Letters of Franz Liszt Volume I Part 25

Let me hear soon from you, dear friend, and keep ever in friendly remembrance

Yours sincerely and with many thanks,

F. Liszt

Carlsbad, August 1st, 1853

Address to me always at Weymar.

104. To Richard Pohl in Dresden

[Printed in Pohl's pamphlet "The Carlsruhe Musical Festival in October, 1853" (by Hoplit). Leipzig, Hinze, 1853.--The addressee, a writer on music (born 1826), one of the oldest and most faithful adherents of Liszt and Wagner, lived in Weimar after 1854, his wife Jeanne (nee Eyth) having a post there as a harp virtuosa: after Liszt's departure he was, as he still is, occupied as editor in Baden-Baden.]

In various accounts that I have read of the Festival at Carlsruhe, there is one point on which people seem pretty much agreed--namely, the insufficiency of my conducting. Without here examining what degree of foregone judgment there may be in this opinion, without even seeking to know how much it has been influenced by the simple fact of the choice of myself as conductor, apart from the towns of Carlsruhe, Darmstadt, and Mannheim, it certainly would not be for me to raise pretensions quite contrary to the a.s.sertion which it is sought to establish if this a.s.sertion were based on facts or on justice. But this is precisely what I cannot help contesting in a very positive manner.

As a fact one cannot deny that the ensemble of the Carlsruhe programme was very remarkably performed, that the proportion and sonority of the instruments, combined with a view to the locale chosen, were satisfactory and even excellent. This is rather naively acknowledged in the remark that it is really surprising that things should have gone so well "in spite of" the insufficiency of my conducting. I am far from wis.h.i.+ng to deck myself in the peac.o.c.k's feathers of the Carlsruhe, Mannheim, and Darmstadt orchestras, and am a.s.suredly more disposed than any one to render full justice to the talents--some of them very distinguished--of the members of these three orchestras; but, to come to the point, whatever may be said to the contrary, it is acknowledged, even by the testimony of my adversaries, that the execution was at times astonis.h.i.+ng, and altogether better than there had been reason to expect, considering that I was conductor.

This fact placed beyond discussion, it remains to be seen whether I am so completely a stranger there as they try to make out, and what reasons there can be for thus crying down a conductor when the execution was satisfactory, especially if, as is just, one bears in mind the novelty of the works on the programme for almost the entire audience. For, as every one knew at Carlsruhe, the Ninth Symphony, as well as the works of Wagner, Berlioz, Schumann, etc., were not well known by any one but myself, seeing that they had never been given before in these parts (with the exception of the Berlioz piece, which a portion only of the Carlsruhe orchestra had played under the direction of the composer).--

Now as regards the question of right--to know whether in good conscience and with knowledge of the matter one can justly accuse me of being an insufficient conductor, inexperienced, uncertain, etc.: without endeavoring to exculpate myself (for which I do not think there is any need amongst those who understand me), may I be permitted to make an observation bearing on the basis of the question?

The works for which I openly confess my admiration and predilection are for the most part amongst those which conductors more or less renowned (especially the so-called "tuchtigen Capellmeister" [ Qualified conductors.]) have honored but little, or not at all, with their personal sympathies, so much so that it has rarely happened that they have performed them. These works, reckoning from those which are commonly described nowadays as belonging to Beethoven's last style (and which were, not long ago, with lack of reverence, explained by Beethoven's deafness and mental derangement!)--these works, to my thinking, exact from executants and orchestras a progress which is being accomplished at this moment--but which is far from being realized in all places--in accentuation, in rhythm, in the manner of phrasing and declaiming certain pa.s.sages, and, of distributing light and shade--in a word, progress in the style of the execution itself.

They establish, between the musicians of the desks and the musician chief who directs them, a link of a nature other than that which is cemented by an imperturbable beating of the time.

In many cases even the rough, literal maintenance of the time and of each continuous bar |1,2,3,4,|1,2,3,4,| clashes with the sense and expression. There, as elsewhere, the letter killeth the spirit, a thing to which I will never subscribe, however specious in their hypocritical impartiality may be the attacks to which I am exposed.

For the works of Beethoven, Berlioz, Wagner, etc., I see less than elsewhere what advantage there could be (which by-the-bye I shall contest pretty knowingly elsewhere) in a conductor trying to go through his work like a sort of windmill, and to get into a great perspiration in order to give warmth to the others.

Especially where it is a question of understanding and feeling, of impressing oneself with intelligence, of kindling hearts with a sort of communion of the beautiful, the grand, and the true in Art and Poetry, the sufficiency and the old routine of usual conductors no longer suffice, and are even contrary to the dignity and the sublime liberty of the art. Thus, with all due deference to my complaisant critics, I shall hold myself on every occasion ulterior to my "insufficiency" on principle and by conviction, for I will never accommodate myself to the role of a "Profoss" [Overseer or gaoler.] of time, for which my twenty-five years of experience, study, and sincere pa.s.sion for Art would not at all fit me.

Whatever esteem therefore I may profess for many of my colleagues, and however gladly I may recognize the good services they have rendered and continue to render to Art, I do not think myself on that account obliged to follow their example in every particular--neither in the choice of works to be performed, nor in the manner of conceiving and conducting them. I think I have already said to you that the real task of a conductor, according to my opinion, consists in making himself ostensibly quasi- useless. We are pilots, and not mechanics. Well, even if this idea should meet with still further opposition in detail, I could not change it, as I consider it just. For the Weymar orchestra its application has brought about excellent results, which have been commended by some of my very critics of today. I will therefore continue, without discouragement or false modesty, to serve Art in the best way that I understand it--which, I hope, will be the best.--

Let us then accept the challenge which is thrown to us in the form of an extinguisher, without trouble or anxiety, and let us persevere, conscious of right--and of our future.

