Letters of Franz Liszt Volume I Part 52

214. To Dr. Franz Brendel

[Autograph in the possession of Herr A.O. Schulz, bookseller in Leipzig.]

Herewith is an answer to the nine points of your letter of today, my dear friend [Referring to the Tonkunstler-Versammlung in Leipzig, in June, 1859].

1. The Mildes have got leave of absence from Monday, 30th April, till Friday, 3rd June, inclusive. Your programme remains as already fixed. Duet from the "Flying Dutchman", "Cellini Aria", Songs by Franz and Schumann (etc. ad libitum).

2. I will bring all the orchestral parts that there are with me, or, better still, I will send you the whole lot tomorrow. For "Ta.s.so" the whole set is complete--but for the "Duet" from the "Dutchman", and the "Cellini Aria" and "Overture" a couple of copies of the quartet will have to be written out afresh in Leipzig.

3. I do not possess the "Overture to the Corsair" [By Berlioz]

(and would not recommend it for performance), and the "Prelude to Tristan" Bulow will see after.

4. I expect more particulars from Bulow in the course of the week.

5. I am writing today to Cornelius about the Prologue affair.

6. Herewith is the German text of the Ma.s.s,[Lizst's "Gran Festival Ma.s.s."] which is to be printed in Leipzig in the same manner as in Vienna--namely, with the addition of the Latin text- -and which belongs to the General Programme of theFestival.

This programme we will settle and revise together next Sunday.

7. Leave of absence for Frau Pohl will be attended to.

8. I reserve to myself the matter of deciding on what pianists shall accompany the Ballads, and undertake the piano part of the "Trios" that are to be given. If possible I want Bronsart to take a part in it.

9. I will send off the definite invitations to the n.o.bility next Sunday (at latest) from Leipzig to Gotha and Meiningen. I am coming to you on Sat.u.r.day afternoon, 21st May [Must be 28th May, as the letter is dated the 23rd], and shall then stay in Leipzig till the end of the Festival. For the present a suitable room (without sitting-room) will satisfy me, and I beg you to bespeak this for me in the Hotel de Pologne for Sat.u.r.day. My ministering spirit should have his room close to mine, because looking for him and calling is highly disagreeable to me.

Goodbye till Sat.u.r.day. Your

F. Liszt

Monday, May 23rd, 1859

P.S.--The performance of "Judas Maccabaeus" (for the Handel Festival) is announced here for next Wednesday, 25th May.

Tomorrow, Tuesday, there will be a similar Handel celebration in Erfurt with a performance of the "Messiah." Frau von Milde will sing the soprano part there. Let Pohl know this--perhaps he may like to hear "Judas."

The rehearsals of Rietz's little Opera are in progress, and Pasque (who has written the libretto for it) told me yesterday that the first performance will take place next week. Probably Rietz will undertake to conduct it, as I proposed.

215. To Felix Draseke

Where, my dear, excellent friend, have you got hold of the extraordinary idea that I could be angry with you? How to begin such a thing I really should not know. You are far too good and dear to me for me not to remain good to you also in all things!-- Herewith are a few lines for Wagner, which however you don't in the least need. I am glad that you are not putting off this journey any longer. But before you set out WRITE to Wagner (you can add my lines to your letter extra), and inquire whether he will be staying at Lucerne still, so that your Swiss pilgrimage may not be in vain.--You will be certain to get an answer from Wagner by return of post, and will thus be sure of your object.

Schuberth tells me that "King Helge" will ride into his shop almost immediately...to Sigrun, the ever blooming delicious sorrow!--How scornfully, "without greeting or thanks," will "King Helge" look down upon all the other wares in Schuberth's shop.

Somewhat as the hippopotamus looks on toads and frogs.--But it is quite right to let the Ballade come out, and I am impatiently awaiting my copy.--[Liszt subsequently formed out of Draseke's song the melodrama of the same name.]

I hope it may be possible for me to come to Lucerne at the end of August. But send some tidings of yourself before then to

Your sincere and faithful

F. Liszt

[Weimar,] July 19th, 1859

216. To Peter Cornelius in Vienna

Dearest Friend,

You are quite right in setting store upon the choice and putting together of the three Sonatas. The idea is an excellent one, and you may rest a.s.sured of my readiness to help in the realization of your intention as well as of my silence until it is quite a settled thing. If Bronsart could decide on going to Vienna, his cooperation in that matter would certainly be very desirable.

