Letters of Franz Liszt Volume I Part 43

F. Liszt

176. To Joachim Raff

[February 1857]

You may rest a.s.sured, dear friend, that it was very much against the grain to me that I could not accept the kind invitation of the Wiesbaden Concert Committee, for which I have to thank your intervention; and your letter, in which you explain to me some other circ.u.mstances, increases my sincere regret. But for this winter it is, frankly, impossible for me to accept any invitations of that kind, and I think I have told you before now that I have had to excuse myself in several cities (Vienna, Rotterdam, etc.). Even for Leipzig, which is so near me (although I might appear somewhat far-fetched to many a one there!), it was difficult to find a day that would suit me. On the 26th of this month the "Preludes" and "Mazeppa" are to be given in the Gewandhaus under my direction (for the Orchestral Pension Fund Concert). Perhaps this performance will serve as a definite warning for other concert-conducting, which might have been thought of, to question my "incapability as a composer," so often demonstrated (see the proof number of the "Ill.u.s.trirte

Monatsheft" of Westermann, Brunswick, the National Zeitung, and the "thousand and one" competent judges who have long since been quite clear on the matter!).

How far are you in your Opera? When will one be able to see and hear something of it? As far as I have heard, you intend to perform "Samson" first in Darmstadt. If this does not happen at too awkward a time for me I shall come.

After having twice renounced the honor of conducting the approaching Musical Festival of the Lower-Rhine (to be held this year at Aix-la-Chapelle) a deputation of the Committee arrived here yesterday. In consideration of their courtesy I shall therefore go to Aix-la-Chapelle at Whitsuntide, and perhaps you will let yourself be beguiled into visiting me there. By that time also the Ma.s.s [The Gran Festival Ma.s.s] will probably have already come out, and you must have a copy of it at once. By the many performances, which have been of great use to me in this work, many additions, enlargements, and details of performance have occurred to me, which will enhance the effect of the whole, and will make some things easier in performance. An entirely new concluding fugue of the "Gloria," with this motive:--

[Here, Liszt ill.u.s.trates with a vocal score musical excerpt at the point where the singer sings "c.u.m sanc-to spi-ri-tu, in Gloria."]

may not be displeasing to you.

Very shortly I will send you also the three numbers still wanting (1, 8, and 9) of the Symphonic Poems, so that you may again have some (for you) light reading as a rest from your work. The "Berg"

Symphony was given, in its present form, a short time ago at Bronsart's farewell concert. Bronsart played the same evening a Trio of his own composition in four movements, which I esteem as a successful and very respectable work.

Once more best thanks for the fresh proof of your friendly attachment which your letter gives me, and don't let too long a time elapse without sending good news to

Yours most sincerely,

F. Liszt

177. To Concertmeister Ferdinand David in Leipzig

[Printed in Eckardt's "F. David and the Mendelssohn Family,"

Leipzig, Dunker & Humblot, 1888.]

Leipzig, February 26th, 1857, 10 o'clock

[Preceding the body of the letter, Liszt ill.u.s.trates with a vocal score musical excerpt with the words "Away! Away!" written in English by Liszt. It is a quotation from Liszt's Symphonic Poem "Mazeppa," which he had conducted in the Leipzig Gewandhaus on the same day as the "Preludes," and with which he had had ill- success. David, who was present as leader of the orchestra, "disapproved"--according to Eckardt--of Liszt's composing tendency, but continued, till his life's end, "filled with admiration for the incomparable artist and genial man," in the friendliest relations with Liszt.]

Before I go to bed let me give you my most sincere and heartfelt thanks, my very dear friend, which I owe you for this evening.

You have proved yourself anew such a thorough gentleman [Gentleman, put in English by Liszt] and high-standing artist at this evening's concert.

That is nothing new in you, but it gives me pleasure, as your old friend, to repeat old things to you, and to remain ever yours most gratefully,

Franz Liszt

178. To Wladimir Sta.s.soff in St. Petersburg

[A Russian writer, a musical and art critic, at present director of the Imperial Public Library at St. Petersburg.]

An illness, not in the least dangerous, but very inconvenient, since it obliges me to keep my bed rather often (as at this moment), has deprived me of the pleasure of replying sooner to your very kind letter, firstly to thank you for it, and also to tell you how delighted I shall be to make acquaintance with Mr.

Scroff's ma.n.u.scripts, which you kindly introduce to me in so persuasive a manner. Many people who have the advantage of knowing Mr. Seroff, among others Mr. de Lenz and Prince Eugene Wittgenstein, have spoken of him to me with great praise, as an artist who unites to real talent a most conscientious intelligence. It will be of great interest to me to estimate the work to which he has devoted himself with such praiseworthy perseverance, and thus to avail myself of the opportunity offered to me of hearing those sublime works of the LAST PERIOD (I purposely put aside

the inappropriate word MANNER, and even the term STYLE) of Beethoven--works which, whatever Mr. Oulib.i.+.c.heff and other learned men may say who succeed more easily in POURING FORTH in these matters than in being well versed [A play on words--verser and verse.] in them, will remain the crowning point of Beethoven's greatness.

