soul;
The testimony of the Lord is sure,
Making wise the simple, etc.,"

Well, dear friend, you know what it is brilliantly to arouse a flaming spirit out of dead notes.

[This is the last of the many letters Liszt addressed to Brendel, who died a few months afterwards.]

As might have been foreseen, I must unfortunately give up all thought of paying you and my friends of the Tonkunstler- Versammlung a visit this year. Were it possible for me to get away from here, I should today start for Munich, in honor of the "Meistersinger" which is to be performed next Sunday—and thence I should go to Weimar and Altenburg. In place of this I have to remain here till the end of the month. After that I mean to go to the neighborhood of Ancona for some sea baths. Please send me at once, in a wrapper, the notices of the Altenburg Musical Festival that have appeared in the Neue Zeitschrift.

Sgambati asks me to send you his kindest excuses. He would have much liked to wander to Germany, but he too is nailed here for this summer. His concerts in Florence with Wilhemj a few weeks ago were very successful. Sgambati is quite a phenomenal pianist for Italy, and is certain to do himself credit elsewhere on account of his sterling qualities, and his rare excellence as a virtuoso is combined with a personality of the greatest amiability and reliable artistic feeling. There is some talk of his getting an appointment in St. Petersburg.

A fortnight ago I heard from Paris that Berlioz was failing in health and suffering greatly. When I saw him last (in the spring of '66) he was then already physically and mentally broken down. Our personal relations always remained friendly, it is true, but on his side there was somewhat of a gloomy, cramped tone mixed with them…

Neither Schumann nor Berlioz could rest satisfied at seeing the steady advance of Wagner's works. Both of them suffered from a suppressed enthusiasm for the music of the future.

I shall not be able to decide about my proposed stay in Weimar till the end of the year. Till then I shall keep quiet here or in the neighborhood, the extreme boundary to which is indicated by the sea baths of Ancona. Several other invitations have had to be courteously declined. But next year a considerable change may take place in my outward circumstances, and may again draw me closer to Germany. How this last chapter of my life will shape itself I cannot yet foresee.

The Vienna Mannergesang-Verein have kindly asked me to provide a composition for their Jubilee Festival. This is the reason why I asked Kahnt for the score of the 18th Psalm ("The Heavens declare the glory of God"), which has at last come, and was despatched to Vienna the day before yesterday [published by Schuberth, Leipzig]. Kahnt has no doubt also received the corrected pianoforte score of the "Elizabeth." And there happily remains only the full score to do, the proofs of which I am expecting now.

During the winter my innumerable social duties rendered it absolutely impossible for me to write any longer compositions. This enforced idleness vexes me extremely—and I intend to assume an air of rudeness to rid myself of a great many people. It is more especially intrusive correspondents who are a vexatious waste of time to me. Since the "Coronation Mass," I have in fact only written one solitary work: a "Requiem" for male voices with simple organ accompaniment [published by Kahnt, Leipzig].

How much I should like to hear Berlioz's colossal Requiem in
Altenburg!—Think, when there, in all friendliness of

Again I beg you to send me regularly the programmes and the notices of the Altenburg T.K.V. in the Neue Zeitung.

As you are kind enough still to remember about the "Ave Maris Stella" it would be inexcusable of me to forget it. My first manuscript having gone astray I spent the whole of yesterday in rewriting this very simple song, of which you will receive two versions at once by the next possible occasion; one for mezzosoprano voice with Piano or Harmonium accompaniment, the other for 4 male voices with a little Organ accompaniment. In this latter please excuse my very bad writing, over and above whatever there may be defective in the composition. I cannot, here, have several copyists at my disposal as in Germany. The only one whom I can employ is ill—and I have not time to wait till he gets well, for from tomorrow I undertake my pilgrimage to Assisi and Loretto—after which I shall make a villeggiatura of at least six weeks at Grotta-mare (near Ancona, on the shores of the Adriatic).

I depend on your kindness to send me the final proofs of the "Ave
Maris Stella" to the address which I will give you shortly.

How shall I manage to get you my biographical notice published in 1843 in the voluminous collection of the Biographae Pascallet? I really do not know. This notice is both the most exact, the best edited, and the kindest of all that have appeared about me in French. Mr. Fetis quotes it in my article of the Biographie univ. des Musiciens, and I have asked Mr. le Chanoine Barbier de Montault to look for it at Angot the editor's.—The entire collection of the Biographaie Pascallet must be, amongst others, in the library of Mr. Emile de Girardin, but the illustrious publicist has so many great matters to attend to that I should scruple to trouble him about such a trifle.

In any case it will be easy to unearth our unhappy little Opus in question in the Bibliotheque imperiale, where, if necessary, it can be copied for the use of Mr. le Ch. de Montault.

Please, dear sir, count on my very sincerely affectionate and devoted sentiments.

A thousand thanks for your kind sending of the Repertoire of St.
Sulpice, which is this moment come.

[1827-88, founder and director of the celebrated Riedel Verein in Leipzig, and after Brendel's death President of the Allgemeine Deutsche Musikverein.]

My sincere congratulation upon your glorious accomplishment—the performance of Berlioz's Requiem in Altenburg, and also my kindest thanks for all the trouble and care you have bestowed upon the "Elizabeth" and the "13th Psalm." I hope to hear Berlioz's "Requiem" next winter in Leipzig, and also some of Bach's contrapuntal "feste Burgen." My ears thirst for them!

Meanwhile let me ask Frau Professor Riedel kindly to accept me herewith in effigy as an inmate.

By the same post I return you the proofs of the "Ave Maris Stella," which reached me yesterday. Will you be kind enough to have the various errors of these first proofs corrected on the plates. Exactitude in editions is a duty of the profession, too often neglected.

I will send you, by the first opportunity, a short "Offertoire" (of some 40 bars) for men's voices. The text forms part of the service of St. Francis—"Mihi autem adhoerere Deo bonum est," and I composed it lately at Assisi.—In about a week's time I shall be back in Rome, where I left my manuscripts; amongst others a "Requiem" for men's voices with Organ accompaniment. The style of it is very simple, and whatever goodwill one brings to it the execution will also be very simple. If it would suit you to publish this "Requiem" (of about some thirty small pages of print) I will send it you with the "Offertoire" of St. Francis.

[The addressee was a distinguished pianoforte teacher (1822- 1884), co-founder of the Stuttgart Conservatoire, co-editor of the Grosse Clavierschule (Lebert and Stark), and of the instructive edition of Classical pianoforte—works published by Cotta, in which Liszt, Bulow and Faisst took part. It is to these last-mentioned works that the letters here given refer.]

To satisfy rational and righteous people is the better part of my life. I am very glad that you approve of the letter to the French edition of your Method, and that you find it appropriate. I have simply said what I think. I pledge myself always to be true in speech and action, however many annoyances and misinterpretations may be hurled at me in return. In confidence I will tell you what is the rule of my whole existence; it consists of the daily prayer: "O veritas Deus, fac me unum tecum in perpetua caritate!"—

Excuse the delay in the return of the 3rd part of the Method. I thought of making use of some favorable opportunity of sending it to Stuttgart to save you the expense of postage; but no such opportunity has presented itself, and so this concluding volume of the Method was despatched to you through the agency of Herr Kolb (Wurtemberg consul in Rome). The added notes are very unimportant, because, in fact, I had no other weightier remarks to make. While playing through the Etudes I found myself put into a thorough good humor, and this must be my excuse for the few bad jokes which my mischievous pencil scribbled down. Please do not let them go further; such jests must be kept quietly to ourselves.

In Grotta mare I wrote about 20 pages of the technical exercises. Unfortunately a host of correspondence prevents my making progress with the work I have already begun and which is finished in my head. The Italians say: Give time, time ("dar tempo al tempo"), which often provokes me utterly!—

First of all I shall set to work at the Weber and Schubert edition, which I hope to send you by the beginning of November.

Please present my best thanks to Baron Reischach for his kind letter. The business point of it (the Weber and Schubert edition) I herewith answer; that I shall redeem my promise by the beginning of November; and that with an easy conscience I shall then give proof of my gratitude by writing to Baron R. myself.

Your last letter interests me much, and I thank you very sincerely for the confidence you show me. Certainly I should ask nothing better than to reply to it as you wish; but there is the difficulty. Shall you reproach me with "claudicare in duas partes"? No, I do not think you will, for I do not intend to have any hitch; it is simply that the small influence which, in certain given circumstances, I could exercise, is paralysed by other circumstances that now predominate. I should be obliged to explain various things to make you understand my extrinsic inaptitude, and consequently my obligatory abstention on some points which touch me closely. I prefer not to enter into these details in writing; perhaps we shall have an opportunity of speaking about them: as to the present time the following is my reply, reduced to the most concise terms:

I entirely approve of your two projects of the competition of sacred Music, and of the definitive, normal and really Catholic edition of the Plain-Song of the Church. These two enterprises are opportune and desirable, and may be carried out to your honor and advantage. All the same I am not in a position to serve you efficaciously utraque. Therefore I ought not to be mixed up with it,…unless any contingency as unforeseen as decisive should supervene.

You will have read in the Correspondance de Rome that the work of M. Sre. Alfieri has remained in suspense. It is not a posthumous obstacle with which your edition would have to contend, but another, which might also be called Legion.

The "Requiem" and the "Offertoire of St. Francis" shall be sent to you in a fortnight. Before sending them to you I want carefully to look through the copy, so as to save the engraver as many corrections as possible.

I shall not leave Rome till Christmas; from January till the end of March I shall be at Weimar.—

Pray accept, dear Chevalier and friend, the assurance of my affectionate devotion.

When will the 1st volume of your publication of the History of the Popes and Cardinals come out? I shall be much obliged if you will send it me.

[Facsimiles of this and No. 99 appeared in the Neue Zeitschrift fur Musik, June 18th, 1890.]

The delay in the receipt of your letter did not in any way lessen the very welcome news it contained, for which I thank you cordially. Herewith also my warm congratulations in regard to the little red-colored Altenburg volume.

Of the gracious acceptance accorded to the dedication copy of the "Elizabeth" I have already received a full report, which is altogether satisfactory. The second copy de luxe please to keep for the present. I should like to present it to our Grand Duke ad honorem of the Wartburg Library.

Your intention of sending the third copy next Easter to the Exhibition of the German Products of the Printing Press, I, as the author, consider both very appropriate and a pleasant piece of news.

As I am expecting corrected proofs of the "Elizabeth" score, I beg you to enclose Wieseneder's "Kindergarten Lieder-Buchlein" [Book of Kindergarten Songs]. Probably this will be your last sending to Rome for the year '68, as I shall be in Weimar again by the beginning of January. I shall, therefore, leave all further discussions in extenso till then. Meanwhile there is scarcely anything positive or to the point to write about.

My friendly greetings to Brendel; he knows how much it is my wish to obtain reliable support and some profitable advantage for the endeavors of the A. D. Musik-Verein. Rest assured of this, dear friend, and count upon my sincere and unalterable attachment.

Here is the Requiem. If you think it would be well to publish the five parts separately (Requiem, Dies irae, Offertoire, etc.) in the 5 numbers of the Revue de Musique sacree, I have not the slightest objection to it; and will only ask you to announce the complete edition, to be had by itself, at the same time as the detached pages appear.

The copy is very distinct and correct; please beg the engraver not to add any wrong notes of his own composition, and send me the proofs to Rome.

I should be glad if the "Offertoire" of St. Francis (added to the book of the Requiem) could come out at once. The manuscript is only two pages,—and I do not think I shall be infringing too much St. Francis's rule of poverty by reserving to myself, for this Offertoire as well as for all my compositions that you publish, author's rights for Germany and Italy, in order to keep my promise to several publishers.

Accept, dear Monsieur Repos, the expression of my very distinguished and devoted sentiments.

Today I deserve a little praise. The Weber task is finished, and hence I have kept my promise a few weeks in advance.

How I have understood my task you will see from the short Preface on the first page of the various readings to the "Conzertstuck." The printer will have to act in strict conformity with what is there stated, and to give the necessary letters and signs. Unfortunately I cannot help giving this unusual trouble, for two kinds of letters and signs are positively indispensable.

My responsibility with regard to Cotta's edition of Weber and Schubert I hold to be: fully and carefully to retain the original text together with provisory suggestions of my way of rendering it, by means of distinguishing letters, notes and signs,—and these I beg you will again have fully explained to the printer.

In the various readings you will probably find some things not inappropriate;—I flatter myself that I have thus given performers greater licence, and have increased the effect without damaging or overloading Weber's style. Get Pruckner, who is acquainted with my bad musical handwriting, to play the various readings to you.

The parcel containing the "Conzertstuck," "Momento capriccioso," 4 Sonatas of W[eberj (and the 2 Beethoven ones of the Bulow edition) will be despatched to you tomorrow by Kolb. Send me, at your early convenience, Weber's 2 Polonaises (Hartel's last edition), which must not be omitted in Cotta's edition; also let me have all Schubert's Dances (Valses, Landler, Eccossaises, in Holle's edition revised by Markull). And as I have now got into the way of revising, I should like at once to prepare the Schubert volume and submit to you, before the end of November, the result of many years of most delightful communion with Weber's and Schubert's pianoforte compositions, with fingering, marks for pedal and expression, and various readings.

The Schubert volume I shall limit to 3 or 4 Sonatas, the great
Fantasia, some 8 Impromptus, the Moments Musicals, and all his
Dances. A few other pieces as duets may follow later, more
especially his Marches and the Hungarian Divertissement.

Let me hope that my work may prove intelligible, temperate and satisfactory, and also of some service to ordinary pianists.

Any remarks and objections you may have to make in connection with these, I shall be quite willing to consider.

.—. My very kind biographer La Mara writes me a few charming lines telling me that she is shortly sending me her volume "Studienkopfe" ["Studies of heads"]. "Das junge Volk hat Muth," ["Young folk have pluck"] as you say, and I quite approve of their not letting themselves be intimidated. Courage is the vital nerve of our best qualities; they fade away when it is wanting, and unless one is courageous one is not even sufficiently prudent. To examine, reflect calculate and weigh are assuredly necessary operations But after that one must determine and act without troubling too much about which way the wind blows and what clouds are passing. .—.

I have just answered the invitation of the "Musikfreunde," and trust you will agree with what I have written. I am quite aware that the performance of the "Elizabeth" in Vienna—which is considered a mark of honorable distinction to me—I owe to you. My not having complied with your offer before was mainly due to my desire to spare you any embarrassments in connection with the performance, embarrassments which I, owing to my peculiar position and my distance from active circles of the Press, can readily ignore without the slightest "bitterness of feeling."

Well, let us hope that your favorable augury will prove true. Your earlier letter I have not received. But I was heartily delighted with your last. Shortly before receiving it I had been hearing a number of excellent things about the composer, conductor and friend Herbeck, all of which tallied perfectly with what I remembered and of what I myself feel convinced. You will guess who communicated all this to me.

To return to the "Elizabeth" performance in Vienna; I should like to be present. The Committee of the Musikfreunde name two days in March; the last mentioned would be the most convenient one for me. I must tell you beforehand, in confidence, that on this occasion I should not be able to remain in Vienna beyond a couple of days, and that I wish especially to keep quiet while there, and to meet as few people as possible. It is no longer in any way appropriate that I should appear anywhere in person; [Liszt had been requested to conduct his "Elizabeth", a request he declined (probably in consideration of his having taken holy orders).] it suits me much better, when necessary, to be trodden down an effigy by all the different chatter. And as you, much esteemed friend, are the one and only person who shall conduct the "Elizabeth" in Vienna, I wish to leave the distribution of the vocal parts entirely to your care. I would merely remind you that my two compatriots Bignio and Fraulein Rabatinsky (now in Vienna) sang splendidly in the parts of the Landgrave Ludwig and the spiteful Landgravine Sophie, at the first performances of the Oratorio in Pest. Hence, if no categorical objections are raised against them by the worthy theatrical potentates, it would seem advisable and well to secure these singers for parts for which they have already proved themselves competent.

As an unnecessary remark let me add that the small Magyar Cantilena of the Magnate (in the first number) requires a powerful voice.

P.S.—I am expecting the promised manuscript of the
"Tanzmomente." [Composed by Herbeck for orchestra; transcribed by
Liszt for the pianoforte] By the beginning of January I hope to
be in Weimar.

The annotations to Schubert's Sonatas demanded more time than I had anticipated. For some weeks past I have been working industriously at them—now they are finished ad unguem.

Our pianists scarcely realise what a glorious treasure they have in Schubert's pianoforte compositions. Most pianists play them over en passant, notice here and there repetitions, lengthinesses, apparent carelessnesses, and then lay them aside. It is true that Schubert himself is somewhat to blame for the very unsatisfactory manner in which his admirable piano-forte pieces are treated. He was too immoderately productive, wrote incessantly, mixing insignificant with important things, grand things with mediocre work, paid no heed to criticism, and always soared on his wings. Like a bird in the air, he lived in music and sang in angelic fashion.

O never-resting, ever-welling genius, full of tenderness! O my cherished Hero of the Heaven of Youth! Harmony, freshness, power, grace, dreamings, passion, soothings, tears and flames pour forth from the depths and heights of thy soul, and thou makest us almost forget the greatness of thine excellence in the fascination of thy spirit!——

Let us limit our edition of Schubert's pianoforte compositions to 2 Sonatas, the G major Fantasia (a Virgilian poem!), the splendid "Wanderer"-dithyramb (C major Fantasia), 2 books of Impromptus, Moments Musicals and all his Valses (among which there are gems of the first water). All this will be sent to you forthwith; and in addition Weber's Polonaises.

In the Sonatas you will find some various readings, which appear to me tolerably appropriate. Several passages, and the whole of the conclusion of the C major Fantasia, I have re-written in modern pianoforte form, and I flatter myself that Schubert would not be displeased with it.

The pianoforte Duets of Schubert (Holle's edition) please address to Weimar, as I have no time left for revisings in Rome. Send me also a copy of the "Aufforderung zum Tanz" ["Invitation to the Dance"] that is so drummed at everywhere. You forgot to let me have this piece of salon-fireworks with the other music, and I too did not remember it at the time; years ago I had to play this "Invitation" over and over again, times innumerable—without the smallest "invitation" on my part—and it became a detestable nuisance to me. However, such a show-piece must not be omitted in Cotta's edition of Weber.

Your visit to Weimar, dear friend, will be very welcome and agreeable to me. When there we shall be able to discuss, weigh and settle a number of things very conveniently.

Your promotion [Eduard von Liszt had been appointed Oberstaatsanwalt (Chief State attorney) in Vienna.] is a real and great joy to me. It does my heart good to see your continual services receive recognition, and to know you about to enter a more promising sphere. Your new position does not, indeed, free you from all effort and exertion, but you have long since become accustomed to bear the yoke on work-days like a man, and although the yoke may not appear altogether enviable, still it is always the most honorable and most secure.

I wish only that you may ever remain true to yourself, and by perfectly satisfying your own conscience you may deeply feel God's unfailing promise "Dominus non privabit bonis eos qui ambulant in innocentia."—

.—. From the President and the Vice-President of the Society of Musikfreunde, Drs. Egger and Dumba, I received a very friendly letter inviting me to fix upon one of the three day—2lst February, 7th or 23rd March—for the performance of the "Elizabeth" in Vienna, and to undertake to conduct the work. To do the latter is absolutely impossible to me, for reasons that you know; hence I shall decline to fix upon a date. My answer conveys to the above-named gentlemen my thanks for this distinguishing mark of their good-will, and, at the same time, I express my wish to attend the performance, and mention that the end of March would be the most convenient time for me.

I also wrote to Herbeck pretty fully, saying that he, and he alone, should conduct this performance; it is to be hoped that under his direction the whole thing will run a successful course.

F.L.

Although I feel absolutely sure that you will conduct the "Elizabeth"-performance in a perfect and brilliant style, I gladly comply with your wish that I should be in Vienna a few days beforehand. As I have already said, it would be more convenient to me to leave here towards the end of March. Meanwhile present my most gracious thanks to the Committee of the "Musikfreunde," with the request that they will in future regard me as quite inadmissible as a conductor. Your question whether I attach "any special importance" as to how the different parts should be filled, I answer simply thus: arrange things wholly and entirely as you think best. The few indefinite suggestions in my last letter are of importance only in so far as they agree with your competent arrangement, otherwise in no way. One point only I should like adhered to in the Vienna performance, namely that no foreign singers be engaged for it. To have one's own house in good order is always the wisest and safest plan.

I have heard much in praise of Fraulein Ehnn [A singer at the Royal Opera House in Vienna]; and should feel specially indebted to her if she would undertake the Elizabeth: the part does not go against the grain, and should Fraulein Ehnn wish any alterations I should be quite willing to consider them.

The "Tanzmomente" are still dancing on their way here, for they have not yet come.

[Published in Gronvold "Norwegische Musiker" (Norwegian
Musicians, Warmuth, Christiania).—The addressee was the clever
leader of the Young School of Northern Composers. He was born at
Bergen in 1843, and educated at Leipzig.]

I am very glad to tell you what pleasure it has given me to read your Sonata (Op. 8). It bears testimony to a talent of vigorous, reflective and inventive composition of excellent quality,—which has only to follow its natural bent in order to rise to a high rank. I am pleased to think that in your own country you are meeting with the success and encouragement that you deserve: these will not be wanting elsewhere either; and if you come to Germany this winter I cordially invite you to stay a little at Weimar, in order that we may thoroughly get to know each other.

Pray receive, sir, the assurance of my sentiments of esteem and very distinguished regard.

NEXT SECTION: WEIMAR.—PEST.—ROME.

[Head of the famous pianoforte-manufactory; our "Beflugler," as Bulow and Tausig called him (A play on the word Flugel, which means both a "grand piano" and "wings.")]

Accept a seven-octaved chromatic scale of thanks for your kindness in sending your magnificent piano for the Grand-Ducal Hofgartnerei in Weimar. I hope you will on some occasion allow me to have the pleasure of convincing you, de visu et audaitu, how glorious the instrument looks and sounds here.

According to report we are shortly to see Tausig again in Weimar.
Tell him he may be sure of a hearty welcome from me.

Fraulein Ehnn's amiable readiness to undertake the part has greatly pleased me, and I beg you to convey my sincerest thanks to our "Elizabeth." The part will not cost her any immoderate effort; all possible alterations, pauses, dotted notes, ornamentations, shall be left ad libitum and entirely to the pleasure of the gracious singer. Do not write to me further on this subject, and endeavor merely to get Fraulein Ehnn to feel herself comfortably and pleasantly at home with my poor tone- melodies.

Friend Remenyi, whom I do not need now to introduce to you, will be the bearer of these lines to you. He has delighted and captivated every one here, the Court as well as the public, and this is verily no small matter, for in Weimar we are accustomed to the most distinguished violin-virtuosos. I requested him to tell you how grateful I feel to you for your idea of a concert of Liszt's compositions.

But, in order to avoid every appearance of indiscretion or forwardness, I consider it well and advisable to keep exclusively to the Elizbeth on this occasion.

a. all parts of the Elizabeth to be filled by native talent. b. Critics to be worried only with this one work.

[At the performance of the Elizabeth in the "ausserordentlichen Gesellschafts-Concert" (Company's special concert) on April 4th, 1869, Liszt met with a genuine triumph. Herbeck writes: "After every number, and at the end of every part, there was no end to the calls for Liszt." The performance was repeated on April 11th, and received with even greater enthusiasm.]

I have also requested Remenyi to ask you about the apartments I shall require. My stay in Vienna will be limited to eight or ten days, which I should like to spend in as quiet and peaceable a way as possible, and not within the circle of disturbing visitors.

A thousand sincere thanks for the kind zeal and love that you bestow upon the publication of my poor works. In order that the edition of the "Requiem" may be entirely correct, I will beg you to send me again proofs of the "Offertoire," "Sanctus" and "Agnus Dei," either to Weimar before the 18th March, or to Vienna from the 25th March to the 12th April. My address in Vienna is c/o Mr. Herbeck, Court conductor, etc., etc. Graben, Trattnerhof. Vienna. Austria.

I shall spend two or three days at Ratisbon towards the middle of April, in order to hear the Cathedral choir there, which has a great reputation in Germany. There also I shall find a manuscript of the highest interest, and one which up to now has been almost unknown: it is the opus musicum magnum of Orlandus Lassus. It is composed of more than five hundred pieces of music.

Are you in touch with Mr. Pustet, the most considerable publisher of religious music at Ratisbon?—

Your visit to Rome will be extremely agreeable to me. I expect to be back at the end of April and to pass the summer at Santa Francesca Romana.

Probably I shall profit by your kind proposition, and shall send you shortly a Mass (for 4 voices, with a simple Organ accompaniment).

[Now married to Concertmeister Rappoldi in Dresden, and one of the lady-professors at the Conservatoire there. The above note, which was accompanied by a silver pen for composing, Liszt sent her after having been present at her first public appearance at a charity-concert in the Royal Opera House in Vienna. In 1870 she became a pupil of his in Weimar, and was soon considered one of the most distinguished lady-pianists; since 1879 she has enjoyed the title of Kammervirtuosin (Court pianist) of Saxony.]

Accept this small remembrance of the hour when your extraordinary talent so joyfully surprised me, and be assured of the sincere and friendly devotion of yours,

[Composer; conducted the Wagner performances in the Theater de la
Monnaie, Brussels, in 1890-91.]

The sincere pleasure caused me by your letter, which reached me at Pest at the end of April, is completed by the one you have addressed to me here. I am delighted to hear that my prophecy has been realised and that you enjoyed yourself at Munich. At this time you would not find anywhere else an ensemble of ideas, works, acts and instruction so suited to your artist-nature, and, consequently, so favorable to the full development of your fine powers. Thanks to M. de Bulow and his prodigious activity, on a par with his intelligence, Munich is becoming the new musical capital of Germany. You will therefore do well to stay some time there, in order vigorously to prepare yourself for the task which has devolved on you elsewhere.

Perhaps I may see you again this summer, for if, as announced, "Rheingold" is performed there on the 25th August I shall come to it.

Meanwhile I thank you for having so well listened to the "Elizabeth"; that is a presage to me that we shall meet more than once on the same path, in which I wish you the most complete success. .—.

Mr. Seward has given me your kind letter and several of your compositions. These give me a double pleasure in that they prove that you have not lost your time at Weimar, and that you continue to make good use of it elsewhere.

The Etude de Concert (Op. 9) and the Valse Caprice (Op. 17) are of a distinguished style and make a good effect. I shall also sincerely praise the 3 Preludes (Op. 8) and the two Ballades, but with some reservation. The first Ballade appears to me somewhat cut short; it wants I know not what at the beginning and towards the middle (page 7) of something needed to make the melody stand out; and the pastorale of the 2nd Ballade (page 7) figures like a too-cheap piece of "padding."… And, since I am in the vein for criticising, let me ask why you call your "Ah! vous dirai-je, Maman"—"Caprice grotesque?" Apart from the fact that the grotesque style should not intrude into music, that title is unjust to the clever imitations and harmonies of the piece, very charming by the way, and which it would be more suitable to entitle "Divertissement" or "Variazione scherzose."—

As to the Methode, you won't expect me to make a deep study of that. I am much too old for such a thing, and it is only in self- defence that I still work sometimes at the piano in view of the incessant botherations and indiscretions of a heap of people who imagine that nothing would be more flattering to me than to amuse them!—

Nevertheless, in looking through your Methode I find some exercises much to be recommended, namely, the "interlocking passages" page 136 to 142;—and all the "accentual treatment" of Exercises. [The italics (here in quotations) in this sentence are written in English and in italics by Liszt.]

May your pupils and the editor obtain from them all the profit that I wish them!

A thousand thanks, dear Mr. Mason, and count on my very affectionate and devoted sentiments of old.

[Printed in Gottschalg's "Chorgesang," 1890.—Schulz-Beuthen was born in 1838.]

That you have dedicated your 42nd and 43rd Psalms to me I feel to be an honor in the artistic sense, for which I am sincerely grateful. It is long since any new composition has given me the impression of intellectual strength and musical completeness such as I find in yours. And this work stands even above eminent compositions of the kind. It appears to me even more fully rounded, pregnant and powerful than your 29th Psalm, which I justly recognised as a distinguished work upon first reading it through. The grand impression produced by your 29th Psalm on the occasion of the Tonkunstler-Versammlung in Dessau confirmed my predictions, and I am convinced that wherever the 42nd and 43rd Psalms are heard every person with any depth of soul will feel their sublime beauty, and offer you something more valuable than mere ordinary applause. Do not look for word-making from me; I never knew much about it, and I can still less try my hand at it now in my old age. But allow me, very dear sir, to tell you quite frankly and briefly this:—

You must not hold yourself aloof and at a distance; your splendid works must be performed, printed and circulated. And although— owing to the idle and impudent chatter of many leaders of the press—my influence in musical matters has been reduced to a minimum, still I hope shortly to arrange a performance of your Psalms in one or two places.

.—. Although older than you, yet my enthusiasm for "Tristan" is not second to yours.—I am delighted that the performance has come off so well, but I should not wish this marvellous chef- d'oeuvre to become for you a sort of upas tree under the shadow of which you would go to sleep.—Great manifestations of genius ought to do the part of the sun,—to illuminate and fertilise.

I do not know why the name of Boccherini always recalls to me the valley of Tempe. There could be nothing more flattering and more salutary for me than to be admitted into so fortunate an abode, and you have certainly made the stroke of a Maestra in introducing me there (a little bit in a contraband way!).—I hope Mr. Delatre will be kind enough to send me under cover the first number of the paper containing La Mara's article [The Liszt- sketch from the first vol. of the "Musakalischen Studienkopfe," which the authoress had translated into Italian.]; directly afterwards I will subscribe to the Boccherini, so that I may get the whole of the biography regularly.

A thousand thanks for your intelligent solicitude; I entirely approve of the word tedesco being left out on the title-page; "tradotto dall' Autore" is evidently the better indication, and I guarantee you that the authoress will be perfectly satisfied and will add her thanks to mine, without thinking of making the slightest observation or difficulty about anything whatever. When you are passing through Leipzig I will make you acquainted with my very amiable panegyrist.

I am certainly intending to be present at the first performance of "Rheingold," announced for the 25th August; but I doubt whether they will be in a position to give this work so soon. Mr. de Bulow absolutely must take some rest after the Conservatoire examinations; the Servais are pressing him much to settle down with them for the months of August and September at Hal (in Belgium); I want him to accept their invitation, and he will, I hope, decide to do so. Now without him "Rheingold" at Munich seems to me at least problematical. I will let you have positive tidings, which I myself shall receive shortly. Please tell me where to address you.

I have set to work again, and with the exception of the fortnight at Munich, in honor of "Rheingold," I shall remain here, or else in the neighborhood, until next spring.

Sgambati kisses your hands. Pinelli is at the baths of Lucca, where Buonamici [Giuseppe Buonamici, pupil of Liszt and Bulow, now one of the most celebrated pianists of Italy. Lives at Florence] will probably join him.

F. L.

In your walks at St. Gall make my salutations to the concert room in which were heard, some 10 or 12 years ago, the "Symphonie Heroique" conducted by Wagner, and two Symphonie Poems, conducted by your very humble servant. Szadrowski was at that time conductor at St. Gall; since then he is settled in the Grisons (at Graubunden); if you should go that way do not fail to see him; I recommend him to you as one of our friends.

[The celebrated French composer, pianist and organist (born in
Paris 1835) was, as is well known, in sympathy with the New
German School, and fosters, amongst others, the genre of
"Symphonic Poems" made known by Liszt.]

Your kind letter promised me several of your compositions; I have been expecting them, and, while waiting, I want to thank you again for your second Concerto, which I greatly applaud. The form of it is new and very happy; the interest of the three portions goes on increasing, and you take into just account the effect of the pianist without sacrificing anything of the ideas of the composer, which is an essential rule in this class of work.

At the very outset the prelude on the pedal G is striking and imposing: after a very happy inspiration you do wisely to reproduce it at the end of the first movement and to accompany it this time with some chords. Among the things which particularly please me I note: the chromatic progression (last line of the prelude) and that which alternates between the piano and orchestra (from the last bar of page 5—repeated then by the piano alone, page 15); the arrangement of thirds and sixths in demisemiquavers, charmingly sonorous, pages 8 and 9, which opens superbly on the entry of the subject fortissimo; the piquant rhythm

of the second subject of the Allegro scherzando, page 25. Possibly this would have gained somewhat by more combination and development, either of the principal subject or of some secondary subject; for instance, a little anodyne counterpoint, it seems to me, would not be out of place on pages 26, 27. etc., etc., and so on. Item for pages 50 to 54, in which the simple breadth of the period with the holding on of the accompaniment chords leaves rather a void; I should like there to be some incidence and polyphonic entanglement, as the Germanic Polyphemuses say. Pardon me this detailed remark, dear Monsieur Saint-Saens, which I only venture to make while assuring you in all sincerity that the total of your work pleases me singularly. I played it again the day before yesterday to Sgambati, of whom Plante [Francis Plante (born 1839), the exquisitely refined Pianist] will speak to you, as of an artist above the common run and even more than ordinarily distingue. He will let the public hear your Concerto next winter, which ought to meet with success in every country.

When is the performance of the "Timbre" ["Le timbre d'argent" (the silver bell), an Opera] to be? I wish it to give you abundantly all the satisfaction that you deserve, and shall only regret that I cannot be present at the performance of it. At my age the role of young composer is no longer suitable—and there would not be any other for me at Paris, as I cannot continue indefinitely that of an old disabled pianist. Thus I have judiciously made up my mind not to trouble myself about my compositions any further than the writing of them, without in the least thinking of spreading them. Supposing that they have any value it will always be found out soon enough either during my life or afterwards. The sympathy of my friends (a very well chosen sympathy, I flatter myself) amply suffices me; the rest of the world may talk in its own way. As to the "Elizabeth" I do not think it is adapted to the Parisian taste. I am moreover very tired of that score through the performances at the Wartburg, Pest and Vienna; and the difficult task of a suitable French translation, plus the rehearsals with a set of artists little disposed to take trouble, frightens me. I much prefer to employ my time in a manner less ungrateful and more agreeable; consequently I shall not put out anybody in Paris, which I shall not visit; and invite you to come and see me in Rome. Here, dear Monsieur St. Saens, we can talk and musiquer [make music] at our ease. Try and procure me this great pleasure soon, and believe fully in my sentiments of high esteem and devoted affection.

At last your compositions have come, and I spent all yesterday in their amiable society.

Let us speak first of the Mass: this is a capital, grand, beautiful, admirable work—so good that, among contemporary works of the same kind, I know perhaps of none so striking by the elevation of the sentiment, the religious character, the sustained, adequate, vigorous style and consummate mastery. It is like a magnificent Gothic Cathedral in which Bach would conduct his orchestra!

After having read your score three times I am so thoroughly imbued with it that I venture to risk a few remarks.

In the Gloria one should, I think, preserve the literal text entire: "Gratias agimus tibi propter magnam gloriam tuam."— Consequently add four or five bars.

At the beginning of the Sanctus it would be better to continue the voices, and to complete by them the sense of the orchestra; similarly it would be advantageous to interlace, by means of an alto solo, the text of the Benedictus (which you have omitted) to the Organ melody, pages 77 and 78 after the Hosanna, as well as to add the chorus to the final phrase of the "Dona nobis pacem," pages 88 and 89.

You will find all these small matters carefully noted down on your score, which I will venture to return to you, begging you to let me have it back again soon, for I must possess this extraordinary work, which has its place between Bach and Beethoven.

Bear with one more liturgical question, and, in addition, a proposition boldly practical in the Kyrie, the spire of your Cathedral. The inspiration and structure of it are certainly admirable…"omnia excelsa tua et fluctus tui super me transierunt." Nevertheless, during these 300 bars, about, of a slow and almost continuous movement, do you not lose sight of the celebrant, who is obliged to remain standing motionless at the altar? Do you not expose him to commit the sin of impatience directly after he has said the confiteor?…Will not the composer be reproached with having given way to his genius rather than to the requirements of the worship?

In order to obviate these unpleasant conjunctures it would be necessary for you to resign yourself to an enormous sacrifice as an artist, namely, to cut out 18 pages! (for church performance only, for these 18 pages should be preserved in the edition to your greater honor as a musician, and it would suffice to indicate the "cut" ad libitum, as I have done in several places in the score of the Gran Mass).

Sacrifice, then, 18 pages as I said, and put the "Christe eleison" on page 6, instead of the "Kyrie eleison,"

[Here, Liszt illustrates with a 3-bar musical excerpt at the point where the words "Chri——————-ste e-le———" are sung.]

concluding pp on page l0. From the musical point of view exclusively, I should blush to make such a proposition; but it is necessary to keep peace, especially in the Church, where one must learn to subordinate one's self in mind and deed. Art, there, should be only a correlative matter, and should tend to the most perfect concomitance possible with the rite.

Be assured, dear Monsieur Saint-Saens, of the sentiments of high esteem and great sympathy which I entertain towards you.

I have had to write a great many notes this last week. Pardon me for being so late in thanking you for your friendly lines, and kindly tell Mademoiselle Alexandrine Ritter how sincerely I feel for her in her affliction. Her mother expressed in a rare degree and in her whole personality the high and sweet dignity of the human soul. Respect attached itself to her naturally,—and she inspired the noble serenity of it.

In a few days a little surprise will reach you in the form of an "Ave Maria" written for the Cherubim Society, and dedicated to the society's dear Maestra. However simple these few bars may be (in which there is not a single repetition of a word, nor ornamenting of any kind) I hope they will not be unpleasing to you, and I beg you to play them in the form of a prayer for

In acknowledging the receipt of the "Ave Maria" tell me when you expect Bulow, of whom I have had no tidings since Munich.

Let my best thanks for your letter be, to take it to heart—and to comply with it. Meanwhile this much is certain—that we shall see each other in Weimar next May, and that at the Tonkunstler- Versammlung there you will officiate as the worthy biographer of Beethoven.

In spite of too modest a remark in your letter I am convinced that you are peculiarly well qualified for thoroughly grasping, and making others comprehend, the question of the "more modern style of Art." Proofs of this have been gathered recently from all the admirable things you have said in your brochure on Wagner; for instance, in regard to the "refined, firm and proud position held by Music," its "most expressive physiognomy," and "that spirit of love which Music has created for itself"—and also, if you will allow me such presumption in contrast to your modesty, on p. 63, where you say, "The logos alone regulates the thought and gives life to the risings and fallings of the poetic idea"—

Innumerable interruptions prevent my beginning the Beethoven Cantata today. But I have at last secured quiet: I shall remain all the winter at the Villa d'Este (3 or 4 hours out of Rome), and take care that I do not lose an immoderate amount of time.

[According to the Weimarer Zeitung it was printed as follows, fragmentarily, in the Leipziger Tageblatt of December 6th, 1888.]

.—. The death of Overbeck reminds me of my own. I wish, and urgently entreat and command, that my burial may take place without show, and be as simple and economical as possible. I protest against a burial such as Rossini's was, and even against any sort of invitation for friends and acquaintances to assemble as was done at Overbeck's interment. Let there be no pomp, no music, no procession in my honor, no superfluous illuminations, or any kind of oration. Let my body be buried, not in a church, but in some cemetery, and let it not be removed from that grave to any other. I will not have any other place for my body than the cemetery in use in the place where I die, nor any other religious ceremony than a quiet Mass in the Parish Church (not any kind of Requiem to be sung). The inscription on my tomb might be: "Et habitabunt recti cum vultu suo.".—.

Your kind letter has given me very sincere pleasure, dear Monsieur Franz. I hope your health is quite re-established, and that you are plunging into Bach to your heart's content,—that admirable chalybeate spring! I will bear you company, and have given myself, for a Christmas present, the little 8vo edition of Peters of the two "Passions," Masses and Cantatas of Bach, whom one might designate as the St. Thomas Aquinas of music. Kahnt, who sends me these scores, tells me of his earnest desire to get Cornelius settled at Leipzig, in the position of editor-in-chief of the Neue Zeitschrift, founded, as you know, by Schumann, and bravely carried on by Brendel. It is the sole paper which has, for thirty years past, sustained with steadfastness, knowledge and consistency the works and the men of musical progress. If, as I wish, Cornelius undertakes Brendel's task, I think you would do well to follow out your project of staying again in Leipzig.—In any case I hope to see you again this spring at Weimar; I shall arrive there towards the middle of April, and shall stay till the end of June. During the winter I shall abstain from all travelling, and shall not leave my retreat at the Villa d'Este except to stay a few days in Rome. Many people have very kindly invited me to go to Paris; I have excused myself from doing so for reasons of expediency which you know. Henceforth it is not myself that I have to bring forward, but simply to continue to write in perfect tranquillity and with a free mind. To do this obliges me to seclude myself, to avoid the salons, the half- opened pianos and the society drudgery imposed by the large towns, where I very easily feel myself out of place.

Thank you cordially for your propaganda of the "Missa Choralis;" I shall be much obliged if you will write me a couple of words after the performance. Will you also please tell M. Brassin that I thank him much for not having been afraid of compromising his success as a virtuoso by choosing my Concerto? Up to the present time all the best-known French pianists—with the exception of Saint-Saens—have not ventured to play anything of mine except transcriptions, my own compositions being necessarily considered absurd and insupportable. People know pretty well what to think by what they hear said, without any need of hearing the works.

How did the orchestra go with the piano in the Concerto? Had they taken care to have enough rehearsals? There are several passages that require minute care; the modulations are abrupt, and the variety of the movements is somewhat disconcerting for the conductor. And, in addition to this, the traitor triangle (proh pudor!) [Oh shame!], however excited he may be to strike strong with his cunning little rhythm, marked pianissimo, provokes the most scandalous catastrophe…

Notwithstanding all the regrettable parleying, for in such a matter all sensible people ought to be of the same opinion, I presume that Mr. Godebski's bust of Chopin will shortly be placed in the lobby of the theater at Warsaw. Certainly Chopin well merits this mark of honor, which moreover need in no wise prevent people from busying themselves about a larger monument to Lemberg, and from collecting a sufficient sum for that purpose.

At Weimar we will talk of Hal and the pleasure it will be to me to pay you a visit there. Pray present my respectful thanks to your mother, and my affectionate remembrances to Madame Godebski,—and believe me, dear Monsieur Franz, your sincere friend,

[Like all the subsequent letters to Dr. Witt, this letter is without date or ending, as printed in Walter's biography of Witt (Ratisbon, Pustet, 1889).—Dr. Witt (1834-80) was a distinguished musical scholar, also a composer, the founder and first general president of the Cacilien-Verein [St. Cecilia Society], and died as a clergyman in Landshut.]

Before I had the honor of knowing you personally the manuscript of your "Litaniae lauretanae" aroused in me sincere interest and religious sympathy towards you. This first impression is now increased by my deeper knowledge of the substantial value of your compositions and my fuller appreciation of the great services you have rendered to Church Music. That you act as admirably in practice as in precept is evident in other of your works, but especially in the Mass and the Te Deum which were performed here on the Emperor of Austria's name-day in the Church of the Anima under the leadership of our dear friend Haberl [On the 4th October, 1869] Both of these works are of rare value—and, what is still more rare, both are equally devoted to Art and the Church. The "Litaniae lauretanae" breathes also a spirit of nobility of soul, and diffuses its pleasant aroma notwithstanding the necessary musical limitation. The collective character of the invocations shows uniformity; and yet the lines of melody are very finely drawn; especially touching to me is

[Here, Liszt writes a 2-bar musical excerpt where the words "Sa— lus infirmo—-rum Refugium peccatorum, Conso-la-trix afllicto—- rum" are sung]

My hearty thanks for the dedication, my very dear friend; it brings me justifiable and joyful pride, which your own exaggerated modesty should dispel.—Next summer I will again come to you for a few days on my way to Szegzard (Hungary), where my Mass for male voices (2nd very much corrected edition,—now published by Repos, Paris) is to be performed. A few months after my visit you will I hope receive most satisfactory news (through Haberl) about the Cacilien-Verein [Haberl had endeavored, through the intervention of the Bishops assembled in Council in Rome, to obtain the Pope's approbation of the Cacilien-Verein, and his efforts met with success.], to which, in fullest conviction, I remain firmly attached—as well as to its much esteemed President.