Write about it to him at Dantzig, where he is now staying with his father (Commandant-General of Dantzig). Tausig, who is spending some weeks at Bad Grafenberg (with Her Highness the Princess von Hatzfeld), would also adapt the thing well, and would probably be able to meet your views better than you seem to imagine. As regards Dietrich, I almost fear that he does not possess sufficient brilliancy for Vienna--but this might, under certain circ.u.mstances, be an advantage. He plays Op. 106 and the Schumann Sonata capitally--as also the "Invitation to hissing and stamping," as Gumprecht designates that work of ill odor--my Sonata. Dietrich is always to be found in the house of Prince Thurn and Taxis at Ratisbon. He will a.s.suredly enter into your project with pleasure and enthusiasm, and the small distance from Ratisbon makes it not too difficult for him. You would only have to arrange it so that the lectures come quickly one after the other.

Where Sasch Winterberger is hiding I have not heard. Presupposing many things, he might equally serve your purpose.

In order to save you time and trouble, I will send you by the next opportunity your a.n.a.lysis of my Sonata, which you left behind you at the Altenburg.

Draseke is coming very shortly through Weymar from Lucerne. I will tell him your wish in confidence. It is very possible that he would like to go to Vienna for a time. I have not the slightest doubt as to the success of your lectures, in conjunction with the musical performance of the works.--I would merely advise you to put into your programme works which are universally known--as, for instance, several Bach Fugues (from "Das wohltemperierte Clavier"), the Ninth Symphony, the grand Ma.s.ses of Beethoven and Bach, which you have so closely studied, etc. [The proposed lectures did not come off.]

Well, all this will come about by degrees. First of all a beginning must be made, and this will be quite a brilliant one with the three Sonatas. Later on we will muster Quartets, Symphonies, Ma.s.ses, and Operas all in due course!

A propos of operas, how are you getting on with the "Barbier" and the publication of the pianoforte edition? Schuberth told me for certain that printing would begin directly they had received the ma.n.u.scripts. Don't delay too long, dearest friend--and believe me when I once more a.s.sure you that the work is as eminent as the intrigue, to which it momentarily succ.u.mbed, was mean-spirited.

Schuberth has no doubt told you that I want to make a transcription of the Salamaleik.u.m. But don't forget that another Overture is inevitably NECESSARY, in spite of the refined, masterly counterpoint and ornamentation of the first. The princ.i.p.al subject

[Figure: Musical example of the princ.i.p.al subject.]

must begin, and the "Salamaleik.u.m" end it. If possible, bring in the two motives together a little (at the end). In case you should not be disposed to write the thing I will do it for you with pleasure--but first send me the complete piano edition for Schuberth. The new Opera can then afford to wait a while, like a "good thing"--only may weariness at it remain long absent [Untranslatable play on the words Weile and Langeweile]!--In order that you may not have a fit of it in reading this letter, I will at once name to you the magic name of Rosa [Rosa von Milde, the artist and friend of Cornelius, who wrote poetry upon her]...

In consequence of an insinuating intimation of our mutual patroness, I have still to add the excuses of our good friend Brendel to you. When I have an opportunity I will tell you in person about the Prologue disturbances at the Leipzig Tonkunstler Versammlung. Pohl had also supplied one--but the choice was given over to Frau Ritter, and she chose her good "Stern," whose prologue was indeed quite successful and made a good effect. But oblige me by not bearing any grudge against Brendel, and let us always highly respect the author of "Liszt as a Symphonic Writer"!--

A thousand heartfelt greetings from your faithful

F. Liszt

Weymar, August 23rd, 1859

Princess Marie will thank you herself for the Sonnet, and at the same time tell you about the musical performances of the 15th August. La.s.sen's song, "Ave Maria," of which you gave him the poem long ago, was especially successful. The Quartet:

"Elfen, die kleinen, Wollen dich grussen, Wollen erscheinen Zu deinen Fussen"

["Elfin world greeting To thee is sending, Fairy forms lowly At thy feet bending."]

composed by La.s.sen), and

"Wandelnde Blume, athmender Stern, Duftende Bluthe am Baum des Lebens"

["Swift-changing flowers, pulsating star, Sweet-scented blossoms on life's living tree."]

(composed by Damrosch), which we had sung together two years ago, rejoiced us anew and most truly this time.