Letters of Franz Liszt Volume I Part 23

96. To Frau Dr. Lidy Steche in Leipzig

[The addressee sang for two winters in the Gewandhaus concerts (as Frl. Angermann). After her marriage she started a Vocal Union, in the forties, with which, in December 1853, she gave so excellent a pianoforte performance of "Lohengrin" at her own house, and afterwards at the Minerva "lodge," that Hoplit, in his account of stage performances (Neue Zeitschrift fur Musik), spoke of the Steche undertaking as a "model performance." This was before the performance of "Lohengrin" at the Leipzig theater in January 1854.]

My dear Madame,

I have the pleasure of answering your inquiries in regard to the performances of the Wagner operas with the following dates:--

For next Wednesday, February 16th, the birthday of H.R.H. the Grand d.u.c.h.ess, the first performance of the "Flying Dutchman" is fixed. (N. B.--For that evening all the places are already taken, and, as a great many strangers are coming, it will be difficult to find suitable rooms in Weymar.) The following Sunday, February 20th, the "Flying Dutchman" will be repeated; and on the 27th (Sunday) "Tannhauser" is promised, and on March 5th (Sat.u.r.day) "Lohengrin." Between these two performances of February 27th and March 5th the third performance of the "Flying Dutchman" will probably take place, of which I can give you more positive information at the end of this week. The Wagner week proper begins therefore with February 27th and closes with March 5th, and if it were possible to you to devote a whole week to these three glorious works of art I should advise you to get here by the 27th,--or, better still for you (as you are already quite familiar with "Tannhauser"), to come in time for the third performance of the "Flying Dutchman," the date of which is still somewhat uncertain, but which will probably be fixed for the 2nd or 3rd March. Immediately after the first performance we shall get quite clear about it, and I will not fail to let you know officially the result of the theater Conference here (in which I am not concerned).

Accept, my dear Madame, the a.s.surance of the high esteem of

Yours most truly,

F. Liszt

Weymar, February 4th, 1853

97. To Gustav Schmidt, Capellmeister at Frankfort-On-The-Maine

[Autograph (without address) in the possession of M. Alfred Bovet at Valentigney.--The contents show to whom the letter was addressed.]

Dear Friend,

Berlioz's two symphonies, "Romeo and Juliet" and "Faust," have been twice given here in the course of this winter with the utmost success. Berlioz was so good as to lend me the score and parts,--but with the express condition that they should not go out of my hands. When, at the request of the Leipzig Academy of Singing [Singacademie], I asked him some weeks ago whether he would not allow me to place "Faust" at the disposal of the Leipzig Inst.i.tute for a proposed performance, he replied to me as follows:--

"Considering the deplorable performances of which my works have often been the victims both in Germany and elsewhere, I have resolved never to lend them in ma.n.u.script. Moreover there are enough of my works printed in score and in separate parts (the three Symphonies, several Overtures, the 5th May, the Requiem, etc.) to make it unnecessary to seek for others. If I made an exception for you," ["Pour toi." Showing that Liszt and Berlioz employed the "tutoyer" towards one another.] etc...

Although I was perfectly certain that the Leipzig performance would be a very satisfactory one, as many of my friends took a lively interest in it, and although I have not the least doubt that you would be anxious to give "Faust" its full value in Frankfort, yet you see from the above lines of Berlioz that I, to my regret, dare not risk any further application to him in this matter. "Faust," moreover, will appear in score this year in Paris, and I sent Berlioz his ma.n.u.script back a short time ago.

Should you be disposed to perform something or other of Berlioz's in Frankfort, I can recommend you, first of all, most warmly:-

The two Overtures to "Cellini" and the "Carnaval Romain";

Two numbers out of the Symphony "Romeo and Juliet" -the feast at Capulet's house and the Queen Mab (Scherzo);

And two Marches from the "Harold" Symphony and the "Symphonie Fantastique"-the March of the Pilgrims and the "Marche de Supplice" ["March on the Way to Execution"].

But it will be necessary for you to have several rehearsals--and indeed separate rehearsals for the quartet, and separate rehearsals for the wind instruments.

The effect of Berlioz's works can only be uncommonly good when the performance of them is satisfactory.

They are equally unsuited to the ordinary worthy theater and concert maker, because they require a higher artistic standpoint from the musician's side.

I looked through Kittl's [1809-68. Director of the Prague Conservatorium.] opera some years ago in a piano arrangement, and, between ourselves, I do not think the work will last. Kittl is a personal friend of mine, and I should have been glad to be able to give his work here; but...nevertheless...etc., etc.

Raff's "King Alfred" is a much more successful and important work; and, without wis.h.i.+ng to injure Kittl, there is in Raff quite other musical stuff and grist. [Steckt doch in Raff ein ganz anderer musikalischer Kern and Kerl: untranslatable play on words.]