The proofs of Weber's and Schubert's Sonatas were despatched to Stuttgart in two parcels by rail the day before yesterday. This is the cheapest and quickest way of sending things, and I beg of you in future to send parcels in this way, as packages sent by spediteur come slowly and cost a great deal. N.B.—The parcels must not be too thick, and must have the address written on the wrapper. As soon as you send me the D minor Sonata, that is still wanting, and Weber's Conzertstuck, I will revise them at once; ere long you will receive Schubert's Impromptus, Valses, etc.

My endeavor with this work is to avoid all quibbling and pretentiousness, and to make the edition a practical one for teachers and players. And for this reason at the very last I added a goodly amount of fingering and pedal marks; kindly get the printers to excuse this, and I trust that the trouble it causes will not prove superfluous.—With regard to the deceptive Termpo rubato, I have settled the matter provisionally in a brief note (in the finale of Weber's A flat major Sonata); other occurrences of the rubato may be left to the taste and momentary feeling of gifted players. A metronomical performance is certainly tiresome and nonsensical; time and rhythm must be adapted to and identified with the melody, the harmony, the accent and the poetry…But how indicate all this? I shudder at the thought of it.

Also kindly excuse me from writing a preface, and write it yourself, dear friend. For you know exactly what I should wish to say, and you would say it much more clearly than I could, for my very small amount of pedagogism is, for the most part, confined to the words of St. Paul: Littera occidit, spiritus vivificat!

Your success delights without surprising me. It is only what ought to be, that Lebert and Stark's Pianoforte Method should meet with general acceptance, and that the Stuttgart Conservatoire should continue to prosper. Both of these points of merit I took the opportunity of mentioning with due honor to H.M. the Queen of Wurtemberg—on the occasion of her visit to the Villa d'Este here.

Best thanks for sending the Bach Fugue, the 2 Etudes (separate edition) and the last volume of the Method, which I found to contain many, to me, new and praiseworthy items, among others the Etudes of Hiller and Brahms.

The life's object of the Neue Zeitschrift remains firmly to stand by the colors of Rheingold and the Nibelungen, and unfailingly to represent the interests of the Deutsche Musikverein. This embraces all essential consequences for us.

At the end of next week I will send you the piano-forte score of the Beethoven Cantata, and write full particulars to Riedel.

By the middle of April I hope to reach Weimar. Best thanks for sending the Ave maris stella—and in all friendliness I remain yours,

The best thing I have to tell you today is that we shall soon see each other again. At the beginning of April I shall visit Bulow in Florence, and then go direct to Weimar.

Last week I had a correspondence with Riedel about matters of the Tonkunstler-Versammhung. The most important points are as follows:—The utmost economy that is possible to making a perfectly suitable orchestra and chorus. The spaces at our disposal in Weimar (churches, theater and refreshment room) will not allow of any great expenditure as regards the personnel. It is to be hoped that Muller-Hartung can obtain a respectable contingent for the Beethoven Mass, which will lessen the number of outside co-operators; and I in like manner reckon chiefly on the Weimar Vocal Union for the more important numbers of the concert programme-Psalm by Schulz-Beuthen, Prometheus by Saint- Saens, my Beethoven Cantata, etc. The arrangement of the orchestra is to be as it was at the Carl August Festival and at the Tonkunstler-Versammlung of '61—10 first violins, 6 to 7 double basses, etc. Riedel conducts Beethoven's Mass; Lassen the concerts in the theater; and Muller-Hartung my Cantata. Conzertmeister David and Director Hellmesberger will preside over the 1st violins. Both gentlemen will also determine about the performance of the Beethoven Quartet. Any other special violin virtuoso would be superfluous this time. Riedel must arrange the distribution of the solo parts of the Beethoven Mass according as he thinks best. Milde only requires, in my Cantata,

I flatter myself, by-the-bye, that Milde will also find a pleasure in the "Sternen-Cantabile"—

[Here, Liszt illustrates with a musical score excerpt where the words "Viel tau-send hal-ten nach-tig" ("Vide the accompanying page") are sung. It contained the Cantabile in question for Milde from Liszt's Beethoven Cantata.]

If our meeting were at Jena I should decidedly invite Bulow to do it; he is the veritable Beethoven player and interpreter, the one who knows and who can do [Kenner und Konner]; but unfortunately the shades of Dingelstedt and Gutzkow warn him from Weimar's doors…

Meanwhile there is no hurry about the choice of a pianist (he or she). Only arrange the principal things in a suitable manner, the chorus, orchestra, solo singers and the Beethoven Quartet; all the rest will soon be arranged after my arrival at Weimar in the middle of April.

The piano arrangement of my Cantata must be written out again, and cannot therefore be sent off for 8 or 10 days. The entire work lasts about three-quarters of an hour. I am so far ready with it, that there are only two or three more passages to be instrumented.

[Autograph in the Liszt Museum at Weimar.—The addressee was widely known as the writer Elpis Melena.]

My winter villeggiatura at the Villa d'Este is drawing to its close; the day after tomorrow I return to Rome, and when you receive these lines I shall be at Weimar. Address to me there till the middle of June.

When will your Cretan volume, crowned [Untranslatable pun on the words "cretois" and "crete."] with erudition and philhellenism, be finished? Shall you return this summer for its publication? I hope you will, and I will confess to you without any compliments that you are among the very small number of my friends whose absence I feel to be a privation. Now, to accustom one's self to this kind of privation does not become easier with age.

You doubtless know the novel of your great historical friend, published now by the "Gaulois" (if I am not mistaken) under the title "La Domination du Moine" (or "Clelia.") I question whether another of your friends—less historical although very distinguished—M. St. Rene Taillandier, recently appointed Secretary General to the Minister of Public Instruction, would subscribe to many copies of G.'s novel for the Imperial libraries; but he will have a fine opportunity of ministerial revenge when the biographer of the hero of l'unita italiana (not the "cattolica," relegated to Turin) brings out "la Crete," in which the Cretans will at last be relieved from the anathema of their Epimenides narrated in St. Paul's Epistle to Titus,— "Cretenses semper mendaces, malae bestiae, ventres pigri."—In the matter of "mendaces" and "ventres pagri" there would be a tremendous competition with the rest of Europe.

My plans for the spring and summer remain always the same. Weimar—from the 10th April till the 20th June—with the Tonkunstler-Versammlung (which has the honor of counting you amongst its illustrious members); then in the last week of May I should be very much tempted to be present at the famous "Passion Play" at Ober-Ammergau; at the end of August I shall go to my odd friend August at Szegzard (Hungary), who is anxious that a new Mass of mine should be performed on the day of the dedication of a church (29th September); and in October I shall return to Rome.

I suppose you receive the Allgemeine Zeitung. It gives but too much news, and little edifying, about serious things here by its "Roman Letters," no less widespread than badly put together. If you want to obtain complete information on these difficult questions you must read l' Univers and the letters of Veuillot, or at least l'Unita cattolica; but it would be exacting too much from your impartiality. Moreover you have better things to do than to read; your chief duty is to make yourself read, consequently to write and to write again;—in a secondary manner occupy yourself a little with your beautiful vines, and, above all, don't forget to bring soon some samples of their excellent product, which will enliven our material and intellectual "substantials," at which, hoping to participate again in the year of grace 1870, I am,

As handy gossip I send you the following: they say that Odo Russet [sic] will shortly go to England for his wife's confinement, and will not return to his post in Rome. It is also said that Schlozer will pay a visit here in the spring;—and that the daughter of Countess Garcia is to marry a nephew of Cardinal Antonelli, and will bring a fortune of ten thousand pounds sterling.

Tarnowski will return to his Penates in Gallicia at Easter, and will write to you. Wider continues to be president of the German circle. Next door to one another, there are many concerts given at the Sala Dante, and our friend Sgambati is acquiring more and more the reputation of a great artist, which he merits. Remenyi spent the winter in Hungary. I should very much like to invite him to come to the Tonkunstler-Versammlung at Weimar; but our programme is already over-full. In any case I shall meet Rem. again at Szegzard.

The rehearsals of your "Noces de Promethee" (Marriage of Prometheus) are proceeding well at Weimar and Jena; we shall pay particular attention to the 4 harps, the saxophones, etc. But what is of the greatest consequence is yourself. I have announced your coming at the Court and in the town. A revoir then! Try to be here on the 24th, [Saint-Saens came to Weimar for the Tonkunstler-Versammlung of the "Allgemeine Deutsche Musik- Verein," with which the Beethoven Centenary was simultaneously celebrated; and for the first time, on the 27th May, 1870, Saint- Saens' name appeared on the programme of these concerts. He also appeared as a pianist, and Liszt played with him at a Matinee on two grand pianos.]—and believe me yours ever in sincere friendship,

Being perfectly convinced of your genuine friendship I am quite willing to follow the instructions you will briefly give me concerning the Beethoven Festival [For the benefit of the Beethoven Memorial. It took place in Vienna on the 18th March, 1877. Liszt played the E-major Concerto and the pianoforte Fantasia (with chorus), and accompanied the Scotch songs sung by Caroline Bettelheim.] in Vienna. Whether, and in what way, I may be able to take part in it will be decided when we have discussed the subject. Meanwhile I most modestly determine to consider myself unusable. [There is here a play on the word bescheiden, the German being ich bescheide mich bescheidenst, which is untranslatable.]

About the beginning of August I shall pay you a visit in Vienna, whence my road leads onwards to Szegzard. My earlier halting points will be: 3rd July, Leipzig—performance of my Missa choralis; 13th and 17th July, "Rheingold" and the "Walkure" in Munich; and after that the Passion Play at Oberammergau.

The favorable reception accorded to the Coronation Mass [By Liszt] is essentially due to your having conducted it. My best thanks for this. The score is to be printed shortly, and I must ask you to hand over to the publisher Schuberth the manuscript which I gave you in Munich last summer. Schuberth is going to Vienna in a few weeks.

[The favorite and most distinguished of Liszt's lady-pupils, of whom he wrote to Navratil on 29th September, 1881, that he had "for many years past regarded her as the most brilliant and accomplished of the lady-pianists of the day." Since 1874 she has held the appointment of Court pianist at the Imperial Court of Austria.]

A telegram from Abranyi informs me that an invitation, addressed to Capellmeister O.B. in Salzburg, has already been sent to you to ask you to take part in the Sangerfest in Pest. Hence, after having triumphantly played in the Mozarteum on the 18th, your triumphs are to be continued forthwith in Pest on the 20th. Baron Augusz and your humble servant expect you there from the 19th. Kindly let me know (per telegram) by which train you will arrive, and—a few days afterwards—my rigidly adhered-to plan of carrying you off to Szegzard shall be brilliantly fulfilled. Here in this house you will find rest, comfort, friendly sympathy and harmless affability, and, in addition, music too, and that not of the worst kind, for we shall arrange it ourselves.

Your hearty and humorous little note closes delightfully with the promise that you are soon coming to Szegzard. You will not find here any vestige of all the artistic enjoyments and glories of the Mozarteum; the whole symphonic contingent of Szegzard is limited to half a dozen gypsies with instruments out of tune and harmonising in pell mell fashion one with the other; the choruses are free and performed in the open air, namely: soprano and alto- -flocks of geese; tenor and bass—cattle;—so that a conductor like O.B. would have nothing further to do than to pose as a mythological figure…

Nevertheless I promise you, dear kind patroness, many pleasant and befitting things in this restful, genial and refined home of our mutual friend Baron Augusz.

You will be most heartily welcome to us all—especially to your most sincerely attached

Between the middle and the end of September Remenyi, Mosonyi and
Mihalovich will be staying here.

[Autograph in the possession of Herr E. von Mihalovich in Budapest.—The addressee was a musician, writer and critic there.]

The death of Mosonyi puts our hearts in mourning. [Michael Mosonyi, the friend of Liszt, and to whose sudden death the latter here refers, was famous in Hungary as a composer, teacher and author.] It makes us sorrow also for Music in Hungary, of which Mosonyi was one of the noblest, most valiant and praiseworthy representatives. One might be proud of walking side by side with him in the right road. In truth his name had not its due eclat and renown abroad; but he did not trouble himself the least about that, and possibly he did not even take enough trouble about it,—as much by wisdom as by contempt of equivocal and vulgar means, which were repugnant to the elevated rectitude of his soul. He felt what esteem was due to him, and thought of nothing but real glory; that which is attained by conscientious perseverance in the Good and the Beautiful.

Let us honor his memory by setting ourselves to make his examples and teaching bear further fruit!—

Many of the published compositions of Mosonyi deserve to be more and better known; others, still in manuscript,—his last great dramatic work "Almos" in particular—will soon be spread abroad, I hope.

We will talk about this shortly at Pest. For today I wish merely to share with some friend, such as yourself, dear Abranyi, the grief at the loss which we have sustained. Yours from my heart,

Your dear little notes joyfully alarm the whole household. All beg you urgently to come as soon as possible, and I all the more urgently as I have to go to Vienna at the end of April.

Your bewitching description of the "Ambrosia-Concerto" makes me most inquisitive: be sure not to forget to bring the tremendous manuscript with you; we will arrange an historically memorable performance of it in the salon of the Town-Vicarage.

In musical matters as follows: this evening and Friday concerts
by Remenyi; next Sunday and on the Wednesday before Easter
Philharmonic concerts;—in between a grand concert at the Musik
Academie of Ofen, and on Good Friday a performance of the Stabat
Mater, etc., etc.

Our programme shall be arranged here, forthwith, by word of mouth, at any quarter of an hour that my dear patroness Sophie may feel disposed to appoint.

[Composer of several operas and large orchestral works (born 1842), now director of the Music Academy in Budapest.]

.—. Augusz, in his last letter, speaks of fresh proposals on the subject of my settling in Hungary. I answer him, as before, that I am quite disposed to show myself accommodating, devoted, useful, obedient and grateful. The only condition that I make relative to my return to Pest next winter is—a place to live in; for, on the one hand, the modesty of my income forbids me to increase my expenses, and, on the other hand, politeness demands, as it seems to me, that if they seriously want me they will also show me that they do, by sparing me the onerous trouble of having to find a home. On the four occasions on which I have stayed at Pest since 1865 Schwendtner has shown me the utmost and most cordial hospitality. I feel a most true gratitude to him, but should be afraid of showing it ill by taking too great advantage of his kindness to me.

.—. Mme. de Moukhanoft [The cultivated musical friend of Liszt and Wagner, to whom the latter dedicated his "Judenthum in der Musik," whilst Liszt dedicated an Elegic to her memory] writes, "Has Mihalovich received my letter of tender invectives and entreaties to make him come to Weimar?"

It will be difficult to persuade her that walks on the shore at
Ostend ought to be preferable to the charm of the talks on the
"Goethe Platz," and even at the "Erb-Prinz," which she will again
favor with her presence towards the middle of June, I hope.
Tausig also promises me to spend a fortnight here.

Mlle. Brandt sang several songs admirably yesterday morning at the "Hofgartnerei" I shall accompany her in yours tomorrow.

Again an excellent suggestion; follow it without hesitation and present us ere long with a pleasantly powerful and characteristic portrait of Tausig. [Liszt's great pupil (born in 1841) had died in Leipzig on the 17th July, 187l.] In what year of the fifties his father brought him to Weimar, I do not now recollect; but I do remember how greatly astonished I was at his extraordinary talent when I first heard him play. The intellectual claws and pinions were already giving signs of mighty power in the youth who was scarcely 14 years of age, and somewhat delicate in appearance. I felt some compunction in undertaking to give him further instruction, determined not to undertake the task, and therefore informed the father that in the case of such a stupendous organisation the wisest plan was to leave it free, independent development without a teacher. However Tausig insisted upon remaining with me. He studied immoderately; as a rule kept very much to himself while in Weimar, and got into various little scrapes in consequence of his quick, ironical humor. I was accused of being over-indulgent with him, and of thus spoiling him; but I really could not have acted otherwise, and I loved him with all my heart. On various occasions when I had to undertake short journeys in connection with the performances of my works he accompanied me; among other places to Dresden, Prague and Vienna. Subsequently he lived in Vienna for some length of time, and got up some concerts there with the view of having some Symphonic Poems performed which he himself conducted—but he was unable to get a proper start. He had to struggle on and to endure many privations before attaining the success he deserved. His brilliant vocation did not become firmly established till a few years ago, in Berlin, Leipzig, etc.

In the spring of '69 I met Tausig in Paris (after the "Tannhauser" scandal), and returned with him to Weimar for the Tonkunstler-Versammlung. Bulow conducted the Faust Symphony by heart (at the rehearsals most accurately mentioning the letters!), and Tausig played the A major Concerto marvellously. Since then I have seen him only twice: last May at the Tonkunstler-Versammlung in Weimar (where he played Beethoven's E- flat major Concerto) and now…

Countess Krokow could give you the most reliable information about him, and our friend R. Pohl may also be of use to you in your work. As far as I know, no one has understood Tausig's genius, his demoniacally ideal nature, with so quick a perception, so refined and—I might say—with such womanly intuition, as Frau von Moukhanoff (nee Countess Nesselrode). Unfortunately the two letters in which she wrote me full particulars about Tausig are in Rome. Tausig dedicated his two lately published Etudes, Op. 1, to her, and she was ever a highly appreciative and kindly patroness of his. Remember to mention her specially in your delineation of his character.

Of Tausig's publications those chiefly deserving the highest praise are his masterly transcriptions of the Beethoven Quartets, the Toccata and Fugue of Bach (D minor), Schubert's March; the three pieces from "Tristan and Isolde," the pianoforte score of the "Meistersinger," of the Kaisermarsch, the "Nouvelles Soirees de Vienne" and his two last original Etudes. Recommend also, for the good of pianists, and as a very saleable work, an early publication of his very admirable and well-sustained arrangement of Chopin's first Concerto (E Minor).

In the middle of this week I return to Weimar and remain there till the 5th-10th of August.

In spite of the proverb "Every road leads to Rome" I shall not be able to return there by way of Hal this time. Will you give my very affectionate respects to your mother and tell her how much I regret to be unable to be present, except in thought, at the beautiful family fete at the time of the inauguration of the monument to your father, on the 10th September.—Shall you not invite the Prince de Chimay (the present governor of Mons, I believe)? He would have a right there owing to his sincere interest for Art and his very distinguished musical talent.

I am persuaded that Lassen will express in noble music the inspiration of this fete intended to perpetuate the memory of an illustrious and sympathetic artist. But however successful may be his composition, it does not absolve you from yours, which filial affection demands of you and will dictate to you. Write it without delay, and afterwards take advantage of your leisure at Hal to fulfil the praiseworthy programme indicated in your letter:

b. To help towards your independence by making yourself capable of cutting a good figure as conductor.

c. To venture on the performance of your "Macbeth" sorceries and other of your compositions, with the reservation of not hearing yourself immediately proclaimed king by the sorcerers of criticism.

Shall you make your appearance at the composition competition next year? I invite you to do so.

You know that H. Richter has been appointed conductor to the National Theater of Pest, and will conduct "Lohengrin" there at the end of September. He will find, I trust, honor and satisfaction in more firmly implanting in his country the sublime works of Wagner, and in making the orchestra, the stage and the public profit by the exemplary rules and practices of M. de Bulow at Munich. Needless to say that I shall endeavor to make Richter's task as easy as possible to him.

Count Tyszkiewicz, in passing lately through Weimar, was kind enough to explain to me his new system of musical mathematics, and to show me his tables of figures honored with commendatory letters from Mr. Gevaert and several notabilities. If, by means of his figures and measures, Tysz. succeeds, as you claim for him, in demonstrating that X…is a "pyramid," this will be a more pyramidal glory even than the system.

Next Thursday I go to Eichstatt (Bavaria), where the (German) St. Cecilia Society meets. Its founder and president F. Witt—a much respected ecclesiastic, conductor of the Cathedral, composer and editor of two newspapers of sacred music published by Pustet at Ratisbon—gives evidence of a great capacity and a persevering zeal in endeavoring seriously to improve the uses and customs of Church music, and, by continuous publications, to propagate the old works of repute as well as the new ones of this class that are deserving of recommendation.—A pamphlet by Witt, which appeared in the spring, "uber das Dirigiren der Kirchenmusik" ["about the conducting of Church music"], corrects some grievous errors and furnishes much profitable instruction.

I shall be much obliged if you will send me a printed account of your fete of the 10th September; on that day I shall be in Rome, and shall not return thence till toward the end of October, to settle at Pest for the winter.

Remember me most kindly to your brother Joseph, [The excellent Violoncellist Joseph Servais, who died in 1885 at the age of 35] to Godebski and his wife, and believe, dear Franz, in my steadfast feelings of devoted affection.

Your kind remembrance of the 22nd October has given me sincere pleasure, for which I thank you cordially. Please excuse me for not telling you oftener by letter my constant feelings of affection for you; the hindrance of occupations and cares drives me, alas! into an extreme parsimony as regards letter writing with my best friends, but I think that is my only omission towards them. To see M. de Bulow again was a real joy to me. His health is improving, and his prodigious maestria at its height. He is going to make a concert tour this winter in Vienna, Pest, Prague, Berlin, etc., and will come to London in May. I hope that the people there will be able to appreciate his superiority in its entirety. Bulow, more than any contemporary artist, takes the lead in celebrity. He is not only a very great virtuoso and musician, but also a veritable sovereign of music. Mme. Laussot, who has the genius of nobility of the heart, also came to fete me on Sunday. I shall see her again at Florence in a fortnight, on my way to Pest, where, as you know, I am henceforth fixed, by royal and national favor. Whether there or at Weimar, I hope we shall meet again next summer, dear Bache, in perfect harmony.

Bravo and thanks for your concert programmes, which I beg you to continue sending me.

To your .—. sketch of Tausig only a single objection could be raised; namely, that you bestow too high praise upon me. Pardon me if I cannot argue about it, and accept my cordial thanks for this new tribute of your generous kindness.

Last Sunday (22nd October) I had the great pleasure of a visit from Bulow. He is going to remain in Florence till the New Year, and he then begins a categorical concert tour in Vienna, Pest, Prague, Berlin, Leipzig, and at the end of April goes to London. His perfect mastery as a virtuoso—in the finest sense of the word—is in its zenith. To him one might apply Dante's words: "A master to those who know."

Again my hearty thanks, and wishing you an increase of La Mara's .—. writings, I remain with much esteem,

In order justly to decide the question of plagiarism between Messrs. Altschul and Joseffy, [Both were pupils of Liszt; the former is now in Buda-Pest, the latter in New York.] one would need first of all to compare the manuscripts of the two disputants. Altschul was kind enough last winter to play me his version in thirds and sixths of Chopin's "Valse" (in D-flat major); the other, questionable, version by Joseffy I do not know. If you think it advisable to send me both versions I am quite ready to let you have my opinion on the subject. Meanwhile I will only remark that the multifarious forms of passages in thirds and sixths—upwards, downwards, to the right, to the left, or crossing, split up, etc., etc.—admit of a variety of forms of transcription in thirds and sixths of the Chopin Valse, and hence Herr Joseffy might quite innocently, in his love of sport as a virtuoso, have shot down his own bird even within Herr Altschul's range.

Allow me to reply, later on, to your kind inquiry in regard to a pianoforte piece.

Your talent of observation is as incontestable as your very charming amiability. With a sagacious eye you observed my predilection for the silent "compatriot," apparently rather sombre, but of excellent composition at bottom. [A box of caviare, which Madame Rubinstein had sent to Liszt.] Doubtless the advantages which appertain to it in its own right were peculiarly enhanced by the charm of your salon, where I hope to see it again and often. Meanwhile, since you are good enough to favor me with its uninterrupted company, I beg to assure you that I shall appreciate it even beyond its specific merits, which are moreover very real. Will you be so good as to renew to Rubinstein the expression of my old and admiring friendship, and accept, Madame, the most affectionate thanks and respects of your very devoted servant,

Your new Song "Du bist wie eine Blume" ["Thou'rt like a tender flower"] is most welcome, and you have succeeded perfectly with it. It only remains to add a ninth to this No. 8, so that the volume may contain the number of the Muses. I hope that you will shortly bring me this No. 9 yourself, for we want you at the Tonkunstler-Versammlung (also the ninth), which will be held at Cassel from the 26th to the 30th June. Your "Geisterschiff" figures on the programme of the first concert, and Riedel (our President) will write to you officially to invite you to fill the post of pilot and captain of your "phantom ship," in other words, to conduct the orchestra. At the same concert Volkmann's Overture "Richard III.," Raff's "Waldsymphonie," Rubinstein's Overture to "Faust" and a new Violin Concerto of Raff will be performed. Wilhelmj will play the violin part, and I hope that other soloists of renown will also lend us their assistance. The programme of this year's Tonkunstler-Versammlung contains, besides these, a new old piece of goods—the "Elizabeth;" and an antiquated new one—"The Seven Words of O[ur]. S[aviour]., composed by Schutz at the end of the sixteenth century, and the manuscript of which was recently discovered at Cassel itself.

The "Elizabeth" will be given at Erfurt on the 2nd May, and on the 8th Riedel gives Berlioz's "Requiem" at Leipzig, for the benefit of our "Beethoven Scholarship." It goes without saying that I shall be present at these two performances.

.—. Schuberth has been very ill at New York, and is not yet sufficiently well to set out on his journey. I am expecting him here towards the middle of June: he will come to Cassel, where we will settle the little matter of your manuscripts in five minutes.

My most affectionate thanks to Count Albert Apponyi for his kind remembrance, with the assurance of my cordial reciprocity.

P.S.—Augusz would give me great pleasure if he would send me a small provision of Hungarian tobacco (to smoke), for my old Weimar friend Grosse, the celebrated Trombonist.

[The lady here addressed was a pupil of Liszt's at the time, and subsequently married Jules Zarembski, and is at present one of the teachers of the pianoforte at the Brussels Conservatoire.]

In reply to your friendly lines I beg of you earnestly no longer to think of having the barbarous operation performed upon your fingers; rather all your life long play every octave and chord wrong than commit such a mad attack upon your hands.

I owe you thanks in the 24 major and minor keys for the remembrance you keep of me, and the ardent style in which you publish it to the world. Your pamphlet ["Die grossen Pianoforte- Virtuosen unsrer Zeit" The Great Pianoforte Players of our Day.] draws down upon itself a capital reproach; it is that you make me out too grand and too fine. I am far from deserving it, and I confess it without any false modesty; but since you have been pleased thus to overwhelm me I can but bow in silence,—and press your hand.

No one possesses less than myself the talent of talking with the pen, and the necessity of receiving more than a hundred letters a month (not counting bills, and the numerous sendings of manuscript or printed works which I have to read) makes correspondence again more than difficult for me. It is all I can do to get through the necessary epistolary work imposed upon me…Moreover the greater part of the things which are easily said is indifferent to me, and those that I wish to say resist ordinary language. On this subject some one well said to me:

"Words seem to me to intercept feeling rather than to express it; and actions, alas! seem to me sometimes like a thick veil thrown over our soul: looks even seem to be trammelled by phantom barriers, and souls which seek one another across the sufferings of life only find one another—such is my belief—in prayer and in music."—

What wit, what sallies and what brilliant sparks in your "Quartet of Pianist Virtuosi!"—Don't let us forget the etymology of the word "Virtuoso," how it comes from the "Cicerone" in Rome—and let us reascend to Chopin, the enchanting aristocrat, the most refined in his magic. Pascal's epigraph, "One must not get one's nourishment from it, but use it as one would an essence," is only appropriate to a certain extent. Let us inhale the essence, and leave it to the druggists to make use of it. You also, I think, exaggerate the influence which the Parisian salons exercised on Chopin. His soul was not in the least affected by them, and his work as an artist remains transparent, marvellous, ethereal, and of an incomparable genius—quite outside the errors of a school and the silly trifling of a salon. He is akin to the angel and the fairy; more than this, he sets in motion the heroic string which has nowhere else vibrated with so much grandeur, passion and fresh energy as in his "Polonaises," which you brilliantly designate as "Pindaric Hymns of Victory."

No need to tell you that I fully share in your admiration and sympathy for Tausig and Henselt. Do you know Wagner's epigraph "Fur Carl Tausig's Grab"?

"Reif sein zum Sterben, Des Lebens zogernd spriessende Frucht Fruh reif sic erwerben, In Lenzes jaherbluhender Flucht—War es dein Loos, war es dein Wagen: Wir mussen dein Loos wie dein Wagen beklagen."

[For Carl Tausig's Grave:—"Ripe for Death's harvest, The fruits of life long tarrying, Full early to pluck them In the fleeting bloom of spring—Was it thy lot, was it thy bourn? Thy lot and thy destiny both must we mourn."]

Allow me to be particularly grateful to you for one very comprehensive expression in your pamphlet (page 4)—"es war thematisch" [it was thematic]—and accept, dear Lenz, the expression of my old and very cordial devotion.

In three weeks I return to Hungary, and shall stay there for the winter. The remainder of my existence will be divided henceforth between Pest and Weimar. When you return to Berlin (in the summer) I invite you to come this way. Are you in touch with the musical young Russia and its very notable leaders—Messrs. Balakireff, Cui, and Rimski-Korsakoff? I have lately read several of their works; they deserve attention, praise and propagation.

[Lessmann, a pupil of Bulow's and F. Kiel's, was at one time a teacher in Tausig's School for the Higher Instruction in Pianoforte Playing, and is now well known as editor of the Allgemeine (deutsche) Musikseitung, representing the party of musical progress with energy and success.]

My best thanks for presenting me with your admirable edition of Bach's "Preludes." Such works are among the pleasant signs of the musical Present; inasmuch as they will drive away the old jog- trot style of pianoforte playing. Bulow's edition of Beethoven outweighs in the matter of instruction a dozen Conservatoires. And the editions by Kroll and Lebert also deserve praise and ought to be widely circulated; and to your Bach Preludes I wish plentiful successors in the "Suites," "Inventions" and "Variations" (especially the 30 in G major) of grand old Herr Johann Sebastian—of Eisenach.

Allow me also to add that reading over your Songs enables me more and more thoroughly to enjoy them when I hear them—intelligent singers shall be found for them—and accept, dear friend, the expression of my sincere esteem and affection.

My stay here has been somewhat prolonged, and I shall not reach
Pest till next Sunday.

Szechenyi's [Count Szechenyi was Austrian ambassador in Berlin up to 1892.] residence here is most decidedly pleasant and convenient, without noise. In the chapel attached to the house, the house-chaplain (a cultured and estimable priest) daily reads Mass. At table an old house-physician, Dr. M., contributes a good deal to the entertainment. Among other amusing things he said one day: "As to the cholera, no one knows anything definite about it yet except myself, for I have fathomed its nature. And its nature consists solely and wholly…of nothing but cholera!"

The day before yesterday we drove with Szechenyi and Mihalovich to Raiding, [Liszt's birthplace.] in less than two hours. A Herr Wittgenstein (probably an Israelite), who lives in Vienna, now rents this Esterhazy estate, and sublets it again. I found no perceptible changes in the house where I was born since my last visit there 24 years ago. The peasants recognised me at once, came to pay me their respects at the inn, and rang the church bell as we drove away.

.—. I wrote to Kahnt from here that he was to send you immediately the 9 "Kirchen-Chorgesange" and my Mass for men's voices ("Editio nova").

The three Patronatsscheine [tickets of membership] for the Nibelung performance in Bayreuth (Bayern. N.B.—The King has commanded that henceforth Baiern [Bavaria] shall be spelt with a y), and your letter to Herr Feustel, please attend to without delay.

Give Bosendorfer my friendly greetings, and at the same time tell him how I praise the excellent piano upon which I have been practising a little here.

If Zumbusch goes to Vienna, commission him—as we arranged—to make a bust of me in marble and a pedestal for Bosendorfer.

[Printed by "order" in the Signale, 1873 (after the death of Napoleon), in which form the letter is reproduced here, as the original could not be procured. This letter does not indeed show us Liszt as a far-sighted politician, but simply as a man of noble impulses.]

Napoleon III. is dead! A great soul, an all-embracing intelligence, experienced in the wisdom of life, a gentle and noble character—with a disastrous fate! He was a bound and gagged Caesar, but still closely related to the Divine Caesar who was the ideal embodiment of earthly power. In the year 1861, when I had a pretty long interview with Napoleon, he said, "Sometimes it seems to me as if I were over a hundred years old." I replied, "You are the century yourself, Sire!"—And, in fact, I honestly believed at the time, and do so still, that Napoleon's reign was the one most in keeping with the requirements and advances of our era. He has set noble examples, and accomplished or undertaken great deeds: amnesties which were more complete under him than under other governments; the protection of the Church in Rome and in other countries; the rejuvenescence of Paris and other great cities in France; the Crimean war and the Italian war; the great Paris Exhibition, and the rise of local exhibitions; the earnest attention paid to the lot and to the interests of the country people, and of the working classes; the generosity and encouragement to scholars and artists,—all these things are historical facts, and are things in which the Emperor took the initiative, and which he carried out in spite of all the difficulties that stood in his way.

These things will not be eclipsed by the misfortunes that befell him, however terrible these may have been, and, on the day of judgment, France will fetch the coffin of Napoleon III. and place it in all honor beside that of Napoleon I. It can be affirmed without adulation that throughout life the Emperor unswervingly practised those great virtues which are in reality one and the same thing and are known by the names of benevolence, goodness, generosity, nobility of mind, love of splendor and munificence. One of the fine traits of his character that he is acknowledged to have possessed, was his never-failing kindheartedness and his deep gratitude towards those persons who had ever done him a service. In all humility and lowliness of spirit I will imitate him in this, and begin with himself by blessing his memory and addressing my prayers for him to the God of Mercy who has so ordered things that nations may-recover from their wounds. .—.

Long since you ought to have heard from me…However, I have not been altogether idle, and during the last weeks have been busy blackening some sheets of music paper which you shall see in print and hear me play. Bosendorfer heard some of it last night, and will bring you word about it to Pest. Be good enough to pay Zumbusch a visit, and beg him to have my bust done in good marble, and to have it finished and ready by the 2nd April (Franciscus di Paula). I intend to spend this name-day of mine with you quietly, [This was an established custom of Liszt's for many years, and one to which—even after his cousin's death—he adhered, and spent the day with the family up to the time of his death.] and to take the bust to Bosendorfer "in persona."

I am told that the Gran Mass is to be performed on Easter Sunday in Pressburg. If so, we will go there together to hear it, with your wife, Marie [Eduard von Liszt's daughter, now Baroness Saar in Vienna.] and Franz.

As to the Bayreuth affair, I have already told you what my wish and will is. It must remain thus. .—.

[A classical philologist who published a little Hungarian work entitled "Die ungarische Rhythmik," the German edition of which was to be dedicated to Liszt. The two men differed in their opinion respecting the origin of Hungarian music; however, in consequence of Von Ponor's contribution to the subject, Liszt did in the end agree with the proof Von Ponor brought forward—with this reservation, that "the gypsies did bring harmony into Hungarian music," a point which—Ponor thinks—"may readily be conceded."]

I regret that my reply to your request about the Elizabeth-motive can only be somewhat unsatisfactory. It was sent to me together with some others—referring to Saint Elizabeth—about 13 years ago, by Mosonyi and Baron Augusz, and the Hungarian text is published in the concluding notice to the score of my Oratorio. A copy of the "Lyra Coelestis" I did not need; probably this (to me unknown) printed work will be readily found here, and is sure to be in the Library of the Martinsberg monastery.

If not inconvenient to you I should be glad to receive the honor of a visit from you; it would interest me greatly to hear of and to become acquainted with your researches concerning Hungarian rhythmic forms.

Meanwhile I thank you warmly for your friendly lines, and for communicating the Volkslied in the 5/4 time:—

At New Year I sent you a copy of the Stabat Mater by Palestrina "for the lecture arranged by R. Wagner." The inaccuracies and errors of this copy I have carefully corrected, for in such a masterly and exemplary arrangement every iota is of importance. Wagner gave me his manuscript 18 years ago in Zurich, and forgot afterwards where it was. As regards its publication, which is much to be desired, it is not for me to interfere in the matter in any way, and I beg you to come to some understanding with Wagner about it. If he should wish to correct his old manuscript (the paper of which has become rather yellowish) I will gladly place it at his service.

Having considered the matter about the certificate of death which Rothschild wished to have, I shall not make use of Belloni in connection with it. If Emile Ollivier were still in Paris it would be his place to procure the certificate. My dear good mother died in his house (Rue St. Guillaume, Faubourg St. Germain) at the beginning of January 1866. He looked after her and took tender care of her for several years; and finally had her body taken to the Church of St. Thomas d'Aquin for the funeral service, and followed it thence to its last resting-place in the cemetery of Montparnasse. This noble conduct and his speech at the grave I cherish in my innermost heart.

Since the winter of 1866 I have never been back in Paris, and my relations with trustworthy persons there are as good as entirely broken off. Hence I yesterday went and got good advice from friend Augusz, and have accepted his proposal, namely, to address a request to Count Alexander Apponyi—son of and Secretary to the Austrian ambassador in Paris—to procure the certificate of death of my mother and to send it to you. Let Rothschild know of this matter, which, let us hope, will soon be satisfactorily settled.

Many thanks for the trouble you are taking about the bust by Zumbusch, and which I very much wish personally to present to Bosendorfer in Vienna as an Easter egg. I know I can rely wholly upon your ever faithful and incomparable readiness to do me a favor.

Allow me one other request, which will cost you only half an hour's time and a visit. The visit is to an extremely interesting, learned and distinguished man—Dr. Ambros, formerly Imperial Solicitor-General in Prague, now professor and referendary to the Officielle Zeitung in Vienna, always an eminent writer on aesthetics, history, the history of music, a polygraphist, composer—in fact, a good friend of mine. Be kind enough to tell him that I am awaiting his answer in the affirmative, respecting a lecture by him on Robert Franz at the extra Soiree arranged in honor of and for the benefit of Robert Franz; Dr. Ambros was at my request respectfully invited by Herr Dunkl ("Firma Roszavolgyi") to give us his assistance. I take part too as pianist, collector and arranger of the Soiree, and hope that Dr. Ambros—who is so specially competent for the task, owing to his eloquent and valuable treatise on Robert Franz—will give us brilliant assistance, and give us a speech there without talking himself out. The warmest welcome and appreciation will await him on all sides. But obtain his kind consent as soon as possible, together with a written yea to Dunkl (Musikverlag Roszavolgyi, Christoph-Platz, Pest).

Zumbusch's letter seems to me pretty comforting, and if you would have the kindness to write to him again I hope the bust will reach Vienna by April 1st. Have you asked what it costs? If not do so in your next letter. Of course I do not mean to bargain with Zumbusch (that is a thing I do only in case of dire necessity—and even then am a bad hand at it). We must simply pay what he asks, and leave ourselves to his friendly feelings of moderation, which will not fail…

In spite of all your endeavors and persuasive powers Dr. Ambros is not coming to the Robert Franz Soiree in Pest. He wrote to Dunkl that he is unusually busy in Vienna with urgent affairs connected with the Zeitung—and hence cannot find any time to prepare an address—and besides this is afraid of taking cold on the journey…To all this we can raise no remonstrance, so I must just accept this refusal of Ambros, much as I should have liked a different answer. Some day I will tell you the preliminaries of this business. Last week I received from Freiherr Suttner, President of the Vienna Singakademie and Imperial Chamberlain, an invitation to play a few pianoforte pieces in the concert arranged for Robert Franz's benefit. I replied that an interval of 25 years separated me from my last public appearance as a pianist, andthat I considered it advisable for me to remain within the interval. As I told you last October, it is not my intention to officiate in any way this winter in Vienna.

Herewith I send you an extract from the sitting of the Chamber of the day before yesterday, the result of which is almost as unexpected as it is important. The deputies of the conservative party and of the opposition voted almost unanimously in favor of raising the funds for establishing a new Musik-Akademie. And an unusual honor was conferred upon me on the occasion,—for, although I have never come forward in the matter, it was nevertheless brought forward in my name, and this certainly puts rather a heavy burden upon me. I will endeavor conscientiously to do justice to the honor as well as the burden. For the last couple of days a stupid feverish cold in the head has kept me in bed. Tomorrow, however, I shall be up and about again.

Bosendorfer brings you tidings of the Robert Franz Soiree of yesterday. [At this soiree Liszt played Beethoven's A-flat major Sonata, Op. 26, No, 4; his own "Soirees de Vienne" (after F. Schubert); Schumann's "Wie aus der Ferne"; and R. Franz's "Lied."] In a fortnight's time I shall have a similar work before me as pianoforte player, at a charity concert which Countess Anna Zichy is patronising. Then follows, further, a matinee of the Liszt-Verein at the Stadtpfarrei [The town parsonage], and the performance of Witt's Mass, of which I undertake the conducting on the 25th March (in the church). At the beginning of April I shall be with you.

Your ideas are always very wise, practical and noble; I participate in them beforehand, and esteem myself happy to have them communicated to me direct. With regard to Robert Franz's little capital, I presume that his zealous friends have already taken decisive measures; on my return to Weimar (before the end of April) I will learn whether it is possible to carry out your idea…You know that a thousand thalers have been sent from here, the result of a soiree arranged in Franzs honor. Perhaps I shall find an opportunity to send him more soon.—

Walter Bache writes me word of his "Ninth Annual Concert" in London, with my 13th Psalm. Bache behaves "eroicamente" with regard to me, and takes rank in the very small group of my friends who are the most determined to show the public—in spite of the contrary opinion, much believed by influential papers— that my music is not absolutely void of sense. I should like to make the task of these friends a little easier, and I try not to increase the merit of their devotion by my faults.

Enclosed is the programme of the concert of our friend Mihalovich yesterday evening. "Romeo and Juliet" was encored, and the "Geisterschiff" did not founder. The audience, very aristocratic, was more select than numerous, which is a good sign for our friend. Item the squashing of some learned articles in the papers.

Will you kindly give my grateful acknowledgments to Mr. Hillebrand for his friendly remembrance, and for sending me his new volume on the French? I had read bits of it in the Augsburg Gazette, and shall take a double pleasure in reading the entire work. Hillebrand, like Alexander von Humboldt, has a passionate attachment to France;—I am proud to feel that I am in accord with him also on this point.

The day after tomorrow I shall be in Vienna, and shall spend a fortnight with my near relative and friend Eduard Liszt. After that I return to Weimar, and hope to see you there in the summer. I will write to you in good time about the performance of the Oratorio Christus…

Pray excuse my delay in thanking you for your very kind letter that Mr. Bessel brought me with the piano score of your Opera William Ratcliff. It is the work of a master who deserves consideration, renown and success, as much for the wealth and originality of the ideas as for the skilful handling of the form. As I am persuaded that all intelligent and honest musicians will be of this opinion, I should like to add to it some assurance on the next performance of your Ratcliff in Germany. It should be done at once at Weimar were I in active function at the theater as in the preceding years (from 1848 to '59); but since my retirement I am not any longer in a position to take definite steps, and must confine myself to recommendations—more often counteracted than followed.

Accept, sir, my sincere thanks, and with every expression of high esteem I am, yours truly,

My best wishes accompany you "into your cage." [This usually means "in durance vile," but the word "cage" is preserved here on account of the context.—Trans.] You do well to put yourself there, and, if the flight of your genius should find itself somewhat trammelled, for the time being, before the tribunal of counterpoint and fugue, it will soar all the more proudly afterwards. I hope you will come out of your cage glorious and crowned; in case of bad luck do not be too much disappointed; more skilful and more valuable men than you and I, dear Franz, have had to have patience, and to have patience yet again. M. de Buffon, when he said "genius is patience," did but make the mistake of an incomplete definition; he took a part for the whole; but that part is absolutely necessary in the practice of Art, as in that of earthly life.

Please remember me very affectionately to your mother; give a shake of the hand to your brother from me,—and depend ever on my devoted and affectionate feelings.

My little travelling plans have been upset by a letter from Cosima. I did not stop either at Salzungen (where I had arranged to meet Schuberth) or at Meiningen, and came straight here on Saturday, in accordance with an invitation from Cosima to a little fete of the workpeople of the theater of the Nibelungen.

Many idle and gossiping people everywhere are troubling their heads about this theater, and are asking when and how it will be finished building. Instead of descanting foolishly or maliciously about it (the two things sometimes go together), it would be better to get a "Patronats-Schein" [a receipt of membership], and thus to join in the grandest and most sublime work of art of the century. The glory of having created, written and published it is Wagner's intact; his detractors have only to share the disgrace of having thwarted it and delayed the bringing of it to the full light of day, by performance.—

Next week I go to Schillingsfurst, and towards the middle of
August I shall be back at Weimar.

