Letters of Franz Liszt Volume II Part 3

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 G.o.d we carry in our b.r.e.a.s.t.s--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! a.s.suredly 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

F. Liszt

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.

9. To Dr. Franz Brendel

Dear Friend,

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 pet.i.tion 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 pet.i.tion (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 a.s.sured 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 Ma.r.s.eilles.

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 pa.s.s 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 cla.s.s 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!--

With cordial and most friendly greetings,

Yours sincerely,

November 8th [1862]

F. Liszt

P.S.--Best thanks for your Sondershausen essays.

10. To A. W. Gottschalg

Dear Friend,

Your kind letter reached me on October 22nd, and this day, which could not pa.s.s 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 circ.u.mstances, that I do not care to send ma.n.u.scripts by this means. In despatching parcels to Vienna or Paris I could, of course, make use of the courtesy of the emba.s.sies; 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-Alb.u.m, and the one to appear later--the Arnstadter-Bach-Organ-Alb.u.m (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 cla.s.ses.

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!

With kindest greetings,

F. Liszt

Rome, November 15th, 1862

11. To Eduard Liszt

Dearest Eduard,

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--c.u.m 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.