F. Liszt

Weymar, November 5th, 1853

105. To Wilhelm Fischer, Chorus Director at Dresden

[Autograph in the possession of Herr Otto Lessmann, writer at Charlottenburg. (Printed in his Allgemeine Musik-Zeitung, 1887, No. 38.)--The addressee was the well-known friend of Wagner. (See "Wagner's Letters to Uhlig, Fischer, and Heine."--Grevel & Co.) Vol. I. 12]

Dear Sir and Friend,

Your letter has given me real pleasure, and I send you my warmest thanks for your artistic resolve to bring "Cellini" to a hearing in Dresden. Berlioz has taken the score with him to Paris from Weymar, in order to make some alterations and simplifications in it. I wrote to him the day before yesterday, and expect the score with the pianoforte edition, which I will immediately send you to Dresden. Tichatschek is just made for the t.i.tle-role, and will make a splendid effect with it; the same with Mitterwurzer as Fieramosca and Madame Krebs as Ascanio, a mezzo-soprano part.

From your extremely effective choruses, with their thorough musicianly drilling, we may expect a force never yet attained in the great Carnival scene (Finale of the second act); and I am convinced that, when you have looked more closely into the score, you will be of my opinion, that "Cellini", with the exception of the Wagner operas,--and they should never be put into comparison with one another--is the most important, most original musical- dramatic work of Art which the last twenty years have to show.

I must also beg for a little delay in sending you the score and the pianoforte edition, as it is necessary entirely to revise the German text and to have it written out again. I think this work will be ready in a few weeks, so you may expect the pianoforte edition at the beginning of February. At Easter Berlioz is coming to Dresden, to conduct a couple of concerts in the theater there.

It would be splendid if you should succeed in your endeavors to make Herr von Luttichau fix an early date for the "Cellini"

performance, and if you could get Berlioz to conduct his own work when he is in Dresden. In any case I shall come to the first performance, and promise myself a very satisfactory and delightful result. [Dresden did not hear "Cellini" till thirty-- four years later.]

Meanwhile, dear friend, accept my best thanks once more for this project, and for all that you will do to realize it successfully, and receive the a.s.surance of the high esteem of

Yours very truly,

F. Liszt

Weymar, January 4th 1841

106. To M. Escudier, Music Publisher in Paris

[Autograph (without address) in the possession of Monsieur Etienne Charavay in Paris.--The contents show to whom it was written.]

My dear Sir,

My time has been so absorbed by the rehearsals of a new opera in five acts, "Die Nibelungen", by Mr. Dorn, musical conductor in Berlin, the first performance of which will take place tomorrow, and also by a heap of small and great local obligations which acc.u.mulate for me in particular at the beginning of winter, that I have never yet had a moment in which to send you my very cordial thanks for your biographical notice on occasion of the Alexandre Piano, which [i.e., the biographical notice had just reached me. [A "giant grand piano" with three keyboards and pedals and registers, made according to Liszt's own directions.]

I hope you will excuse this delay in consideration of the short time left me, and that you feel sure beforehand how kindly I take it of you for thus taking my part, in divers circ.u.mstances, for the honor of my name and of my reputation--a matter in which I will endeavour not to render your task too difficult.

With regard to the Schubert opera of which you again spoke to me in your last letter, I have a preliminary and very important observation to make to you--namely, that the rights of the score of "Alfonso and Estrella," in three acts, were obtained some years ago by Messrs. Hartel of Leipzig. As this work has not hitherto been performed anywhere they have not been in a hurry to publish it, and it was only communicated to me (by a copy) in case of a performance at Weymar. Therefore, before taking any other steps, it is indispensable that you should apply to Messrs.

Hartel to obtain their authorization, either for a performance, or for the right to make a foreign edition of this work, and to make conditions with that firm relative to the matter. I do not doubt that Messrs. Hartel will be most obliging in the matter; but you cannot neglect this first step without serious ulterior disadvantages.

Hartel's consent once given, you must think of adapting to this charming music a libretto which is worthy of it,--and, if you are fortunate in doing this, success, and a popular and productive success, is undoubted.

Allow me to beg you once more to send me a copy of the ballet of Gluck's "Don Juan" and of the "Dictionary of Music" which you have just published,--I have already asked Belloni for them, but he is a little subject to distractions in these matters,--and accept, my dear sir, together with my best thanks, the a.s.surance of my affectionate regard.

F. Liszt

Weymar, January 21st, 1854

107. To Monsieur Marie Escudier, Music Publisher in Paris.

[Autograph in the possession of M. Alfred Bovet at Valentigney.]

My Dear Sir,

Mr. Franck [Cesar Aug. Franck, born at Liege in 1822, composer and professor at the Paris Conservatoire, teacher of Faure, Chabrie, and d'Indy, the chief representatives of the new French school of music.] having written to me for a special introduction to you, I have great pleasure in fulfilling his request by writing these few lines to you. For many years past I have had a favorable opinion of Mr. Franck's talent in composition, through having heard his trios (very remarkable, as I think, and very superior to other works of the same kind published latterly).--

His oratorio "Ruth" also contains beautiful things, and bears the stamp of an elevated and well-sustained style. If the opera which he wants to have performed at the Lyric theater answers to these antecedents and to what I expect of Mr. Franck, the Lyric theater could only congratulate itself on its choice, and the best chance of success would be a.s.sured. Being unable to judge of it at a distance, and the score of this opera being unknown to me, I confine myself simply to drawing your attention to the very real talent of Mr. Franck, at the same time recommending him affectionately to your kindness.

Pray accept, my dear Sir, the expression of my sincere regard.