After an absence of 3 weeks I returned here yesterday. I remained first to days in Bayreuth, from August 26th to September 5th, [The dates here ought certainly to be from July 26th to August 5th—as Liszt's letter is dated the 19th of August.] and then the same length of time in Schillingsfurst (with Cardinal Hohenlohe) and at Langenburg (with Prince Hermann Hohenlohe), whither I had the honor of accompanying the Cardinal.

Cosima, Wagner and the five children are in the best of health. The building of the Nibelungen-Theater is progressing famously; if the necessary sum of 300,000 thalers [some 45,000 pounds] of which as yet only about 130,000 have been forthcoming, is got together in time, the performance of the "Festival Drama"—"The Ring of the Nibelung"—is to take place in the summer of '75.

.—. Simultaneously with his theater, Wagner is building a beautiful and exquisitely situated house close to the Hofgarten. The King of Bavaria has given him 20,000 thalers [some 3,000 pounds] for this. Next spring Wagner will take up his abode there.

My intercourse with Cardinal Hohenlohe is always pleasant. He leads a very retired life in Schillingsfurst, receives but few visits and pays only a few, and occupies himself principally in building and arranging a large schoolhouse and an institution for girls under the superintendence of a Benedictine Sisterhood.

Great festivities are being arranged here in honor of the marriage of the Hereditary Grand Duke. On September 6th the entry of the bridal pair, on the 7th a Court concert, on the 8th a Festival-play by Devrient in the theater and a performance of Beethoven's 9th Symphony, etc., etc. I have undertaken to conduct the Symphony and also to play a couple of pianoforte pieces at the Court concert. A second Festival-play, entitled "The Bride's Welcome to the Wartburg," written by Scheffel and set to music by me, is to be given on September 2lSt in the Minnesanger Hall in the Wartburg, where you heard the "Elizabeth" Oratorio.

A few days after this I shall travel to Rome, and remain there 3 or 4 weeks. Before the end of October I shall come to you again for a couple of days before returning to Pest on November 1st.

The dedication-copies of the "Szoszat" and the "Hymnus" for Count Andrassy are not yet ready, it seems. Roszavolgyi (Dunkl) has sent me only a fete ordinary copies of the pianoforte version, and not one of the score. I shall therefore have to wait till November before sending or presenting it to Count Andrassy.

From the Grand Duchess I received 1,000 thalers—but these together with your 500 have all been spent. Be so good as to send me another 300 thalers next week! For my journey to Rome I shall probably, towards the middle of September, again have to ask you for a note of 500 francs. Although I do not go in for any luxuries, money vanishes quickly and readily in my hands.

Heartiest greetings to your wife and children, and au revoir in
Vienna at the end of October.

Your letter had been travelling several days in Bavaria before it reached me here yesterday morning. I thank you for letting me take an affectionate part in the success you have obtained, and I wish to keep that part throughout your future successes—and even failures. The latter will not do you any great harm, provided that you know how to keep that attachment to work, and that perseverance in noble ideas, which are the chief heirloom of the artist. Lassen tells me that we are shortly to hear your "Tasso" here: my attentive sympathy is wide awake; so fulfil your promise, dear Franz, by coming before the end of this month, and we will talk at our ease at the Hofgartnerei of our aims and plans.

Please give my respects to your mother, and my cordial remembrances to Joseph and Godebski.

Often I am behindhand and stop short of thanks with you, but it is certainly not for want of sincere affection and esteem.

Your "9th Annual Concert" has again shown the worth of your talents and the firm constancy of your character. Now in our artistic world character is still more rare than talent.

You nobly unite the two; it is a pleasure to me to acknowledge it, and to count you amongst the most devoted champions of progress and of musical good sense.

At their head, by right of age and capability, walks imperturbably and gloriously Hans de Bulow.

[At present Capellmeister in Bremen; he has rendered good service to the cause of the New-German musical tendency both in Germany and Russia.]

Your friendly invitation for me to attend the performance of your "Schneewittchen" I am unfortunately unable to accept. Owing to the festivities at the Wartburg it is impossible for me to get away next week. Will you kindly convey to the Princess Elizabeth my regrets as well as my most gracious thanks?

On Sunday, September 28th, I shall have the pleasure of thanking you personally in Sondershausen for arranging and carrying out the extraordinary concert programme. It is my special wish that the two "Faust Episodes" should not be separated—even at the risk of wearying the public for a few minutes with the "Nachtlicher Zug." [Two Episodes from Lenau's Faust (Leipzig, Schuberth).] But this piece does not appear to me altogether so bad…

I beg you again to repeat my sincere praise to the Sondershausen artists who played so admirably here last Monday in the 9th Symphony, and remain, very dear Sir, with marked feelings of esteem,

Kahnt, Gille, J. Schuberth, Lassen and several other friends of mine are going to attend the Sondershausen concerts on the 28th and 29th September.

Best thanks for sending Kiel's "Christus"—a work full of spiritual substance, of noble and fine sentiments, and masterly in execution. Riedel proposes to give a performance of it next winter it Leipzig.

With such a clause as Joachim introduces for the "Novitaten- Concerten"—"that only such composers shall be taken into consideration in the programmes whose renown as artistic representatives of the German nation is established"—Handel, Bach, Mozart, nay even Beethoven, would have come off badly in their life-time!

Whether it is appropriate for the Berlin Hochschule to act in so specially a high and mighty manner remains to be seen. Still it is to be expected that such procedure is likely itself to meet with some other restricting "clauses."

Of the arrangement for 8 hands of the Pastorale and March [From Liszt's Oratorio "Christus."] which I wish to have from you, you will have already heard from Schuberth. Likewise from Kahnt of the couple of pieces from the "Elizabeth."

Au revoir on Sunday, the 28th September, in Sondershausen, where we shall have a curious (sonderliches) Programme. Receive herewith, dear friend, a special invitation, together with the assurance of my friendly attachment.

Your letter, and the printed paper of great fame which accompanies it, recalls to me the saying, "La joie fait peur." [Abranyi, who was the Secretary of the Festival Committee which had been formed for the celebration of Liszt's Artist-Jubilee in November 1873 at Budapest, had in their name invited Liszt to take part in this.] Nevertheless I could not suit myself to the role of a coward; I will therefore endeavor to surmount my fear and to make myself worthy to share with my brave compatriots in the joy they have prepared for me.

I beg you, in your capacity of secretary of the Festival Committee, to present my most grateful thanks, in good Hungarian, to the most illustrious and most reverend President, Monseigneur Haynald, [The Archbishop of Kalocsa, afterwards Cardinal, Liszt's friend of many years. (Being interested in the present collection, he promised to contribute to it the letters addressed to him "by the great artist and noble man." His death unfortunately prevented the fulfilment of his promise, and the Archiepiscopal Chapter of Kalocsa did not accede to the request of the editor to be allowed to have these letters.)] and to the members of the Committee.

Baron Augusz had written me word that he would come here in the middle of September, to be present at the "Festspiel" [Festival Play] at the Wartburg. He shall soon receive news from me from Rome, where I shall arrive on Sunday. Schuberth is sending you the score and the piano score of the "Christ," together with the biographical notices for which you asked me. My cousin Eduard will send you the "postscript" immediately.

Herewith the programmes of the 2 concerts at Sondershausen at which I was present. This afternoon I start for Rome,—and on the 1st November shall be at Pest.

[A pupil of Liszt's; became later Kammervirtuosin (court-pianist) in Weimar, and lives now in Berlin.]

The best "solution" in reply to the ministerial order lies in your hands. Merely play the first page of Henselt's Concerto and no one will doubt that I am very kindly disposed towards you. And I shall be glad to render you further service in your zeal for study and your ambition as a virtuosa. No matter whether I be in Pest or in Weimar.

[Autograph without address or date in the possession of Count Albert Amadei in Vienna.—According to him the letter belongs to the year 1873.]

Please reply at once per telegram:—"Please do not come.—Liszt does not need or wish to be heard, as he has no one for whom he must strike up."

[Sketch of a letter in the possession of Herr O. A. Schulz, bookseller in Leipzig.—The addressee, the wife of the German ambassador Von Bulow, lives now in Bucharest.]

You speak to me so eloquently of the merit, talent and superiority of Madame L.B. that I am quite ashamed of not fulfilling her wish subito. But in reality that would be more difficult than she imagines; a "petit morceau de piano" would only be a small part of the matter; the public is a very exacting master, even in its days of favor; the more it gives the more it expects…

Half a dozen such requests as that of Madame L.B. have been addressed to me at Vienna this week. How can one suffice for such a business, which, be it said in passing, is at once outside and far beyond my duties?—At my age one must try to behave reasonably, and to avoid excess; I shall therefore limit myself in Vienna to the one concert of the "Kaiser Franz Joseph Stiftung," [Emperor Francis Joseph Scholarship] which reasons of great propriety, easy to understand, have led me to accept with alacrity. I am told that it will take place on Sunday, 11th January; so be it: I shall willingly conform to the arrangements of the Committee and have no other wish in this matter than…not to inconvenience anybody. [The concert for the "Emperor Francis Joseph Scholarship" did not take place till April; and Liszt did actually play, in the Easter week, for the Countess's protegee, though not in the Concert Room, but in the Palais Auersperg.]

Permit me to hope, dear Countess, that you will not, under the pretext of "discretion," inflict upon me the immense punishment of seeing you less often this time than formerly, and that you will not retract any of your kindness, on which I place the greatest store.

A thousand and a thousand sincere and most respectfully devoted expressions of homage.

Pray excuse me for being so late in thanking you,—you and all those who signed the telegram sent to Pest on the occasion of my jubilee fete. I am deeply touched with the noble sentiments it expresses with a chivalrous eloquence, and beg you to convey the tribute of my most sincere gratitude to Messrs. Balakireff, Borodine, Cui, Moussorsky, Rimski-Korsakoff, Scherbatcheff, and Stassoff.

You were kind enough, Sir, to let me see several of their works at Weimar; I appreciate and esteem them highly, and as far as depends on myself I will do all I can to make them known, and shall feel honored thus to respond to the sympathetic kindness which brave colleagues such as these accord to

[Printed in the Signale, 1874, No. 20.—Skiwa had dedicated his
"Beitrage zur Literatur des Harmoniums" ("Contribution to
Harmonium Literature") to Liszt.]

Kindly excuse the delay in my sending you my sincere thanks, which I shall very shortly take the liberty of expressing to you personally in Vienna. I shall then also ask you to do me the favor of making me more intimately acquainted with your excellent transcriptions. In reading them through one at once observes the author's masterly style and his care and artistic handling of the characteristic peculiarities of the harmonium, especially in the management of the basses and the mid-voice parts. But still the mere reading your transcriptions does not satisfy me, and I should like to hear them, so as to be able fully to enjoy them.

Herr Bosendorfer will bring you the manuscript of the
"Consolation," the dedication of which is very acceptable to me.
The transcription of this small piece into A major appears to me
very appropriate, and the arrangement excellent.

The day after tomorrow I again go to Vienna, and remain there about a week. In case the "Prometheus" proofs are ready send them to me to my usual address ("Schottenhof bei Hofrath E. v. Liszt") by the middle of Easter week; after that my address will be rather uncertain, as I intend spending a few days in Pressburg and Kalocsa (with Archbishop Haynald), and do not return here till after April 20th. Hence, if the "Prometheus" proofs are not ready within the next few days, do not send them till after my return to Pest (April 21).

Please send the proofs of Mihalovich's songs as soon as possible to the composer, addressed to

The Vienna concert in the "Palais Auersperg" is announced for Easter Monday, April 6th. The following Sunday, or at latest on Sunday the 19th April, the concert of the "Kirchenmusik-Verein" is to be given in Pressburg, at which I take a part in piano- playing—it is to be hoped for the last time this year!—

I think of remaining here from April 2lst to the beginning of May, and then of wandering straightway to Rome, and to the Villa d'Este.

I wish you in all friendliness a happy Easter, with satisfactory business at the Easter's fair, and remain your sincerely attached

I look forward with eager interest to the realisation of your scheme to found a Catholic School of Music. The numerous and important services you have rendered as composer, conductor, teacher, promoter and president of the Cacilien-Verein proclaim and mark you as pre-eminently fitted to organize and direct this highly important kind of School. I should wish that Hungary, my fatherland, might set a good example, and might offer you, my very dear friend, an honorable and influential post in the Musik- Akademie that was voted for last year in the Chamber. This wish of mine was seconded with cordiality by His Eminence the Cardinal Primate, His Excellency the Archbishop of Kalocsa, Haynald, and H. E. Trefort, the Minister of Public Instruction. Various political circumstances interfered with the plan of starting a Musik-Akademie in Pest; but the idea has by no means been given up, and I have still the hope that you may yet at some future day be called upon to give your powerful assistance in connection with the teaching and practice of Church music in Hungary.

As at all preceding Tonkunstler-Versammlungen, you have again this year in Brunswick done the best that was possible. [The Meeting took place in Halle, instead of in Brunswick.] Five concerts sound almost alarming, but the programmes are drawn up and arranged with so much forethought and care that your master- hand and that indescribable "with avec" (as dear Frau Dr. Pohl called it) are at once to be recognised. It certainly was advisable to check the "democratic movements" of the orchestra without interfering with the well-meant "command." That the Sondershausen set continue to prove themselves reliable and friendly I am delighted to hear. I wish all possible success to Erdmannsdorfer's "Schneewittchen." The youthful and captivating Frau Kapellmeisterin Erdmannsdorfer is especially capable of doing justice to Raff's Trio (or Concerto) and other pianoforte pieces. [Pauline Fichtner, who married Erdmannsdorfer, was a pupil of Liszt's, and became court-pianist at Weimar and Hesse.]

Will Bulow be able to be present? We have not written to each other for some time past. Do you know where to address him just now?

In case my Faust Symphony is given at the 5th concert (as your programme announces), I beg you to ask Bulow to be conductor. This work has become his property since he conducted it so magnificently at the Weimar Tonkunstler-Versammlung ('61), when the whole orchestra was amazed and astounded at his fabulous memory. You will remember that not only did he not use a score, but at the rehearsal referred to the numberless letters and double letters with unerring accuracy.

With regard to two other matters I wish: A, that Steinway may have the kindness to lend one of his excellent harmoniums for the Hunnenschlacht, and that the instrument may be so placed as to be invisible to the public and yet distinctly heard. B, that the performance of the Sanctus from the Mass for men's voices be taken from the editio nova (published a few years ago by Hartel), and not from the earlier edition. Here, too, Steinway's harmonium would render excellent service, visible and placed close to the chorus. Perhaps our friend Stade would have the kindness to play the harmonium part of the Hunnenschlacht and of the Sanctus.—

I truly regret that I shall not be able to hear that sublime, grand and overpowering Requiem by Berlioz, nor to attend the Musical Festival in Brunswick. I am physically and mentally very exhausted, and need several months' rest; besides my remaining away from Weimar forbids me from meanwhile visiting any other German towns.—Before the middle of May I shall go direct to Rome, and remain there till the end of the year in my former residence at the Villa d'Este (3-1/2 hours from Rome).

With friendly greetings to your wife, I remain, Yours ever in esteem and sincere attachment,

Accept my best thanks for cancelling my promise to Metzdorff (in regard to the performance of his Symphony).

I agree perfectly, of course, with your desideria fog the Musik- Verein, and hope next year to be able to contribute something towards their realisation.

[This letter, like the subsequent one to Haberl, is a copy of the draft of a letter of Liszt's by Dr. Mirus in Weimar.—Haberl is a distinguished musical scholar (born in 1840).]

Pardon me if I again come with claims upon your kindness. You may know that I am working at an Oratorio on St. Stanislaus, and perhaps might be able to give me some assistance with it by communicating to me the liturgic hymns referring to the feast of St. Stanislaus. The Enchyrydion and Directorium Chori designate the Mass, Protexisti, etc., on May 7th. To receive fuller information from you on this point would greatly oblige me. [Haberl also gave Liszt aural communications regarding the Stanislaus legend. "On one occasion," says Haberl, "Liszt was specially and greatly delighted to hear of the man whom Stanislaus summoned out of the grave as a witness that the field had been paid for, and gave me a sketch of his proposed motives and tone pictures."]

Pray accept, reverend Sir and friend, the expression of my marked esteem, and believe me yours gratefully and sincerely,

Herzogenberg's [Formerly Director of the Leipzig Bach-Verein, then Kiel's successor at the Berlin Hochschule, which post he lately resigned.] "Deutsches Liederspiel pleases me very much. The very first chorus with its mixed species of tempi 6/4-3/2 and 6/4-3/2 is fresh and pithy, and the whole work seems to me. excellent, pleasant and effective. Hence I should much like to recommend its being performed.

Where does Herzogenberg live? Has he any appointment anywhere? Let me know, when you can, something of his former and present work.

(N.B.—It would be worth while, later, carefully to arrange the
"Deutsches Liederspiel" for orchestra.)

I observe with special pleasure that Grutzmacher has chosen a Suite of St. Saens'. St. Saens will not, however, be able to come,—the less so as a few years ago his appearance in quite a harmless concert in Baden-Baden brought down upon him hideous rebukes and reproaches from the Parisian Press. And the tone in France is not yet more temperate; still it is right that German artists should prove themselves fair and just towards foreigners, and, as long as Auber's and Gounod's Operas are given in all German theaters, I see no good reason against considering and performing other works by French composers. Among modern composers I regard St. Saens as the ablest and most gifted.

I am much satisfied with the choice you have made of my things, dear friend, and thank you cordially for it—at the same time I must express my sincere regret that I am unable to attend the Tonkunstler-Versammlung, and remain, with much esteem, yours most sincerely,

I feel that I am quite inexcusable. You have been so kind as to send me some charming Lieder, and to accompany them with the most gracious lines in the world. How could I fail to thank you for them immediately? What rusticity!—Deign to think of this no longer, Princess; and permit me not to "judge" your songs,— magisterial competency would fail me utterly,—but to tell you that I have read them with much pleasure. The one of which the style and impassioned accent please me particularly is dedicated to Mme. Ehnn—"Liebeshoffnung"; but I do not mean to depreciate the others.

The oriental interval of the augmented fourth, which I scent in the "Mondlied," would be written, I think, more simply thus:—

(C instead of B-sharp). And to prove to you, Princess, my attention in reading your works, I will venture to observe to you that in the French Romance "Comme a vingt ans" the prosody is neglected in the third couplet. Instead of the printed version (with two syllables omitted) it should run something like this:—

[Here, Liszt writes a 7-bar musical excerpt at the point where the words "Je vis le len—de—main, non plus au hord de l'onde mais as—si—se as che—min la jeune fi—le blonde" are sung.]

If I still had, as in Vienna, the honor of finding myself in your neighborhood, I hope you would grant me a word of indulgence; and meanwhile, Madame la Princesse, I venture to beg you to accept the most respectful homage of

Again a request. You alone can help me, and give me in German a faithful poetical rendering of Lamartine's "Hymne de l'enfant a son reveil."

Years ago I used to sing this hymn, from my inmost heart, to my three children; you remember them…

And now the composition (what an unknown word for it!) is to appear in print, and the publisher Taborszky in Pest will send you my manuscript together with a copy of the poem. In case any prosodical alterations should seem appropriate, be kind enough to write them down distinctly in notes on a separate sheet of paper.

Tomorrow I travel direct to Rome, and shall spend the summer and autumn in the Villa d'Este (Tivoli). There, at length, our "Stanislaus" shall be pushed forward. [Cornelius translated the text to the Oratorio "Stanislaus."]

With friendliest greetings to all your circle, I am, dearest
Cornelius, ever your heartily devoted

Your friendly communication rests upon a harmless mistake. You do not seem to know that for 26 years past I have altogether ceased to be regarded as a pianist; hence I have for a long time not given any concerts, and only very occasionally played the piano in public, for some very special reason, to aid some charity or to further some artistic object, and then only in Rome, Hungary (my native country), and in Vienna—nowhere else. And on these rare and very exceptional occasions no one has ever thought of offering me any remuneration in money. Excuse me therefore, dear Sir, that I cannot accept your invitation to the Liverpool Musical Festival, inasmuch as I cannot in any way think of wearying the public with my "whilom" piano-playing.

I am often with you in kindest remembrance and cordial sympathy with your admirable efforts, but unfortunately I rarely get any letters written to the friends I value most, for my time is wasted with a number of wearisome and useless notes. I have just despatched one of this sort to a Mr. E. in L. The good man invites me to the Festival to be held there, asks me to consider the matter, and even offers me a remuneration in money for playing—without imagining that I have anything else or better to do than to accept such invitations. To me concert tours would be absolutely senseless; to fulfil my duties in Pest and Weimar gives me trouble and interruptions enough. All the other things need not be enumerated.

The summer and autumn (till my return to Pest in January '75) I mean to spend here quietly and at work. Last Monday and Tuesday I had the special pleasure of a visit from Bulow. And we thought of you in all friendship.—Bulow is now going to Salzungen (near Meiningen) for a couple of months, to recover from the terrible fatigues of his concert tour, and next October goes again to London.

Remember me most kindly to Mr. Dannreuther with assurances of faithful attachment, and do me the favor to give the enclosed notes of thanks to Messrs. Hueffer and Gounod.

Our very able and dear patroness, Madame Laussot, told me that you, dear Bache, will probably soon be wandering towards Italy.

A hearty welcome, therefore, to the old place where again is resting your old and sincere friend,

The lively recollection I entertain of the truly edifying Church- music performances in Eichstatt under your direction [On the occasion of the 3rd General Assembly of the Cacilien-Verein in Eichstatt, August 1871] increases my regret that I am unable to accept your friendly invitation to the 5th General Assembly of the Cacilien-Verein in Ratisbon (between the 1st and 7th August) [The Assembly was held on the above-mentioned days.]. A wearisome piece of work will keep me here till my return to Pest in January '75. Next summer, however, I hope again to pay you a visit, and to gather excellent precepts and examples from you. Meanwhile I am reading your Essays with peculiar satisfaction, and more especially your com-positions in the "Musica sacra" and the "Fliegende Blatter." "Fliegend" [flying] must here be taken in the higher, angelic sense; in the latter sense O salutaris hostia sounds altogether comforting Musica angelorum, such as pleasantly animates all your Church tone-works.

[A portion of this letter is printed in Dr. Mirus' brochure, "Das Liszt-Museum in Weimar" (1892), which contains many interesting relics of Liszt.]

To my sincere regret I find myself prevented from attending the
Cacilien-Verein in Ratisbon.

The efforts and performances of the Verein I follow with the deepest interest, and anticipate that its promoters—who are so capable, careful and learned—will accomplish all that is truly of advantage in Church music. And in this Ratisbon has for many years past deserved to rank first, and you, my much-esteemed friend, deserve the fullest recognition that can be offered for the abundant services you have rendered in the cause. Accept my grateful thanks for kindly sending Vittoria's Missa pro defunctis, [A six-voiced Requiem given by Dr. Haberl at the 5th General Assembly of the Cacilien-Verein in Ratisbon in 1874, and published in the "Musica divina," Annus II., Tom. I, by Pustet] which was brought to me by the Chaplain of the Anima Church. Will you be so kind as to get Herr Pustet to send me also, through Leukoch, [Perhaps ought to read Leuckart?] "Mannuale breve canticum," etc.? [A little book of Chorales by Joh. Georg Mettenleiter]

In spite of the grievous news of your continued sufferings I do not give up the hope of seeing you here again soon, and of taking all friendly care of you; and you shall not in the least degree be troubled or wearied; merely recruit from your over-exertions by living simply and comfortably amid quiet and congenial surroundings.

Hence I take the liberty again of inviting your Reverence to spend the next months with me here in the Villa d'Este, where you will find rest, quiet and cosiness, mild air, glorious scenery, pleasant walks, good eating, good wine, books, music, pianos to make use of ad libitum, and a temperature mentally agreeable.

Cardinal Hohenlohe requests me to say that you will be heartily welcome, and this message is communicated with unmixed pleasure by your very respectful and sincerely grateful

Your Prologue to the Nibelungen in course of performance at the Walhalla-Roszavolgyi has royally amused me. [A joke of Mihalovich, who had nicknamed several mutually known people with the names and characters out of the Nibelungen] I wish that Wagner may find in Messrs. Betz, Scaria, Niemann, etc., interpreters as well suited to their roles as Richter-Wotan, Dunkl-Loge, Abranyi-Thor and Gobbi-Mime.

At Bayreuth "fervet opus" The preparatory piano rehearsals are going on; celebrated artists are growing thick on the ground, like the suitors at Penelope's court. Joseph Rubinstein suspends his commercial occupations, and returns from Cracow to drive the four-in-hand accompaniment of Rheingold. The architects, painters, decorators, machinists, costumiers and their people are continuing their work; therefore, in spite of difficulties and obstacles, the great work of Art of this century—Wagner's Tetralogy of the Nabelungen—will come to pass, and I hope to be present at the first performance with my very dear friends Mi and Do. [Mihalovich was called Mi by Liszt, and Count Apponyi Do.]— Meanwhile let us go on patiently at our own modest work, and endeavor to make it as suitable as possible. Next winter we will make an exchange of our latest sheets of music. I will bring a pretty thick packet to Sir Hagbar. [An Opera by Mihalovich (Hagbar and Sigurd)]

Schuberth promises me the "Geisterschiff" in the autumn; we will then launch it at once with Sgambati, who has just composed several Lieder, exquisite in sentiment. I have recently written, as an Impromptu, without any forethought, an Elegie in memory of Mme. de Moukhanoff, entitled "Schlummerlied im Grabe" [Slumber Song in the Grave.]

Your kind wishes for my repose are being realised here. I pass my days very peaceably, and my evenings alone, in reading, writing or playing. Since the departure of Bulow, who gave me his most eminent company for two days (in the middle of June), I have, so to say, seen nobody. He is now making his villeggiatura at Salzungen near Meiningen, returns to England in the month of November, and will not go to America till the autumn of '75.

Pay me a visit sometimes in thought, dear Mi, and believe me ever your very cordially devoted friend,

Let me hear something about Do and Horpacs. [An estate of Count
Emmerich Szechenyi, the former Austro-Hungarian ambassador in
Berlin, whom Liszt frequently visited.] I will write to them
later.

[The letter is addressed to Neuenahr, where Cornelius had gone for a water-cure, shortly before his death. The translation of the Cacilia-legend he did not accomplish.]

You have again presented me with a marvellous gift. Your German translation of Lamartine's "Hymne de l'enfant a son reveil" is exquisitely successful, and retains all the fragrance and aroma of the original poem.

"Kein Wurmlein vergissest Du…Das Zicklein an Staude und
Beere…Am Milchkrug Mucklein saugt den Saft…Und die Lerche das
Kornlein picket."…

["No worm dost Thou e'er forget…The kid amid the shrubs and berries…The fly that sips the sweetest juice…And the lark that pecks the blade of corn."…]

All and everything fits in so exactly with the music, syllable by syllable, that it seems as if the poem and music had sprung up together. Verily, dear friend, you are an extremely kind and most perfect magician. Now do not be vexed with me if my grateful appreciation of your skill should prove somewhat covetous, and I again ask you to do me a favor. A little French poem of 48 short lines, "Sainte Cecile, Legende," by Madame Emile Girardin (Delphine Gay) is awaiting your poetic courtesy. Allow me to send you my finished composition of this Cacilia, the musical foundation of which is furnished by the Gregorian antiphone: "Cantantibus organis, Caecilia Domino decantabat." It is to be hoped that I have not spoilt it, and I trust to your friendly kindliness to send me a German translation of it before the next Cacilia Festival (22nd November), soon after which it shall be printed, and a performance of it given in Pest.

The delay with the edition of your two Operas I sincerely regret. They deserve much greater appreciation and a much wider circulation than hundreds of others that are printed, and the publication of the pianoforte scores is sure to effect this for them. Meanwhile I am glad that you have made use of my suggestion to base the Overture of the "Barber" on the pleasantly characteristic motive—

Next summer we shall meet in Munich.—With hearty thanks, your sincerely attached

If you should see Frau Schott in Mainz, give her my kindest remembrances. For some time past various manuscripts have been lying ready which I should have liked to hand over to Schott's house of business; but fear that they might arrive at an inopportune moment. The very title, "Drei symphonische Trauer- Oden" ["Three Symphonic Funeral Odes"] might prove alarming; and besides, the scores—all about 20 pages in length—would have to be published simultaneously with the pianoforte transcriptions (for one or two performers). Well, "we can wait."…

I am working pretty industriously at the "Sanct Stanislaus." Of this you will tomorrow receive a full report—and an urgent request for speedy, energetaeally accentuated pains over the essential but not lengthy alterations of the text.

[Head of the celebrated pianoforte manufactory, now
Commerzienrath (Councillor of Commerce)]

With my sincere thanks for your interesting reports of the Vienna musical world I would gladly have given you something of the same kind in return. But there is here nothing whatever in the way of novelties or specialities in the way of concerts; be content, therefore, if my letter today mentions only one, but to me a very important artistic item—namely, the frequent use of your piano, which, among other virtues, possesses a wondrous power of not getting out of tune [Unverstimmtheit]. Since its despatch from Vienna not a tuner has touched it, and yet it keeps in beautiful tune, and steadily resists all variations and effects of temperature.

Till the end of January I shall remain quietly at work here; then go direct to Pest—and by the middle of April on to Weimar. My thoughts and efforts require now only peace and seclusion. These are things that suit me best in my old age, and uphold me in spiritual intercourse with my dear and true friends. As such I greet you and your wife heartily and sincerely.

For our grand coup you come in completely in your role of providence, which you fill with such complete good grace, and with an admirable mastery! I cannot tell you what immense comfort your letter brings me, with its assurance of your speedy arrival in Rome. Try not to delay it beyond the 25th-30th November, and if possible come sooner. Princess Wittgenstein is still very suffering, and has kept her bed entirely for six weeks; your company and the inspirations of your solicitude will do her more good than all the Allo-and Homoeopaths put together.

I beg that you will write to her speedily to announce your coming, for she is ignorant and must be kept in complete ignorance of the plot we have hatched with Princess Marie [The daughter of Princess Wittgenstein.], the happy success of which you will crown. (questions of detail will be easily settled to your satisfaction, in such a manner that the stay in Rome will be thoroughly pleasant to you.

It is understood that you will not mention the question of where you will live to Princess W., who has already only too much worry about her own rooms. In my opinion it would be best for you to go to the Hotel d'Amerique, Via Babuino (close by the house of the Princess and of the one where I live), and to spend some days there, until you see where you can settle yourself comfortably, whether at the Pension (also very near the Babuino) where your cousin Octavie stayed, or elsewhere.

When you reach Bologna, please let me know by telegram on what day you will arrive; I will meet you at the station, and it will be a real joy to me to escort you to your first abode in Rome.

The kind reception you gave the last sending of my somewhat cumbersome manuscripts and revisions pleased me greatly. I will always gladly do what I can to not increase the publishers' worries, and henceforth print only what has been carefully worked out and will prove tolerably acceptable.

With regard to the form in which the Songs and Wagner- transcriptions are to be published, you may act altogether as you think best. I did certainly think that the convenient and neat edition in small octavo would be preferable (like the last edition of Chopin and my "Etudes transcendantes"): hence in from 5 to 6 little volumes:—

1. Beethoven (The "Adelaide" and other Songs); 2. Mendelssohn (6 Songs); 3. Robert and Clara Schumann; 4. Robert Franz; 5 to 6 (?). Wagner-transcriptions.

This would in no way prevent the songs and pieces of several pages (such as the "Adelaide," Mendelssohn's Songs, the "Tannhauser-March," the "Rienzi-Fantasia," etc.' being sold singly—in the same small 8vo form which, candidly speaking, I always like best. As long ago as the year '39 I induced Haslinger to publish Schubert's songs in an edition of this kind—and at that time it seemed rather a doubtful innovation. Also about placing the words below the music. I wish this, for the sake of the poetical delivery in all of the songs, except the "Adelaide," because the poem roams about rather too freely in rococo style. Let us leave "the flow'ret at the grave" to bloom on quietly without retouching it again.

I must unfortunately again trouble you to send me all the proofs. It is a matter of great moment to me to have the things arranged as accurately and as appropriately for the piano as possible. And for this I require the last proofs, in order finally to revise them in reading and playing them over. (For the printer's consolation be it remarked that no new alterations shall now crop up again; my zeal in correcting shall be confined to making some pedal marks and fingerings.) First of all I should like to try over Sgambati's duet arrangement of the "Ideale" with him; and you will doubtless do me the favor of sending me the proof sheets stitched together before I leave here (at the end of January).—

I leave the matter concerning the small honorarium confidently to your well-known kindly disposition, and remain, very dear Sirs,

[From an undated rough draft of a letter in the possession of Herr O. A. Schulz, bookseller in Leipzig. (The date has been ascertained from a letter to Mihalovich.)—The addressee was the well-known Hungarian statesman.]

Your excellent letter of the 27th November reached me here yesterday evening. I hasten to give you my very sincere thanks, and to add a frank reply on the question of the Academy of Music.

First of all I think the "moyen violent" [violent means] of Huszar, which will deliver us from barren tittle-tattle, is right; let us throw the Seeschlange [sea serpent] into the Danube, and if he wants an epitaph here is one: "It is better to do nothing than to do stupidities."

Now, are we the stupid ones?—The Government is much interested in this affair; the Sovereign's decision has been obtained; I know not what official publication has followed. You yourself, dear Count, have brilliantly persuaded the Chamber of Deputies that the said Academy would be of use in raising Art in Hungary; my necessary humble reserve has been taken by the public as consent.—Is it possible now to take no account of such precedents, and to draw back when it is a question of advancing? I do not think so, and I am quite of your opinion, as wise as it is opportune.

In spite of the difficulties of a position embroiled with divers worries, and in spite of the scantiness of the financial means, we ought to stick to our affirmative position and not in the least to give way.

As to my "personal convenience," which you are good enough to take into such kind consideration, permit me to assure you anew that I aspire to one only blessing—quiet time for work in my own room. Orare et laborare. The point of honor, which no one understands better than yourself, attaches me to Hungary, our country. May I fulfil there all my duty of gratitude!—

I shall be back at Pest (Fischplatz) on the 10th February, and shall rejoice to hear the Ballade of our valiant friend Mihalovich, to whom I shall write tomorrow.

I wrote the day before yesterday to Do, and was about to continue with a letter to you when a telegram called me subitissimo back to Rome. The thread of my ideas has not been broken on the journey, and I resume our conversation, a trois, on the long gestation—omen of abortion—of the Hungarian Academy of Music.

I trust that my very dear and honored friends will be convinced of my perfect disinterestedness in the question; the idea of an Academy is in no way mine if I become sponsor to it, it will be in self-defence and without any connivance at paternity whatever; I even refuse to help in the procreation of the marmot [brat]; and, far from making myself, before my time, in any way its champion or propagandist, I hesitate over the difficulties which are opposed to its birth. I have explained these many a time to my Budapest friends, and the difficulties have increased rather than diminished during these last three years…

1stly. The financial situation of the country appears to be such that one must scruple to burden the budget with an expenditure beyond urgent needs. My patriotism is sufficiently sincere and lively to counsel me to abstention, including every renunciation that is compatible with my strict duty.

2ndly. It would be a poor luxury to add a third music school to the two schools already existing (meagrely) at Pest. If one cannot emulate with honor the similar establishments of Vienna, Leipzig, etc.—what is the good of troubling any further about it? Now, to give a vigorous impulse to Art among us, we must first unite and fuse into one spirit a set of professors of well- known capability,—a very arduous and ungrateful task, the accomplishment of which demands much intelligence, and a sufficient amount of cleverness and of money.

Other minor, local considerations complicate the matter stilt further; I pass them over in silence today, and will not repeat myself any more except on one point,—my religious devotion to our country and our art. To serve them somewhat, according to the moderate degree of my talent, whether it be in working by myself at my manuscripts (which is what I much prefer), or in cooperating with my friends in public things, this is my simple and exclusive desire, totally removed from the personal pretensions or anxieties of vanity which are wrongly imputed to me.

"Tiszta lelek, tiszta szandek, akar siker, akar nem." ["Pure soul, pure intention, whether the results be favorable or not."— Maxim of Stephan Szechenyi.]

My friends are those who haunt the Ideal; there, dear friend, we "recognise" each other, and shall always do so,—but not "in the mud," illustrated by a fascinating poet, too much celebrated and tainted by the triviality of vulgar applause—Heine. Amongst other things he had predicted that the Cathedral of Cologne would never be finished. "In vain will Franz Liszt give his concerts," etc.—

You know that Wagner is coming to Pest in Lent. It is only right that several of your compositions—especially the last, "Sello"— should be performed in public at that time. Talk the matter over with Richter. I on my side will ring the "Bells." Please beg Abranyi to hurry with the Hungarian translation of Longfellow's poem (the Prologue to the "Golden Legend"), and to follow, not the German translation of the "Pianoforte score," which I have sent to Engesser, but the original English text. [Liszt had set to music the Prologue to the "Golden Legend," under the title "Die Glocken des Strassburger Munsters"—"The Bells of Strassburg Cathedral."]

[From a copy belonging to Dir. Aug. Gollerich.—Hoffbauer, born in 1850, became in 1872 Director of the Gesang-Verein in Munich, went to Frankfort in 1880, and put an end to his own life. He composed, among other things, the Operas "Cotzzata" and "Demetrius."]

My hearty thanks for the kindly zeal with which you have taken up the "Christus Oratorio." But a performance of it in Munich appears to me so doubtful, and connected with so much trouble, expense, and difficulty, that I must for the present dissuade you from the undertaking. Besides, it would not be possible for me to accept your invitation for the end of February, as several engagements will keep me in Pest till Easter. And, if ever you give a performance of the Christus in Munich, I should much like to be present. As yet the whole work has been only twice heard, in Weimar and Pest (in May and last November, '73).

In reply to your inquiry, I must mention Herr and Frau von Milde and Frau Dr. Merian as specially well acquainted with and capable of taking the solo parts.

Accept the assurance of my utmost gratitude for your eagerness to give a performance of the Christus in Munich.

In spite of the legion of Dessoff, calm plains or storms, go on roaring bravely in the waters of the "Phantom Ship." Even should we not succeed in arriving safely in port, and should we meet no other Senta than Her Highness Madam Criticism, it matters not; those who follow us in the same waters of the Ideal will be more fortunate…

Will you be so kind as to send the enclosed letter to my gracious and admired translator of the "Chopin"—Mme. la Comtesse Ottilia Wast? [A translation into Hungarian from the old edition of the book.]

Further, I beg that you will recommend Taborszky to publish before Easter my St. Francois de Paule, which our very dear friend Albert Apponyi has been good enough to adorn with his poetry,—and also "L'hymne de l'enfant a son reveil," which Taborszky must have received in November (with the German words by Cornelius and the addition of a harp part).

Schuberth has been seriously ill. I shall be after him to bring out your Geisterschiff [Phantom Ship] without any more delay.

On the occasion of the Wagner concert in Pest I should like my
"Bells" to ring, and beg Abranyi to attune the Hungarian
Klingklang [ding-dong] of them speedily and beautifully.

[Liszt's "Glockengelaute" (Bell-ringing) consisted in this—that he played the Beethoven E Concerto at the Wagner concert in Pest. He allowed himself to be persuaded to do this, as people were afraid that, on account of the high prices, the concert would not be full.—The "Bells of Strassburg Cathedral" were not performed.]

Your last letter exhibits so convincing a character of truth and noble-mindedness that I sincerely rejoice at the prospect of becoming personally and in spirit better acquainted with you. And first of all be assured of my special interest in your Opera "Comata." Whatever I may be able to do as regards a representation of it in a theater I shall not fail to do. In Munich we will read the score over together, and discuss further details.

Of your persistence in wishing to have the "Christus" performed I wrote to Schuberth yesterday, and shall in full confidence leave the whole matter to your considerate zeal. You will best know whether and how a successful performance can be made possible, and please therefore arrange matters altogether according as you think fit. I beg you merely to let me know the day you fix upon some 10 or 12 days previously, and address me to Pest (at Easter), if earlier to Weimar, and I will then come for the full rehearsal.

[The performance took place on the 12th April, 1875. As a result of this King Ludwig II ordered a separate performance in the Court theater, and this again was followed by a public one.]

Respectful greetings to the poetess of the "Comata," and believe me, with marked esteem, yours gratefully and sincerely,

For years past and again lately I have been very much indebted to you. Our eminently learned and dear friend Weitzmann [Theorist and contrapuntist in Berlin (1808-1880)] told me of the careful rehearsals, and of the admirable manner in which you conducted the Faust Symphony. Owing to critical circumstances and negativings I have, as a rule, to dissuade people everywhere from giving performances of my scores. All the more pleasantly am I affected by the goodwill of the few friends who carefully and courageously march on in front.

Therefore, while offering you my sincerest thanks, I beg you to excuse my not being just now able to accept the tempting invitation to Berlin.

(Next week I return to Pest, and at the beginning of April go to
Weimar, where I should be delighted to welcome you again.)

[From a rough copy of a letter in the possession of Herr O. A.
Schulz, bookseller in Leipzig.]

This morning the Politische Volksblatt [The Political People's- Paper] brings me your portrait, my honored and dear friend. The notice accompanying it pleases me only in so far as it predicts a great future for you, based on your very evident merits and great talents. People are agreed upon your great height ("Haupteslange")—all the better, for it corresponds to the height of your character, and I bet a hundred to one that you will never combat "the spirit of the times" ("Herr von Zeitgeist und Frau von offentliche Meinung," [Mr. Spirit of the Times and Mrs. Public Opinion.] as the honorable Count Gozzi ceremoniously said), except when you meet with stupidities and adventures on which this spirit of the times is astride.

My sincere thanks for your letter; gladly would I follow your very kind and "unselfish" request. To say "nay" to my friends always comes hard to me. But how can I act otherwise in face of the negativings of critics? And why should I not prefer abiding my time in peace alone?

Now-a-days an artist is reckoning without his host if he places honest faith in the public. For people now-a-days hear and judge only by reading the newspapers.

I mean to take advantage of this in so far that the leading and favorite papers of Vienna, Pest, Leipzig, Berlin, Paris, London, etc.—which abhor my humble compositions and have declared them worthless and objectionable—shall be relieved of all further outward trouble concerning them. What is the good of performances to people who only care to read newspapers?

Hence, dear good friend, let the "Gran Mass" [Herbeck, however, did have them performed.] and the "Glocken" ["Die Glocken des Strassburger Munsters"—"The Bells of Strassburg Cathedral"] remain unperformed in Vienna, where (in Easter week) you shall receive a visit from yours most warmly and gratefully,

Give Lenbach my kindest thanks, and at the same time ask him to send his extremely poetical portrait of Frau von Moukhanoff here soon in honor of the noble lady and of the musical Commemoration Festival which we have announced for the middle of May. [Liszt dedicated an Elegie to the memory of this gifted lady.]

Tomorrow morning early I go to Hanover; my address there till May 29th [This must mean the 29th April.] will be: "at Freiherr von Bronsart's, Intendant of the Hoftheater." On Saturday is the performance of the "Elizabeth," and on the 29th the concert for the benefit of the Bach monument.

My gracious Grand Duke is very urgent about my speedy return; I shall, therefore, probably spend only 8 or 10 days at Schloss Loo (from the 2nd to the 12th May), and then return here forthwith.

The Tonkunstler-Versammlung is to be held in Dresden at the end of June. I long for some rest and quiet work.

I come to keep you company a little in your convalescence,—far advanced, I hope, so as to be something like a complete cure. For a tisane [A soothing drink] I offer you some news of your cara patria. There are few variations at Weimar: the Grand Duke and Grand Duchess remain there till the end of June; the Emperor of Russia is announced for the 25th June; the Hereditary Highnesses are going to the waters (Marienbad and Pyrmont) in a few days, and will return before the Grand Duke's fete (24th June); Gutschen Watzdorf is going on his own account independently to Carlsbad, Mme. de Loen to Reme (in Westphalia).