During your last stay in Weymar I spoke to you of Vesque's new opera "Der l.u.s.tige Rath." Various local circ.u.mstances have delayed the performance at Vienna of this really pretty, nicely worked out opera. The mise-en-scene does not require any special efforts; the piece only requires a somewhat piquant and not unskillful soprano singer. Altogether the opera appears to me to be written in a charming style, not too superficially conservative, and to be one of the best among the new operas mezzo-carattere. In case you still have time and are not indisposed to give the opera in Frankfort, I can send you the score. You would do Vesque an essential service if you could give the opera soon, and would have friendly relations with him, for Vesque is a cultivated, intelligent, and first-rate man. [Vesque von Puttlingen (pseudonym, Hoven), 1803-83, Councillor of the Austrian Foreign Ministry, composer of songs and operas.] There are not too many such!

Yours in all friends.h.i.+p,

F. Liszt

Weimar, February 27th, 1853

98. To Heinrich Brockhaus, Bookseller in Leipzig

[Published in a German translation: La Mara, "Letters of Musicians during Five Centuries, vol. ii., 1887.]

My dear Mr. Brockhaus,

In thanking you for your kind mention of the notice joined to my name in the Conversations Lexikon, I wish above all things not to go beyond the limits of most scrupulous delicacy, which in these sorts of things have always appeared to me all the more desirable to maintain because they are so very often pa.s.sed. Consequently I will only allow myself to point out three misstatements of fact in the article about myself: firstly, my supposed t.i.tle of ex-St.

Simonien; secondly, my supposed journey to America; thirdly, my diploma of the University of Konigsberg, which my biographer arbitrarily changes into a diploma of Doctor of Music, which was not the one given to me.--

I have never had the honor of belonging to the a.s.sociation, or, to put it better, to the religious and political family of St.

Simonisme. Notwithstanding my personal sympathy with this or that member of it, my zeal has been but little beyond that which Heine, Boerne, and twenty others whose names are in the Conversations Lexikon showed at the same period, and they limited themselves to following pretty often the eloquent preachings of the Salle Taitbout. Among my numerous tailors' bills, I can certify that there is not one to be found of a bleu-barbot coat [The dress of the St. Simonists.]; and, as I have mentioned Heine, I ought to add that my fervor was far short of his, for I never thought of wis.h.i.+ng to "Commune through s.p.a.ce with the Child-lake Father," by correspondence or dedication, as he has done!--

Further, I can also a.s.sure you that my practical course of the geography of Europe has not extended beyond it, and that the four or five other parts of the globe are entirely unknown to me. And when you come to see me at Weymar I can show you, amongst other diplomas, that of the University of Konigsberg, in virtue of which I have the honor to belong, exceptionally, to the cla.s.s of Doctors in Philosophy, an honor for which I have always been peculiarly grateful to this ill.u.s.trious University.

As to the summary judgment pa.s.sed upon my person and my works in this article, you will easily understand that I only accept it as transitory and with due reserve, much obliged though I am besides to the author for his kind intentions. After having attained, according to my biographer, the first aim of my youth,--that of being called the Paganini of the Piano,-it seems to me it is natural that I should seriously have the ambition of bearing my own name, and that I should count somewhat on the results of a desire and of persevering work, so far as to hope that in one of the later editions of the Conversations Lexikon I may have a place more in accordance with my aims. [The article in question, which was published at a time when Liszt's greater works had partly not yet been written, and partly were not yet known in the wider circles, speaks of poverty of invention, and considers his compositions rather those of a virtuoso than of imaginative significance.]

Accept, my dear Mr. Brockhaus, the expression of my most sincere regard, and believe me

Yours very truly,

F. Liszt

Weymar March 22nd, 1853

99. To Dr. Franz Brendel in Leipzig

[Autograph of the letter to Brendel in the possession of Frau Dr.

Riedel in Leipzig.--Brendel (born 1811, died November 25th, 1868, in Leipzig) rendered great services to the New German (i.e., the Wagner-Liszt) musical tendencies, as a writer on music (Geschichte der Musik, History of Music), and as editor of the Neue Zeitschrift fur Musik (founded by R. Schumann). He also, together with Liszt, originated the "Allgemeine Deutsche Musikverein" (the "German Universal Musical Union"), and was its president up to his death.]

Dear Friend,

A little trip to Gotha, where the Duke had invited me to be present at the performance of his opera "Casilda" the day before yesterday, must bear the blame of my delay in writing to you.

After duly thinking over and considering your letter, I must tell you first and foremost my exact opinion with regard to the immediate appearance of the proposed paper. In my opinion at least two or three months are requisite to establish the necessary relations with the chief co-operators, and to give due weight to the whole undertaking. Without complete agreement as to means and aims we should compromise rather than help the matter.

We must have the positive agreement and a.s.surance of Semper, Stahr, Hettner, Hauenschild, and others (among whom Vischer of Tubingen must be sure not to be forgotten), before the first number appears. We have to struggle for a far higher and more difficult end than, for instance, the Unterhallungen am hausliehen Herd [Entertainments at Home] or the Fliegende Blatter fur Musik. [Fly-leaves for Music.] The most important step for us is the very first, at the house door; and if we do not weigh this step with due reflection we shall run a great risk of winning only imaginary future subscribers for the Art Work of the Future, and of seeing our best wishes for its feasibility s.h.i.+pwrecked.