At the theater a tempered, but lively activity; during these latter weeks a new Drama by Otto Roquette has been given—Der Feind im Hause. [The enemy in the house.] The subject is taken from the quarrel of the Colonna in Rome; the success of the piece will not occasion any fresh quarrels; nor will that of two new Operas that I have seen—Der Widerspanstigen Bezahmung [The subduing of the refractory ones.] by Gotz and Golo of Scholz, which have come inopportunely into competition with Schumann's Genoveva—a work which has been taken up again with marked success this year (after it had been prudently ignored for twenty years—except at Leipzig and Weimar) at Leipzig and Wiesbaden. Other theaters will mix themselves up with it, in spite of the non-success of Genoveva at Vienna, where it was put on the stage in the winter of '74 with a most praiseworthy luxury of decoration and costumes.

At the time of the performance which I conducted, and that is some twenty years ago, I said: Genoveva is musically the sister of Fidelio; only Leonora's pistol is wanting.

Tristan and Isolde, announced here for the 15th and 19th May,…have remained at Munich with M. and Mme. Vogel, who have lost a child. Loen [The Weimar Intendant] and all the public are very much put out at this untimely mourning; possibly the Vogels will be able to come towards the end of June; I don't reckon on it much, but have written to them on the subject at Loen's request. If they accept, the Commemoration Matinee of Mme. Moukhanoff will take place between the two performances of Tristan, and the "Tempelherrenhaus" in our park has been chosen by us as the spot for this musical commemoration. I will send you the programme.

Meanwhile here is that of Saturday last at the "Orchestral School"—a very useful establishment, well adapted to our modestly proud situation of Weimar, and which Muller-Hartung conducts according to my wishes. [The concert "in honor of Liszt's first visit to the School" consisted entirely of works by him.] Bruch's Odysseus—a musical illustration of Preller's admirable pictures in the Weimar museum—was performed last Thursday, conducted also by Muller-Hartung.

Lassen is in the middle of composing some fine choruses for the two "Fausts," which Devrient is intending to get up here in two evenings, in conformity with his new scenic arrangement.

.—. The day after tomorrow I join the Duke of Weimar's party at Schloss Wilhelmsthal, and shall remain there several days. After that I should have liked to wait upon Cardinal Hohenlohe in Schillingsfurst; but His Eminence is at present at Bad Ragaz (Switzerland) undergoing some after-cure for a foot-trouble, the result of some accident he met with last winter. When I receive his answer I shall so arrange things that my visit to Schillingsfurst is paid as is agreeable in tempore opportuno.

From the 3rd to the 15th August I shall be in Bayreuth; after that I shall this year end with Weimar (without playing "Tannhauser" there, as a guest!) at the Carl-August Festival on September 3rd, for which I have written a short and simple chorus in popular style, the text of which is furnished by King David: "The Lord preserveth the souls of His saints, and light is sown for the righteous."

Enclosed are a few words for our Marie. If I had to choose a cousin I should choose her. Hence I confess my innermost elective-affinity with papa and daughter.

Lenbach's wondrously inspired portrait of Madame Moukhanoff will tomorrow be sent back to Vienna to the Countess Coudenhoven.

Merit and success, in your case, would seem always to stand in perfectly delightful harmony. Best thanks for your kindly letter and for sending your Opus 147: "Technische Kunstler-Studien" ["Technical Artist-Studies"]. And although I am more disposed to turn away from than towards Methods and Pedagogics, still I have read this work of yours with interest. The entrance of the pedal after the striking of the chords as indicated by you at the beginning of page 3, and as consistently carried through by you almost to the utmost extreme, seems to me an ingenious idea, the application of which is greatly to be recommended to pianoforte players, teachers and composers—especially in slow tempi.

I regret that we are geographically so far apart; but sympathetically I remain in sincere esteem and in all friendliness yours,

My friendly greetings to your very talented pupil Alfred Reisenauer. Perhaps you may be coming to Weimar again shortly; I should be pleased to hear this.

One line in your friendly letter I answer herewith: proud of my Konigsberg title of doctor, and anxious to do it credit, I willingly refrain from giving performances of my humble compositions anywhere.

[The celebrated author of "Zeiten, Volker und Menschen" ["Times, People and Mankind"] and other works; born 1820; lived, from 1870 until his death, in Florence, where a memorial tablet, in gratitude to his memory, was erected over his house in the Lung' Arno.]

Your friendly letter leaves me a good hope…for next year. I have just transmitted your thanks and the data relative to our concerted idea to the Grand Duke, who arrived at Ostend on Thursday last, with his daughters, his son and his daughter-in- law. Their Royal Highnesses return to Weimar the 1st September for the fete of Carl August, which the Emperor and Empress of Germany will solemnise with their presence. Monseigneur tells me to invite you to it. I observe to him that you will probably be detained elsewhere; nevertheless, if you should come to Germany at that moment, be assured that you will be warmly welcomed and received at the Court of Weimar.

The monument of Carl August will be inaugurated on the 3rd September. The ceremony of the "Toison d'Or" ["Golden Fleece"], at which the Emperor will be the sponsor of his brother-in-law, our Grand Duke, will take place on the 4th. Then T.R.H. will leave Weimar, and my poor self return to the Villa d'Este (towards the middle of September) for as long a time as my very dear compatriots will allow of it. They press me strongly to return to Pest on the 1st November; before obeying them I shall come and see you at Florence.

Please count always on the feelings of sincere and high esteem of your very cordially devoted

The papers keep you au courant of the marvels of Wagner's theater here. The performances (announced for the month of August '76) of the Tetralogy, "Der Ring des Nabelungen," will be the chief event of dramatic Art, thus royally made manifest for the first time in this century in its ensemble and unification of Poetry, Music, Acting, and their decorations of Painting and mise-en-scene.

There is not merely the chance, but the guarantee of a grand and striking success, in view of the sublimity of the work itself, and also of the enthusiasm which it already excites amongst the numerous staff of artists chosen to interpret it. In spite of the difficulties of this new transcendental style of Wagner, the preparatory study and rehearsals are an enchantment for the singers and the musicians of the orchestra.

By the 18th August I shall be back at Weimar, and shall stay there till the 6th September.

It is not without regret that I have given up the very sincere pleasure of meeting you now at Nuremberg. If you remained there till towards the middle of September I should come and ask you what commissions you have for Rome, where I expect to arrive before the 20th September.

Here we are sailing in the full tide of the marvels of art. Every day, morning and evening, one act of the "Ring des Nibelungen" is rehearsed in Wagner's new theater. The enthusiasm of the whole staff of singers and orchestral players, to the number of about 150, is as sincere as it is abundant, and everything augurs for next year some prodigious performances of the immense and sublime work which royally dominates all contemporary Art, including the former works of Wagner.

Cosima sends you a thousand affectionate messages, and is expecting to see you at the time of the definite succession of the Nibelung-Ring in the month of August 1876. You were present at the laying of the first stone of the monument, and must not be absent at the crowning moment. .—.

Mme. de Schleinitz is staying here a fortnight longer, and is living at the castle. She keeps herself continually at the highest diapason of grace and charm, without ever missing the opportunity of effectually obliging her friends.

While greatly regretting to hear of your indisposition and thanking you sincerely for your last letter, I now ask you: How are you going to answer the ministerial communication of Trefort?—Are you willing to render important help as regards Church music in Hungary? Superfluous words are unbecoming to me; let us onward and act; and may your noble and stimulating influence be granted to Hungary. Assuredly you will find there admiration, affection, and the necessary assistance in the great services you will render.

[Authoress of "F. Liszt als Kunstler und Mensch" ("F. Liszt as Artist and Man"), 2 vols. (Leipzig, Breitkopf and Hartel, 1880 and 1887)]

Thanks to your care I had excellent and very inspired company during my two days' journey from Nuremberg to Rome. Your parallel "Bach and Handel" delighted me more than the famous landscapes of the Brenner. Allow me specially to praise your fine insight into and correct interpretation of the various musical forms of culture from the Motet to the Mass and the Oratorio.

Some portions also of the "Allgemeine musikalische Erzieh-und Unterrichtslehre" [Universal Musical Instruction] pleased me—(in spite of my inaptitude in things pedagogical), especially the main idea of the work:—that musical instruction should not be separated from, but form a part in, the course of education; a relevant thought, the practical application of which will essentially benefit, and prove useful to, art as well as education.

Again my cordial thanks for the hours at Nuremberg, and best greetings to the amiable comrades in art Fraulein Ida and Auguste.

Wherever we may be we ever remain one in heart. Probably I shall be in Budapest as early as the middle of November, on account of the Musik-Akademie, which it is my duty to shape in accordance with the standard of somewhat difficult local circumstances. Appointments have already been made by the Minister Trefort: Franz Erkel as Director, Volkmann as Professor of Composition, and Abranyi as Secretary. Witt and Bulow had the first offers from Trefort: unfortunately Witt is still too ill, and Bulow could not come till later, after his return from America. Of course Bulow would have received the largest possible sphere of action—somewhat the same as he occupied in Munich, where, for a couple of years, he acted as Director of the Conservatoire in the most successful manner…

All hearty greetings to your circle, and believe me ever your gratefully and sincerely attached

F. Liszt Address: 43, Vicolo dei Greci, Roma (Italia). Till the beginning of November I stay here or at the Villa d'Este, and then travel direct to Pest.

A thousand thanks for your letter with its weighty contents. [Abranyi had informed Liszt that the Hungarian Landes-Musik- Akademie—which had been called into existence by Trefort, the Minister of Education—had already been organised and was shortly to be opened, and that Liszt was invited to the inauguration ceremony.] All things considered, it does not appear to me advisable to hurry my return. As I did this year, I mean next year also to reach Pest towards the middle of February—in time for Lent and the concert season. By that time the work at the Musik-Akademie ought to have fairly established itself.

I gladly undertake to conduct a pianoforte-class for virtuosi and teachers,—first of all from the 1st March to Easter 1876. And should the undertaking give indications of proving a success, I would be willing to devote several months a year to this species of instruction in the Musik-Akademie of Budapest.

I look forward to being on the best and most cordial terms with Erkel. [Franz Erkel (born 1810), a celebrated Hungarian composer, at that time Director of the Musik-Akademie and Capellmeister at the National Theater in Pest. Died 15th June, 1893] Also with Volkmann and the other professors.

As regards the very worthy Secretary, I rejoice to labor with him as next-door neighbor (on the Fischplatz, where assuredly we shall not dry up "like fish out of water"), and remain always

My friendly greetings, please, to Engessers, Zimay, Siposz, [All were Hungarian musicians] and to our dear composer of the "Liszt- Cantata," Gobbi.

With regard to the "Elizabeth" performance (at your "Twelfth Annual Concert" on the 24th February) I am somewhat anxious on account of the great exertions and expense which the performance will entail upon you. Still I will not make any further objection to your characteristically firm incorrigibleness in your steadfast wish and endeavor to do the utmost possible for the good of your old friend, now 64 years of age.

To Frau Blume (whom I often called upon in Rome) please give my friendliest remembrances. If the part of Elizabeth does not displease her she is certain to give an excellent interpretation of it.

I am most glad to grant friend Banz the permission he desires, and am grateful to him for his kindly sentiments.

Till the middle of February I shall stay here—and then go direct to Budapest—and remain your faithfully attached

Your letters are as full of heart as they are of mind. They both comfort and exalt me. My prayers always include you. May the "Supreme Spirit" strengthen us!

For me to appear at the opening of the Musik-Akademie in Pest on November 7th, is, I think, neither necessary nor desirable. It will be better that the undertaking (the official part of which I did not call into existence!) should be more fully started before I take any part in it. Hence till the middle of February I remain at the Villa d'Este (quietly finishing a few compositions) and then return direct to Pest.

Herbeck is said to have promised to conduct a concert there. I trust we may meet in friendship on the "Fischplatz" during Lent. How could he manage to have the Gran Mass performed in the Burgkapelle? The dimensions of the work require rather a goodly amount of space for chorus and orchestra…Next summer it is proposed to give a grand concert-performance of the Gran Mass in Dusseldorf (where they have a splendid hall, admirably adapted for musical festivals). I shall look for your report of the Vienna performance.

As regards the "Prometheus," I beg you to fix with Her-beck that in Vienna the new improved edition, published by Kahnt (Leipzig), shall be used, and get him to procure it from Kahnt: pianoforte score, full score, and voice parts. If Herbeck should entertain any doubt about the new edition on account of the expense, I shall be quite ready to settle the small "difference" with a few gulden, which you will advance me for the purpose. [Eduard von Liszt managed Liszt's money affairs for him.]

I am very anxious that this "Prometheus"—who is ready to "unchain" himself next summer in Dusseldorf and at the Musical Festival at Altenburg—should not again be a failure in Vienna, after his late want of success there.—

Give Kulke my best thanks for his excellent essay with its kindly sentiments (in the Vaterland of September 17th); I am specially pleased with the close: "In the same way as Sebastian Bach could not conceive a musical thought in any other way than from a contrapuntal point of view, Liszt cannot conceive a theme in any other way than from a thematic point of view," etc.

Heartiest greetings to all your circle: Marie will always prove herself noble and firm.

F.L.

Although I scarcely know how sufficiently to express my gratitude to you for all the proofs of friendship you have constantly shown me during twenty years, I am quite convinced that no misunderstanding would ever be possible between us. You know my good intentions from the outset, and in case of necessity you divine them with the heart's most penetrating and delicate intelligence.

I add to my thanks for your last letter a request which you will certainly grant, by assuring our very honored friend Hillebrand of my sincere devotedness. In addition, assure him also that my zeal in serving my gracious master, the Grand Duke of Saxony, will never be used to the detriment of any one, and that I especially take into consideration the proprieties appropriate to the merits and position of individualities that I esteem and love.

So then we will discuss "academicamente," at your house in
Florence (after my return from Hungary, towards the middle of
February), the subject of Hillebrand's spending some months each
year at Weimar.

This could be brought about under reciprocally pleasant conditions; I confess that I take a rather egotistical interest in it…but without failing in the duties of friendship.

In a week's time, Mdlle. Adelheid de Schorn accompanies her aunt- -"the Lady Abbess von Stein"— back to Germany. She will bring you two or three books of music from me.

Sgambati has finished a second, very remarkable Quintet (for
Piano and Strings), which will soon be heard in Rome.

Zarembski (whom I introduced to you) works valiantly, and deserves to be reckoned as an unusually excellent pianist of the first rank.

If you should see the Jaells before their concerts in Rome, give them my most affectionate remembrances.

What you felt at the performance of the Gran Mass has extremely rejoiced me. "He who loves understands."

Give Herbeck my warmest thanks for the carefulness of the rehearsals and performance of this work, about which I allowed myself to make the remark (in Paris 1866), to a personage of the very highest rank, that "it had been more criticised than heard."

On no account would I press Herbeck to give a performance of the "Prometheus-choruses"; according to my thinking, it would be better to wait and see how these choruses are done next spring in Dusseldorf and at the Tonkunstler-Versammlung in Altenburg before bringing them back to Vienna. I should also like to be present at the Vienna performance, which will not be possible tha's winter. I shall probably only be able to stay one day with you (at the beginning of April). I almost doubt whether the "Hunnenschlacht" could be performed amongst the "Philharmoniker" [lovers of harmony] without defeat to me. Nevertheless, "vincit qui patitur."

.—. As I already told you, I shall remain here till the middle of February, and then return direct to Budapest. From next April I am threatened with much travelling about. My threefold domicile, Pest, Weimar and Villa d'Este, and all that is connected with it, makes my life very onerous. Even the well- known consolation, "Tu l'as voulu, Georges Dandin" [it is your own doing], fails me…Still there is hope in the proclamation "Et in terra pax, hominibus bonae voluntatis."

Once more thanks for your kind intercession in my friend Vincenz Kirchmayer's [Liszt's former travelling companion in Spain and Portugal during the forties, and especially recommended by Liszt to his cousin Eduard.] affairs. When the decision has been given let me know it.

[Well known as an excellent teacher of the pianoforte, also as a writer on music]

It is well known how much mischief is done to the piano both with hands and feet. May your instructive pamphlet on the right use of the pedal duly benefit pianoforte players. [Footnote: "The Pedal of the Piano." Vienna, Doblinger (3rd ed. 1892).] With best thanks for sending me the pamphlet, I remain

In the affairs of the Academy of Music I had till now simply to wait. [The opening of the Academy of Music had taken place meanwhile in the middle of November, 1875.] Now comes the time when a different, an active line of conduct presents itself to me. I shall always endeavor to come up to the expectations of my friends. First of all in the middle of February we begin our peaceful academical conferences, and, as I have already written to you, I willingly undertake, from the 1st March, to conduct a pianoforte class (for virtuosi and teachers)—provided that Erkel and you, dear friend, agree to this harmless proposal. My further activity in the Royal Hungarian Academy of Music had better be favored, measured and decided by the circumstances. I can only lay claim to be the well-intentioned zealous servant of Art and of Hungary.

Please to give Erkel my heartiest thanks for the Liszt-paragraph in the "Inaugural Address." The kindly confidence which Erkel has reposed in me for more than 30 years shall never be abused.

The notice "Count Geza Zichy, President, and Bartay, Director of the Pest Conservatorium," affects me very pleasantly. Engesser's constancy in conducting the Liszt-Verein [Engesser founded the Liszt-Verein in Pest (for mixed voices)] particularly rejoices me. Is Gobbi's Cantata come out? Friendly greetings to the composer and recently "well-known composer of album-leaf waltzes," from your old, truly attached

(Before my arrival—16th February—I will telegraph to you from
Venice, where I shall visit Count Imre Szechenyi.) In case there
were anything to write to me, address, till February 5th, Rome,
Vicolo dei Greci, 43.

Your letter has deeply affected me. I preserve it in the secret cell of the heart, where the last words of my dear mother remain- -and give me consolation. I cannot thank you in words. My thanks rise in prayer to God. May His blessing ever be with your generosity and constancy in all that is good.

At the "Decisions of the Court of Cassation" (the 2nd October and 16th November) you spoke so forcibly and beautifully clearly about blasphemy, and of the symbol of redemption, the crucifix— and thus truly fulfilled the teaching of our Savior: "Thesaurizate autem vobis thesauros in Coelo." Let us continue to the end, dearest Eduard, in the love of Christ!

I absolutely wrote the "Hunnenschlacht" for the sake of the hymn "Crux fidelis." Kulke in a very generous manner determined on the production of this work in Vienna. For very many years Kulke has always been well-affected towards me. I enclose a few lines of thanks which I beg you to hand to him. His "Moses before Pharaoh" I have, alas, not the power to compose. To compose philosophy and politics in music appears to me an all-too-difficult task. I almost doubt whether it could be accomplished.

During long years you have constantly shown me so much kindness that I cannot sufficiently thank you for it. I am also ashamed not to compose better works, so as to make the kindly interpretation of them more easy and pleasanter to you. Nevertheless all the more valuable is your insight and indulgence.

The "feathered thief" [A comedy by the addressee, a well-known and meritorious author, and sent by him shortly before to Liszt.] reconciles me with the "newspaper geese." It will, without plagiarism, win its laurels on the stage. The dialogue and action are full of humor and wit…and the final catastrophe of the thrashing must make an impression on the public.—

Excuse me, my dear Sir, if I do not feel myself equal to the task of an Old-Testament Oratorio. [Kulke had sent a poem, "Moses before Pharaoh," to Liszt in Rome, with the question whether he would be inclined to make it the subject of an Oratorio.] Michael Angelo represented his Moses mighty and horned (perhaps as a most excellent ideal forerunner of Pope Julius II.?); Rossini sang exquisitely the "preghiera di Mose," with which Europe is still enraptured; and Marx's Oratorio Moses, less well-known, contains many excellent parts.

"Non omnia possumus omnes." My humble self can do but little, and remains most humbly grateful to the "Caritas Christi."

Your kind promise to translate the "Chopin" into beautiful German rejoices me extremely. Hearty thanks for it. I will soon send the revised (French) copy, and I hope the work will be easy and pleasant to you. In the 3rd edition of "Musikalische Studienkopfe" I lately read "Berlioz"—an excellent characterisation and recognition of this extraordinarily great master, who perhaps hovers more in the untrodden regions of genius than anywhere else.

The addition of the "index" is a valuable completion of this third edition. Its success augurs well for what will follow.

Although I scruple to weary the extraordinary good-will which the public of Budapest has evinced towards me, I nevertheless make so bold as to offer the assistance of my two hands for the concert shortly to be given in aid of the sufferers by the floods, if Your Excellency is of opinion that this could still be at all useful. In the year 1838, when I returned for the first time to Vienna, I gave my first concert there in aid of the sufferers by the inundation at Pest. It will be a comfort to me if I can now close my protracted career as virtuoso by the fulfilment of a similar duty. [The concert in aid of the sufferers by the floods in Budapest took place with Liszt's co-operation on the 13th March, 1876] I remain, until death, Hungary's true and grateful son.

You, in your London "Annual Concerts," have for 12 years worked more wonders than I was able to compose in the "Rosenwunder" [Rose miracle] of Elizabeth. Hearty thanks for your account of the 12th concert, and all the exertions connected with it! I beg you to present my most respectful compliments to Mrs. Osgood ("Elizabeth"), and, before all, to Constance Bache, the kind translator of the Legend.

and during the chorus of angels, remains, in sincere esteem for the steadfast conductor and friend Walter Bache, his faithful and grateful

The Commander Casamorata has written to me again about the fete of Bartolomeo Cristofori. I have replied to him that my answer had been already received by you in the month of January '75, and that I can only repeat the same excuses. I copy the last lines of my letter to Casamorata that you may have the exact particulars:- -

"Without reckoning that for more than thirty years I have not belonged to the active lists of pianists and only desire the honorable repose of an invalid, I permit myself to remark that the duty of celebrating the inventor of the pianoforte in Italy belongs by preference to Italian pianists of note, such as M. Buonamici (in Florence) and M. Sgambati (in Rome), etc."—

In conclusion, I scarcely could leave Germany all this summer (except for the visit to the Chateau de Loo), and I shall probably be obliged to return to Hungary after Bayreuth, where I hope still to find you.

[Draft of a letter from a copy by Dr. Mirus in Weimar.—Addressee (1832-1885) came to Weimar in 1855 as a violinist under Liszt, went to Breslau in 1858, and in 1871 to New York, where he had great success and influence as a conductor.]

You have recommended our young friend Max Pinner to me. He shows himself to be an excellent artist, and I have become much attached to him [Pinner died young.] I beg you to accept through him the renewed expression of my former faithful friendship.

Your beautifully conceived and nobly executed work "Ruth" I have read with sympathetic interest and pleasure. I will not fail to suggest its performance in Germany.

How shall I thank you for the edifying goodwill which you manifest towards my compositions? Your intelligent enthusiastic conducting of my scores prevents any one noticing the defects of the composition.

[From a copy by Director Aug. Gollerich in Nurnberg.—Addressee, who died in April 1892, the poet of Mirza Schaffy]

Your very agreeable and genial friend, Frau Major von L., sends the September leaflet about the concert in Hanover. A thousand thanks for it. .—.

On the occasion of my happy 50 years' jubilee you rejoiced me with a poem, of which Iam proud. You have admirably succeeded in coaxing such poetical euphony from an old worn-out instrument like my humble self.

Although the music which you have been so obliging as to send me through Mr. Kahnt has not yet reached me, I hasten to assure you again of the strong interest which I take in the works of the new Russian composers—Rimski-Korsakoff, Cui, Tschaikowski, Balakireff, Borodine—which you edit. You know that lately, at the Tonkunstler-Versammlung at Altenburg, the Ballade "Sadko" was well performed and received. Next year I shall propose that other works of the above-named Russian composers be produced. They are worth serious attention in musical Europe.

When you return to Weimar in July I shall better express to you my thanks and regards.

[Communicated to the Musical Chronicle, 20th February, 1888, by
A. Gollerich.—Addressee is the brother of Liszt's intimate
friend, Prince Felix Lichnowsky, who, as a member of the
Parliament of Frankfort, fell on the Heath at Bornheim
(Bornheimer Haide), a sacrifice to the Revolution of 1848.]

In old attachment I thank you heartily for your kind lines. The most grateful recollections ever bind me to the House of Lichnowsky. Your highly endowed father and your admirable brother Feliz showed not less kindness to me, than Prince Carl Lichnowsky showed before that to the young Beethoven, who dedicated his Opus I. (3 Trios) to the Prince Lichnowsky, and felt himself quite at home in the so-called Krzizanowitz "Palace," and in the Castle of Gratz. [Krzizanowitz is Lichnowsky's inherited estate in Prussian Silesia, the Castle of Gratz his dominion in Austrian Silesia. Franz Liszt like Beethoven, was a guest in both these places.] May it be permitted, dear Prince, to find you again there (perhaps next year) to

Thanking you very much for your kind invitation, I shall willingly come next Sunday, and rejoice that I shall again hear a special Sondershausen concert. Berlioz's "Harold-Symphony" is to me an old, ever-fresh recollection: the Sondershausen orchestra played it capitally at the first Festival of the "Music of the Future" in Ballenstedt, which I conducted.

Send me soon the whole printed programme. Can you already conduct
Wagner's new "Fest Marsch?"

I beg for Bulow's "Nirwana," if possible, and in case there should be room for anything, not long, of mine, I would most modestly suggest the Symphonic Poem "Hamlet," which I never heard. Most friendly greetings to your wife, and believe me always

I suppose the concert takes place on Sunday afternoon, so that the visitors from Weimar can get back here again?

Which train, in the lately altered railway guide—as I was told yesterday—will bring me in tempo (non rubato) [in time—not broken] to Sondershausen and back?—

Best thanks for your letter. Please to make my apologies to the mayor Herr Karoly and to the Festival Committee in Szegedin. [The town of Szegedin and the Hungarian Vocal Society had begged Liszt's active sympathy for the Musical and Singers' Festival about to be held in that place. Karl Wagner was president of the Festival Committee.] With reference to the first invitation to Szegedin (last March) I made the observation immediately that "During the whole month of August I belong to Bayreuth." Consequently it is no fault to remain there,—if the principle is correct.

Now, dear faithful friend, I invite you once again to come hither. The "Festival-Play" is of the very most serious historical significance…So do come at the latest from the 27th till the 30th August for the third series of these stupendous performances of the "Nibelung's Ring." The Montecuculi-an matters will be gladly arranged for you here [i.e. the expenses.] by

[Autograph of this curiosity in possession of Herrn
Commerzienrath Bosendorfer in Vienna.]

Hast thou a moment's time for the Leipzig "affaire"? then please come down here (where Herr Neumann now is) to thine own

F. L.

[This referred to the performance of the "Nibelungen" in Leipzig, striven for by Angelo Neumann and interceded for by Liszt, for which purpose the former came to Bayreuth.—Wagner wrote in pencil on Liszt's letter as follows:—

"I am in my shirt-sleeves and under no circumstances inclined to give my work to Leipzig or anywhere else!

R. W."]

195. To the Kammersangerin [Private Concert Singer to the Court] Marie Breidenstein in Erfurt

[Died 1892. She dedicated herself with satisfaction to the rendering of Liszt's compositions, and was also his pupil for piano.]

Perhaps the Schubert songs with my most modest instrumentation would suit somewhere in your programme. Here are the printed scores with the orchestral parts. "Gretchen" and "Erlkonig" have been much used and are played out. This is not so much the case with the "Young Nun"; and Mignon's wonderful song, "So lasst mich scheinen bis ich werde" [So let me seem till I become], is scarcely heard—or appreciated!

But if you will once more spare me an hour in Weimar, I will accompany these 4 instrumented Schubert-Songs for you.

N.B.—The instrumentation compelled me to a few little different readings in Schubert's four songs: on this account the singer must go by my score-edition as regards the rests and the very slight alterations.

In sending you today the transcription of your "Danse macabre," I beg you to excuse my unskilfulness in reducing the marvellous coloring of the score to the possibilities of the piano. No one is bound by the impossible. To play an orchestra on the piano is not yet given to any one. Nevertheless we must always stretch towards the deal across all the more or less dogged and insufficient forms. It seems to me that Life and Art are only good for that.

197. To Professor L. A. Zellner, General Secretary of the Conservatoire of Music in Vienna

Be so very kind as to convey my sincere thanks to Directors Mosenthal and Herbeck for the friendly communication about the Beethoven-Monument Concerts in Vienna next March. A few weeks earlier I beg you to send me the programmes, to which Beethoven's Concerto in E-flat major, and also as a Finale, in case the "Hammerclavier" appears admissible, the "Choral Fantasia," will willingly be added with his old hands by

[From a copy by Dr. Mirus in Weimar.-Addressee (born 1843 in
Hungary) the renowned conductor, since 1876, of the Bayreuth
Festspiel, and, in addition to his opera work in Vienna,
conductor of the Philharmonic Concerts there and of the Richter-
Concerts in London.]

I thank you most sincerely for your friendly intention of giving my Beethoven-Cantata in the performance at the Royal Opera House for the benefit of the monument to Beethoven. By today's post you will receive the whole printed score, together with a separate edition of the orchestrated Andante (from the B-flat major Trio), which shines, like a guiding star, above my insignificant work. The Cantata was published by Kahnt, Leipzig, in the year 1870, and was also first brought out in Weimar, then in Pest, on the occasion of the Beethoven Jubilee Celebration. If, my dear Sir, the orchestration to some extent pleases you, I should advise you to take up this alone in your programme on the 15th December.

The remaining movements might meet with many hindrances in Vienna…and, frankly, I have become altogether somewhat shy as regards the performance of my compositions. Although I quietly endure their foregone want of success with prevailing criticism, it is my duty not to let my friends be injured by it.

Once again hearty thanks for your goodwill and meritorious conducting of Wagner.

Your communication to me of the 25th October has been very much delayed, owing to my change of residence several times during the past weeks. There is surely no need to assure you that I never thought of causing any unpleasantness at all to any one—more especially judicially [The publisher of "Tannhauser" had tried to make out that Liszt's arrangement of the March was a "piracy."] In particular my connection with your very honorable house for more than 30 years has ever been most simple and honest. This is also shown by my two quoted letters of the 17th February and 3rd April, 1853, with reference to the publication by your firm of the "Tannhauser and Lohengrin pieces," whose publication at that time I was quite "the agreement" with Richard Wagner in suggesting.

Certainly I could not, without injuring the Tannhauser March, go all through the original, loading it with shakes, and here and there adding arpeggios. However, if "connoisseurs" will look through my transcription in detail, they will easily discover that neither the variation on the principal theme, nor the modulating of the second, nor in any manner the whole setting of the pianoforte arrangement, could be found fault with as a "piracy."

Best thanks for kindly sending me the "collected writings of Hector Berlioz" and some novelties of your firm. The compositions of Tschaikowsky interest me. A few of my pupils here play his Concerto and several of his pieces really capitally. I have also recommended Riedel to include Tschaikowsky's Symphony in the programme of the next Tonkunstler-Versammlung.

Otto Reubke's arrangement of the Schubert Quartet [In A minor, published by Sander (F. E. C. Leuckart).] for one performer on the pianoforte seems to me well done, though the 3rd bar of the first Allegro should stand thus,—

because in the latter case the important E of the melody cannot be held on, etc.—

I know the manuscript of an excellent arrangement of Schubert's D minor Quartet for 2 hands, the author of which, a man of very high standing, I do not today mention by name. But should you be inclined to publish this Quartet (arranged for 2 hands on the P.F.) I will gladly give you further particulars.—

By today's post you receive my last revision of Berlioz's "Symphonie fantastique." I have added two remarks to the title which I beg you to notice and adhere to. Thus "Piano Score"—not "Arrangement."…Then it is absolutely necessary to insert the whole programme of Berlioz, French and German, in your 2nd edition (on the 1st page after the title-page). If necessary my friend Richard Pohl will give you the original French text and the translation.

P.S.—I keep the copy of the Witzendosf edition for a while, and send you today only the Paris edition, together with the last proof copy of the "Symphonie fantastique."

Before Herr W. Juranyi handed me your letter I had replied to the earlier communication from your esteemed house with reference to the same matter.

Accept once again the assurance that I lay great stress upon the continuation of our friendly relations, which have now existed for 36 years. As far as this depends on me it shall never cease.

2. To prepare an enlarged version of the transcription of the "Tannhauser-March."

Acquiescing in this, I will send you the day after tomorrow a couple of pages of notes [musical] for the purpose of an enlarged edition. I cannot decide whether these acquire a legal value, but in any case they prove to you, dear Sir, my sincere readiness.

My "Wagner-Transcriptions," by-the-by, were not in any way a matter of speculation to me. Appearing at the beginning of the fifties, when only the Weimar theater had the honor of performing "Tannhauser," "Lohengrin" and the "Flying Dutchman," such transcriptions only served as modest propaganda on the inadequate Piano for the sublime genius of Wagner, whose radiating glory now and henceforth belongs to the Pride of Germany.

You have rightly guessed that Herr von Keudell's "excellent" transcription of Schubert's D minor Quartet is finished. It now only remains for you to write to His Excellency, that you may put this work in your window.

Reubke has succeeded very well with the B minor Rondo of Schubert, only, to my thinking, he should add the now indispensable pedal marks to it. By the same post I send you his manuscript together with a few remarks, and beg you to thank Reubke for his friendly dedication, and also to compliment him especially on the refined and beautifully effective carrying out of the subject—

[First Tausig's pupil (also Rubinstein's for a little while), from 1875 she studied every summer with Liszt as long as he remained in Weimar. In 1880 she became pianist to the Court at Weimar.]

I telegraphed immediately to you at Laibach, to tell you to come without ceremony. Your talent is such that it would convert even the Turks, and I assure you that the audience at the Pest concerts will be delighted to applaud you. As to the title which you propose to take, I think it is too modest for you, but there would be an excess of modesty on my part in saying anything against it…so let us be reciprocally proud of it and don't let us advertise it!

Be so kind as to give my most cordial regards to Monsieur and
Madame Bosendorfer.

Your Arrangement [of Schubert's B minor duet for pianoforte alone] pleases me uncommonly. I beg you to notice the alterations I have made on the accompanying sheet of music-paper. This version is not quite so much like the original as yours, but, as the great thing is to bring out a fortissimo, we may well allow inaccuracies of this kind in favor of the performer and of effect.

You are requested to add to your excellent Arrangement of the
Schubert Rondo much pedal and some fingering,

What is always very pleasant and dear to me is your goodwill. With my hearty thanks for it I send today the little notice. "Jeanne d'Arc au bucher" ["Joan of Arc at the Stake"] came out a few months ago at Schott's (Mainz). This short dramatic Scena can be sung with either pianoforte or orchestral accompaniment. The chorus is conspicuous by its absence. Johanna [Jeanne] alone has to perform. N.B.—Only the second edition (published 1876) is to be used; not the first, which also came out at Schott's 30 years ago. Schott sent me no copy of it; it was too much trouble for Berlin to correspond with Mainz via Budapest. Herr Capellmeister Mannstadt [Now Capellmeister at the Court theater in Wiesbaden.] will therefore be so kind as to order the "Johanna" (full score and piano score) at Schott's, if you really have the goodness to sing it. [It was done in honor of Liszt's presence in Berlin, which was celebrated by the performance of some of his works.] There might possibly be special feelings now in Berlin against it, in spite of Schiller's Tragedy, "Die Jungfrau von Orleans." Therefore think the matter over.

For years past I have been mostly obliged to dissuade people from the performance of my large works. The general public usually goes by what is said by the critics, whose most prominent organs among the newspapers are hostile to me. Why should I go into useless quarrels and thereby compromise my friends? Peace and order are the first duties of citizens, which I have doubly to fulfil both as honorable citizen and artist.

As for the rest, dear friend, if it suits you to sing any one of my musical compositions, be assured of the sincerest thanks of

Rejoiced to be able to help you, I will work with you with a full heart and both hands in the concert for the Beethoven Monument.

Allow me to answer your friendly remark about the performance of Beethoven's Choral Fantasia thus,—that I should not think of performing any other work at this concert than one absolutely written by Beethoven, and consequently my share in the concert programme will consist of the E-flat major Concerto. [It did not consist of that. Liszt did after all play the Pianoforte Part of the Choral Fantasia, Op. 80.]

I beg you will kindly communicate to the honored Secretary of the
Committee, Herr Zellner, my hints with regard to the Beethoven
Scholarship in Leipzig.

I always remain faithful to thee in heartiest agreement with thy thoughts and feelings. Every year brings us nearer to the fulfilment of our hope in Jesus Christ the Savior!

I am now quite recovered from my little attack. If there were nothing worse in this world than sprained legs and physical suffering, one could be quite satisfied. Moreover I belong to the very favored and happy ones, even as regards physical suffering.

There is nothing particular going on here which I need mention. Four times weekly I have a class for pianists and pianistes, native and foreign. Half a dozen of these distinguish themselves and will be able to grow into capable public artists. Unfortunately there are far too many concerts and concert- players. As Dingelstedt quite truly said, "The theater is a necessary evil, the concert a superfluous one." I am trying to impress this sentence on my disciples of the Hungarian Academy of Music.

As you know, Budapest possesses three musical Institutions: the Conservatorium (which has existed 36 years and counts several hundred scholars), the Hungarian Theatrical School, and the new and still small Academy of Music. An excellent younger friend of mine, Count Geza Zichy, is president of the Conservatorium; an older one, Count Leo Festetics, president of the Theatrical School; and my humble self acts in the same position at the Academy of Music, whose Director Franz Erkel and General Secretary Abranyi proceed most zealously and judiciously. I have only pleasant relations with them both, and the Minister Trefort is already well-disposed towards me, because he knows that I save him unnecessary annoyance and expense. Most likely the Academy of Music will in two years' time be so flourishing that there will be more to say about it; in the meantime let us study—and be silent. .—.

Heartiest greetings to thy family, and au revoir in Schottenhof [Eduard Liszt's home in Vienna.] in the middle of March, on the occasion of the "Beethoven-Monument Concerts."

The Christmas week has beggared me. Be so good as to send me very quickly 500 gulden, for I have hardly 60 left.

Truly, dear Bache, you are a wonder-working friend. Your persevering trouble, exertions, expenditure of time and money for the production of my bitterly-criticised compositions in London during the past fifteen years, are among the most uncommon occurrences in the annals of Art. Once again heartiest thanks; please also to thank Mr. Manns properly for his excellent conducting of "Mazeppa." Things of that kind are awkward both for conductors and performers. But how can one go on making music with what is idly convenient, even when this is raised into importance under the guise of being classical?

Hueffer's translation of Wagner's letter pleases me. Friendly greeting to Hueffer [Musical author in London, lately deceased] and Dannreuther [Musician in London] from

At the beginning of April I shall be back in Weimar. I am pleased that you included the old "Loreley," with fresh orchestral accompaniments, in your concert programme. Give my respectful compliments to the friendly singer Mrs. Osgood.

For some weeks I have been much on the go and disturbed in many ways. Several musical performances occasioned me to go about in the neighborhood. On the 17th June some portions of the "Christus Oratorio" were splendidly sung in the Thomaskirche (Leipzig) by the Riedel Verein. Last Friday "Elizabeth" came brilliantly to the fore again in Eisenach, and yesterday Gille, my untiring friend of many years' standing, arranged a large concert of sacred music (with several items of mine), at which I was present.

I do indeed regret that I am not able to accept in person the kind invitation of my beloved nephew Franz for his wedding-day. It would be much better for me to be more with you all!…Enclosed are a few words to Franz. Arrange for my proxy as a witness at the marriage ceremony. Whoever is chosen by you will be worthy and right to me: as for me I should choose my friend Bosendorfer.

I go the day after tomorrow to Berlin for two days; then I am bidden farther and nearer till the end of July. I shall respectfully announce to the Frau Furstin [Princess] my arrival in Rome—beginning of August. Please send me here on the 20th July the money for the journey, and something over—about 1200 marks [about 60 pounds]. I must not have any other debts except moral ones. Our name Liszt in the Hungarian language means Flour: we will provide good wheaten meal "ex adipe frumenti" with thee, Franz, and thy children.

F. L.

.—. I shall visit you in the middle of November on the return journey from Rome to Pest,—where I think of spending the winter, as formerly.

You have been just as much a pianoforte maker as I have been, and still remain, alas! an almost posthumous pianoforte player.

My friend Berlioz asked: "Do you believe that I can listen to music for my pleasure?" Nevertheless we intend to continue our Music and Piano "for our good pleasure."

.—. In order to obtain this performance [Of Mihalovich's Opera "Hagbar."] I think it necessary and indispensable (as I have already told you) that you should lay a regular siege in person to the Intendant, the Capellmeister, and the singers, male and female, of the theater which you choose.

The new serious Operas are now regarded with suspicion and are in disgrace everywhere. Several trials have been made of them here and there of late years. In the happiest of them the public applauded warmly during the first performances, and abstained from attending the following ones. Consequently the coffers remained empty: ergo, it is the receipts which prove real success. If Wagner's marvellous chefs d'oeuvre hold their own in the repertoire, it is because they make money and continue to draw even a large contingent of detractors. .—.

Towards the middle of August I shall be in Rome, and shall stay at the Villa d'Este until my return to Pest in November.

Dear Secretary-General of the "Zene Akademia," [i.e. Academy of Music of the Country.] Sincere thanks for your significant communication, which I answer immediately, point by point. [Abranyi had informed Liszt, as President of the Academy, of the course of instruction (1877) and concerts, and had also asked him for his opinion on several Art questions.]

1. The conclusion of the year '77 with the examination concerts (25 to 28 June—and the "Magyar Hangverseny" [An Hungarian Concert.] on the 30th June) has been very gratifying. Let us rejoice in the praiseworthy performances of Messrs. Juhasz, Agghazi, Swoboda, and of the ladies Frau Knapp, Fraulein Lepessy, [The above-mentioned were favorite pupils of the Master at the Academy.] etc., in Counterpoint, Harmony, Composition, Aesthetics, Hungarian music and the indispensable Piano-playing.

The work best praises the Master: in like manner do the pupils, when preparing themselves for pre-eminence, praise their teacher. The "Zene Akademia" has not to work for the universally usual kind of musical study, but has indeed a weightier, higher task to fulfil.

2. The publication of your "Academic lectures" I had especially recommended to His Excellency Minister Trefort. "Suitable teaching and departmental books" printed in the Hungarian language are inaccessible. You, my honored Secretary-General, have to look after that,—and the Minister will certainly support your scientific-patriotic work for the use and benefit of learners and teachers at the "Zene Akademia"—and further, in all Hungary.

3. As to the "Plan of classes in the department for Church music, Singing and Organ," I can now only repeat my previously expressed wish that the right and able person of good working capability may be found for conducting these classes. Neither invalids nor dabblers may officiate at No. 4, Fischplatz!—[Liszt's house, and, for the time, the locale of the Academy.] If unfortunately the right reverend Herr F. Witt should continue unable to fill the post offered to him in Budapest, I shall propose that the new director should come for a year on trial. And a complaisant sort of Protection is thereby to be avoided, for the matter in question is nothing less than the worthy thriving and culture of Church music in Hungary.

4. I consider as necessary the appointment of an experienced Pianoforte Professor, one who is pushing forwards, and who will be able to relieve our highly honored Director Herr F. Erkel of a part of his very meritorious but excessive exertions. Meanwhile I protest strongly against desiring to have a professorship without salary. Fees with honor; judicious restrictions without beggarly management; otherwise we shall come to grief.

5. I beg that my "jubilee-stipend," entrusted to me in the most honorable manner by the municipality of Budapest, may next year ('78) be apportioned to the same artists as this year. I will gladly sign all the papers having reference to this. Looking forward to the speedy appearance of your Study of Harmony, and of the collected writings of our never-to-be-forgotten friend Mosonyi, together with his biography and Abranyi's new compositions, and greeting your laudable and persistent endeavors in the cause of Art with sympathetic recognition,

Next week I journey farther—shall be in Rome by the middle of August—and in November in Pest, where I intend to spend the winter again. Write to me in September: my address will be Villa d'Este, Tivoli, (presso) Roma, Italia.

I shall have much pleasure in preparing the re-discovered manuscript of the "Harold Symphony" (Score for Piano and Alto [viola]) for the dress and in entrusting it to you. Send me the manuscript soon, together with the original score of Berlioz, which is necessary for the accurate revision of the arrangement. My fee shall be a moderate one, as I am pleased that your firm is going to publish this arrangement, which was finished in Switzerland forty years ago. I would have made it public long since, if the manuscript had not been lost.

Please send with it a copy of the excellent Trio of Edward Napravnik. My friend Sgambati will produce it publicly in Rome, and make it a success.

When one is at a loss what to say or write, well—one tries to help oneself with music. Enclosed I forward you the song of your noble-hearted mother: "Ach, was ist Leben doch so schwer!" [Ah, why is life so burdensome!] My setting is so managed that you will easily master it, as well in the singing as in the accompaniment. [Published in the 8th book of Songs under the title "Sei still" ("Be still")]

.—. May my slight share in your edition of Chopin's works, which nearly all belong to your firm, be of use to you. I remarked before how little really remains to be done to Chopin's compositions, as he himself, with praiseworthy and exceptional accuracy, added every possible instruction to the performer—even to the pedal indications, which in no other author appear so frequently.—Your collaborators will certainly find accuracy and authenticity of the original text in Karl Klindworth's Moscow edition of Chopin. I chose the "Etudes," because the first volume was dedicated to me, and the second too for the matter of that (at that time). I gladly dispense with a revision of both, and beg you particularly, dear Sirs, not to expose me to an unseemly rivalry. I will always maintain a most peaceful attitude towards my honored colleagues, and, wherever they please, allow their influence and opinion to have free play.

According to your letter, you repudiate the idea of "an instructive edition with other additions" of Chopin's works. Are then the directions for fingering also to be omitted?…All the more undisturbed will the leisure of the collaborators be.—

Last week I sent you the corrections of the "Triomphe funebre du Tasse," as well as the "Impromptu." Tomorrow "Heroide funebre" (for four hands) will follow, and very soon I am expecting the "Hunnenschlacht," which completes all the arrangements for four hands of the 12 "Symphonic Poems." A complete edition of them in 3 or 4 volumes (as you may judge best) will be a pleasure to me.

In spite of the much criticising, ignoring, and denunciation, which these things have had to suffer for 20 years, they are perhaps not yet quite done to death.

I beg you to add the Prefaces and Poems (French and German) to the edition for four hands, as well as to the scores, and also to the further editions for 2 pianos. The same with regard to the transcription for piano of the "Triomphe funebre" (Italian and German), because, as a matter of fact, a well-disposed programme composer uses such hints more than is generally supposed. Of course the dedication of the "Impromptu"—"a Madame la Baronne Olga de Meyendorff, nee Princesse Gortschakoff"—must not be left out.

Till the end of October my address will be: 43, Via dei Greci,
Roma (Italia). From the middle of November: Budapest (Hungary).

I am much touched by your charming letter, and grieved at not being able to accept your friendly invitation. That would certainly be more agreeable than to attend to all sorts of duties; but, since three parts of these are self-imposed, I am all the more bent upon fulfilling them; and, in order to keep faith with myself, I am returning to Budapest before the middle of November, and shall remain there till April. Perhaps I am less useless there than elsewhere; it is an idea or an illusion of mine.

What excellent and beautiful things the two Hans are going to do at Hanover! [Hans von Bulow had been appointed Hofcapellmeister in Hanover, where Hans von Bronsart was Intendant of the theater.] It is a matter of lively joy to me, and next summer I hope that my ears will benefit by the new musical regime all in honor of Art, and the example of which will be of service and bear fruit far and wide.

Last week I forwarded from the author to your address a copy of Sgambati's Quintet, dedicated to Bulow; and also a Fugue (preceded by a grand Prelude and ending in a Chorale—the same which Guido d'Arezzo made use of to name the six notes of the gamut: "Ut queant taxis resonare fibris, etc.!"…One of the two Hans will tell you the rest of the hymn, which is always chanted on the 24th June, the feast of St. John the Baptist).

Once on a time you used to cultivate fugues with maestria: will that of Sgambati seem to you classical enough? I almost doubt it, since in these matters your strictness is extreme. In consequence of H.M. the Queen of the Netherlands being in mourning, the "auditions" at the chateau of Loo do not take place this year. I shall therefore go straight from here to Pest.

Please give my love to your children, and believe me to be for all time the heartily devoted friend of their papa and mamma.

.—. I am told that one or two newspapers announce that I am going to Paris. I have no thought of doing so, and am moreover very weary of travelling. What I should prefer would be to remain firmly fixed in one place, it matters not what, village or city, till my end, and to go on as quietly as possible with my work. As this is not permitted to me, I try at least to avoid unnecessary perambulations, do not go (in spite of various invitations) to Paris or London, and keep within that already far too extensive and troublesome triangle, Pest, Weimar, Rome!—So I shall again spend the next four months here, and then, at the beginning of April, pay you a week's visit.

Write and tell me where my dear cousin Marie is. [She had shortly before married Baron von Saar, an officer.] Is her husband established in Wiener-Neustadt, and in what capacity?

Heartiest greetings to the Frau Generalissimus-Procuratorin
[Eduard v. L. had in December 1875 become General Procurator.
Liszt called his wife in joke "Generalissima" or "Generalin."]
from your heartily and faithfully affectionate

[A highly gifted pupil of Liszt, born in 1854 in Russian Poland, died in 1885 at Brussels, where he was Professor in the Conservatoire.]

Thinking that you would spend some weeks at Berlin, I sent the day before yesterday a letter for you to our friend Bosendorfer, begging him to have it punctually delivered to you. This letter enclosed another, which you will remit to Paris to Madame la Comtesse Taida Rczewazska. She promised me lately at Rome to take an interest in your success at Paris, and I assured her that your talent and intellectual gifts would not make her patronage irksome. Therefore be careful not to give me the lie, and to show yourself of an amiable disposition at Countess Rczewazska's.

I forgot to ask her where she lives in Paris; but you will find out without difficulty from some compatriot, or from other people of the world, which is society. Enclosed are a few lines of introduction to the illustrious, indefatigable and unageing publicist, Emile de Girardin. They say of him in joke that he has an idea every day. If he were to reach the age of Methuselah ideas would certainly never fail him.

At one time there used to be music in his salon; he understands
it quite as well as the late M. Thiers or the Marechal MacMahon.
However, if M. de Girardin invites you, play there, as I did when
I was last in Paris (in the year '66).—

An excellent recipe against unjust criticisms (of the kind like that of M. X. which you quote to me) is to criticise oneself thoroughly before and after—and finally to remain perfectly calm and follow one's own road!

An enthusiastic account of your success at Vienna was given me by
Mme. Tony Raal, who yesterday evening played Tausig's
"Zigeunerweisen" admirably at a concert of M. de Swert. [A
Belgian violoncellist, recently deceased]

Your "intrigues" are noble, salutary, beneficent, and would win every advantage in the broad light of day. To take my part in them, at your command, is one of my most agreeable duties.

[Mme. Laussot was trying to obtain the nomination of Antonio Bazzini, the excellent violinist and composer (born 1818), as director of the Conservatoire at Milan, and begged Liszt to support this choice through the German ambassador Baron Keudell in Rome, which he did. Bazzini however did not at that time receive the office, which he at present holds.]

I sent my letter direct to Rome to Baron de Keudell yesterday..—. Bazzini deserves the post of director of the Conservatoire at Milan, which ought to be offered to him at the first onset.

Our friend Mihalovich will give you news of Budapest. As elsewhere, I am absorbed here in the most difficult of tasks—to put up with myself. Happily I receive plenty of help; noble friendships and dear and beautiful memories light up the path which I still have to follow before I reach the grave.

Under present circumstances (indicated in your note of this evening) I doubt whether your just and noble efforts will attain their end. [Refers to the as yet unsuccessful candidature of Bazzini for the directorship of the Milan Conservatoire. See the preceding letter.]

Without pretending to Catonism, it is a good thing to attach oneself to good causes, whether favored by the gods or not.

"Victrix causa diis placuit."…So, if you are vanquished on the battle-field between the Cathedral and the Conservatoire of Milan, I shall remain on your side, in spite of my reasonable leaning towards Caesar, and the lawful inheritors of his idea,…not towards the others, please, because that would drag me too low and roll me in the mire.

You have been unusually parsimonious in only sending me a single copy of the Ballade of Count Tolstoy. ["The Blind Bard." Liszt wrote the melodramatic piano accompaniment to it (1874).] Allow me then to make use of this copy to indicate the version which I think should be put into the arrangement for piano (alone without declamation). I add, the necessary notes and alterations, for you to publish or not, as you think best, the version subjoined. I have no claim to the sale of my wares, and am only manufacturing them…for the honor of Castile!—Count Tolstoy understood this sentiment; he only has to make a bargain: that is why I have sung with Tolstoy his Ballade of the "Blind Bard," hoping too for "peace" at last "for all noble boyars." [Slavonic noblemen.] You sent me some other publications of your house: "six morceaux pour piano" by Liadoff; they are pleasantly refined; and the "Russian national songs edited by N. Rimsky-Korsakoff," for whom I feel high esteem and sympathy. To speak frankly, Russian national music could not be more felt or better understood than by Rimsky- Korsakoff. His notation of the "popular songs" is most intelligent and most musical; and the accompaniment and harmonies seem to me admirably adequate. If you publish the version for piano of "Tolstoy's Ballades" I beg you to send me the proofs beforehand.

Please send me in any case half a dozen copies of the "Ballade," already printed, to Weimar, where I remain from mid-April till the end of July.

The programme of your fourteenth "Annual Concert" is again an act of courage; particularly in London, where my compositions meet with all manner of obstructions—almost more than elsewhere, from the Leipzig Gewandhaus down to many greater and smaller Gewandhausler.

It stands clearly written, a hundred times over, that I cannot compose; without indulging in unseemly protests against this, I quietly go on writing, and set all the greater store by the constancy of some of my friends, particularly Walter Bache, for the stout-* heartedness which till fourteen times fourteen he has for so many years displayed.

In the introduction to your fourteenth Programme F. Niecks
[Friedrich Niecks, Professor of Music at the University of
Edinburgh; the writer of the excellent work "F. Chopin as Man and
Musician"], a propos of F. Liszt, said very truly:—

2. "A harmonic combination or progression may be against the rules of a system," etc.

3. "Programm-music is a 'legitimate genre of the art.'" [Portion in quotes (' ') written in English by Liszt]

Give Niecks my sincere thanks; also to Mr. Manns and courtoisement Miss Williams [The well-known vocalist Miss Anna Williams]. The "Funeral Pyre of Joan of Arc" will, I trust, have done away with her coolness.

With regard to the Tempi I am very yielding in my small pieces, and gladly allow well-disposed artists to decide this.

Sophie Menter-Popper was recently here and will probably (middle of May) play in Sir Benedict's model monster-concert, which for forty years has wielded the sceptre of London successes. Call on my honored friend Sophie Menter—a rarely natural and excellently schooled musical individuality. You will feel yourself quite at home with her, and I told her this beforehand. Yours affectionately,

From the middle of April till the end of July I remain in Weimar; later, at the end of August, I go again to the Villa d'Este.

Of the many pictures of the remarkable group of cypresses in the Villa d'Este your brother's [Max Nohl, painter] beautiful poetical drawing is my favorite. For the present of this and the inscription on it I thank you most heartily. I attempted (last October) to put down on music paper the conversation which I frequently hold with these same cypresses. ["Au Cypres de la Villa d'Este" [To the Cypress of the Villa d'Este). 2 numbers. Schott, Mainz.] Ah! how dry and unsatisfactory on the piano, and even in the orchestra,—Beethoven and Wagner excepted—sounds the woe and the sighing [Das Weh and Wehen] of almighty nature!—

Nevertheless I will most modestly show you this Cypress-Memento at the piano when we next see each other—I hope in Vienna, where I am staying during the first week of April with my dear cousin as usual. Afterwards I go to Bayreuth and Weimar.

Quite excellent so. Let us divide the revision of the Cotta edition of the 4-handed Schubert, and for your part look after all the Sonatas, "Lebenssturme," Scherzi, etc.—If you wish it, a few pedal marks. and fingerings shall willingly be added to the Variations Op. 10 and 82. Send me both works to Weimar, with the rest of Schubert's Waltzes for four hands, which show more creative power than many big compositions—old or new.

With the few Schubert pieces send me also the scopes of the Beethoven Concertos and their accompaniments, arranged for a second piano by Moscheles. My arrangement I will forward you at the beginning of August. Meanwhile I beg you to give the Freiherr von Cotta my most grateful thanks.

I most sincerely feel with you in your grief. "Non ignara mali"…for I too have wept at the grave of my mother.

A sad but well-written book, "Stello" ("Consultations of the black doctor"), depicts the sufferings and death of three young poets,—Millevoye, Andre Chenier, Chatterton,—gathered home before they had acquired glory here below.

In these moving pages of Alfred de Vigny he asks, "What is one to think of a world which one enters with the hope of seeing one's father and mother die?"…Prayer alone can answer this question. Let us then pray our heavenly Father that His Will may be done on earth as it is in heaven, and that the work of our life may be ever conformed to the Divine Will.

.—. What could I write to you about Wagner's "Parsifal?" The composition of the first act is finished: in it are revealed the most wondrous depths and the most celestial heights of Art.

If you have not already done so, you will end by having a bad opinion of your old and very affectionate servant. My share of free locomotion is very limited. Having arrived at Weimar last Wednesday I could not pack off again immediately without inconvenience. I must therefore await a favorable week for my Hanover wish. In May "Rheingold" is to be given here, and St. Saens's "Dalila" again, which I wish to hear and see. Monseigneur the Grand Duke assured me yesterday that this work made a success at its first performances; and several people, who often hold a contrary opinion, agree in their praises of "Dalila."

From the 13th to the 15th June (Whit week) a Tonkunstler- Versammlung is announced at Erfurt. It will seem pale as compared with that of Hanover of last year; but I want to be present at it, considering my unvarying interest in the work undertaken by the late Brendel and bravely continued by Riedel and Gille. After having said A, and even B and C, I ought to go through the whole alphabet.

Formerly, in the first period of your success, I had the pleasure of applauding and admiring you at the old theater of Erfurt. Now there is a new and very handsome one, I am told, with more than 1100 seats; besides that a new concert room which I do not know, any more than I do the theater. I dare not invite you to favor them with your presence, but if you should come with Hans it would be charming.

The next time I see X. I shall come upon him to show himself an editor rather than a shopkeeper ("Kramer") in the little negotiation of which you speak.

A thousand sincere wishes for the finishing of "Hiarne" [The Opera composed by Frau von Bronsart, which was given for the first time in 1892 in Berlin with great success.] and my constant and very devoted homage to the persevering composer.

The accompanying copy of the Budapest telegram will tell you that I must go to Paris probably at the end of May. I had indeed refused several private invitations to visit the Paris Exhibition; for years past both long and short journeys-unless there is some special reason for them—have been inconvenient, difficult and repugnant to me. It was on that account that I told you and others of my having given up the collective-wonder of Paris.

Now the telegram from Trefort and Szapary (President of the
Hungarian Exhibition in Paris) alters my negative decision.
Without ever talking twaddle about patriotism, yet in all modesty
I will not be wanting where there is something to be done for
Hungary.

[The telegram, dated 21st April, is as follows: "Abbe Franz Liszt, Weimar. Universal wish that you should represent Hungary in International Jury of Paris Universal Exhibition. Jury begins on 1st June, lasts about 2 to 3 weeks. Please accept confidential mission, and wire reply immediately to Presidential Bureau, Handelsministerium, Budapest. Minister Trefort. Count Julius Szapary."

To this Liszt replied: "Most ready for service, Liszt begs for full particulars of his duties."]

As soon as my duty in Paris as an Hungarian Member in the International Jury is fulfilled I shall return here. I have promised to be present at the Tonkunstler-Versammlung in Erfurt in the last week of June, and on the 8th July Weimar celebrates the jubilee of the 25th year of the accession of the Grand Duke.

.—. I shall be much pleased to make the acquaintance of Herr Adalbert Goldschmidt. I have several times hankered after the score or pianoforte score of his grand work "Die Todsunden" ["The Mortal Sins"], which, so I am told, has not yet appeared in print. Is the composer staying long in Hanover? Probably I shall go to see Bulow and Bronsart there immediately after the Erfurt Tonkunstler-Versammlung, at the end of June.

You remember that I categorically dissuaded Fraulein Remmert from giving an orchestral concert in Vienna. In spite of that she had it announced and advertised,…and in the end there only came of it a vexatious mancando, perdendosi!

Your charming, gifted illustration of my little Quelle [spring] [Liszt's "Au bord d'une source" (Annees de Pelerinage), for three violins concertante (Schott, Mainz)] delights me anew. The three violins flow, splash, bubble and sing—and sound like rainbow colors.

With friendly thanks for this Artist-gift, I remain your ever respectfully obliged

[The "German Chopin," as Henselt has been called (1814-1889), lived in St. Petersburg from the year 1838, where, after Liszt's first visit there in 1842, they became warm friends. Henselt sent his "interpretation" of Liszt's Lucia-Fantasia to the latter "for correction." The above letter is in answer to that.]

The original works of Adolf Henselt's are the noblest jewels of
Art. One longs for more of them…

By-the-by, when Henselt gives a hope of arranging, "interpreting," "making an effect with" other compositions, he succeeds so admirably that the public,

the pianists, and the compositions in question are thereby enriched and favored. Even my little "Lucia"-transcription has gained much by throe "interpretation," dear friend. Hearty thanks for this reminiscence of our Petersburg intimacy.

The proof-copy I simply sent back to you, unaltered and nothing crossed out, as all the various readings are admirably suitable, and henceforth I leave it to your good pleasure to decide about the publishing. (In Russia Hofmeister's German copyright holds good, does it not? . . .)

Tomorrow I go to Paris, and will observe there your recommendation of the Russian instrument.

Many of your admirers frequently tell me about you; above all Zschocher and Topfer. You come backwards and forwards to Dresden and Leipzig; why not also to Weimar?…Answer this modest question in person here to throe old and most faithful

Adalbert Goldschmidt has brought you Weimar news. I consider his "Todsunden" a remarkable Art-work. If the composer maintains himself on these heights in his next Opera his name will become famous in spite of all the critics…

Nowadays, more than ever, the public thirst for Opera alone. Everything else in music is nonsense to them. There is a French saying—"There is some one who is wittier than Mr. de Voltaire; that is everybody"—and when all the world gets a fancy into its head one must certainly consider it either reasonable, or stupid,—but necessary—

With With regard to the delay of the Jury (Class 13, "Instruments de Musique") I go to Paris next Sunday, 8th June, remain there till the 19th, and return here on the 20th June on account of the Erfurt Musical Festival…

My Grand Duke much wishes to have the photograph of your son-in- law's cousin, the poet Saar. Send me this speedily.

The further carrying out and arranging of the Erfurt programme I lease to your long-tried and complete mastery.

I once more recommend Borodin's Symphony; the quartet parts that are wanting can certainly be speedily written out next week (at my expense).

The study of the numerous works will offer no difficulties in
Sondershausen; there they are accustomed to step boldly forward.

Friend Riedel conducts my 13th Psalm; Bulow undertakes the two Faust-episodes (in case these are not struck out, as I did advise you to do); and I retain the "Hungaria" and Bronsart's Concerto; but for several reasons I beg that my name may not be put on the programme as conductor.

I told Concertmeister Kompel [A pupil of Spohr's; died not long ago at Weimar] and L. Grutzmacher [Solo violoncellist] (the Weimarer) yesterday that Bulow wishes to play the Bronsart Trio with them. Both gentlemen are quite agreed about this.

If Frau Erdmannsdorfer would play some other brilliant piano piece (not of my composition), rather than the often-heard Hungarian Fantasie, I should prefer it, just because the programme already contains too many Liszt things, and I could not myself bear the false appearance of making use of the Tonkunstler-Versammlungen for bringing forward my compositions…

Early on Saturday, at half-past nine, I go direct from here to
Paris—and on the 2lst June arrives in Erfurt

My Paris address (from the 10th to the 18th June) will be: Maison
Erard, Rue du Mail, 13.

Do publish the programme in the next number of the Zeitschrift; two or three slight alterations will not matter in the least.

I don't know how you will manage to adapt the "Sonnambula" to your little hands; they will have to trot about on the roofs in the style of somnambulists.

A revoir, wide awake, the day after tomorrow,—and a thousand affectionate and devoted regards.

I have very little in the way of musical matter to tell you about my stay in Paris from the 9th to the 18th June. I scarcely found time to hear the two last acts of Gounod's "Faust" at the Grand Opera. I was prevented from attending concerts by invitations and visits elsewhere. But I was able to follow attentively the plain- song during High Mass at Notre Dame on Trinity Sunday, together with a very intelligent friend, R. P. Joseph Mohr (Societate Jesu), a competent judge and promoter of Church music.

Hanslick—who showed himself friendly to me in Paris—will report in the Neue Freie Presse concerning the 13th class (musical instruments, etc.), of which he is vice-president.

Madame Erard placed at my disposal a princely suite in her house, Rue du Mail, 13 (with which Spiridion [Liszt's valet] I was quite satisfied); a carriage also in addition. Thanks to this hospitality my expenses were very much diminished, and I only required 1500 francs..—.

My old friend Belloni has also proved himself most faithful this time in Paris, and saved me many expenses. It is wonderful how honest and disinterested he remains, with all his constant contact with the artist-world!—

Immediately on my return I went to Erfurt for the Tonkunstlcr- Versammlung (from the 22nd to the 25th July). The whole affair went off well. I send you in addition the whole programme. Bulow played in a marvellous and masterly manner.

Everything in Weimar is now in a state of commotion over the
Ducal-Jubilee-Festivities, which begin the day after tomorrow.
The King of the Netherlands, the King of Saxony, Prince Friedrich
Carl of Prussia, several reigning German Dukes and foreign
Princes are expected. Our Emperor and King is sending Prince
Windischgratz with congratulations to the Grand Duke. Victor
Scheffel (the author of "Ekkehard," the "Trompeter von
Sackingen," the "Bergpsalmen," etc.) has written the Festival
Play, which is to be performed in the theater here on the 9th
July. My "Carl-Alexander" March, which was published 20 years ago
(by Bote and Bock) in Berlin, is to serve as Prelude.

For 30 years past I have been incrustated into the Royal house of
Weimar, and shall remain faithful to it.—

My dearest cousin Marie wrote me a loving, witty note with respect to the photograph of her cousin, Ferd. von Saar, which I wanted for my Grand Duke. I will write my thanks to Marie shortly. Send the accompanying lines to Franz in Gratz; I am congratulating him, in them, that you are now grandpapa.

F.L.

[A facsimile appeared in the "Musikalisches Wochenblatt." Liszt worked untiringly, like no other of his contemporaries in art, to make the great German Master of Song, Robert Franz (1815-1892), understood and appreciated (See "Robert Franz." Gesammelle Schriften, IV.); and, when increasing deafness prevented this artist from practical musical work, Liszt founded the fund in his honor.]

How beautiful, how deep, how fervently and truly finished are, once more, your "Six Songs" (Opus 48)!

Heartfelt thanks far so kindly sending them. You well know that for thirty years past your genius—a fixed star in German lyrics- -has been sincerely admired by your ever most faithful

On arriving here yesterday evening I found your letter, together with the enclosure to Minister Trefort, which I return immediately to you, signed. Agghazy deserves to be helped, because his hands and his head are very musically endowed. [Agghazy (now teacher of pianoforte playing at Stern's Conservatorium in Berlin) received a stipendium from the Hungarian Government, through Liszt's intercession, in order to make a livelihood in Paris.] Juhasz and he will certainly do honor everywhere to the Budapest Academy of Music. Agghazy must have some letters of introduction for Paris. Advise him to ask for there from Minister Trefort, Ministerial-Counsel Hegedus Friedrich Harkany and Count Geza Zichy. Before his departure I will send him a few lines to Madame Erard, and to my loyal old friend Belloni, who is ever ready to do me a service.

I need scarcely ask, dear Abranyi, how you have passed your summer. The chief thing is to hold out steadfastly, and you show this in the noblest manner by your unwearied, meritorious endeavors after the high goal of Art. "Perseverons!"

I think of staying here till the beginning of January, and of returning then direct to Budapest. First of all I must finish a little extra work: as soon as the new setting of the text for the dramatic Oratorio "Der heilige Stanislaus," which Baron Dingelstedt has kindly promised me, comes to hand the composition shall proceed. I am often quite anxious about further writing of music, but I do not give it up, although I do not imagine at all that I can express that which floats before my mind. But my self- dissatisfaction finds ample consolation in the ever-fresh joy at the master-works of the Past and Present:—most of all in Wagner's majestic word-tone-creations. King Ludwig II. of Bavaria rightly addressed "to the Tone-poet Master Richard Wagner."—

The loss of Augusz touches me most painfully. Since the first performance of the Gran Mass, more than twenty years ago, we have been one in heart. He it was also who especially decided me to carry out my wish to settle myself in Budapest.

I give my heartiest thanks to the highly-honored friendly Frau
General for writing at your dictation.

We take the heartiest interest here in your recovery. It is to be hoped you are already on the best road to vigor.

My dearest cousin Marie has now happily made me a great-uncle.
Enclosed are two words of thanks to Marie.

I am now waiting for the new setting of the poem of "Stanislaus" from Dingelstedt in order to take up my interrupted composition again—I want at least a year and something over to finish it.

Meanwhile I have not quite lost my time. In the last two months I have completed a "Via crucis" (the 14 Stations) and pretty full responses to the 7 Sacraments (for Chorus and Organ). I rejoice [to think] that I shall play them to you on the 2nd April, '79, at the Schottenhof.

The October number of your Bayreuther Blatter brought me the highest intellectual gift. [Wagner's Essay "The Public in Time and Space"] No temporal ruler can bestow one like it. The estimation of it lays me all the more under an obligation to that true humility with which I have long and most devoutly paid homage to our incomparable master, Richard Wagner.

Accept my sincere thanks for the friendly words in remembrance of the performance of the Dante Symphony in your house, and kindly recall to the good graces of the Frau Baronin von Wolzogen.

.—. I take a hearty interest in the improvement of your health. You are the younger, the more sensible and useful of us two; therefore you should outlive me many years in good health.

I have been dreadfully industrious with my music-writing since the middle of September. I sit and walk in it like one possessed!

The "Via crucis" (now finished) has brought me back to a long- cherished idea—namely, the composition of choruses to be made use of at Church festivals during the giving of the 7 holy sacraments; thus 7 pieces of music of about a hundred bars each. These have now been 8 days at the copyist's, and, according to my thinking, are not quite a failure. If you also think this it will heartily rejoice

This evening I shall be in Rome, and will have this letter and the signed enclosure attended to at the post.

.—. On Sunday, the 12th January, His Holiness was so gracious as to give me, for the second time, a private audience. I will tell you shortly, by word of mouth, the friendly sentiments of the Pope towards me.

I spent last Wednesday evening in Gorz with Frau Baronin Augusz, and arrived again at Fischplatz, No. 4., early on Friday. The roof is already on the new Music Academy building, Radialstrasse, and is said to look very well. In November of this year I shall inhabit it.

My friends in Budapest, Abranyi, Mihalovich, Count Albert Apponyi, Count Geza Zichy and several others, are strongly and heartily attached to me. Archbishop Haynald only comes to Pest in the beginning of January. I was not caught in the other base spider's web. "Honesty is the best policy!"

Bosendorfer called on me yesterday and told me of the intention of the Vienna Friends of Music to perform the "Gran Mass" at the end of March. If Bosendorfer's intimations are correct I am not disinclined to conduct this performance, although for many years I have refused all such invitations—and only a little while ago to London, Aix-la-Chapelle, Berlin, etc. I should be rejoiced if at last the "Gran Mass" had a fair hearing in Vienna.

[It did not come to pass. Councillor E. von Liszt died on the 8th
February, 1879. "It is for me a constant sorrow at the heart that
Eduard is no longer with us," wrote Liszt to the widow a year
after Eduard's death.]

I take your friendly hint by enclosing these lines to Hellmesberger; please to give them to him. During many years, in Vienna, Weimar and Budapest, Hellmesberger has always shown himself kindly disposed towards me. In ingratitude there is, alas, only too much rivalry; the matter grows contemptible, and contemptible people like to find amusement in it. My nature absolutely forbids me such despicable behavior. Count Geza Zichy tells me, dear friend, that he expects you shortly. Perhaps you will come with Hellmesberger to our Kunstlerabend [Artists' Evening] here on the 7th March, when we shall be honored by the fine composer and splendid virtuoso, my excellent friend, Saint- Saens.

Sophie Menter went to Warsaw the day before yesterday, and gives a concert there tomorrow with her husband Popper,—and afterwards in St. Petersburg,

Hast thou still pleasure in beautiful, distinguished virtuoso piano-playing? If so then go and hear the eminent pianiste Frau Menter. She brings thee the hearty greeting of thy old friend

Hearty thanks for your dear lines of sympathy. The loss of my cousin and most intimate friend Eduard von Liszt is a deep grief to me. You wish for the dates of the Budapest and Vienna concerts; for this I was obliged to ask the help of my excellent friend Kornel Abranyi. He knows these and other things far better than I. For ten years he edited the Hungarian musical paper, and now officiates as General Secretary and Professor at the Royal Academy of Music in Budapest, the Director being Franz Erkel, and my humble self the President.

Here is the result of Abranyi's researches, by which it is evident that I have neither been idle nor used anything for my own benefit.

At the same time let it be mentioned to the praiseworthy and amiable authoress of "Musikalische Studienkopfe," La Mara, that since the end of '47 I have not earned a farthing by pianoforte playing, teaching or conducting. All this rather cost me time and money.

Since the year '47 I only played in public twice in Rome—'63 and '64—at the gracious command of Pope Pius IX.; often in Budapest later on, twice in Vienna, once in Pressburg and Oedenburg (my native town) as a child of the country. Nowhere else. May my poor pianoforte performing at last come to an end! It has long been a torment to me. Therefore—Amen!—

On the occasion of the celebration of their Majesties' silver wedding I shall have the honor, in accordance with the invitation of the Gesellschaft der Musikfreunde [Society of friends of music,] of conducting the "Gran Mass" in Vienna on the 8th April (the Tuesday before Good Friday). Performances of this Mass (after the first at Gran in '56) took place in Pest, Prague, Vienna, later in Leipzig and Amsterdam, in '66 in Paris, and again in Amsterdam, as also in '77 in Weimar and Dusseldorf, the latter under the conductorship of Ratzenberger. This Mass has also been heard in America.

In conclusion also the following memoranda for La Mara: Without a written engagement, yet indeed morally bound, since '71 I spend several months of every winter in Budapest, from April to July in Weimar, then the autumn months, and more, chiefly in the Villa d'Este near Rome, where His Eminence Cardinal Hohenlohe affords me the kindest reception. There I wrote the "Christmas-tree," the "Via Crucis," the "Responses to the Seven Sacraments," etc. These three works are quite ready, and indeed beautifully copied, as well as the "Cantico del Sole" of the marvellous St. Francis of Assisi. Their publication troubles me little, for they are not suitable to the usual musical customs and trade…

I have only fragmentarily sketched the Oratorio "Stanislaus," but wish to finish it, which will take at least a year.

My "Technical Piano-Exercises"—improperly advertised in the papers as "Pianoforte-School"—still require a few months for revision and arrangement with fingering, etc., but could come out next year if I have no hindrances.

The enclosed programme proves to you that in spite of all fatigue my invalided piano-playing still contributes in a small degree to the relief of the sufferers of Szegedin.

[According to the programme, Liszt played Schubert's "Funeral
March"; "To the memory of Petofi," and "Cantique d'Amour" of his
own composition, as well as, with Mihalovich, Schubert's
Fantaisie (C major) for two pianofortes.]

To assist in other concerts than in this country would not become me, and I have already declined many invitations of that sort with excuses and thanks.

For the celebrations preceding the silver wedding of their
Majesties I shall have the honor of conducting the "Gran Mass" in
Vienna on the 8th April ("Society of the friends of music").

I learn through M. Abranyi that Your Excellency continues to show your solicitude for the Royal Academy of Music at Budapest. The work of this institution is to serve Art in Hungary, and thus to help, in this connection, in making your patriotic, grand intentions fruitful. My colleagues at the Academy of Music are of one mind and devoted in their activity.

I permit myself to recommend once more particularly to your kindness M. Abranyi. He perseveres in his meritorious career as writer, theorist, composer, translator, professor, and Magyar character of the noblest stamp. The evidence of his merits will assuredly be recognised in many languages by a heap of laudatory phrases…after his death. A brilliant obituary is assured to Abranyi, but I hope that Your Excellency will accord him the modest satisfaction that he claims while he is alive.

I have the honor to be, Monsieur le Ministre, your very humble and very devoted servant,

Hearty thanks for your letter and for letting me see Manns's Commentary on the "Hunnenschlacht." Please give to Manns the accompanying short explanation of the idea of my "Symphonic Poem." In spite of my spending several hours in letter-writing almost every day, it is impossible for me to be regarded as a punctual correspondent. Intelligent and kindly-disposed persons will excuse me, and the many others I can scarcely entertain any longer, because I don't require any such entertainment! [Play upon the words "wirthschaften" (to manage) and "Wirthschaft" (housekeeping, or a public house]

Next Whit-week "Tonkunstler-Versammlung" in Wiesbaden. On the 5th June Bulow conducts the first concert there, at which Bronsart's beautiful and valuable "Fruhlings-Fantasie," Billow's music to Shakespeare's "Julius Caesar," and my "Faust Symphony" will be performed. Bulow kindly plays the piano the same evening, and has chosen Tschaikowsky's Concerto. Besides this his favorite pupil Schwarz produces several "Etudes transcendantes." [By Liszt] Till the middle of July I stay here. Then Bayreuth, and at the end of August Villa d'Este. To Frau Jessie Hillebrand and her husband [who were just then in London] give heartfelt and faithful devotion, with respectful thanks, from

[The explanation, accompanying this letter, of the idea of the
"Hunnenschlacht" is as follows:]

Kaulbach's world-renowned picture presents two battles—the one on earth, the other in the air, according to the legend that warriors, after their death, continue fighting incessantly as spirits. In the middle of the picture appears the Cross and its mystic light; on this my "Symphonic Poem" is founded. The chorale "Crux fidelis," which is gradually developed, illustrates the idea of the final victory of Christianity in its effectual love to God and man.

Your illustrious brother Glinka is one of the well-chosen admirations of my youth. His genius has been known to me ever since the year 1842; and at my last concert in St. Petersburg (in '43) I played the "Marche tscherkesse" from "Russlan and Ludmilla," and a brilliant transcription by Vollweiler of several themes from the same Opera.

With my sincere thanks to you for sending me the beautiful score of "Russlan," carefully edited and well arranged by Messrs. Rimsky-Korsakoff, Balakireff and Liadoff [The score was published in 1879.], I beg you to accept, Madame, the expression of very respectful homage of your very humble servant,

248. To Alexander Borodin, Caesar Cui, Anatolie Liadoff and Nicolas Rimsky-Korsakoff in St. Petersburg

You have done a work of serious value under the form of a jest. Your "Paraphrases" charm me: nothing can be more ingenious than these 24 Variations and the 16 little pieces upon the favorite and obligato subject

[Here, Liszt writes a 4-bar musical score excerpt of the main theme of the 24 Variations]

In short, here we have an admirable compendium of the science of harmony, of counterpoint, of rhythms, of figuration, and of what in German is called "The Theory of Form" (Formenlehre)! I shall gladly suggest to the teachers of composition at all the Conservatoires in Europe and America to adopt your "Paraphrases" as a practical guide in their teaching. From the very first page, the Variations II. and III. are true gems; and not less the other numbers continuously, up to the grotesque Fugue and the "Cortege" which crown the whole work gloriously. Thanks for this dainty feast, gentlemen, and I beg that when any one of you brings out a new composition he will let me know it. My most lively, my highest and most sympathising esteem has for many years been assured to you; pray accept also the expression of my sincere devotion.

Honored Herr Vereinsleiter [Conductor of a Verein (Society)], I follow your edifying endeavors in the Cacilien-Verein with sincere interest. It seems singular that they should stumble on obstacles. What is in question? Innovations?…By no means. The noblest Conservatism remains the essence and aim of the Cacilien- Verein; it merely demands a serious study and proper performances of the most dignified classical authors in Church music, Palestrina and Lassus at the head. Nothing can reasonably be objected to this, and you may confidently maintain, dear sir, that "recognition must take place and the good cause prove victorious."

I beg you will put down my name as a subscriber to your "Vienna journal for Catholic Church music," [Professor Bohm was at that time the editor of it, and had invited subscriptions for a monument to the musical historian Ambros.] and have the numbers which have already appeared addressed to me in Weimar.

Be so good as to employ the enclosed hundred florins for the gravestone of my highly esteemed friend the late A. W. Ambros.

A hearty welcome to you, Illustrissima, and pray tell M. Sauret that I shall be delighted to make closer acquaintance with him. I greatly admired his superb talent in Vienna.—You know my rule never to bother anyone, and least of all artistes; but if M. Sauret should feel inclined to play something at the Hofgartnerei this morning, it would give me great pleasure.

In any case I invite him to come (at eleven) with you, and I shall request you to fulfil your promise of captivating us by your performance (not by dancing, but by your superior fingering) of Rubinstein's Ballet, "Feramors."

Our meeting once more is a cordial pleasure to me. According to your last letter, you purposed arriving on the 19th inst. Why delay? Still, arrange it entirely according to your own convenience. Only allow me to make one observation: on Wednesday evening, 23rd July, I am invited by somebody where a refusal would be wrong and stupid. But if you were favorably inclined, our extra three-handed whist might be quite well arranged at the house of this somebody.

[Henselt was in Weimar the 19th and 20th July. "We played together, not on the piano, but certainly half a dozen games of whist, of which I fortunately lost five at least," wrote Liszt to Fraulein von Schorn.]

[The two bars of music refer to C. M, v. Weber's "Episodic Thought," which Henselt had transcribed for piano and amplified; he published it in March, 1879, dedicating it to "his friend Franz Liszt." Henselt at first meditated calling it "Hymn of Love." But Liszt found the term rather too highflown for this favorite melody. "Episodic thought is more suitable," he wrote, and so that title remained.]

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 title 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,

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

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 Bassani, 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

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.

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,

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.

The last corrected proofsheets of Tschaikowsky's Polonaise dedicated to you leave by today's post addressed to Jurgenson.

[Pianist and composer (born 1845, pupil of Bulow and
Rheinberger), is especially famous as an admirable player of
Chopin.]

I have sincere pleasure in praising and recommending your Chopin- Edition. To Klindworth belongs the merit of having preceded you by his intelligent and practical work. Your publisher, Peters, might be advised in the next thousand copies he issues of the Chopin-Edition signed Hermann Scholtz:—

A. Not to fill up the first volume with Waltzes. Why make this paltry concession to the trifling requirements of the drawing- room? Chopin's Waltzes are certainly charming, elegant and full of invention…still his Polonaises and Mazurkas have a far higher importance.

Chopin is the bewitching musical genius in which the heroically chivalrous Polish nationality finds expression. This chief characteristic ought to be distinctly emphasised in classifying his works. So, first volume: Polonaises, Mazurkas and the Fantasia upon Polish motives.

B. The clear notation of the melodies (indicated by tails turned upwards!), as in the Klindworth-Edition, should be maintained.

C. In works having an orchestral accompaniment an arrangement of that accompaniment for a second piano ought to be printed under the Solo part of the first piano.

(The brains of most pianists become addled by the usual editions, where the essentially melodious and rhythmical character, nay often even the correct bass, is wanting.)

D. This is again addressed to Mr. Peters. He ought not to withhold from the audience your admirable version of the Recitative in the Adagio of the F minor Concerto for Piano Solo, and should add these few pages to your Chopin-Edition.

The signature of the telegram front Rome announced to me your return to "Hungaria." I met friend Bosendorfer the day before yesterday in Frankfort: we began at once of course to talk about Sophie Menter and her new thickly-leaved Petersburg laurels. Similar plants will bloom for you everywhere according to the capacity of the soil, and will always shade your artistic peregrinations through Europe and America.

You have made an excellent choice; and M. Gevaert also. The Brussels Conservatoire keeps in the first ranks: its very active and intelligent Director will take good care not to allow it to degenerate or to sink into idleness; on the contrary, he gives and will give it an entirely progressive impulse. You will have to see that your piano class does honor to the Conservatoire, to its head and to your own name. This will take some years to do; therefore, persevere.

Your three studies are most uncommon, remarkable and successful. The second, in F minor, might be signed Chopin. This exceedingly high praise does not imply that you have in any way been guilty of plagiarism, for in your works original power is manifest.

Perhaps there may be a slight falling-off towards the middle of the third Study; still this does not disturb the total good impression.

When we are chatting together again about music I will explain to you viva voce my antiquated ideas concerning the whys and wherefores of matters belonging to our profession.

I am sending Simon at Berlin at once the good copy of your three Studies. He has sent me the rather bad one of your Mazurkas for two performers. These I played over with the Baroness von Meyendorff yesterday evening. She begs me to tell you our very favorable opinion of these charming productions of your Polish muse.

I am telling Simon that publishers cannot do better than bring out works of value such as Zarembski writes.

Pray, dear friend, present the sincere regards to Mme. Zarembska of your cordially attached

Your "Studio sinfonico" is fine poetry in music. It reminds me of Venice when I was twenty. The solemn, sad motive (5/4) corresponds to the lagoons and to the gloomy stroke of their waves round the Bridge of Sighs: the other subject soars on high accompanied by the gentle sound of the belfries, announcing, as it were, from a distance the joyfulness of divine hopes.

Hearty thanks for your persistent kindness; "Carmen" has just arrived, and I now beg you to find out for and send to me another tale of Merimee's, called "Les ames du Purgatoire" [Souls in Purgatory]. It narrates the adventures of Don Juan de Marana, immortalised by Mozart and Lord Byron. Grabbe has also turned his poetical attention towards this mauvais sujet, and gives him as a companion to Faust, which might perplex His Excellency von Goethe.

Tomorrow I shall write to Hartel's that the edition of my "Gesammelte Schriften" could not do better than begin with your excellent version of the "Chopin."

My hearty thanks for the dedication copy of your charming "Nocturnes." "Near the chapel" and "Starry night" belong to my most select intimate Programme.

Aladar Juhasz needs but health to stand forth and hold his own as an excellent artist, virtuoso and composer. The matter of his stipend is now arranged—as we wished it. Juhasz will certainly also greatly distinguish himself at the Klausenburg Musical Festival. My lines of introduction to Trefort, the Minister, must no longer be presented to His Excellency as mustard after dinner. The less scribbling and gossiping the better. "Vitam impendere vero."—

I request that the two accompanying letters in Hungarian may be answered by the General Secretary of the Royal Hungarian National Academy of Music, Abranyi Kornel, in my name. Before I left Budapest we read together the polyphone tattoo by J. K., and I then requested you to make the composer understand that Meyerbeer's far-famed "Rataplan, Rataplan, plan, plan" (in the "Huguenots") is quite enough henceforth for the audience.

Do not delay any longer returning his score to J. Beg Herr P. A. to excuse me for not being a millionaire.

.—. Wagner has shown and taught us triumphantly "what style is." You explain the mighty matter admirably in your last writing, dear Sir. That a "School for the culture of style in Bayreuth" should be established, is wished by no one more seriously than by

For the last twenty years or more Kirchner has known how sincerely I esteem his compositions. I rejoice to see that he continues adding to their number with freshness and vigor, and am much obliged to you for sending me his "Toys," "Caprices," "Leaves," etc., which you have brought out.

Pray always dispose of my feeble services. I am writing to the Baroness de Roner according to your instructions, and request that you will send her the enclosed lines.

M. Tirindelli's [Professor at the "Liceo Marcello" in Venice; violinist and composer.] abilities deserve attention, consideration and encouragement. This you have well understood, and it will be a pleasure to me to second you.

Does he intend to travel and give concerts? Your protege, M. Tirindelli, may count upon my sincere readiness to oblige him: the only thing I ask is, that he should write me distinctly in what way I can be of service to him. Yesterday I took the liberty of noting several alterations in his melody "All' Ideale," his Mazurka, and in the Adagio of the Trio which pleases you by its fine feeling.

By the way, this Adagio has been so badly copied that another less faulty one will have to be made before sending it to print. By this same post you will receive the three works with my alterations.

Having arrived here last Saturday, I shall remain at the Villa d'Este till New Year. In the middle of January will return to Budapest

The most convenient address for me during the next months is:
Albergo a Via Alibert, Roma.

Allow me, dear Madame Rubinstein, to dedicate to you my transcription of your husband's charming and very famous Lied. To the very conservative burden "Ach! wenn es doch immer so bliebe" [Ah! could it remain so for ever!] I add that what will certainly always remain as now is, your most respectfully and affectionately obedient servant,

I do not know whether I talk too much; but I certainly write too little to those who remain constantly in possession of my sincere gratitude. I crave your kindly indulgence therefore for my involuntary shortcomings.

Through your nephew Imre [Baron Augusz, son of Anton Augusz. He died at an early age.] I hear that his mother, Baroness von Augusz, has been so good as to look at my new dwelling in the Academy of Music, and that the arrangement of it, as yet unknown to me, meets her approval. The solicitude you have shown, Madame, in this matter—as well as in other similar ones in the Palatingasse and Fischmarkt during the last 8 years—I beg to acknowledge with warmest thanks. It never enters my head to make exaggerated pretensions with regard to my residential requirements. Decency without display continues to be the right thing for me. I only have one wish at all times: never to be a trouble to my friends anywhere.

It will be agreeable to me if Fanny feels disposed to undertake my modest household service again this winter. She adapts herself well to it with her pretty smiling face.

Pray accept, dear Frau von Fabry, the renewed expression of my old devoted affection.

[Autograph belonging to Herr Fritz Donebauer at Prague.—The addressee is an authoress residing at Weimar.]

A thousand apologies. I ought long ere this to have written you and my esteemed friend, Dr. Benfey, a letter of thanks, and to have sent your sheetful of questions back answered. [The answers follow in the letter.] Pray excuse this delay.—

I frankly confess that the title of the pamphlet, "Beethoven and Liszt," [Alludes to a pamphlet contemplated by the late husband of the lady addressed.] at first frightened me. It called to my mind a reminiscence of my childhood. Nearly fifty years ago, at the Jardin des Plantes in Paris, I used often to notice a harmless poodle keeping company in the same cage with a majestic lion, who seemed to be kindly disposed towards the little chamberlain. I have exactly the same feeling towards Beethoven as the poodle towards that forest-king.

At the end of September, Breitkopf and Hartel sent my own duet arrangements of my twelve "Poemes Symphoniques" at my request to Gottschalg (Weimar). This copy is intended for Dr. Benfey. Gottschalg will likewise willingly place the scores of the "Dante" and "Faust" Symphonies, as well as the arrangement for two pianos of both these works, at your disposal.

The names of the greatest performers figure in the Court concerts, such as, Joachim, Ernst, Vieuxtemps, Bulow, Rubinstein, Bronsart, Tausig, Madame Viardot-Garcia, etc., etc. A few of these concerts were conducted by Berlioz, and their programmes in every case contained nova et vetera (as prescribed in the gospel).

During my direction of the Opera at Weimar, from '49 to '58, the following works were performed there, together with the standing repertoire of Mozart's, Weber's, Rossini's, Meyerbeer's Operas, etc.

February '49 "Tannhauser;" August 28th, '50, "Lohengrin" (first performance); later on "The Flying Dulchman," and Wagner's splendid edition of Gluck's "Iphigenia in Aulis."—Berlioz's "Benvenuto Cellini;" Schumann's "Manfred" (first performance), Raff's "King Alfred," two of Lassen's Operas, Spohr's "Faust" (with the recitatives), Sobolewski's "Comala," Dorn's "Nibelungen" (first performance), etc., etc.—Finally, Peter Cornelius' "Barber of Bagdad"—the last operatic performance which I directed there.

This short list will suffice for your purpose of the pamphlet; to it we may add that several Oratorios and Symphonic works were performed under my direction, such as Marx' "Moses," Rubinstein's "Paradise Lost," Schumann's "Paradise and the Peri" and his concluding scenes in "Faust," etc.; as for Symphonies, the Great Pyramid—Beethoven's "Ninth" (for Goethe's Jubilee in '49), nearly all Berlioz's Symphonies and Overtures, besides other Symphonies and Overtures by Schumann, Raff, Hiller, Bronsart, Joachim, Bulow, etc., most of which were at that time scarcely known or entirely new.

You might obtain better and more detailed information concerning musical life at Weimar (from '49 to '58) from some who took part in it either as performers or friends, especially Gille, Lassen, Gottschalg, Grosse (trombone-player and contrapuntist), Wahlbrull, Milde and his wife, and Fran Dr. Emilie Merian, than from the theater archives.

I have no doubt, moreover, that the present Intendant, Baron von Loen, will readily permit you to inspect the archives of the theater and see any programmes of the Court concerts of that time which may still be forthcoming. You may likewise count upon the obliging readiness of Lassen and Muller-Hartung in making your pamphlet known.

During my summer stay in Weimar in latter years, some pianists have taken to coming there regularly who play my Symphonic Poems well and willingly. I am not able to name any of those who come during the winter. Ask Lassen and Muller-Hartung about this. Enclosed you will find an introduction from me to Madame Merian. She sings my songs with fervent intelligence, from heart to heart.

The expression of my sincere gratitude for your very kind letter has been delayed owing to a circumstance which was independent of my will.

I am acquainted with the high character which the Antwerp Musical Society bears; many of those who were present at your Festivals in 1876, '77, and have spoken to me in the liveliest terms of praise of those great musical performances, of the far-famed merits of your director, Peter Benoit, of his Rubens Cantata and of his Oratorio [La Guerre, De Oorlog.] recently sung at Brussels on the occasion of the national commemoration by 900 members of your Society. Greatly flattered by your invitation, I hope, Gentlemen, that my answer to it may not appear discourteous to you. Allow me to decline the honor of directing the Festival you have in view for 1881 and to be present at it as a simple listener. Should any work of mine have been admitted to your programme, I would fain request M. Peter Benoit [One of the chief representatives of Belgian national music (born 1884), Director of the Antwerp Conservatoire] to conduct it, since for the last fifteen years I have declared myself unfit for this work in all countries.

My engagements keep me at Budapest till Easter. After that time I shall be charmed to have the opportunity of assuring you again personally at Antwerp of the sentiments of high consideration and distinguished esteem with which I remain,

[The Lisztt-Festival given by the Societe de Musique d'Anvers took place on the 26th May, 1881, under Benoit's direction, in Antwerp. The programme comprised the Gran Mass; the E flat Concerto, played by Fran Falk-Mehlig; the Dance of Death, played by Zarembski; Mignon and other songs, sung by the ladies Kufferath and Schauenburg; and the Preludes.

In a second Festival-Concert on 29th May, arranged by Liszt's former pupil F. von Servais and Jules de Zarembski, Tasso and the Faust Symphony, the Concerto Pathetique (played by M. and Mme. Zarembski), and "Loreley" with orchestra (Mdlle. Kufferath) were performed. Gevaert, the celebrated musical savant, apostrophised Liszt in the opening speech as "the incomparable Virtuoso whose prestige has never been surpassed, nor even equalled; the prolific and inspired composer, who in the numerous domains of Art which he has touched has opened new roads, explored new shores, and left everywhere the luminous imprint of his bold and innovating genius; the eminent head of a School, who may without exaggeration be described as the initiator, par excellence, of the musical movement of our epoch; one of those rare favorites of the gods for whom posterity begins even during their life-time," etc.]

If I rightly understand your letter and telegram you are soon going to Paris and London, and also soon coming to Rome. When?— tell me this clearly. A Roman Sophie Menter Concert is easily arranged and will be a great pleasure for me.

Although introductions from me are quite superfluous for you, I beg you to consider them always at your disposal. The best person to safeguard your interests with the German Ambassadors in France and England will be Frau Grafin Schleinitz. Alter, shorten and improve anything you like in the Fantaisie on the Huguenots. Pieces of this sort ought only to be brought forward by super- eminent virtuosi—Sophie Menter, for instance. The transcriber then hardly serves as "Klecks." [Klecks is the name of Mme. Menter's favorite cat.]

Maybe you will tell me yourself soon in Rome where I am to send the letters; if not, send me your address. I shall remain here till January 5th and be at Budapest on the 15th.

Your transcription of "Gretchen" [Out of Liszt's Faust Symphony.] for pianoforte and harmonium is capital, just as I wished. I only take the liberty of very slightly altering it, and have added ten bars at the end, which are to be henceforth inserted in the score and in my own arrangements of the Faust Symphony. [They follow herewith in the orchestral movement, according to Dr. Stade's copy.]

If you will kindly take the trouble to arrange the entire Faust Symphony for two performers on one piano, I shall be greatly indebted to you. [This was done.] Deal as freely as possible with the figurations and also with the distribution among the seven octaves of the odious keyboard. It seems to me that what may be more laterally accurate ought often to give way to what sounds better and even to what is more convenient for the players at the piano.

We will play your duet arrangement together before it is published, in Weimar—next spring.

Your setting of the 100th Psalm is nobly religious in feeling and excellent in style. The working out of the choruses is masterly throughout, from beginning to end; a passage which comes out with especial brilliancy is that on pages 14, 15-19, 20, "with rejoicing," where the trombones, and then the trumpets and trombones, joyously repeat the subject of the fugue in augmentation.

The Arioso too which follows, "He made us," is most fervent in expression. There is a fine field here for beautiful contralto voices to rejoice in.

My sincere thanks, dear sir, for the dedication of this excellent work. I shall recommend it for performance to such of my friends as are conductors; above all, to Hofcapellmeister Muller-Hartung, whom I shall request to bring out your Psalm at Weimar.

It is one of my duties to deal sparingly in letters of introduction. Still I am quite willing to repeat my opinion that your son Alfred is a highly gifted and brilliantly aspiring pianoforte-player.

Should this conscientious opinion enable him to obtain further recommendations, he is free to make use of it.

[This letter is printed in French in the Gazette de Hongrie, but is only known to the Editor in the German translation (Neue Zeitschrift fur Musik?).]

You want to know my impression of yesterday's Bulow Concert? Yet it must have been yours, that of all of us, that of the whole of the intelligent audiences of Europe. To define it in two words: admiration, enthusiasm. Bulow was my pupil in music five-and- twenty years ago, as I myself, five-and-twenty years before, had been the pupil of my much respected and beloved master, Czerny. But to Bulow it was given to do battle better and with greater perseverance than I did. His admirable Beethoven-Edition is dedicated to me as the "fruit of my tuition." Here however it was for the master to learn from the pupil, and Bulow continues to teach by his astonishing performances as virtuoso, as well as by his extraordinary learning as a musician, and now too by his matchless direction of the Meiningen Orchestra.—Here you have the musical progress of our time!

Not to see you in Vienna this time, Madame, was a grief to me. It cast, as it were, a melancholy shadow over my stay there, which otherwise was brightened by so cordial a reception.—

I am accompanied by the roses without thorns of my pleasant recollections of you, and my hearty and respectful devotion remains unaltered.

Have the kindness to repeat to Bosendorfer the assurance of my very cordial friendship.

A distinction such as that which was conferred upon me yesterday by the Berlin "Wagner-Verein" and by the audience has seldom been received by the highest masters in the musical art, among whom I can only count as an apprentice.

["Les Preludes" and "Festklange," the former under Lessmann's, the latter under Mannstadt's direction, had been performed in the winter garden of the Central Hotel before a numerous audience assembled by invitation. Between the two symphonies, Marianne Brandt sang "Jeanne d'Arc au bucher," and Heinrich Ernst some of Liszt's songs. A banquet concluded the festival.]

Accept my warmest thanks for the "Liszt Festival Concert" of Sunday, 24th April; it remains as a joyous incentive to lifelong continuous work with

Rather more than half of my concert-engagements for this year have now been fulfilled. The two performances of "Christus" in Berlin and Freiburg were admirable; the Liszt-Concerts in Freiburg and Baden-Baden likewise; in the first of these the three-part hymn "L'enfant au reveil" was also given, charmingly sung by deliciously clear voices. By way of a rehearsal of this piece the ladies gave a morning serenade in honor of me at the house of my friendly hosts the Rieslers, whose villa will remain most pleasantly in my remembrance. Felix Mottl conducted the Liszt concert in Baden-Baden with "Mazeppa," the "Mephisto- Waltz," the "Hunnenschlacht," and three pieces from the Oratorio "Christus" in a most praiseworthy manner. Bulow's Liszt-evening in Berlin glorious as at Pest and Vienna..—.

I shall stay here till Sunday, 22nd May. On the 24th I shall be at Antwerp. On the 26th is the performance of the "Gran Mass" there.

I am very glad that the Committee of the Musical Festival has chosen just this particular work, which has hitherto been more talked about and abused by the critics than heard. Of course I had left the programme entirely to the discretion of the Committee, for I really have no wish to recommend any work of my own for performance anywhere. My mission is to work on unpretendingly and without troubling myself about advancement.

My best regards to your wife and sons. I will send you programmes
from Antwerp and Brussels. I shall be back here again on the 4th
June. From the 9th to the 12th June Tonkunstler-Versammlung in
Magdeburg.

The second copy (with the additional few hundred bars) of the score of my second Mephisto-Waltz is admirably done. Thank Gyula Erkel very particularly in my name for it. I request his acceptance of the enclosed forty florins, as a slight remuneration for the time he has spent on it. I depend upon your firm friendship, which has stood the test of so many years, to find a delicate mode of presenting them to him. The score of the second Mephisto-Waltz will be published next autumn by Furstner (Berlin), and then performances can take place at Budapest and elsewhere.

I am writing to our esteemed Director of the Royal Hungarian Academy of National Music, Franz Erkel, to have Chickering's grand pianoforte, as an excellent and kind gift from America, placed in the music-hall in the Radial-Strasse. This piano, as well as the whole of my possessions in Budapest, will belong to the Royal Hungarian Academy of Music at my death, which is not far off. Correctness remains the motto of

Tomorrow evening I shall be at Antwerp. The Committee there have decided for the Gran Mass to be performed on the 26th May without any pressure on my part. Therefore Eljen Hungaria—in all countries. You may address to Weimar in the beginning of June.

A good deal of irregularity has crept into my housekeeping during my long indisposition. Your kind letter only reached me yesterday. Thank you heartily for it; I accept the office of godfather. So your son is to be named Franz, and to walk the waters of life firmly and serenely, trusting securely in God, like my patron Saint Francois de Paule, whose motto is: "Caritas." I have long been wishing to thank you by letter for the charming present which decorates my study in the new wing of the Musical Academy at Pest. That elegant work of art is greatly admired by my numerous visitors. It would be charming, were the amiable donor to return and inspect it. The remembrance of you is still vivid in Pest.

I have still to undergo a supplementary treatment of baths and sweatings. [In consequence of a fall, Liszt had been seriously ill all summer.] This I shall do at Weimar. From the 21st to the 30th September I shall be at Bayreuth, and from October till New Year in Rome.

I am sending off the duet version of my Symphonic Poem "From cradle to grave" to Bock to day. .—. I shall send him the score from Bayreuth, because just now I am not able to work more than a few hours a day continuously.

There is so much admirable music written that one is ashamed to write any more. With me it only happens in cases of urgency and from inner necessity.

Among the recollections of my long artistic life one of the dearest to me is that of your kind sympathy. I cherish sincere gratitude for it, of which I should be glad to give you a proof. Allow me, to begin with, to dedicate to you the Symphonic Poem I have just written, which was suggested by a drawing by Michel Zichy entitled "From the cradle to the grave."—The score is short enough, and, it seems to me, free from superfluous repetition.

Lassen has spoken to you about the performance of your Quentin Durward at Weimar. The Grand Duke desires it to take place; his Theater-Intendant, Baron von Loen, was preparing for it, and the singers are certain to take great pains and show all alacrity in performing their several parts well.

To my own regret, in which his Royal Highness shares, as well as his theater company and the audience, the performance has to be adjourned; for the German translation is not forthcoming, and some dawdling on the part of your publisher throws obstacles in the way. Let him soon turn over a new leaf. As for the German translation, I particularly recommend to you my friend Richard Pohl (who is living at Baden-Baden, where he is editor-in-chief of the local newspaper of that charming place). Pohl is distinguished by great musical intelligence and cleverness in translating, of both of which he has given proof in Berlioz's Beatrice and Bennedict and Saint-Saens' Samson.

Lassen and Baron Loen will continue to correspond with you concerning the mise-en-scene of Quentin Durward at Weimar. Small towns have but small successes to offer. You are entitled by right to both large and small ones. Accept them.—

I do not scruple to ask a favor of you, my dear friend. The decoration of the Order of Leopold arrived at a time when I was ill in bed. It was accompanied by a few complimentary lines from the Secretary of the Foreign Office, Baron de Lambermont, as well as by the official document which was to be signed by me. It would have been my most agreeably imperative duty to have thanked Baron de L., and to have expressed my lively feelings of gratitude for this royal favor. This I could not immediately do, owing to the state of my health, which did not allow of my writing, and still renders that occupation very difficult. Add to this that a good deal of disorder had got into my household; several letters and manuscripts have been mislaid, and, notwithstanding all my endeavors, I have not been able to find Baron de L.'s lines again or the document they enclosed. I therefore beg you, dear and highly esteemed friend, to present my apologies to the Baron, and to ask him to send me a duplicate of the document I have to sign. My address from 22nd September to 2nd October will be: Bayreuth (Bavaria); after that, Via and Hotel Alibert, Rome.

Thanks to your kind help I have at last put my business with Baron Lambermont in order and have just written him a letter of very grateful acknowledgment.

Permit me to revenir a nos moutons. Panurge has nothing to do with them, nor has the honorable biscuit-seller of the Gymnase, still less his peaceable neighbor, your publisher Mr. Grus. What we want is the score of your "Quentin Durward" and composer's consent to the performance of it at Weimar. The Grand Duke's Theater-Intendant undertakes the payment of the German translator, my old friend, Richard Pohl, who will certainly take great pleasure in performing his task in the most satisfactory way possible. Baron Loen and Lassen will correspond with you concerning the performance, which is intended to take place in December '82.

My cordial thanks for your favorable acceptance of my dedication. Some months are still necessary for the copying and publishing of the score together with the orchestral parts. Before this is finished 1 will send you the printed pianoforte arrangement for one and for two performers.

Be good enough, dear friend, to give my affectionate regards to Madame Gevaert and to your sons, and ever count upon my very grateful devotion.

I must be found guilty [of negligence?]. I do not apologise. My aversion to letter-writing has grown excessive. But who could answer more than two thousand letters a year without becoming an idiot?

I have been ailing a good deal for the last three months. As soon as there was an improvement, something else appeared. Do not let us mention this any more, for you know how little my health occupies my thoughts, and how disagreeable it is to me to hear it talked of. In short, I feel sufficiently recovered to set out for Rome the day after tomorrow. My very dear granddaughter Daniela goes with me, and will remain till the beginning of January. This is a providential pleasure on which I did not count at all, but for which I thank the good angels.

I will tell you by word of mouth the minor reasons which prevented me from sooner communicating your two splendid scores and the pianoforte duet arrangements of them to the publishers, Breitkopf and Hartel. Your fine manuscripts have at last reached Leipzig, and you will soon have a letter from the present proprietors of the ancient and illustrious house Breitkopf and Hartel, with their conditions for publication, which will be their ultaiytalunz. They are aware of the sincere interest I take in your works, and will, I trust, share it, without leading you into any expense.

Stern [Adolph Stern in Dresden, author of the libretto.] has given me fairly good news as to the preparations for the performance of your Haubar at Dresden. Young composers are always too impatient.—

Pray remember me cordially to our excellent friends the Veghs,
Albert Apponyi, Madame d'Eotvos and her daughter, Mademoiselle
Polyxena, and…I was just going to add the name of a charming
woman with whom I am out of favor.

My address from the middle of October to the lst of January: Via and Hotel Alibert, Rome.

You are held in affectionate remembrance at Wahnfried. Wagner is finishing the instrumentation of the 2nd act of Parsifal, and gives it his most passionate attention. We shall have something new, marvellous, unheard of, to hear.

M. Humperdink, the lucky triple laureate of the three scholarships, "Mozart," "Meyerbeer," "Mendelssohn," is at work here copying the score of Parstfal; [E. Humperdink, born in 1854, made Wagner's acquaintance in 1880 at Naples, and at the first performance of Parsifal conducted the choruses from on high and the music on the stage. He has been teacher at the Barcelona Conservatoire since 1885.] Joseph Rubinstein [Born 1847 in Russia, he lived a great deal in Wagner's society after 1872, and took an active part in the rehearsals for the Bayreuth Festival Performances in 1875 and 1876, He died by his own hand the 15th of September, 1884, at Lucerne.] is continuing his arrangement of it for piano at Palermo just now, and will complete it later on at Bayreuth. Other artists on the high road to celebrity are also employed in copying this same Opus magnum, the performance of which we shall applaud in July 1882. It will be a next to miraculous and highly fashionable pilgrimage.

P.S.—The busybody Spiridion has been so careless as to carry off a little gold watch of mine that I had merely given him leave to wear while he was in my service. Please ask Spiridion to give you this watch on New Year's Day. You will return it to me about the middle of January 1882, when I go back to Budapest.

I have rarely done a minor work—big ones bother me—with as much pleasure as that of setting your two Galician Dances for Orchestra. It is quite finished, with a few additions of which I hope you will not disapprove; but my scrawl of a manuscript cannot possibly be sent you: therefore I have asked Friedheim [One of the most pre-eminent among the younger pupils of the Master.] to undertake to copy it, and I will send you this copy before the New Year. If the publisher Simon is inclined to publish this orchestration I will let him have it for a thousand marks; if not, keep it yourself; and make any use you like of it; first of all at the concert in which you are going to bring forward your own compositions exclusively. I wish I could be present at it, and on this occasion I renew to you the sincere and sympathetic esteem in which I hold your noble and rare talents. They will fructify by means of perseverance.

Friedheim's copy will reach you in time to have the parts copied and to add the necessary nuances. Please send me a programme of the concert of which Zarembski as composer is to fill the list. The other programme you are meditating, to be devoted to my works for the pianoforte, seems to me to be too long; this is a defect for which I can only be very thankful to you, and yet I am going to ask you to reduce your recital to the average proportion. An hour and a half of pianoforte music of mine, however admirably played, is more than sufficient.

M. Becquet, President of the Brussels Musical Society, writes to me concerning the performance of my Elizabeth, and M. Radoux, Director of the Liege Conservatoire, likewise. I fear the translation of the libretto and its proper adaptation to the work will be impediments. Nevertheless, if your friend Franz Servais were good enough to undertake the work of revision and of intelligent adaptation to the vocal parts, I should be more easy in my mind, and should only wish to look through the whole before the publisher, Kahnt, prints the French version under the German original. I am now writing this to M. Becquet. Pray give my cordial regards to Franz Servais and my grateful remembrances to Maitre Gevaert.

Enclosed are the photographs with signature for MM. Dumon and Dufour; to which I add a third (recently taken in Rome) for yourself.

I am honored, flattered, and also…overwhelmed by numbers of letters. I have received more than a hundred during the last six weeks; I should have to give ten hours a day to letter-writing if I were to attempt to pay my debts of correspondence: this I cannot do. Even the state of my health, which is not bad but forbids any continuous occupation, is opposed to it. Besides, when my old mania for writing music lays hold of me—as is the case just now—I feel quite unable to use my pen in any other way. I therefore beg you to convey my apologies and very affectionate thanks to M. and Mme. Tardieu for the kindness they show me.

I hope to repeat all this to them personally, for it is not said that I shall not return to Brussels, although travelling is becoming arduous for me. M. Tardieu's present of spirituous liquid has restored me several evenings during my work,…which may be superfluous, but completes what has gone before.

You are not one of those who are easily forgotten, and you have won your fame valiantly. My feelings of sincere admiration and gratitude have followed you for many years; they are confirmed and increased by the proofs you give of constant and active sympathy.

I wrote to you last summer from Magdeburg on the occasion of the festival. Your remarkable work "La Lyre et la Harpe" figured on the programme; a delay in the translation and in the study of the choruses obliged me, to my great regret, to defer the performance of it till next summer, when the Tonkunstler-Versammlung, which is honored by your active membership and has just named me its Honorary President, will again meet.

Before Christmas Furstner, the publisher, will send you, from me, three copies (score and arrangements for pianoforte solo and duet) of my second Mephistopheles Waltz, dedicated to Camille Saint-Saens. I thank you cordially for giving it so hearty a welcome. No one more than myself feels the disproportion in my compositions between the good-will and the effective result. Yet I go on writing—not without fatigue—from inner necessity and old habit. We are not forbidden to aspire towards higher things: it is the attainment of our end which remains the note of interrogation, being in this something like the end to the Mephistopheles Waltz on b, f—

You intimate the friendly desire that I should revisit Paris. Travelling at my age becomes burdensome, and I greatly fear that I should be found out of place in capitals like Paris or London, where no immediate obligation calls me. This fear does not make me less grateful towards the public, and especially towards my Parisian friends, to whom I acknowledge myself to be so greatly indebted. Besides, I should not like completely to give up the thought of ever seeing them again, although the deplorable performance of the Gran Mass in 1866 left a painful impression upon me.

This is easily explained on both sides. Nevertheless, it would be too much for me in future to expose myself to such misapprehensions. Without false modesty or foolish vanity I cannot allow myself to be classed among the celebrated pianists who have gone astray in composing failures.

By the way, allow me to ask a question. If I were to return to Paris, would you feel disposed, dear friend, to repeat your former offence by conducting any of my works in I know not what orchestral concert? I dare not ask you to do it, but, supposing that a favorable opportunity should occur, I should be very proud to be present. Meanwhile be so good as to remember me very kindly to Viscount Delaborde, and to thank your colleague of the Institute, Massenet, sincerely for his telegram. He will excuse me for not answering him at once. To fulfil the duties of a correspondent is an insoluble problem for your very grateful and devoted friend,

I was raised to a very exhilarated state of mind by the many tokens of sympathy and friendship on the 22nd October. [Liszt's 70th birthday.] To give it expression, I wrote several pages of music, but no letters at all. Antipathy to letter-writing is becoming a malady with me…Have the kindness to beg my friends in Vienna to excuse this. Perhaps I may yet live long epough to prove my affection to them in a better way than by words. My health does not preoccupy me at all; it is fairly good and only requires care, a thing which is at times irksome to me.

As usual for the last 10 years, I shall return to Budapest in the middle of January '82.

A woman distinguished by her shrewdness and talents, the authoress of several volumes which have had the good fortune to pass through several editions, has asked me for a line of introduction to you. I have told her what she and all the world besides already knows: that Pauline Viardot is the most exquisite dramatic singer of our time, and besides this a consummate musician and a composer of the most delicate and lively intelligence. To which opinion, as merited as it is universal, Madame X. is prepared to give ample and elegant expression in a notice she meditates publishing upon you.

Pray give a kind reception to your new correspondent, and keep a friendly remembrance of your old and most devoted admirer,

How good of you, Madame, to make such ready allowance for my delays and shortcomings in correspondence. It is a disagreeable infirmity of mine not to be able to write longer and better letters. Your last kind lines delighted me, and I thank you for them most affectionately. The brilliant success of Massenet's Herodiade [The first performance of the Opera took place at the Theater de la Monnaie in Brussels, 19th December, 1881.] gives me sincere pleasure; all Paris, after having applauded the work on its first appearance at Brussels, will be all the more ready to applaud it again in Paris itself. For my own part let me confess to you quite in a whisper that I am inclined rather to hold back with respect to certain love-scenes, which, it seems, are necessary on the stage, when introduced into biblical subjects. They jar on my feelings—excepting in our admirable and valiant friend St. Saens' Dalila, where he has made a glorious love duet which is quite in place; for Dalila and Samson are bound to give themselves to the devil for love's sake, whilst in Massenet's Magdalen and Herodfade the whole thing is merely conventional…theatrical.

Pray forgive me, Madame, for this opinion, which is slightly pedantic, but without any pretension. When you see Madame Viardot again, tell her that I still cherish an enthusiastic recollection of her—a typical Orpheus, Fides and Rosina,—and, besides, an enchanting composer and a pianist full of ingenious dexterity. Have you heard anything of her daughter, Madame Heritte? Do you know her remarkable setting of Victor Hugo's "Feu du Ciel"? Monsieur Becquet [President of the Brussels Musical Society (since dissolved).] has sent me an excellent French translation of my Elizabeth, [By Gustave Lagye.] quite adapted to the sense and rhythm of the music. When this Legend of St. Elizabeth was first performed at Budapest (end of August 1865) the Independance Belge published a most flattering article on the work. .—.

Zarembski has received my orchestration of his charming "Danses
Polonaises." ["Danses Galiciennes."]

[The brother of the celebrated painter; formerly adjutant to the
Russian General Skobeleff, also an author.]

I am very grateful to you for sending me the photograph of one of your brother's admirable pictures. His "Forgotten" is a dismal, ghastly symphony of crows and vultures; I understand it, and deeply enter into his marvellous inspiration.

Be so good as to tell your brother how great is my admiration for his genius, and accept, dear Sir, the expression of my best and most devoted regards.

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,

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.

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."]

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 gratitude 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

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

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, Massenet, 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 Massenet'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,

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.

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

Your "Leitfaden" are a salutary enrichment to musical literature. They essentially promote the spiritual comprehension of the great, sublime, unique works of Wagner. The "Leitfaden" are already considered classical, and rightly so, because, as a masterly piece of work, they establish a school.

Pray accept my very best thanks for the numerous proofs of kindness you have given me, to correspond in some degree to which is the wish of

Our dear Hedwig [The daughter of E. von Liszt, who studied a whole summer under Liszt in Weimar.] has not been forgotten. Immediately on arriving here I ordered Overbeck's edifying drawings for her, "The Seven Sacraments," a serious study of which, as well as of the commentary, is to be highly recommended. The work is published at Ratisbon; my bookseller here is wont to do business in Tempo moderato molto commodo. He kept me waiting, and I had to go to Belgium (on the 30th of April). I only received the above-mentioned work here yesterday, and send it you today together with the "Ave Maria" for Harmonium and Meyer's excellent "Manual of Universal Knowledge." Eduard and Hedwig may extend their knowledge by means of it.

My Belgian week—from May 1st to 8th, Brussels and Antwerp—was of the pleasantest. Enclosed are the moderate articles (on the performance of "St. Elizabeth") by the Brussels Schelle and Hanslick [In the "Independance Belge"]—Eduard Fetis, the son of the renowned and meritorious author of the many-volumed "Biographic universelle des Musiciens" and of the "Universal History of Music." Thirty years ago I said to that same Fetis somewhat arrogantly, nay almost insolently: "My aspirations are directed not merely towards obtaining articles, but rather towards acquiring a durable position in the History of Art."

P.S.—The arrival of the "Kaiser Virginia" has just been announced to me. Please send me the little bill.

I am still quite struck with wonder at your "Predication aux oiseaux de St. Francois." ["St. Francis preaching to the birds." Composed by Liszt for pianoforte alone. (Roszavolgyi.)] You use your organ as an orchestra in an incredible way, as only a great composer and a great performer, like yourself, could do. The most proficient organists in all countries have only to take off their hats to you.

I am sending you by this post a parcel of things of mine for organ. If you should find an opportunity at Brussels of producing the Introduction to St. Elizabeth, it would, under your fingers, have the effect I intended.

Cordial thanks for your visit to Brussels, and ever yours in admiration and friendship.

The telegram Tardieu-Lynen-Lessmann sent from Aix-la-Chapelle has given me extreme pleasure. [The Tardieus, the Lynens (Antwerp friends of Liszt), and Otto Lessmann were present at the Musical Festival at Aix-la-Chapelle.]

My padrone di casa (Lessmann is this through his paper) are always most excellent.

Daniela de Bulow, my darling granddaughter, writes how kind you are, and will come with us shortly to Villa "Fantaisie" (Bayreuth). [She had accompanied her father, Dr. Hans V. Bulow, who played (under Wullner's conductorship) Brahms' first Pianforte Concerto, and Beethoven's 15 Variations (on a theme out of Eroica).]

At "Parsifal" we shall be 30,000; that will be the best chance of seeing one another again.

The Opera of Hamlet, by Stadtfeld, [The first performance of the Opera. The composer, a Wiesbaden man (born 1826), had studied at the Brussels Conservatoire, and died there in 1853.] written in transition years (50), and twice given here, not without success, is one of the best that I know of the Meyerbeer-Donizetti genre. The Wagner invasion is strangely modifying theatrical requirements at the present time. It is no longer possible to write a "Hamlet" according to the style of a Duprez, some absolute tenor with the famous "ut de boitrine," nor to make the ghost of Hamlet's father benevolently intervene in order to effect a Trio or Quartet, even of a pretty musical manufacture. The distinguished work of Stadtfeld belongs, then, to the theatrical Past, so rich in oblivion…

As you are so kind as to undertake my books, I will ask you to send me soon the following works:—

1st, Gevaert—History of Music in ancient times 2 volumes. (Publisher, Annoot Braekmann, at Ghent.)

2nd, Charles Clement—Michael Angelo, Leonardo da Vinci, Raphael,—a magnificent volume illustrated by 167 drawings. Price, bound, 15 francs. (Publisher, Hetzel, Paris.)

3rd, J. D. Lewis—"Bons Mots of the Greeks and Romans": 1 volume in 16—Charavay library. A thousand pardons for thus using and abusing your amiable kindness.

I have read with pleasure the article in the "Guide Musical" on the Festival at Aix-la-Chapelle, and beg you to repeat to the author [Presumably Monsieur Tarideu.] my sincere friendship.

The Allgemeine Deutsche Musikverein confers a high distinction on me by electing me as its Honorary President.

Since the starting of this Verein, 20 years ago, I have the honor of feeling that I have been of service to it. Its aim is a worthy one,—the advancement of music and musicians in an unprejudiced manner, and in accordance with the spirit of the time. Its ways have always been known as pure and worthy of recognition, regardless of opposition and silence.

Accept, dear Sirs, my heartiest thanks, together with the assurance that, ever conscious of my task, I remain, with high esteem,

You ask me if L. Ramann's biography is "classical"? To belong to the classical means, first of all, to be dead, then to be to the world immortal. Neither of these is claimed at present by yours,

[The Addressee was the able founder and possessor of the Richard Wagner Museum in Vienna, a unique collection, in its way, of musical and historical importance. The bibliography mentioned in the letter came out I (at Breitkopf and Hartel's) shortly before the first performance of "Parsifal."]

I have already heard the praise of your "Catalogue of a Richard Wagner Library." It will be a pleasure to me to make its acquaintance, and while awaiting your kind sending of the work accept thanks for your accompanying lines,

By the same post you will receive the instrumentation of the "A magyarok istene" for the Musical Festival at Debreczin..—. I beg the directors carefully to try over the small instrumentation before the full rehearsal, with the instruments (plus the brilliant cymbals), without the vocal parts.

The solo trumpeter must perform his part, as a Hungarian Magnate, in a noble manner, and not blow the trumpet as though it were a trade.

I also beg that the directors will be so good as to correct any chance mistakes there may be in my hastily written and unrevised manuscript score. Though I trouble myself but little about the spread of my compositions, yet I do not wish them to be offered to the public in a mutilated form. As I flatter myself that I possess a sufficient portion of self-criticism, other criticism remains only valuable and instructive to me.

I will discuss here with Vegh [Formerly Vice-president of the Hungarian Academy of Music.] the ministerial affairs of your "academic, historical manual." The matter will assuredly be settled to your satisfaction.

Wagner's "Parsifal" far surpasses the master-works which the theater boasts up to the present time. May the public be educated up to it.

Both at and after yesterday's performance of Wagner's "Parsifal" it was the universal feeling that about this wonder-work it is impossible to speak.

It has indeed struck dumb those who were so deeply impressed by it; its sacred pendulum swings from the sublime to the sublimest.

How I reproach myself for the delay in my written thanks! Those preceding my letter have not been wanting, and your friendly kindness touches me deeply. Lassen assures me of your indulgence. He has lately heard at Brussels "l'hymne a la beaute," [By Benoit. Performed at the Brussels Musical Festival in August 1882] and (between ourselves) did not think it particularly beautiful. In this kind of music even the greatest masters have seldom succeeded in freeing themselves from lukewarm conventionality. This [conventionality] affords matter for academical prizes such as have been carried off several times by Madame Louise Collet of inglorious memory.

Our friend Benoit shall follow his vocation of musical "Rubens".
And Gounod's "Redemption"! Ought one to speak of success or non-
success in a work of that kind? Gounod has always kept the
Catholic religious incentive with a turn towards the sublime. His
"Polyeucte" is a witness for him.

May that abominable quibbler and bloodthirsty "doctrinaire," Henry VIII., be the means of a brilliant and lasting success to St. Saens, who richly deserves it; but in the matter of serious opera the public has reached that blase point which is explained in the words of Ronge, a naive German reformer:—

"What we have we don't want any more; and what we would have we don't quite know." Wagner has known how to want and to act— gloriously, although and because. [Wagner a su vouloir et perpetrer—glorieusement, quoique et parce que.] His work is already becoming immortal.

Let us speak of some modest things, concerning your humble servant. The three Psalms have been admirably translated into French by Mr. Lagye; I will write my thanks to him fully, as soon as I have entirely finished the work of adapting the text to the music. For this it is necessary to modify and rewrite about fifteen pages, a dozen of which are ready. I shall send the whole to Kahnt, the publisher, on Sunday next, and shall inform Lagye, in whose debt I am, of the remainder of the arrangements.

His translations appear to me really excellent, very carefully made, and prosodically well suited to the music. I only regret to have to give him so much trouble, but I hope that in the end he will be satisfied with me. He shall have the second copy of my "Lieder;" if he succeeds as well in putting them into French as he has done with the three Psalms, they may with advantage make their way in Belgium and still farther.

All my articles of musical criticism, lately published by L. Ramann under the title of "Essays" (Breitkopf and Hartel, Leipzig), were written in French. Three or four appeared long ago in the Debats and the Constitutionnel. The most extensive of these, on Berlioz's "Harold Symphony," was to have been put into a celebrated review in Paris, but in the fifties it was considered too eulogistic, and I refused any curtailments for Berlioz…Consequently this article has only appeared in a German translation (Neue Zeitschrift fur Musik, Leipzig). What has become of the original French manuscripts of my complete articles I don't in the least know. The introduction to Hartel's for which Mr. Kufferath [Moritz Kufferath, a writer on music, reviewer of the "Guide musical" (Schott), and translator of many of Wagner's writings, wanted to translate Liszt's Essays into French.] asks will not serve his end at all. The only person who could give him some particulars would be Mademoiselle L. Ramann, my biographer, who has been for many years past on the look-out for everything relative to my prose and music. She is the directress of a Pianoforte School in the Durerplatz at Nuremberg (Bavaria).

Please thank Kufferath for his kind interest, and assure him that, if I abstain from writing to the firm of Hartel, it is from no want of willingness on my part. A thousand friendly regards to your husband, and ever cordial and devoted expressions to yourself.

It is only through your kindness that I learn of Hellmesberger's intention to perform shortly in Vienna a new Mass of my composition. Hellmesberger has indeed always been very well disposed towards me, and has frequently conducted the Hungarian Coronation-Mass in the Hofkapelle, and several of my longer works at concerts; but it would be rather difficult for him to conduct a new Mass, because I have not composed one. I should think it must be the "Missa choralis" (with Organ accompaniment only)…

5. Requiem for men's voices (with Organ). Rome, latter half of the sixties. Published by Kahnt.

Perhaps I shall yet write a Requiem at special command. [A requiem, composed on the death of the Emperor Maximilian of Mexico, still exists in manuscript.] I beg you to give my thanks to the friendly publisher of the Symphonic Poem "From the cradle to the grave," for sending me the pianoforte version of this composition. Before the end of October I will send Bock the completed score.

A short piece from Parsifal, "Solemn March to the Holy Grail," will reach Schott today at Mainz.

Ever heartily welcome in Weimar; that is to say, if the visit suits you as Allegro commodo. It would be dreadful to me to incommode my friends.

If one wants to be just, he must see that he speaks only with high respect of Hans von Bulow. His knowledge, ability, experience are astounding, and border on the fabulous. Especially has he, by long years of study, so thoroughly steeped himself in the understanding of Beethoven, that it seems scarcely possible for any one else to approach near him in that respect. One must read his commentary on the pianoforte works of Beethoven (Cotta's edition), and hear his interpretations of them—(what other virtuoso could have ventured to play the 5 last Sonatas of Beethoven before the public in one evening?), and follow Bulow's conducting in the orchestral works of Beethoven. To set one's back up against such remarkable deeds as these, I call feeble or malicious nonsense.

I thank you again for a beautiful, kind gift—"The Oberammergau Passion Play," described by Franz Schoberl, a clergyman in Laibstadt. The little book has been composed with reverence, and gives an exact description of the Oberammergau production, which seems to me especially deserving of notice on account of the agreement between the Old Testament representations—beginning from Adam and Eve to the Brazen Serpent and further—and their fulfilment in the facts of the gospel. This agreement is no simple peasant's invention, but indeed a significant, most touching parallel, thought out by cultured priests, familiar with the Christian tradition. The grouping, and the mute performance of the life-like Old Testament representations and of the Crucifixion of Christ in Oberammergau, deserve full praise, in contrast to the music, which is beneath criticism, and very much spoiled the whole performance for me. And even such esteemed and highly honored Catholic musicians and divines as F. Witt, Haberl, etc., protest against such inane musical stuff and rubbish.

At the Musical Festival which I had the honor of conducting some twenty-five years ago at Aix-la-Chapelle, Hiller, the friend of my young days in Paris, took up quite a critical attitude against the conductor and his compositions.

I took no particular notice of his behavior, but I heard that it displeased many people, who made no secret of it to him. I was also told that at one of the rehearsals Hiller did not exactly leave of his own accord. As I was engaged at the conductor's desk I did not observe the occasion of his leaving, and contented myself with reading, some days later, his witty report of the Aix-la-Chapelle Musical Festival in the Cologne paper. My excellent friend, Freiherr Hans von Bronsart, replied to Hiller's article with no less wit and with a different opinion. Unhappily the musical chronicle is overflowing with unresolved discords.

I shall be delighted if the Tannhauser-Songs [Composed by Lessmann, transcribed by Liszt for piano, and published by Barth, Berlin (now Junne, Leipzig)] give you satisfaction. Find a pianist of the fair sex, or the other sex, in Berlin, who will set about his task well of playing these songs in public. As far as I can tell I should think they would bring the player applause.

Of my "continuously written autobiography" I have as yet heard nothing. Publishers have frequently asked me to write memoirs, but I put it off with the excuse that it was more than enough for me to live through my life, without transcribing it to paper. If I were married I could certainly dictate somewhat of it to my wife now and then. But I am glad to keep out of the bothers of penmanship, which I dislike.

The dramatic performance of the Elizabeth in Cologne is to take place after my return from Budapest, next April or May. (I have promised to be present at it.) Yesterday evening I wrote a couple of lines of thanks and commendation to Herr Duysen, for Fraulein Spiring, whom you met here [Lives now in Jena]. She is a pianist and teacher deserving of recommendation, and is trying to establish herself in Berlin, and I commend her to your good graces.

Rubinstein is coming to see me next Tuesday after the Leipzig performance of the "Maccabees."

I am still detained here, partly on account of a stupid indisposition,—nothing serious, but disagreeably prolonged. I make a rule of never bothering my head about my health, and I beg my friends never to trouble about it.

Thank you for sending the 3rd volume of the correspondence of George Sand. The long letter of 20 pages to Mazzini, dated the 23rd May, '52, appears to me to be a chef d'oeuvre of judgment and foresight. In 1852 few political men were placed in a sufficiently elevated position to rule the fluctuations of socialism and to understand its necessary value. Mazzini himself was mistaken in this, as well as in regard to the importance of the acquisition of universal suffrage. Forgive me for wandering off thus into political matters, of which I don't understand anything, and of which it does not concern me to talk. But I will just quote to you a mot which in 1842 was rather widely spread on the sly in Petersburg. A fair lady of my acquaintance told me that the Emperor Nicholas had said to her of me, "As to his hair and his political opinions, they displease me." I begged the same lady to transmit my reply, which was as follows: His Majesty has every right in the world to judge me as seemeth well to him, nevertheless I venture to beg him not to think that I am an idiot. Now it would be idiocy on my part to proclaim political opinions. The Emperor shall know them when he deigns to put 300,000 soldiers at my disposal.—

To return to the letters of George Sand. Those addressed in '52 to Prince Jerome Bonaparte and to Louis Napoleon about the pardoning of several democrats are in exquisite taste; the genius of a great heart appears in them. Allow me to beg for the little account of the books that you have been so kind as to send me, dear Madame Tardieu, and please add to it the price of the subscription to the Bien public. I suppose you only took it for one quarter, and I will not go on with it, not having time to read half the papers which my profession and my tastes would lead me to peruse. Besides this my eyes, without having exactly anything the matter with them, do not any longer adapt themselves either to reading or writing without reprieve; and by evening I often feel extremely tired…

"The Correspondence and Musical Works of Constantin Huygens" (17th century), published by Jonckbloet and Land, professors at the University of Leyden, magnificently edited by Brill at Leyden?

To the kind remarks which the Indpendance has inserted on the concert of the 23rd October with the Liszt programme, [A Liszt- concert in the Weimar theater in celebration of his birthday.] I add the observation that the real title of my "Transcription" of the "Rakoczy March" should be—"Paraphrase symphonique." It has more than double the number of pages of Berlioz's well-known one, and was written before his. From delicacy of feeling for my illustrious friend I delayed the publication of it until after his death; for he had dedicated to me his orchestral version of the Rakoczy, for which, however, one of my previous transcriptions served him, chiefly for the harmonisation, which differs, as is well known, from the rudimentary chords usually employed in the performances of the Tsiganes and other little orchestras on the same lines. Without any vanity I simply intimate the fact, which any musician can verify for himself.

At last I have just written to my most honored and more than obliging collaborator, Mr. Lagye. His excellent French translation of my four Psalms is being engraved. As soon as it is out you shall have it.

In about ten days I shall join the Wagners, and shall spend more than a month with them at the Palazzo Vendramin, Venice.

The director of the subscription concerts at Weimar is going to give Benoit's "La Guerre," and at the next Musical Festival Benoit's "Sanctus" and "Benedictus" will be heard. [Both these intentions of Liszt came to nothing, owing to external causes.]

312. To the Editor of the "Allgemeine Musikzeitung," Otto Lessmann, at Charlottenburg

As I am very much hindered in my work by overmuch sending of scores, other compositions, and suchlike writings, I beg you to make it known that I wish in future not to have my attention claimed in this manner. I have modestly refrained for many years past from contributing to collections of autographs.

I don't intend you to hear first through others of my safe arrival here. Thank Heaven! the Wagners and all the family are in perfect health.

Your brother will write you word from Nuremberg that the method of whist, so to say invented and certainly perfected by you, is being spread on to the Durerplatz also under your name at L. Ramann's. To get rid of all the aces first of all is really glorious.

With the exception of one incident, which stricter people than myself would call a regular fleecing on the part of the Custom House at Milan, whereby I parted with about 70 francs as a fine for having brought 50 cigars (!), all my journey passed off very well. At Zurich I met with the same kind reception on the part of several members of the Committee—with the President of the town, Mr. Roemer, at their head—as at the Musical Festival last July. The proprietor of the Bellevue Hotel, Mr. Pohl (no relation to his namesake at Baden), insisted on my accepting gratis a charming room, with dinners, suppers and excellent wines. Such munificence would have given a fit of fever to the late Hemleb of the Erbprinz, and his associates will scarcely imitate Mr. Pohl's amiable proceeding. So I will beg you to recommend the very comfortable Hotel Bellevue, in the front ranks, to any of your friends and acquaintances who may pass through Zurich. Without promising that they will be received gratis, I can assure them that they will find the beautiful view on to the lake, good rooms, an excellent cuisine, and attentive service. The Duke of Altenburg and other princes have stayed in it, and inscribed their names in the hotel album.

Your friend Ada Pinelli is still here with the Princess Hatzfeld, at Palazzo Malipieri. I shall go and see her tomorrow. I shall, however, practise great sobriety in the matter of visits. Wagner does not pay any, and I shall imitate him on this point to the best of my ability. My illustrious friend has lodged me splendidly in a spacious apartment of the Palazzo Vendramin, which formerly belonged to Madame la Duchesse de Berry. Her son, the Duke della Grazia, is at present the owner of it, and Wagner is the tenant for one year. The beautiful furniture still bears the impress of the old princely regime, and is perfectly preserved. The main inhabited part of the Palazzo Vendramin is in the best possible condition, so that Wagner did not have to go to any special expense, not even for stoves and other requisites, which are often neglected.

Ever since my first stay in 1837 I have been enamoured of Venice: this feeling will not grow less this time, but quite the contrary.

Try to learn something about Bulow, and send me word. It was heart-breaking to me not to see him again at Meiningen.

.—. Wagner is perfectly within the truth when he says that without the extraordinary munificence of H.M. the King of Bavaria the performances of "Parsifal" at Bayreuth would have been endangered, and only the sympathy of the public, outside the Wagner Societies, made the continuance of them possible. But does it follow from this that the Wagner Societies are useless, and that this is the opportunity for disbanding them? To my thinking, No, for they keep up a wholesome agitation, and support the "Bayreuther Blatter," which essentially promote the good cause. There does not seem to me to be any advantage in changing the name Society [Verein] into Fellowship [Genossenschaft]. Wagner's great name and most important personality are what are most needed here. Moreover the parliamentariness of the Societies will not be averse to the absolute authority of the creator of so many immortal works. In merely minor matters variety of opinions may be made apparent; in all essentials we are really and truly one. On this account I desire the continuance, consistency, and increasing welfare of the Societies.—

It goes without saying that Wagner must reign and govern as legitimate monarch, until the complete outward realization of his Bayreuth conception—namely, the model performance of his entire works, under his own aegis and directions at Bayreuth. It behoves all who sympathise in the historico-civilised culture of Art in the coming years of the closing 19th century to endeavor to promote this aim.

When we have attained the end in question let us sing with
Schiller and Beethoven,

I tell you again, dear Franz, that you were "born with a silver spoon in your mouth;" after the hearing of your Opera with the piano the success of a performance will follow.—Don't get impatient at a little delay; the most illustrious composers, including Meyerbeer, could not say, like Louis XIV., "J'ai failli attendre." ["I nearly had to wait."]…But I hope that the saying "Tout vient a point, a qui sait attendre" ["All comes to him who can wait."] will be realised in your case without much delay. Good courage then and Mistress Patience.

Will you remember me very affectionately to Godebski; his graceful bust, so perfect in its likeness to the never-to-be- forgotten Madame Moukhanoff, is ever the precious ornament of my little salon at the "Hofgartnerei" in Weimar.

The large bust of Rossini which Godebski presented to the Grand Duke ornaments the lobby of the theater, where it blooms like a god from Olympus. Tell me what works Godebski has been doing lately.

When next you see Madame Judith Gautier, please express to her anew the admiring homage of your very faithful

P.S.—Our friends * * * might, I think, do you good service with M. Vaucorbeil, and could tell him also, as a "by the way," that I take a lively interest in your work. Would you perhaps think it advisable to let some fragment of it be given at a public concert? I am remaining here till New Year's Day with the Wagners, at the superb Palazzo Vendramin; then I shall return direct to Budapest.

Your sad news about Bulow's bad state of health are much the same as his wife gave to Daniela. Let us hope for more reassuring news!

Here, in Palazzo Vendramin, a peaceful and most united family life goes on without monotony. But I cannot speak of the things which touch me most, except clumsily. So it is better to keep from doing so. The Princess writes to me from Rome that she shall be delighted to obtain possession of the two water-colors of Gleichen for the splendid portfolios of drawings belonging to her daughter, of which the mother, since the years at Weimar, has regally provided the greater part. These portfolios are among the finest collections in Europe.

Joukowski [Widely known by his "Parsafal" sketches and the portraits of Liszt and of Wagner's family], who has been delayed by a funeral and by the floods, will arrive here today. Neither funerals nor floods have been able to prevent Lassen from scoring our Symphonic Intermezzo "Uber allen Zauber Liebe" ["Above all magic Love"]. I hope Lassen will conduct it at the Court concert on New Year's Day, and I beg you to go and hear it and let me know about it. .—.

I beg Gille to send me the volume "Die deutsche Buhne von einem Weimaraner" ["The German stage, by a Weimarer"]. Do you know who it is? According to the index he seems to ignore the doings of the Weimar theater during the last thirty years, which is not very honorable to a Weimarer, and looks very like a cowardly action of a low standard.

Daniela has written to you. I will send you the programme of the performance of Goethe's "Geschwister" ["Brothers and Sisters"], which will take place tomorrow at Princess Hatzfeld's. Those old books of operas, such as "Les Indes galantes" ["The gallant Indies"], and other antiquities, re-edited in Paris, may peaceably repose at the "Hofgartnerei;" unless you prefer to lend them to some one who likes works of that kind, which are sought by some.

Draseke's "Requiem" is such a first-rate work, and is so likely to obtain a good reception from the public, that I again recommend the performance of it at the next Tonkunstler- Versammlung. Draseke will presumably also agree to it in the end.

Gustav Weber's Trio, Op. 5, published by Siegel, and dedicated to me, I consider an eminent work, worthy of recommendation and performance. I am sure you think the same.

I should like to add to the vocal programme of the Tonkunstler- Versammlung two songs by your name-sake Riedel, now Hofkapellmeister in Brunswick. [Hermann Riedel, born 1847, made a special success with songs from Scheffel's "Trompeter von Sakkingen."] If they should be ascribed to you they will please you all the better for that. And a propos, why do you let your valuable, excellent works be so seldom heard in public? I shall reproach you further with this injustice to yourself when we come to talk over the programme, and I hope that you won't continue to overdo your reserve as a composer. Without pushing one's-self forward one must still maintain one's position, to which you, dear friend, are fully entitled. Will you be so kind as to tell Hartel to send me here quickly 25 sheets of to line, and 25 sheets of 12 line music paper (oblong shape, not square) for cash, together with a few of the small books of samples, containing all kinds of music paper, which I have recommended several musical friends of mine here and elsewhere to buy. One can rub out easily on this paper, which is one of the most important things—that is to say, unless one tears up the whole manuscript, which would often be advisable.

My telegram of this morning expressed to you my excuses and deep regret at being unable to be of use in the programme of your Festival. [Liszt had been asked to take part in a Festival which was given at the Grand Opera for the benefit of the sufferers from the inundations in Alsace-Lorraine. "The Dame of Liszt in France," they wrote, "is synonymous with triumph, and we know that it is also synonymous with kindness."]

It would certainly be an honor to me to take part in it, and I am by no means oblivious of the gratitude I owe to Paris, where my youthful years were passed. Moreover it would be, it seems to me, a becoming thing that, after the generous and striking sympathy shown by Paris—also by a festival at the Grand Opera—to my compatriots on the occasion of the inundation of Szeged, an artist from Hungary, who has been favored by so much French kindness, should make his public acknowledgments at your approaching grand performance.

Unfortunately my age of 72 years invalidates me as a pianist. I could no longer risk in public my ten fingers—which have been out of practice for years—without incurring just censure. There is no doubt on this point; and I am perfectly resolved to abstain from any exhibition of my old age at the piano in any country.

Your "Hungarian Suite" [For Orchestra, dedicated to Liszt] is an excellent and effective work. While springing from the musical ground of Hungary, it nevertheless remains your own property, as there are no imitations or used-up ornamentations in it, but rather much new employment of harmonies, and always a national coloring. For the dedication you are heartily thanked by

[From a rough copy in the possession of Herr O. A. Schulz, bookseller in Leipzig.]

I come to ask your advice, dear Monsieur Saissy; please give it me quite frankly, without any reserve, and tell me whether you think it is an opportune moment for my letter (which I enclose), relative to my pretended animadversion against the Israelites, to be published or not. If you think it is, I beg you to insert it in the next number of the Gazette de Hongrie; otherwise it shall remain unprinted, as I shall not send it to any other paper.

As the proverb says, "Silence is gold"; but perhaps, under the given circumstances, in view of the serious question of the Israelites in Hungary, it would be better to speak in the current silver money in the papers.

[Published in the Gazette de Hongrie of February 8th, 1883, Budapest. A translation of it also appeared in German papers; amongst others, in Lessmann's Allgemeine Musikzeituug, at the wish of the Master, who was annoyed with the aspersion against himself of having promoted the Antisemitic movement.]

It is not without regret that I address these lines to you; but, as there has been some report spread here about my pretended hostility to the Israelites, I ought to rectify the mistake of this false report.

As is well known in the musical world, many illustrious
Israelites, Meyerbeer first and foremost, have given me their
esteem and friendship, and the same in the literary world with
Heine and others.

It seems to me that it would be superfluous to enumerate the many proofs I have given, during fifty years, of my active loyalty towards Israelites of talent and capacity, and I abstain in like manner from speaking of my voluntary contributions to the charitable institutions of Judaism in various countries.

The motto of my patron saint, St. Francois de Paule, is
"Caritas!" I will remain faithful to this throughout my life!

If, by some mutilated quotations from my book on the Gipsies in Hungary, it has been sought to pick a quarrel with me, and to make what is called in French une querelle d'Allemand, I can in all good conscience affirm that I feel myself to be guiltless of any other misdeed than that of having feebly reproduced the argument of the kingdom of Jerusalem, set forth by Disraeli (Lord Beaconsfield), George Eliot (Mrs. Lewes), and Cremieux, three Israelites of high degree.

[From a rough copy in the possession of Herr O. A. Schulz, bookseller in Leipzig]

The Rich and Mason Grand Piano which you have so kindly sent me here is a pattern one. And as such will artists, judges, and the public recognise it.

Together with my hearty thanks I wanted at the same time to send you the Liszt portrait for which you wished. It was painted by Baron Joukowski, son of the highly honored tutor and friend of Alexander II., a man who will also be ever famous in Russian literature. Now, however, this Liszt portrait has been such a success that they wanted to have a second one like it for the Joukowski Museum. The painter kindly consented to the request, which has necessitated a delay of 2 to 3 months in my sending off the first portrait to Toronto.

Joukowski had also prepared the sketches for the "Parsifal" scenery in Bayreuth, which were followed by a successful performance.

Excuse, dear Sirs, the delay in my acknowledgments, and accept the assurance of my high esteem.

[Autograph in possession of Herr Commerzienrath Bosendorfer in Vienna.—The addressee was the widow of Alfred Jaell, and was a pianiste and composer in Paris.]

I give you at once a most cordial welcome to Budapest. Have you already made your arrangements for concerts here? Can my very excellent friend Bosendorfer be of use to you as an agent? To my regret I am not in a position to help you in that, on account of my being so very decidedly out of touch with the principal concert arrangers of the neighborhood, who impertinently make a pitiable trade for the benefit of Art…the art of their own pocket and predominance.

To our right speedy meeting! Will you let me make acquaintance with your new compositions, and accept the homage of my admiring sympathy and affection?

Have you had anything to do with a serious and really distinguished composer,—Rendano? He is giving his concert in Vienna one of these next days.

If you were here, dear friend, you would perhaps find means to put into some sort of order the hundreds of letters that rain upon me from everywhere. These bothers and burdens of the amiability with which I am credited are becoming insupportable, and I really long, some fine day, to cry from the housetops that I beg the public to consider me as one of the most disagreeable, whimsical and disobliging of men.

Your sad news [After Wagner's death on the 13th February] pierces my heart. Worthily have you said of the great, undying hero of Art, "May the memory of him lead us on the right road to truth!"

I abstained from going at once to Venice and Bayreuth, but no sensible man will on that account doubt my feelings. Until Passion Week I remain here; then according to what my daughter arranges I shall either go to Bayreuth or elsewhere, wherever my dearly beloved daughter may be.

Hearty thanks, dear friend, for your satisfactory, truthful adjustment of my position, which is neither a doubtful nor a cowardly one, in the Jewish question.

The watchword and solution of that question is a matter for the perseverance of the Israelites and for the all-ruling Divine Providence.

I shall send that number of your weekly paper (16th February) to Cardinal Haynald, my gracious patron of many years' standing—who was also the President of the Liszt-Jubilee Festival in Budapest.

Ever since the days of my youth I have considered dying much simpler than living. Even if often there is fearful and protracted suffering before death, yet is death nonetheless the deliverance from our involuntary yoke of existence.

In my "Requiem" (for men's voices) I endeavored to give expression to the mild, redeeming character of death. It is shown in the "Dies irae," in which the domination of fear could not be avoided; in the three-part strophe

lies the fervent, tender accent, which is not easily attained by ordinary singers…The execution is also made more difficult by the 2 semitones, ascending in the 1st Tenor, and descending in the 2nd Tenor and 1st Bass. Progressions of this kind are indeed not new, but singers so seldom possess the requisite crystal- clear intonation without which the unhappy composer comes to grief.

Our 3rd Elegie, "The funeral gondola" ("la gondola funebre"), written unawares last December in Venice, is to be brought out this summer by Kahnt, who has already published my 2 earlier Elegies.

To great grief silence is best suited. I will be silent on
Wagner, the prototype of an initiatory genius.

Thank you cordially for your telegram of yesterday. [On the success of Saint-Saens' Opera "Henry VIII." at the opera in Paris] No one rejoices more than I in the success of Saint-Saens. There is no doubt that he deserves it; but fortune, grand sovereign of doubtful manners, is often in no hurry to array herself on the side of merit.

One has to keep on tenaciously pulling her by the ear (as Saint-
Saens has done) to make her listen to reason.

Be so good as to send me the number of the Independance with the article on "Henry VIII." I will ask M. Saissy, the director of the Gazette (French) de Hongrie, professor of French literature at the University of Budapest, to reproduce this article in his Gazette. Saissy is one of my friends; consequently he will publish what is favorable to "Henry VIII."

Saint-Saens has sent me the score of his beautiful work "La Lyre et la Harpe." Alas! everything that is not of the theater and does not belong to the repertoire of the old classical masters Handel, Bach, Palestrina, etc., does not yet gain any attentive and paying consideration—the decisive criterion—of the public. Berlioz, during his lifetime, furnished the proof of this.

Please give my love to your husband, and accept my devoted and grateful affection.

With regard to Lagye, I am contrite. Various things which I had to send off with care have prevented me from going on with the revision of the French edition of my Lieder. It shall be done next month.

As it is uncertain whether I shall still be alive next year, I have just written an Hungarian "Konigslied" [Royal Song] according to an old mode, for the opening of the New Hungarian Theater in Radialstrasse.

Herewith is the manuscript for pianoforte, two hands, and the score with text by Kornel Abranyi [German translation by Ladislaus Neugebauer] will follow in Easter week.

The publishing of my "Konigslied" ought not to take place till the first performance in the new theater in '84,

It is really extraordinary that after so many years of constant practice in works of mercy you are not ruined. Your life seems to me one vast symphony of generosity, munificence, charities, gifts and attentions as delicate as they are costly. To begin with, there are Garibaldi and his people, and to continue indefinitely there are those poor German fellows, ill at Rome, and buried there at your expense; and then the fighting Cretans, the infirm people in your hospital at Jena, the societies for the protection of animals, etc., etc.

I admire you and bow before your perpetual kindnesses and goodness,—all the more because you exercise them unobtrusively, as it were in the shade, without any flourish of trumpets and drums.

Do not scold me for having divided the gift you confided to me for the sufferers from the inundations at Raab. 300 florins were amply sufficient for them, and the other 300 florins of your 50 pounds sterling were well employed for the children's gardens (an admirable institution of Frobel's), of which Madame Tisza, the wife of the President of Council of the Ministers of Hungary, is the president in this country.

I send you herewith Madame Tisza's thanks (in Hungarian, with a
German translation), and the receipt of Count Thun,—supreme
Count (an ancient title still preserved,—"Obergespan" in German)
of the Committee of Raab.

I preferred to send your gift in the name of Madame E. de Schwartz, and not to mix up your nom de plume of Elpis Melena with it. Pardon me this innocent bit of arbitrariness.

Shall I see you again, my very dear friend, this summer at
Weimar? I hope so, and I remain sempper ubique

From the middle of April until August I shall stay at Weimar, with the exception of some excursions of a few days' duration. Please let me know a couple of weeks beforehand when your friendly visit will take place.

[This lady had begged Liszt for a contribution to an album which it was intended to present to Henselt on the occasion of a festival in honor of his having been 25 years General Music Inspector of the Imperial Schools in St. Petersburg, Moscow, etc. This is Liszt's answer.]

For thirty years past I have entirely abstained from adding to collections of autographs and of writing my name in any albums whatever. Nevertheless I willingly make an exception today, while thanking you for your kind words, and begging you to transmit to my honored friend A. Henselt the short copy enclosed herewith.

A renowned diplomatist once said to me, "To princes one should offer only flowers gathered from their own gardens."

Henselt belongs to the princes, and will accept the souvenir of one of the most beautiful flowers of his own noble gardening.

[Liszt adds a postscript to this letter where he writes a musical score excerpt of the Larghetto form Henselt's Concerto:]

[Here, Liszt illustrates with a musical score excerpt of the main theme of the Larghetto.]

For what a magnificent Organ I have to thank your kindness! It is worthy of all praise and admiration! Even average players could attain much success on it.—I should gladly have kept this splendid instrument in my own house, but, alas! there is not sufficient room for it. It is now looking grand in the large room of the Orchestral School here, an institution of importance, the excellent director of which is Herr Professor and Hofcapellmeister K. Mueller-Hartung—he has published some beautiful Organ Sonatas and plays them no less beautifully.—On the evening of its opening two renowned organists played upon it, the Court organist A. W. Gottschalg (the publisher of the considerable Organ repertoire, etc., etc.), and the town organist B. Sulze, who has attained a great name through many valuable compositions and transcriptions.—I shall probably have a visit this summer from Prof. Dr. Naumann from Jena, Walter Bache from London, and Saint-Saens from Paris, who, according to my opinion, continues to be the most eminent and extraordinary king of organists. I shall not fail to beg the three above-mentioned virtuosi to make a closer acquaintance with your organ. For the rest it shall not be misused and shall remain closed to ordinary players.

Thank you for the very agreeable news of the resumption and continuation of the performances of "Henry VIII." No one wishes Saint-Saens, more than I do, all the success that he grandly deserves, both in the theater and in concerts.

In the matter of concerts, those of the Meiningen orchestra, under Bulow's conductorship, are astonishing, and very instructive for the due comprehension of the works and the rendering of them. I send you a copy of some lines written to a friend; these will give you my impression,—one which you would share if you heard these concerts of the highest artistic lineage.—The parallel between the "Sigurd" of Reyer [Performed for the first time on 7th January, 1884, at the Theater de la Monnaie, Brussels.] and the "Siegfried" of Wagner is ingeniously traced by your husband, and renders good preparatory service to the success of the performances of "Sigurd." As to the "Nibelungen" tetralogy of Wagner—it shines with an immortal glory. In the course of the winter season the Weimar theater will give Gevaert's "Quentin Durward." Lassen will take the utmost pains in directing the study and performance of it. To my regret I shall not be able to be present at the premiere here, as I am obliged to be at Budapest before the middle of January.

Yet another young pianist, but one of the best kind,—M. Siloti, a Russian by birth, and of good education. He was said to be the best pupil of Nicholas Rubinstein before he came to work with me. He obtained a marked success at Leipzig lately, which he will continue next week at Antwerp. In spite of my aversion to letters of introduction, I am giving him a couple of words for the Lynens, and I recommend him to your kind attention.

It is well known in various countries in what high esteem I hold your works. As I am convinced that the "Suite" of which you speak will prove itself worthy of your preceding compositions, I feel that I am honored by the dedication, and thank you for it with gratitude. Your musical style is raised far above ordinary phraseology; you do not cultivate the convenient and barren field of the commonplace…Doubtless form in Art is necessary to the expression of ideas and sentiments; it must be adequate, supple, free, now energetic, now graceful, delicate; sometimes even subtle and complex, but always to the exclusion of the ancient remains of decrepit formalism.

At Meiningen, where Bulow's admirable conducting is working wonders of rhythm and nuances with the orchestra, I lately had the honor of a conversation with the Grand Duke Constantine Constantinowitch, on the actual development of music in Russia and of the well-known capacity of its courageous promoters. His Imperial Highness justly appreciates their serious worth, their noble character and intense originality; consequently, dear Monsieur Cui, the Grand Duke accords full praise to your talents and deserts. I take pleasure in repeating this to you, at the same time renewing to you the assurance of my very sincere regard.

A young Russian pianist, M. Siloti, who has been brought to a high state of virtuosity by the lessons and example of Nicholas Rubinstein, is now gaining a real success in Germany. When he comes to Petersburg I recommend him to your kindness.

The remarkable concerts of the Meiningen Court orchestra led me to the attempt to write a "Bulow March." I send you herewith a Preface to this, and also an article (in French), in the form of a letter, on my impressions in Meiningen. Will you insert both these in your paper? Also kindly translate the French letter.

[It follows here after the Preface in the original. A German translation of it appeared in Lessmann's Allgemeine Musikzeitung on the 18th January, 1884, under the title of "Letter to a friend."]

I shall stay ten days to a fortnight longer in Weimar on account of the severe illness of Achilles [Liszt's servant].

For thirty years Hans von Bulow has been expressing and actively furthering everything that is noble, right, high-minded and free- minded in the regions of creative Art. As virtuoso, teacher, conductor, commentator, propagandist—indeed even sometimes as a humorous journalist—Bulow remains the Chief of musical progress, with the initiative born in and belonging to him by the grace of God, with an impassioned perseverance, incessantly striving heroically after the Ideal, and attaining the utmost possible.

His conducting of the Meiningen Court orchestra is a fresh proof of this. To that same orchestra this "Bulow March" is dedicated in high esteem for their model symphonic performances, by

At seven o'clock people were at the rehearsal of the Beethoven concert. Under Bulow's conducting the Meiningen orchestra accomplishes wonders. Nowhere is there to be found such intelligence in different works; precision in the performance with the most correct and subtle rhythmic and dynamic nuances. The fact of the opera having been abolished at Meiningen by the Duke some twenty years ago is most favorable to the concerts. In this way the orchestra has time to have a fair number of partial and full rehearsals without too much fatigue, as the opera work has been done away with. Bulow is almost as lavish of rehearsals as Berlioz would have been if he had had the means to be…The result is admirable and in certain respects matchless, not excepting the Paris Conservatoire and other celebrated concert- institutions. The little Meiningen phalanx, thanks to its present General, is in advance of the largest battalions. It is said that Rubinstein and some others have expressed themselves disapprovingly about some of the unusual tempi and nuances of Bulow, but to my thinking their criticism is devoid of foundation…

Besides the programme of the Beethoven concert, in the morning there was an extra seance of the orchestra for the performance of the Overtures to "King Lear" (Berlioz) and to the "Meistersinger," my march "Vom Fels zum Meer," the "Ideales," and Brahms' Variations on a theme of Haydn. Always the same and complete understanding in the ensemble and the details of the scores,—the same vigor, energy, refinement, accuracy, relief, vitality and superior characteristics in the interpretation.

An extraordinary thing! the most difficult Quartet of Beethoven, one which on account of its complications never figures on any programme, the grand fugue, Op. 133, is played by the Meiningen orchestra with a perfect ensemble. On a previous occasion I also heard at Meiningen Bach's celebrated Chaconne played in unison with a real virtuosity by some ten violins.

[The addressee, born in 1856, has been since 1880 at Carlsruhe, where he was recently appointed to the post of Court opera conductor, and since 1886 one of the conductors of the Bayreuth Festivals. He is one of the most important conductors of the present day, and has also come forward as a composer.]

You have done a noble artistic deed in reinstating Cornelius's charming Opera "The Barber of Bagdad." I hardly know of any other comic opera of so much refined humor and spirit. This champagne has the real sparkle and great worth.

The one-act arrangement seems to me the most propitious. As in Carlsruhe so elsewhere it will make its way. Write about this to Hans Richter. "The Barber of Bagdad" might perhaps, in one act, become a stock-opera in Vienna, and then return once more to Weimar, where, at the first performance long ago, they behaved so ill about it.

This time I was not able to have a thorough rest in Vienna. Such an extra [luxury] is hardly my lot anywhere. My life is one continued fatigue. Some one once asked the celebrated Catholic champion Arnauld (the Jansenist) why he did not allow himself some rest. "We have eternity for that," answered he.

I hear for the first time through you of a cousin or niece, Mary Liszt, a concert giver. Concert givers have frequently misused our name by playing under it in provincial towns. A pianist in Constantinople, Herr Listmann, apologised to me for having knocked off the second syllable of his name. On this account he received a valuable present from the then Sultan Abdul Medgid. .- -.

Farewell till our next meeting in Easter week, dear cousin, from yours ever affectionately,

One, and even two, letters from the Princess in the month of
January have been lost.

Before I received your kind letter I had intimated to Baron Podmaniczki, the Intendant of the theater of Budapest, that he ought to esteem it an honor to give your Henry VIII.—a frightful personage in history, but brilliantly illustrated by your beautiful music [an Opera by Saint-Satins]. The inauguration of the new theater will take place at the end of September with the St. Etienne, a new Opera by Erkel, the popular dramatic composer par excellence in Hungary. His Huvtyadi Laszlo was performed 250 times, and his "Bankban" more than 100, without ever over- reaching the mark. Two other works are promised after the St. Etienne, so that your Henry VIII. cannot appear till '85, for it still has to be translated into Hungarian.

I spoke about it in Vienna to his Excellency Baron Hoffmann, the Intendant of the Imperial Theaters. He told me that your work is going to be given shortly at Prague, and that he will send his own conductor, M. Jahn, there, in order that it may be better looked after. I beg that you will send the piano score of Henry VIII. at once to M. le directeur Jahn (very influential), with a few polite lines; also to do the same to M. Erkel Sandor (son of the composer), conductor of the National Opera of Budapest. Address to him "Theater National," Budapest.

Very much vexed to be unable to make a place for one of your grand works—such as your superb Mass or some Poeme symphonique— in the programme of our next Tonkunstler-Versammlung at Weimar from the 23rd to the 28th May. Sauret is going to play your third Concerto, and I will send you this overloaded programme. If you came to hear it, it would be a very great pleasure to

The motto of my Oratorio "Stanislaus" is "Religion and Fatherland." In the fragment (Orchestral Interlude) which will be given here at the next Tonkunstler-Versammlung the whole meaning of the work is made plain. [This remained unfinished, as is well known.]

I refused to suspect that there could be any ill-will against you at Budapest. Nevertheless I think it is strange and most unjust that your dramatic and symphonic works have not yet taken the place which is due to them in Hungary. I have explained myself clearly about them several times, but the theater menage, and even that of the Philharmonic Concerts, is formed outside of my influence. They are quite ready to accord me a general consideration, with the exception of arranging particular cases otherwise than I wished. For many people doubtful profits and manoeuvres contrary to their dignity exercise an irresistible attraction. The idea of honor seems to them too troublesome.

I shall not desist in the least from my conscientious propaganda of your 'Henry VIII' and other of your works. The new theater at Budapest will open (at the end of September) with the 'Roi St. Etienne', [King Stephen] a grand Hungarian Opera by Erkel (senior). After that Baron Podmaniczky, the Intendant, has promised to give a new Opera by Goldmark, also Hungarian in subject, and another by Delibes. The "Henry VIII." should appear somewhere between these three. Its performance at Prague will determine that at Vienna, which will be soon, I hope. His Excellency Baron Hoffmann, the Intendant of the Imperial Theaters in Vienna, told me that he would send his artistic and musical conductor (at the Opera), M. Jahn, to Prague. It depends on the opinion of this person whether "Henry VIII." is given at Vienna.

When you come again to Weimar you are sure to be received there with sympathy, gratitude and sincere admiration by your old attached friend,

Thanks for the photograph. You will find it well placed here near a charming bust. The Court and town of Weimar keep their affectionate and kind sentiments towards you.

I am very gladly in accord with all your doings, and only protest against the sacrifice you have in the noblest manner made for my severely criticised works.

The English edition of the "Elizabeth Legend" with your sister's translation delights me.

Tell Mr. Alfred Littleton he can send me the proof-sheets (bound) of the piano edition, and the score, to Weimar. Along with this the 4 four-hand pieces (published by Kahnt) might also be published. Would it be well perhaps to begin with these? Arrange about this as you like with Mr. Littleton. I have only to correct the proofs, which will quickly follow.

If you think it would do, I shall also add to the English edition a little Preface, in the form of a letter—addressed to Walter Bache.

By the same post today I send you the complete enormous programme of the Tonkunstler-Versammlung (going through 25 years). This evening they begin with the acting performance of the "Elizabeth Legend."

I shall stay at Bayreuth from July 5th till the middle of August, and then come back to Weimar.

I write in haste to tell you that Smetana's [Bohemian composer and pianist (1824-84).] death has moved me deeply. He was a genius. More in my next. In haste.

342. To Baron Friedrich Podmaniczky, Intendant of the Hungarian Opera in Budapest

I have begged my friend M. de Mihalovich to lay before you a proposition, the fate of which depends on the committee that directs the orders for the sculptures of the new National Hungarian Theater.

In my humble opinion it would be unjust, and even ungrateful, to exclude from them the likenesses of two composers of high distinction, the late Mosonyi and Franz Doppler.

A charming Opera of Mosonyi's of elevated taste, "Szep Ilonka" ["The fair Helen": its subject, like that of his other Opera "Almos," was taken from Hungarian history], has been performed here some dozen times with success, and was then consigned to oblivion in the oubliettes of the administration. Another greater dramatic work by Mosonyi, "Almos," has remained in manuscript, although Baron Orczy, your predecessor as Intendant, had some idea of producing it.

The whole of the brave musical activity of Mosonyi at Budapest is most honorable and meritorious, as much by his teaching as by his numerous compositions of Church music, orchestral music, and piano music. Many of his Hungarian pieces remain classical, as opposed to the current wares, supposed to be of this same kind, more frequently heard (at the present time in Vienna).

Franz Doppler has left the best possible remembrance of his rare talents and qualities at Budapest, where during many years he fulfilled the duties of conductor to the theater, and shone by his virtuosity (very celebrated in Europe) as a flute player—an instrument which Frederick the Great condescended to use. Doppler's Operas "Beniowszky" and "Ilka" were favorably received; and up to the present time "Ilka" is the only Hungarian opera admitted to the repertoire of several theaters in Germany. Besides this Doppler has also written two acts of the "Elizabeth" [The opera "Elizabeth," composed by Franz Erkel and Doppler, was performed at the National Theater in 1857], by which Her Majesty the Queen of Hungary was entertained at the theater of Budapest.

I venture then, Monsieur le Baron, to recommend you to see about the desirability of placing two fine reliefs of Mosonyi and Doppler [The reliefs adorn the vestibule of the opera house.] in a suitable position in the new theater in the Radialstrasse, and beg you to accept the expression of my high esteem and sincere devotion.

What blissful creative power and influence has he not, ever active from "Tannhauser" to the "Ring des Nibelungen" and the marvellous "Parsifal."—

The little that I have written in letters about Wagner is at the service of the public.

[Daughter of Professor Franz Gotze, and—as one of the first singing mistresses of the present day—the inheritor of his school; she is also a talented singer, reciter, and dramatic poetess. She lives at Leipzig.]

In honor of you I will willingly endeavor to add the melodramatic accompaniment to Felix Dahn's poem. ["Die Mette von Marienburg" [The Matins of Marienburg] Liszt's intention remained, alas, unfulfilled.] This short work will only require a few hours but I can seldom get any free hours for working…All sorts of interruptions keep me from writing.

The best person to make a suitable instrumentation of the "Rheinweinliedes" [Rhine-wine-song] for the Miskolcz Musical Festival will be our friend C. Huber. [Carl Huber, conductor of the Hungarian Provincial Singers' Union, died 1885.] This chorus for men's voices was written in Berlin in the year '42, and performed there several times, and afterwards in Leipzig also, about which a "querelle d'Allermand" [groundless quarrel] soon reached me in Paris.—

As I have marked on the accompanying copy, on pages 3, 5, 7, instead of D-flat, G-flat in the 2nd tenor, the C, F

[Here, Liszt illustrates with a musical score excerpt showing a cadence in B-flat]

The Gazette de Hongrie [Gazette of Hungary], and still more the
Budapester Tageblatt [Budapest daily paper], in which your son
Kornel is a collaborator, gave me the tidings of the election
doings in the cara patria.

Without in the least taking part in politics, yet I take that interest in them which it behoves every not uneducated man to do; and I rejoice that Kornel Abranyi, junior, is taking his seat in Parliament.

Tell Huber to do the instrumentation of the "Rheinweinlied" quite freely, according to his own will and what he thinks best, without a too careful attention to the printed piano accompaniment.

I have spoken to you several times of my excellent friend—of more than 20 years—Walter Bache. He maintains himself worthily in London as an artist of worth, intelligence, and noble character. His sister has made a remarkable translation of the "Elizabeth" into English.

Tomorrow evening I shall be back at Weimar, and shall probably go to Munich for the second series of the "Nibelungen" performances (28th August).

Best thanks for kindly sending me the Russian "Fantasie" by Naprawnik—a brilliantly successful concert-piece—and the Slumber Songs by Rimsky-Korsakoff, which I prize extremely; his works are among the rare, the uncommon, the exquisite.—The piano edition of his Opera "Die Mainacht" [The May Night] has either not reached me or else has got lost.—Send it me to Weimar together with a second copy of Naprawnik's Russian "Fantasie," which is necessary for performance.

Many of my young pianists will be glad to make this "Fantasie" known in drawing-rooms and concerts.—

I have long wanted to repeat my hearty thanks to you for the faithful, noble devotion which you have always bravely and decidedly shown to the Weimar Period of Progression in the years 1849-58. The third volume of your collected writings "Hector Berlioz" affords another proof of this devotion, which is highly to be valued in contrast with the far too general wishy-washy absence of opinion.

After the unheard-of success of more than 20 performances of "The Damnation of Faust" by the concert societies of Lamoureux, Pasdeloup, Colonne, in the same season in Paris—not counting the theater, for which this work is not suitable, the French Berlioz literature is increasing. You know Hippeau's octavo book "Berlioz Intime," which is shortly to be followed by a second, "Berlioz Artiste." I wish this to profit by your work.

In reading the first volume I was painfully affected by several passages out of Berlioz's letters, in which the discord and broken-heartedness of his early years are only too apparent. He could not grasp the just idea that a genius cannot hope to exist with impunity, and that a new thing cannot at once expect to please the ancient order of things.

For the rest, there lies in his complaints against the Parisian "gredins et cretins" [fools and scoundrels], whom he might also find in other places, a large share of injustice. In spite of his exaggerated leniency in favor of a foreign country, the fact remains that up to the present time no European composer has received such distinctions from his own country as Berlioz did from France. Compare the position of Beethoven, Weber, Schubert, Schumann, with that of Berlioz. In the case of Beethoven the Archduke Rudolf alone bespoke the "Missa solemnis." The profit from his rarely given concerts was small, and at the last he turned to the London Philharmonic Society for support.

Weber acted as Court conductor in Dresden, and wrote his Oberon at the invitation of London.

Schubert's marvellous productiveness was badly paid by the publishers; other favorable conditions had he none.

Schumann's biography testifies no patriotic enthusiasm for his works during his lifetime. His position as musical conductor at Dusseldorf was by no means a brilliant one…

It was otherwise with Mendelssohn, who had private means, and who, by his delicate and just eclecticism, clinging to Bach, Handel, and even Beethoven, obtained continual success in England and Germany. King William IV. called him to Berlin at the same time with Cornelius, [This means the painter Cornelius.—Trans.] Kaulbach, Schelling, and Meyerbeer, which he did not enjoy any better than Leipzig.

I make no further mention of Meyerbeer here, because he owes his universal success chiefly to Paris. It was there that all his Operas, from "Robert" and "The Huguenots" to his posthumous "L'Africaine," were first performed—with the exception of "Das Feldlager in Schlesien" [The Camp in Silesia], which also sparkled later in Paris as "L'etoile du Nord."

Like Victor Hugo, he was, after three times becoming a candidate, elected a member of the "Institute of France,"—similarly (without any candidature) to be librarian of the Conservatoire; he was also a collaborator of the highly esteemed "Journal des Debats" and officer of the Legion of Honor.

Where do we find in Germany similar proofs of distinction? Why, therefore, the bitter insults of Berlioz against the Paris "gredins" and "cretins"? Unfortunately it certainly never brought Berlioz an out-and-out theatrical success, although his nature leaned that way.

I send you herewith Reyer's feuilleton (Journal des Debats, 14th
September) regarding the latest brochure by Ernst "upon Berlioz."

My few days' stay at your fairy-like castle Itter [In Tyrol.] will remain a magic memory.

When you have signed the Petersburg Conservatorium contract let me know. You know, indeed, that I very much approve of this turn and fixing of your brilliant artistic career. It requires no excessive obligations, and will be an advantage to you.

I am here till the end of October. Later on I shall visit my friends Geza Zichy and Sandor Teleky in Hungary.

349. To Baron Friedrich Podmaniczky, Intendant of the Royal Hungarian Opera in Budapest

[Printed in the Pester Lloyd (evening paper of 27th September, 1884).—Liszt having sent Podmaniczky a Royal Hymn for the opening of the New Hungarian Opera House instead of a Festal Prelude, which the latter had requested, Podmaniczky wrote to the Master on the 17th September, 1884, that the motive of the hymn having been borrowed from a revolutionary song would prove an "unsurmountable obstacle" to its performance. The letter was also signed by Alexander Erkel as conductor. Whereupon Liszt wrote the above reply.]

Dear, Hochgeborener [Many of these titles have been left in their original language, being unused in England, and having no equivalent with us.—Trans.] Herr Baron,

To your letter dated the 17th of this month I have the honor of replying as follows: that the song "Hahj, Rakoczy, Bercsenyi" was not unknown to me is shown by the piano edition of my "Hungarian royal hymn" published by Taborsky and Parsch, on the title-page of which stand the words "After an old Hungarian air." I learned to know this song from Stefan Bartolus's Anthology, and it took hold of me with its decided, and expressive and artless character; I at once provided it with a finale of victory, and without troubling my head further about its former revolutionary words I begged Kornel Abranyi, jun., for a new, loyal text with the refrain "Eljen a kiraly," so that my "Royal hymn" might attain its due expression both in words and music.

Transformations are nothing rare in Art any more than in life. From countless heathen temples Catholic churches were formed. In the classic epoch of Church music—in the 16th century—many secular melodies were accepted amongst devotional songs, and in later times the Catholic antiphones were heard as Protestant Chorales. And this went yet further, not excepting Opera, in which Meyerbeer utilised the Chorale "Eine feste Burg" for a stage effect, and in "L'Etoile du Nord" consecrated the "Dessauer Marsch" into the Russian National hymn. A revolutionary tendency is commonly ascribed to the universally known and favorite "Rakoczy March," and its performance has been more than once forbidden.

Music remains ever music, without superfluous and injurious significations. For the rest, God forbid that I should anywhere push forward either myself or my humble compositions. I leave it entirely to your judgment, hochgeborener Herr Baron, to decide whether my "Royal hymn" shall be performed in the new Hungarian Opera House or not. The score, as also the many orchestral and vocal parts, are to be had at the publishers, Taborsky and Parsch.

[To this Alex. Erkel made the proposal that Liszt's "Konigslied" ("Royal Song"), instead of being performed at the opening of the new theater on the 27th September, should be given at an "Extra Opera performance." The Master consented, but did not appear at this first performance of his work, which took place on the 25th March, 1885, and met with tremendous applause.]

[This letter is published, as a Preface, in the English edition of Liszt's "St. Elizabeth."]

For some twenty years past you have been employing your beautiful talent as a pianist, your care as a professor and as a conductor to make my works known and to spread them in England. The task seemed an ungrateful one, and its want of success menacing, but you are doing it nobly, with the most honorable and firm conviction of an artist. I renew my grateful thanks to you on the occasion of the present edition of the "Legend of St. Elizabeth," published by the well-accredited house of Novello. [The translator of the English edition (Constance Bache) has also translated many of Liszt's songs into English.]

This work, which was performed for the first time in 1865 at Budapest, has been reproduced successively in several countries and languages. Let us hope that it will also meet with some sympathy in England.

351. To the Composer Mili Balakireff, Conductor of the Imperial Court Choir in St. Petersburg

My admiring sympathy for your works is well known. When my young disciples want to please me they play me your compositions and those of your valiant friends. In this intrepid Russian musical phalanx I welcome from my heart masters endowed with a rare vital energy; they suffer in no wise from poverty of ideas—a malady which is widespread in many countries. More and more will their merits be recognised, and their names renowned. I accept with gratitude the honor of the dedication [to me] of your Symphonic Poem "Thamar," which I hope to hear next summer with a large orchestra. When the 4-hand edition comes out you will greatly oblige me by sending me a copy. From the middle of January until Easter I shall be at Budapest.

Please accept, dear confrere, the expression of my high esteem and cordial attachment.

[Known through her zealous propaganda, in Belgium and France, of the music of the New Russian School. After the death of her husband (1888), Chamberlain of Napoleon III., she left her native land of Belgium and removed to St. Petersburg, where she died in November 1890.]

Certainly, my very dear and kind friend, you have a hundredfold right to appreciate and to relish the present musical Russia. Rimski-Korsakoff, Cui, Borodine, Balakireff, are masters of striking originality and worth. Their works make up to me for the ennui caused to me by other works more widely spread and more talked about, works of which I should have some difficulty in saying what Leonard once wrote to you from Amsterdam after a song of Schumann's: "What soul, and also what success!" Rarely is success in a hurry to accompany soul. In Russia the new composers, in spite of their remarkable talent and knowledge, have had as yet but a limited success.—The high people of the Court wait for them to succeed elsewhere before they applaud them at Petersburg. A propos of this, I recollect a striking remark which the late Grand Duke Michael made to me in '43: "When I have to put my officers under arrest, I send them to the performances of Glinka's operas." Manners are softening, and Messrs. Rimski, Cui, Borodine, have themselves attained to the grade of colonel.

At the annual concerts of the German and Universal Musical Association (Allgemeiner Deutscher Musik-Verein) they have, for many years past, always given some work of a Russian composer, at my suggestion. Little by little a public will be formed. Next year our Festival will take place in June at Carlsruhe. St. Saens is coming; why not you, too, dear friend? You would also hear something Russian there.

When you write to St. Saens, please tell him of my admiring and very constant friendship. By the work of translation which you have bravely undertaken, I think that you are doing wisely and skilfully in freeing yourself from the bondage of rhyme, and in keeping to rhythmic prose. The important point is to maintain the lyric or dramatic accent, and to avoid the "desastreuses salades de syllabes longues et breves, des temps forts et faibles" [disastrous mess of long and short syllables, and of the strong and weak time]. The point is to make good prose without any other scruples whatever. It is said that M. Lamoureux is admitting the "Steppes" by Borodine into one of his programmes. We shall see what sort of a reception it will have. For the rest, I doubt Lamoureux's venturing so soon on the Russian propaganda. He has too much to do with Berlioz and Wagner.

Do not let yourself be disconcerted either by the "ineffable" carelessness, or by the square battalions of objections such as these: "It is confusion worse confounded; it is Abracadabra" [Senseless jabber.]—etc.

Without politeness or ceremony I tell you in perfect sincerity that your instinct did not lead you astray the day when this music so forcibly charmed you. Continue, then, your work with the firm conviction of being in the right path.

Above all I beg that you will not falsely imagine that I am taking hold of the thing wrong end foremost. When you knock I shall not merely say, Enter, but I myself will go before you. To return to Paris and show myself off there as a young composer or to continue the business of an old pianist in the salons does not attract me in the least. I have other things to do elsewhere.

P.S.—I do not know what date to put to these lines. I wrote the first page on the receipt of your bewitching letter. I meant to reply to it in full, but all sorts of pressing obligations and botherations intervened…I have also been to the inauguration of the statue of Bach at Eisenach, illustrated by three concerts, composed exclusively of numerous works of Bach's (the Mass in B minor first and foremost); then I was present at a more curious concert at Leipzig: on my return I had a severe attack of illness, which prevented me for several days from writing. In short, this letter ought to have reached you three weeks ago. Tomorrow, 25th October, I leave Weimar, and shall not return here till after Easter. If you condescend to continue writing to me, please address to Budapest (Hungary) till the end of November. A prompt answer shall follow.

Really and truly when it sometimes happens that I obtain success
I rejoice less over that than over the success of my friends.
Thank you for the pleasant tidings of the brilliant success of
Ossiana [Madame Marie Jaell, the well-known artiste, a friend of
Liszt's.] at Godard's concert. .—.

You do not tell me where the little notice appeared (with my name at the heading) which you were so good as to send me. [In the Gaulois, from the pen of Fourcaud, and, later, in the Album of the Gaulois, to which the most celebrated tone-poets had contributed a piece of music as yet unpublished.] One of my works is mentioned in it with the greatest eulogy—the Gran Mass—which was so unhappily performed at Paris in '66, and more unhappily criticised then…The mistake I made was not to have forbidden a performance given under such deplorable conditions. A philanthropic reason, which is valueless in matters of Art, kept me from doing so. I did not wish to deprive the fund for the poor of the assured receipts of more than 40,000 francs. Pardon me for recalling this vexatious affair, which makes me all the more sensible of the flattering attention which the same work is receiving.

To my great regret the performances of Henry VIII. by our very valiant friend St. Saens, which were to have taken place at Weimar and Budapest, are put off. Mediocrity, as Balzac said, governs even theaters. Anyhow its power must sometimes be intermittent. Please say many cordial things to your husband from your much attached

Hearty thanks for your kind letter. To include me in your noble, zealous, high-minded efforts in matters for the glorification of Wagner and according to the wishes of his widow, is to me ever a duty and an honor.

Your sympathy for the "Salve, Polonia" [Orchestral Interlude from the unfinished Oratorio Stanislaus. It was given at the Tonkunstler-Versammlung in Weimar in 1884, at which Saint-Saens was present.] makes me quite happy. Still writing music, as I am, I sometimes ask myself at such and such a passage, "Would that please St. Saens?" The affirmative encourages me to go on, in spite of the fatigue of age and other wearinesses.

If you do me the honor of playing one of my compositions at the Carlsruhe Festival please choose which it shall be: perhaps the Danse macabre [Dance of Death] with orchestra; or—which I think would be better, for the public would rather hear you alone—the Predication aux oiseaux [St. Francis preaching to the birds, followed by Scherzo and March. [Saint-Saens did not go to Carlsruhe.]

What wonders you have just accomplished with your Russian concert at Liege, dear admirable one! From the material point of view the Deaf and Dumb and Blind Institutions have benefited by it; artistically, other deaf and dumb have heard and spoken; the blind have seen, and, on beholding you, were enraptured.

I shall assuredly not cease from my propaganda of the remarkable compositions of the New Russian School, which I esteem and appreciate with lively sympathy. For 6 or 7 years past, at the Grand Annual Concerts of the Musical Association ("Allgemeiner Deutscher Musik-Verein"), over which I have the honor of presiding, the orchestral works of Rimsky-Korsakoff and Borodine have figured on the programmes. Their success is making a crescendo, in spite of the sort of contumacy that is established against Russian music. It is not in the least any desire of being peculiar that leads me to spread it, but a simple feeling of justice, based on my conviction of the real worth of these works of high lineage. I do not know which ones Hans von Bulow, the Achilles of propagandists, chose for the Russian concert he gave lately with the Meiningen orchestra, of an unheard-of discipline and perfection.

I hope Bulow will continue concerts of the same quality in various towns of Germany.

The best among my disciples, brilliant virtuosi, play the most difficult piano compositions of Balakireff, etc., superbly. I shall recommend to them Cui's Suite (piano and violoncello).

Considering the rarity of singers gifted at once with voice, intelligence and good taste for things not hackneyed,—there is some delay in regard to the vocal compositions of Cui, Borodine, etc. Nevertheless the right time for their production will come, and for making them succeed and be appreciated. In France your translation of the words will be a great help, and in Germany we must be provided with a suitable translation.

A portion of the articles which you kindly sent me upon your concert at Liege shallbe inserted in the Neue Zeitschrift fur Musik. I shall endeavor to find another paper also, although my relations with the Press are by no means intimate.

Rahter, the musical editor at Hamburg, and representative of Jurgenson in Moscow, will offer you in homage three of my Russian transcriptions,—Tschaikowsky's "Polonaise"; Dargomijsky's "Tarentelle" with the continuous pedal bass of A, A; and a "Romance" of Count Michel Wielhorsky. Let us add to these the "Marche tscherkesse" of Glinka, and, above all, the prodigious kaleidoscope of variations and paraphrases on the fixed theme

It is the most seriously entertaining thing I know; it gives us a practical manual, par excellence, of all musical knowledge; treatises on harmony and composition are summed up and blended in it in some thirty pages, which teach the subject very fully— above and beyond the usual instruction.

My very amiable hosts at Antwerp, the Lynens, have invited me to return there this summer at the time of the Exhibition, of which M. Lynen is the president. I am tempted to do so after the Carlsruhe Festival, as I keep a charming remembrance of the kindness that was shown to me in Brussels and Antwerp.

In about ten days I return to Budapest, whence you shall receive a photograph of the old, sorry face of your constant admirer and devoted servant,

A pertinacious editor keeps asking me for my transcription of Gounod's "Ste. Cecile." If amongst your old papers you should find the manuscript of it, will you lend it me for a fortnight, so that it may be copied, printed, and then restored to its very gracious owner?

In order not to become too monotonous I won't thank you any more. Nevertheless your transcription of my Orpheus for Piano, Violin and Violoncello charms me, and I beg that you will send it either to Hartel direct, so that he may publish it at once, or else to yours very gratefully, so that I may remit it to him, after having had the pleasure of reading and hearing it at Budapest, whither, by next Thursday, will have returned

I am writing to the director of our "Musik-Verein" to write to you, dear friend. You will tell Mademoiselle Kufferath, better than any one else can, how agreeable it will be to everybody, and to myself in particular, if she takes part in the concerts at Carlsruhe—in the last days of May. [This did not come to anything. Saint-Saens' "Deluge," in which she was to have sung, was not performed at Carlsruhe, and meanwhile Fraulein Kufferath married and gave up her artistic career.]

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 principal 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?

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 Lassus—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 basses of Palestrina and Lassus; 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.

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,

[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 passive.
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.]

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 Mass 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.

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, entitled:

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 manuscript, 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 manuscripts 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 title 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.

I beg you to send me here, in manuscript, your capital orchestration of the 3rd Mephisto-waltz. Don't take the trouble to alter anything in this manuscript or to write anything new; send it me just as I have seen it. When it has been copied the printed edition will follow, with the name of Reisenauer attached to it.

365. To the Editor of the "Allgemeine Musikzeitung," Otto Lessmann, in Charlottenburg

With regret, and a firm conviction, I repeat to you in writing that Theodor Kullak's forgetfulness ought to be made good by his heirs. Otherwise it would be severely denounced as unfaithfulness to his position as an artist. A fortune of several millions gained by music-teaching ought not to remain buried without any regard to music students. Unless the heirs prefer to found a Kullak-Scholarship, I consider that they are in duty bound to endow the four existing musical scholarships—those in the names of Mozart, Mendelssohn, Meyerbeer, Beethoven—with 30,000 marks each: total 120,000 marks.

The very gracious propagandist, the Countess of Mercy-Argenteau, has already received a transcription of your brilliant "Tarentelle." I will send a second copy of it to Bessel (Petersburg), and shall ask him to give it to you, trusting that you will not disapprove of the few liberties and amplifications that I have ventured to make in order to adapt this piece to the programmes of virtuosi pianists.

It is your habit to write the most charming letters in the world. Before receiving your last I had sent you from Weimar my transcription of Cui's "Tarentelle." If you will condescend to illustrate it with your fingers it will receive its full meed of light.

I am sure you will be so kind as to send my note to Cui, who, I hope, will not be vexed with the varying readings and amplifications I have ventured to make, with a view of bringing the pianist still more forward. In this kind of transcription some sort of distinction is wanted.

Tomorrow evening I shall be in Rome,—Hotel Alibert. Please send me word there of your safe receipt of the manuscript.

Thanks and praise for your capital orchestral arrangement of the "Concerto pathetique." It appears to me effective, well- proportioned, and done with a refined and due understanding of it. I had but little to alter in it; but some additions to the original are desirable, in order to allow full scope to the piano virtuoso. ["This 'Concerto Pathetique' seems to me a murderous piece, with which first-rate virtuosi can make an effect," writes Liszt, on the 10th November, to Reuss.] Hence, in different places, there are altogether somewhere about fifty to sixty bars which I add to your manuscript. The beginning is also to be ten bars sooner, and the ending to conclude with twenty-two bars more.

I hear an orchestration of the same "Concerto pathetique" spoken of, as having been produced in Moscow. I do not know it myself, and after yours there is no use in it. I received in Weimar, almost simultaneously with yours, a letter from Joseffy in New York, begging me to instrumentate the piece. I shall answer him very soon that your score is already completed, and that he is to apply to my friend Eduard Reuss if he is disposed to perform the "Concerto" with orchestra in America. [Joseffy played the "Concerto Pathetique" in this form from a copy, in the spring of 1886, in New York.]

Enclosed is my recommendation to Hartel with regard to the publishing. Send it together with your manuscript, of which it is not necessary to make a copy—only my scribbling of the additions must be copied out clean and clearly on an extra sheet.—

Probably Hartels will not show themselves disobliging. If they undertake the publication I should still like to read through the last proof-sheets.

The most charming recollection remains to me of Carlsruhe.
[Namely, of the "Tonkunstler-Versammlung" of the "Allgemeine
Deutsche Musikverein," from the 27th May to the 1st June, 1885.]
The Grand Duke was so gracious and truly kind!—

[This is Liszt's last autograph letter to the Firm; a later one on the same subject (on the 16th June, 1886) is only signed by him]

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.

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.

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.

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. .—.

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

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.

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].

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 fagots de mes transcriptions. The literal translation is, "Obliges me to utilise, not the wood, but the faggots 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 manuscript without being ashamed.

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

I shall certainly be in London the first week in April. With regard to my visit to Paris I am still very undecided, as I do not wish to expose myself to discomfiture like that which I had to go through in '66. [Liszt's scruples were removed; as is well known, he went to Paris, and found himself indescribably feted there. The triumphs of his youth were repeated once more in the evening of his life.]

Everywhere and always I shall be happy and proud of your collaboration, and remain your sincere admirer and devoted friend,

I shall remain here till the middle of January. This summer Mme. Montigny [Mme. Montigny-Remaury, an excellent pianist; retired into private life on her second marriage in Vienna] spoke to me of her marriage, which has now taken place. M. de Serres gave me the impression of an honest man who adores his wife. I have no news of the newly married couple.

There is nothing more witty than your remark on the perpetual youth of composers in Paris. In your company, dear friend, I would gladly be of the party, in spite of my seventy-four years.

Thank you for the dedication of your worthy, noble, effective Concerto, which I have again read through with special pleasure, and heard played by Stavenhagen.

Is no edition of it for two pianofortes come out? I think such editions are desirable—almost indispensable. They are also much used now.

Congratulating you on your happiness in becoming a father, with best regards to your wife,

I am writing my most humble thanks to the Grand Duke Constantine for his gracious invitation, together with the very kindly intentioned consideration of my age and failing eyesight—and especially my unfitness for pianoforte playing and orchestral conducting. This deters me from making any pretensions to a fee; but you know, dear friend, that my small income would not be sufficient to pay for lodging and a carriage in Petersburg. From the 1st to the 12th April I am detained in London. If it is not too late then, to Petersburg comes

In the middle of January I return to Budapest. Friendly greetings to the New School, whom I will beg to assist me as a veritable privy council in Petersburg. From the next letter of the Grand Duke Constantine I await the decision whether my journey to Petersburg in the middle of April is accepted or not.

appears to me too risky; if the drummer comes down plump on it he will spoil the whole piece. Let's therefore put

Before the end of this month I shall be in Budapest, and at the beginning of April in London, for the "Elizabeth" performance (St. James's Hall) under Mackenzie's conducting.

I cannot consent to this in public, as my seventy-five-year-old fingers are no longer suited to it, and Bulow, Saint-Satins, Rubinstein, and you, dear Bache, play my compositions much better than what is left of my humble self.

Perhaps it would be opportune if friend Hueffer would have the kindness to let the public know, by a short announcement, that Liszt only ventures to appear as a grateful visitor, and neither in London nor anywhere else as a man with an interest in his fingers.

Your most amiable letter did not reach me without some delay, for
I took about ten days to make the journey from Rome to Budapest.

Madame Falk writes to me also of the concert at Liege, but I fear I shall only have excuses to offer. On the 20th March I shall be in Paris, where the "Gran Mass," too much criticised, and even hissed by some low fellows (at the Pasdeloup concert in '66), is to make its reappearance at St. Eustache on the 25th March. This time M. Colonne will conduct it, and I am assured that it will be better understood now…

Very affectionate thanks for the invitation of Argenteau. Whether I can avail myself of it must remain in abeyance for your very humble servant, old and enfeebled.

Eight days before the 19th April (Russian style) I will be in Petersburg. I entreat you to make as little ceremony as possible for my humble self. The two programmes appear to me all right; I will tell you when I get to Petersburg what my small part in them will be. On the 19th April, then, "Elizabeth;" on the 23rd a concert.—Tell the Committee to address their invitation to me, for the two performances, to "Novello and Co., Music Publishers, 1, Berners Street, London." From the 1st to the 12th April I am Novello's guest. How does it stand with regard to my lodging in Petersburg, for which my inadequate means will not suffice?—From you, dear friend, I shall expect to hear something definite in London.—However honorable for me were the invitation to Warsaw I could not comply with it now. My return to Weimar is requisite before the end of May, on account of the Tonkunstler-Versammlung at Sondershausen.

Enclosed are some lines and the photographs that friend Zet wished for.—To write anything further under the photographs for the use of the newspaper I consider quite superfluous. Excess does not suit me at all.—

The second performance of the "Elizabeth," which is fixed for next Saturday, at the Crystal Palace, detains me here some days longer than I had anticipated.

From Tuesday next till Easter Tuesday I have asked for the kind hospitality of the Lynens (at Antwerp).

There is still some talk of the "Elizabeth" at the Trocadero on the 30th April. If you were not to be there it would be an affront to your very humble and admiring old servant,

Heartfelt thanks for the dedication. Your "fauler Hans" [Ritter's
Opera, "Der faule Hans"—"Lazy Hans"] has nothing lazy in it.
With its graceful, refined wit it is excellent company for our
dear "Barber of Bagdad," which I shall shortly recommend Baron
Loen (Weimar) to take up again in conjunction with the "fauler
Hans."

In the middle of May I shall be back in Weimar. Give my respectful greetings to your wife.

I wish my rooms in Budapest to remain closed during my absence. [Many inquisitive people were fond of going and having a look round, so that Liszt was obliged to prohibit it.] For the rest, His Excellency Minister Trefort must give his own commands. There is no risk of his meeting with any opposition from my humble self. I shall not pass this summer much quieter than the winter and the spring. Next week I shall be at the Musical Festival at Sondershausen; then here again until the 30th June.

My granddaughter, Daniela von Bulow, is to be married on the 3rd July, at Bayreuth, to the highly esteemed Art-historian Thode. After that, I shall stay from the 5th to the 18th July with my dear, excellent friends the Munkacsys, at their castle of Colpach (Luxemburg). I shall be present at the entire cycle of the Parsifal and Tristan performances at Bayreuth, from the 20th July till the 23rd August.

I am already more than half blind; perhaps I shall not have to wait long for the rest…

Cordial thanks for your letter, and farewell till we meet at
Bayreuth, at the performances of Parsifal and Tristan.

I shall be at Bayreuth on the 3rd July—the wedding day of my granddaughter Daniela.

From the 4th to the 18th July my excellent friends the Munkacsys will be my hosts at their castle of Colpach (Luxemburg), whence I shall return to Bayreuth, to stay there till the last performance on the 23rd August.

Would you send me Victor Hugo's "Le theater en liberte"? We will settle our accounts at Bayreuth.

The weakness in my eyes is increasing, and on that account I cannot write to you "mano propria." I wish to bring good luck to Wilhelm Franz. Meanwhile I thank you heartily for making me godfather.

The thanks which I have just expressed to your husband I double to you, as you have played the principal part in the family-drama of Wilhelm Franz.

With the most heartful wishes for the continued prosperity of parents and child I remain

I have just received the enclosed reply from Hartel. Send him, therefore, the score with the Piano part, and recommend him to print this complete score—not the orchestral score alone—if possible by next October, that is to say, end of September. Then, for the present, two copies of the complete score will be wanted for performance—one for the conductor and one for the soloist who has so long had to play the Piano part out of the score, until you, perhaps with little delay, arrange the orchestral part for a second Piano, and the Concerto comes out in an edition like the E-flat Concerto.

Tomorrow, after the religious marriage of my granddaughter
Daniela von Bulow to Professor Henry Thode (Art-historian), I
betake myself to my excellent friends the Munkacsys, Chateau
Colpach, Grand Duchy of Luxemburg.

On the 20th July I shall be back here again for the first 7-8 performances of the Festspiel [Festival Play]: then, alas! I must put myself under the, to me, very disagreeable cure at Kissingen, and in September an operation to the eyes is impending for me with Grafe at Halle.

For a month past I have been quite unable to read and almost unable to write, with much labor, a couple of lines. Two secretaries kindly help me by reading to me and writing letters at my dictation.

How delightful it would be to me, dear friend, to visit you at your fairy castle of Itter! But I do not see any opportunity of doing so at present. Perhaps you will come to Bayreuth, where, from the 20th July to the 7th August, will be staying

[This was the very last letter written by the Master's hand. He returned in bad health from Colpach to Bayreuth. Yet once again he heard "Parsifal" and "Tristan" then he lay down upon his death-bed, and at 11 o'clock on the night of the 31st July his great soul had passed away into everlasting peace.]

I am very happy to learn through you that Her Imperial Highness the Grand Duchess has deigned to accept with kindness my translation of the beautiful work of Beethoven which I have permitted myself humbly to offer to her. For musicians, the original of this work marks the summit of perfection of the classical style (an extremely arbitrary designation, in my opinion) among non-symphonic instrumental compositions. Beethoven—as well as many great geniuses in the history of Art— is like the ancient Janus; one of his two faces is turned towards the past, the other towards the future. The Septet to a certain extent marks the point of intersection, and is thus unreservedly admired both by the devotees of the past and the believers in the future.

On this account I thought there was a suitability in paying my respectful homage to Her Imperial Highness by means of it, until such time as I should be allowed to place a longer work at her feet, and one which will more particularly express my personal gratitude.

It is only yesterday that the very flattering lines of Your Excellency have reached me. It is therefore not my fault that I have not sooner replied to the gracious request which you are pleased to make me with reference to my journey to Weimar.

Without any doubt I eagerly accept Your Excellency's invitation for the month of October. Allow me only to beg you to be so good as to let me know whether you consider it will be best for me to arrive at the beginning or end of the month. Not being entirely master of my time, I should be particularly glad to know from you the most favorable week.

I have the honor, Monsieur le Grand Marechal, to be, with respect, Your Excellency's very humble and obedient servant,

[Autograph, without address, in the Liszt-Museum in Weimar. The addressee (born 1802) was both pianist and composer.]

You have been pleased, my dear Monsieur Gomez, to ask my perfectly frank opinion of your "Melodies harmonisees," and-quite frankly [Liszt uses the same expression—tout franc—in each case.]—I am much embarrassed by it, for it is in vain I turn them over and over again; on every side I find only compliments to make you about them. It is true that you could not doubt their sincerity any more than you could the real merit of your work. It is needless to speak of the modesty of true talent; this modesty cannot go to the extent of foolishness, and the Artist and supreme Architect of the spheres gives us Himself the example of this legitimate satisfaction which the consciousness of having done well brings us, by rejoicing over His work each day of the Creation.

One defect, nevertheless, and a very grave defect, which I have discovered in your "Harmonies" by dint of searching, is, that there are only 12 instead of 24 or 48—as all true lovers will wish. Make haste, my dear Monsieur Gomez, set yourself to work, and repair as quickly as possible this unpardonable defect in your labor; and, while extending it to the utmost, think sometimes of your most affectionate and devoted servant,

[Autograph, without address, date, and conclusion, in the Liszt-
Museum at Weimar.]

You have not told me too much of the wonders of Seville, Madame, and, nevertheless, you could hardly have told me beforehand of that which I have found the most charming—the letter from Mademoiselle Caroline. Thanks to her charming lines, I found myself in the best possible frame of mind for the enjoyment of all imaginable chefs d'oeuvre, and I could not have been more disposed to admiration and wonderment! During the ten days which I have just spent in Seville I have not allowed a single day to pass without going to pay my very humble court to the cathedral, that epic of granite, that architectural Symphony whose eternal harmonies vibrate in infinity!—

One cannot use any set phrases about such a monument. The best thing to do would be to kneel there with the faith of the charcoal-burner (if one could do so), or to soar in thought the length of these arches and vaulted roofs, for which it seems that there is even now "no longer time"!—As for me, not feeling myself enough of the charcoal-burner or of the eagle, I am constrained to stand with my nose in the air and mouth open. Nevertheless my prayer sometimes climbs up like useless ivy, lovingly embracing those knotted shafts which defy all the storms of the genius of Christianity.

Whatever you may think of my enthusiasm for your cathedral, it is a fact that I have been entirely absorbed by it during the ten days I have spent in Seville; so much so, that it was only on the evening before my departure that I could prevail on myself to visit the Alcazar.

In truth, if one might wish for the re-introduction of the bastinado, it would be to apply it exclusively to those malicious wretches who have dared to besmear so many ravishing flights of fancy, so many fairy-like vagaries, with lime and plaster.

The heart expands—and then contracts at every step. Little do I care for the gardens (which, by the way, slightly resemble the ornamental gardens of a priest); little do I care even for the baths of Maria Padilla, which, in fact, have slightly the effect of an alkaline; but what outlines, what harmonious profusion in these lines, what incredible voluptuousness in all this ornamentation! Would that I could send them you in this envelope, such as I have felt and devoured them with my eyes!

Here are, indeed, many marks of admiration, and you will certainly smile at me, will you not, Madame? But what can I do? And how, after that, can I speak to you of myself and my paltry individuality?

[Autograph sketch of a letter, without address, date, and conclusion, in the Liszt-Museum at Weimar.]

What are your travelling plans for this winter, Madame? Mine are quite unsettled. I did not succeed in leaving Spain, and the fact is that, being well, there is no sense in searching for better elsewhere.The only thing that provokes me is the necessity in which I am placed of having to give up the rest of my duties at Weymar for this winter. But I shall try to take a brilliant revenge in the course of this very year.

In spite of our agreement I have not sent you the bulletin of my peaceful victories in the arena of Madrid [Liszt gave concerts in the Teatro del Circo in Madrid from October till December 1844.](and elsewhere), because you know that there are certain things which are moreover very simple, but which I cannot do. More than once, nevertheless, I have regretted you in your founder's loge—the first in front—and I have turned to that side in expectancy of the inciting bravos which used to begin before all the others at the brilliant passages!

La Melinetti will doubtless have given you my ancient news from Pau! Poor woman, with her luxury of a husband (a superfluity which was not in the least a necessary thing for her), and her little impulsive ways,…she has really promised me to be at length reasonable, steady, and deliberate. I hope she will keep her word. With a little wit, behavior, and tact, she could make herself a very good position in Pau. Mme. d'Artigaux, [When unmarried, as Countess Caroline St. Criq, sixteen years before this time, she had possessed Liszt's whole heart, while hers belonged to him. But the command of her father, Minister St. Criq, separated eir ways, because he—was only an artist. Liszt thought of her in his last Will, but she left this world before him, at the beginning of the seventies.] who is the most ideally good woman I know, takes a real interest in her. Several other people sincerely wish her well—it only depends on herself to take a good position there—but unfortunately she is too outspoken, and inclined to play tricks.

What do you know of the elegaic and seraphic Chopin? I wrote a few lines from Pau to Mme. Sand, but my letter hardly asked for a reply, and she has, moreover, better things to do.

I am at your feet, Madame, and kiss your hands—but it is impossible not to quarrel with you, and that seriously, over the last lines of your letter! Through what absence of mind, let me ask you, could you have written to me, "I do not speak to you of our affairs because I remember that your sympathies are not with us"? Frankly, if you were to tell me that I have never played any but false notes on the piano, and that my calling was that of a retail grocer, this opinion would offer, to my thinking, a greater degree of probability. Evidently, in my double character of citizen and musician, I am not even to exonerate myself from the fault you [ascribe] to me. Suffer me then not to dwell longer upon it, and deign for the future to spare me the pain which all suspicion of this kind would cause me.

Otherwise your letter was a great joy to me; first, as coming from you; and then, as announcing the realization of a wish, an idea, to the postponement of which I had resigned myself as well as I could, but which I had hardly relinquished. Your Sardanapalus comes in the nick of time, just as the 2000 francs will be opportune to the poet. The mode of payment is very simple. Belloni's sister being in Milan, she will have the honor of calling upon you, and an return for the restoration of the manuscript she will discharge the total of my debt, viz., two thousand francs. Allow me only a last request, which is that you will kindly take the trouble to read the whole libretto through again, and, if it should be expedient, to communicate to the poet direct any observations which you consider necessary. The notes and commentaries which you have added on the margin of Rotondi's libretto (which I keep very carefully) showed such a complete virtuosity in this style of subject that one could not possibly do better than submit with confidence to your decision.—[The plan of composing an opera "Sardanapalus" occupied Liszt for years.]

Thanks to God, and to this good star which has let me live many years pretty uprightly, "as if I were immortal," as you put it, behold me now since the end of September in last year entirely out of the circle of concerts—and it does not seem likely that I shall soon return to this drudgery.—I shall remain in Weymar till the 15th August; then I shall go and make a tour in the Crimea by way of the Danube, probably returning by Constantinople if I can manage it.—

Next spring "Sardanapalus" will be ready,—and I shall perhaps have to speak to you about another matter at the same time, a matter about which it is worth while speaking to you.—

Be good enough to acknowledge the receipt of these lines; but pray spare me abuse, and be pleased to do me the honor of believing without reserve or restriction in the upright sincerity of my sympathies, and in my frank and firm good-will to transform them into acts or deeds, according to circumstances, in the degree of which I am capable.

[Draft of an undirected autograph letter in the Liszt-Museum at Weimar.—Presumably written to the wife of the distinguished piano-virtuoso and teacher Ignaz Moscheles]

I am most grateful to you, Madame, for wishing to keep me in remembrance on the occasion of the publication of the Album of Workers, and I hasten to reply as quickly and as well as I can.

I must, nevertheless, confess to you in all sincerity that I am a little embarrassed as to the choice to be made among the number of useless and unusable manuscripts which I should be charmed to put at your kind disposal. After the Arbeiter Chor [workman's chorus] and the Arbeiter Marsch [workman's march] with which I have just gratified two Albums in Vienna, your gracious letter comes as a surprise rather short of apropos. How malapropos, is it not? But let us see how to remedy this.—

I thought first of a "Marche funebre" for the use of the bankers; then of an "Elegie" dedicated to the idle; next of "Jeremiades Omnibus" [lamentations for all];—but nothing of that sort quite satisfies me.

In default of perfection, permit me to be satisfied with the relative best (which will be, it seems to me, a better choice): a Paraphrase—charitably adapted to the fingers of charitable pianists who will have the charity to buy and to play it—of Rossini's "Charite;" which I shall have the honor of sending to you through Mr. Kistner early in July. An old saying of a very old Father of the Church would, if needful, justify this choice. "In things necessary, Unity; in matters doubtful, Liberty; in all things, Charity!"—

Will you have the goodness, Madame, to remember me very kindly to my excellent master and friend, Moscheles? and accept again, I beg you, the expression of my respect, and of my most affectionate sentiments.

[Portions of this, as of the previous letter, were printed in the "Voltaire."—Addressee the famous violin virtuoso and composer (1814-1865)]

Weymar has not forgotten you, and I hope soon to be able, after the return of the Hereditary Prince whom we expect for the day of his fete, by the 24th of May at the very latest, to forward to you the token of the distinguished remembrance in which you are held. It pleases me to think that it will be agreeable to you, and that it will tend to attach you more in the sequel to people worthy to appreciate you.

I should have desired to tell you sooner of this, but the inevitable delays in present circumstances postpone more than one wish.

After the deplorable days in Dresden Wagner came here, and only departed again in order to escape from a warrant (lettre de cachet) with which the Saxon government is pursuing him. I hope that at the present moment he will have arrived safe and well in Paris, where his career of dramatic composer cannot fail to be extended, and in grand proportions. He is a man of evident genius, who must of necessity obtrude himself on the general admiration, and hold a high place in contemporary art. I regret that you have not had the opportunity of hearing his "Tannhauser," which is for me the most lyric of dramas, the most remarkable, the most harmonious, the most complete, the most original and selbstwurdig (the most worthy of its country), both in foundation and form, that Germany has produced since Weber. Belloni has, I believe, written to you on the subject of Wagner, to ask for information as to the actual state of the English Opera in London. I make no doubt that if it were possible for Wagner to obtain from the directors a tour of performances in the course of the year for a new work ("Lohengrin," the subject of which, having reference to the Knights of the Round Table who went to search for the Holy Grail, is of the most poetic interest) he would make a great sensation and large receipts by it. As soon as he tells me the news of his arrival in Paris, allow me to induce him to write to you direct if his plans do not change in this matter.

[Draft of an autograph letter, without address, date, and conclusion, in the Liszt-Museum at Weimar.]

Heartiest thanks for your Songs. I rejoice that you consider me worthy of a dedication, and I promise you that if we meet again I will sing you the songs by heart. Perhaps you will bring me again into such a mood for songs as will impel me to write something of that sort. My earlier songs are mostly too ultra sentimental, and frequently too full in the accompaniment.

[Draft of an autograph letter, without address and date, in the
Liszt-Museum at Weimar]

The talents of M. Raff as composer and musician are a fact so evident and certain, his recent orchestral compositions as well as his works for voice and piano furnish such forcible proofs of it, that I consider it superfluous to add to this evidence and to certify it further.

Having had more opportunity than others, during the few years of our intercourse, of appreciating his capacities (notably at the time of the Musical Festival at Bonn for the inauguration of Beethoven's monument in 1845,-and of those to Herder and Goethe at Weymar in 1850, etc.), knowing thoroughly both the score of his four-act Opera "King Alfred," given many times with great success in Weymar under the author's conductorship, as well as many of his manuscript works, which I sincerely esteem, I shall always make it my duty seriously to recommend M. Raff to those of the Musical Institutes which attach a value to the possession of an intelligent director and one well acquainted with the exigencies and the progress of the art.

[The renowned musical author and critic (born in Prague in 1825), professor of the history of music in the University of Vienna.— The letter refers to the Mozart jubilee concert conducted by Liszt in Vienna, and to Hanslick's critique, in which he censured the want of courtesy with which Liszt, who had been invited to conduct this concert, was treated by the committee and the public.]

The manner in which you have given an account in the Presse of the two concerts of Sunday and Monday, corresponds entirely with the opinion which I had of you—and you have proved yourself on this occasion, according to your custom, an eminent critic and a perfect gentleman. [The word "gentleman" is in English in Liszt's letter.]

Permit me to offer you my sincere thanks for the part you have been pleased to devote to me, and to hope that the coming years, in bringing us more together, will better enable me to prove the sincere sentiments of esteem and distinguished regard, the assurance of which I beg you to accept.

[Autograph sketch of a letter in the Liszt-Museum at Weimar. The Gran Mass was in fact engraved and published by the State printing-press at Vienna.]

The interest and protection which your Excellency extends to the spiritual interests of the empire permit me to bring forward the wish and the petition that the Mass which I composed by order of His Eminence the Prince Primate of Hungary for the Dedication- Festival of the Basilica at Gran, and performed there on the 3lst August, may be printed and published in full score and piano score by the Royal Imperial State printing-press at the cost of the State.

Without improperly praising my own composition I venture humbly to express the confidence that the Catholic significance and spirit which form its groundwork and supplement its modest porportions would gradually be more propagated and comprehended by the publication of the work, so that I might hope to have furnished a not unworthy contribution to Christian Art as well as to the great Church and Country's Festival of the 31st August.

In the expectation that my request will meet with that assisting favor which is indispensable to earnest and honest artistic effort, I have the honor to remain most obediently

[Draft of an autograph letter, without address, date, and conclusion, in the Liszt-Museum at Weimar.—The contents refer to the Orchestral Concert of the Tonkunstler-Versammlung, planned and carried out at Leipzig in the beginning of June, 1859.]

At the same time with your letter I received from Brendel fuller information about the Leipzig preliminaries, to which he will also receive a fuller reply.

I am not of opinion that the Orchestral concert is to be given up immediately on account of the negative decision of Rietz. Very possibly David will undertake to conduct it, and I advise Brendel to come to a good understanding with him about it. On the other hand it might be expected, in a case of necessity, that the Weimar and Sondershausen orchestras would unite to carry out the Programme. But this latter must be as strictly adhered to as was formerly determined, and not lose its exclusive character as "compositions by collaborators of the newspaper only"—Schumann, Berlioz, Wagner, R. Franz, and lastly my humble self. I cannot therefore in any respect agree to the concession enjoined by Brendel, of admitting works of Haydn, Mozart, Beethoven, etc., nor do I see the motive of it. As far as the musical is concerned, I consider it impossible to give such an exceedingly rich programme on one evening without stupifying the public; that would go beyond the ill-famed London concerts which last six hours, not to speak of the fact that we should have to put the recognised classics far too much in the shade!—But, above all, such an over-loaded programme is thoroughly unsuitable to the jubilee-celebration of the Neue Zeitschrift, which on this occasion [ought] especially to emphasize its just claims and the progress in Art which it aims at and supports. On this account it is necessary to adhere to the limits of the programme originally agreed upon.

Finally, in case insurmountable hindrances should arise to prevent the carrying out of this same, I have no inclination to substitute for the Orclaestral-concert one for Chamber-music. But the word "Evening entertainment" must, as is self-evident, be entirely dispensed with. Our business is to raise, to educate the audience, not to amuse them; and if indeed, as Goethe very pertinently says, "deep and earnest thinkers are in a bad position as regards the public," we will therefore not so much the less, but so much the more earnestly maintain this position. Meanwhile it is advisable to advertise the first evening's musical performance by the expression Concert in the Gewandhaus, until we have quite decided whether it shall be a concert with orchestra, or only with chamber-music. [An orchestral concert took place in the theater, when compositions by Mendelssohn, Schubert, and Chopin were, nevertheless, included among the others.]

N.B.-Please not to communicate these remarks to any one except perhaps Brendel, as the very outspoken opinions herein about the Concert-programme must absolutely be kept secret.

[The letter refers to Hanslick's notice of Liszt's book "Les
Bohemiens et leur musique," in the Vienna Presse (the old one).]

Experience having taught me to regard as a fate attached to my name the impossibility of publishing anything which does not instantly gather round it opinions as contrary as they are forcibly enunciated, I am, although quite accustomed to these little storms, very sensitive to the kindly judgment of those who, not letting themselves be influenced by this transitory impulse, desire to take into consideration what I have written, with sobriety and composure, just as you have done in your account of my book "Des Bohemiens."-I am above all extremely obliged to you for having admitted that, if the requirements of my subject, and the opinion which after some twenty years of reflection I have formed of Bohemian music, compel me to attribute to a nomad people an art thoroughly imbued with a poetry which could only have been developed in a wandering nation, I have none the less endeavored to bring into prominence everything for which this art is indebted to the comprehension and taste which the Hungarians have always had for the music of Bohemia. I desire in no way to diminish the merit of the works, while at the same time I see the impossibility of considering as emanating from them the expression of sentiments which could not in their nature belong to them, however sympathetically they were associated therewith.—

Still, the point which I notice first, in consequence of the very violent and premature attacks of which I have been the object, is not the one which I regard as the most important in my volume. As a matter of fact it would signify little to me as artist to know whether this music is originally from India or Tartary. That which has appeared to me worthy the study of an artist is this music itself, its meaning, and the feelings it is destined to reproduce.—It is in trying clearly to account for these latter that I have only found it possible to connect them with people placed in the exceptional conditions of the Bohemians; and it is through asking myself what the poetry of this wandering life would be (a question so often raised), that I have become convinced that it must be identical with that which breathes in the Art of the Bohemians. This identity once made evident to my mind, I have naturally sought to make it felt by and evident to my readers. The better to succeed in this I have corroborated my opinion by grouping together as a sort of complement various suppositions about the question of these sources. But the scientific side of this question has never been, in my eyes, anything but very accessory; I should probably not have taken up the pen to discuss it. If I have raised it, that has been the consequence, not the aim of my work. Artist, and poet if you like, I am only interested in seeing and describing the poetical and psychological side of my thesis. I have sought in speech the power of depicting, with less fire and allurement possibly, but with more precision than music has done, some impressions which are not derived from science or polemics-which come from the heart and appeal to the imagination.

Poetical and descriptive prose being little used in Germany, I can easily conceive that, on the announcement of the title of my book, a set of lectures, rather than a kind of poem in prose, will be expected. I own that I would never have attempted to lecture on a subject the materials of which did not appear to me sufficient for this purpose. How small a number of people, moreover, would have been interested in learning the little which it would be allowable to affirm in this case? Whilst the expression of the innermost and deep feelings, whatever they be, from the moment that they have been powerful enough to inspire an art, is never entirely unattractive, even to the more extended circle which includes not alone musicians, but all those who feel and wish to understand music. Thanking you once more, Sir, for the perfect impartiality and clearness with which you have stated and criticised the compilation of my book, I beg you to accept this expression of my complete esteem and distinguished consideration.

END OF LETTERS OF FRANZ LISZT, VOL. II.

INFO ABOUT THIS E-TEXT EDITION

This volume of "Letters of Franz Liszt" is the second volume of a 2-volume set. The letters were selected by La Mara, and translated into English by Constance Bache. The edition used was an original 1894 Charles Scribner edition (New York), printed in America. Each page was cut out of the book with an X-acto knife and fed into an Automatic Document Feeder Scanner to make this e- text; hence, the original book was, well, ruined in order to save it.

Some adaptations from the original text were made while formatting it for an e-text. Italics in the original book were ignored in making this e-text, unless they referred to proper nouns, in which case they are put in quotes in the e-text. Italics are problematic because they are not easily rendered in ASCII text, although, unlike in the first volume, they often add some useful emphasis to Liszt's expression.

Almost everything occurring in brackets [ ] are original footnotes inserted into the text. The marking .—. appeared in the original volumes and indicates points where original material in the letters was lost or fragmented.

Also, special German characters like U with an umlaut, and French characters like a's and e's with various markings above them were ignored, replaced with their closet single-letter equivalents. U with an umlaut is U, A with a caret above it is A, and so on. Words altered include Gotze, Tonkunstler, Gluck, Handel and Bulow, among numerous others.

In addition, the English spellings of words like "honour," "colour," "humour," "splendour," "favour," "endeavour" "labour," "vigour," "neighbour" "saviour," "behaviour" and "theatre" were changed into American equivalents like "honor," "color," "humor," "splendor," "favor," "endeavor" "labor," "vigor," "neighbor" "savior," "behavior" and "theater."

This electronic text was prepared by John Mamoun with help from numerous other proofreaders, including those associated with Charles Franks' Distributed Proofreaders website. Thanks to M. Fong, N. Harris, S. Morrison, J. Roberts, R. Zimmerman, P. Rydzewski, D. McKee, R. Rowe, E. Beach, M. Beauchamp, K. Rieff, D. Maddock, T. Mills, B. Wyman, J. Hyllegaard, T. McDermott, M. Taylor, K. Peterson and several others for proof-reading.

This e-text is public domain, freely copyable and distributable for any non-commercial purpose, and may be included without royalty or permission on a mass media storage product, such as a cd-rom, that contains at least 50 public domain electronic texts, even if offered for commercial purposes. Any other commercial usage requires permission. The biographical sketch was prepared for this e-text and is also not copyright and is public domain.

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