With regard to the edition of these scores of Mr. Seroff's for two pianos, I will willingly do what you wish, though at the same time confessing to you that my credit with the editors is not worth much more than my credit with the above-mentioned learned men, as these latter do their best to keep all sorts of c.o.c.k-and- bull stories going, which prevent the editors from running any risk in mad enterprises they have so peremptorily been pointed out to be! And, more than this, you are not ignorant that arrangements for two pianos--the only ones adapted to show the design and the grouping of ideas of certain works--are but little in favor with music-sellers and very unsaleable, as the great ma.s.s of pianists is scarcely capable of PLAYING ON the piano, and cares very little (except sometimes for form's sake and human respect) for the interest of intelligence and feeling which might attach to the promenades of their fingers. In spite of all this, please rest a.s.sured, sir, that I shall neglect nothing that can justify the confidence you place in me, and pray accept the very sincere regards of

Yours most truly,

F. Liszt

Weymar, March 17th, 1857

I am awaiting with impatience the parcel you promise me, and beg you to make it as large as possible, so that I may make a thorough acquaintance with Mr. Seroff's work. Especially be so good as not to forget the arrangement of Beethoven's latter Quartets.

179. To Wilhelm von Lenz in St. Petersburg

For pity's sake, dear friend, don't treat me like Moscheles; don't think I am dead, although I have given you some little right to think so by my long silence. But there are so many "demi"-people, and demi-clever people (who are at least as dangerous to Art as the demi-monde is to morals, according to Alexandre Dumas), who say such utter stupidities about me in the papers and elsewhere, that I really should not like to die yet, if only not to disturb their beautiful business. You were even complaining of one single whistling blackbird [Merle; means also a whistling or hissing fellow.] pastorally perched on your book-- what shall I say then of the croaking of that host of ravens and of obliques hiboux [Oblique owls; the term is repeated afterwards, and evidently refers to some joke, or else to some remark of Lenz's.--Translator's note.] that spreads like an "epidemic cordon" all the length of the scores of my Symphonic Poems?--Happily I am not made of such stuff as to let myself be easily disconcerted by their "concert," and I shall continue steadfastly on my way to the end, without troubling about anything but to do what I have to do--which will be done, I can promise you. The rest of your "Beethoven," of which you speak, has never reached me, and for six months past I have not had any news of B., who, I am afraid, finds that he is clas.h.i.+ng with some rather difficult editorial circ.u.mstances, but from which I presume he will have the spirit to free himself satisfactorily. A propos of Beethoven, here is Oulib.i.+.c.heff, who has just hurled forth a volume which I might well compare with the dragons and other sacred monsters in papier-mache, with which the brave Chinese attempted to frighten the English at the time of the last war.--The English simply replied by bombs, which was the best mode of procedure. If I find time in the course of the summer, I shall answer Oulib.i.+.c.heff very respectfully in a brochure which may be a pretty big one. For the moment I am still pinned to my bed by a lot of boils which are flouris.h.i.+ng on my legs, and which I consider as the doors of exodus for the illness which has been troubling me rather violently since the end of October.

Mr. Sta.s.soff, having written to me about Mr. Seroff, I wrote him word quite lately that I should have real pleasure in making acquaintance with the arrangement for two pianos of Beethoven's later Quartets, etc. As soon as he lets me have them I will examine them with all the attention that such a work merits, and will write him my opinion, such as it is, with sincerity. As to the question of the edition, that is not so easy to solve as you seem to think. I wrote to Mr. Sta.s.soff that arrangements for two pianos, which are the only ones that give a suitable idea of certain works, have very little currency with the public, as it is very rare to find two instruments with most amateurs. In spite of this, if, as I am inclined to think, Mr. Seroff's work answers to the eulogies you p.r.o.nounce on it, I shall try to find him a publisher, and ask you only to get Mr. Seroff to let me know what sum he expects.

Why, dear friend, don't you decide to make a trip to Germany, and to come and see me at Weymar? I asked you this three years ago, and I again a.s.sure you that such a journey would not be without use to you. It is in vain for you and Oulib.i.+.c.heff to enumerate the advantages and improvements of Russia in musical matters; people who know anything of the matter will beware of taking you literally. Art at Petersburg can only be an accessory and a superfluity for a long time to come, in spite of the very real distinction and, if you will, even the superiority of some persons who work at it with predilection, and who reside there.

Proofs abound in support of this opinion, and could not be so soon changed.

Believe me, my dear Lenz, if you wish to get to know the heart of the musical question, come to Germany and come and see me.

Meanwhile don't trouble yourself any more than I do about either "merles" or "obliques hiboux"; go on familiarizing yourself with the smiles and glances of your "chimera," and believe me your most sincerely affectionate and devoted

F. Liszt

Weymar, March 24th, 1857

180. To Eduard Liszt

Best and excellent Eduard,

At last I send you the pianoforte edition of the Ma.s.s, which I could not get in order sooner, much as I wished to do so, partly owing to the excess of matters, letters, and business which have been pressing upon me, and partly also on account of my illness, which has obliged me to keep my bed for more than three weeks past. As regards the edition, which can be got up in two styles, according to whether one wants it to be economical or luxurious, I send you word of all that is necessary on the accompanying note-sheet (first page of the score--written by my hand), and beg you, best friend, to use your influence to get the proofs sent to me and to get the work published as quickly as possible. [The Gran Ma.s.s.]

Your last letter was again a great pleasure to me, owing to your loving comprehension of my works. That in composing them I do not quite work at haphazard and grope about in the dark, as my opponents in so many quarters reproach me with doing, will be gradually acknowledged by those among them who may be honest enough not to wish entirely to obstruct a right insight into the matter through preconceived views. As I have for years been conscious of the artistic task that lies before me, neither consistent perseverance nor quiet reflection shall be wanting for the fulfillment of it. May G.o.d's blessing, without which nothing can prosper and bear fruit, rest on my work!--

I have read with attention and interest the discussions in the Vienna papers, to which the performance of the Preludes and the concert gave rise. As I had previously said to you, the doctrinaire Hanslick could not be favorable to me; his article is perfidious, but on the whole seemly. Moreover it would be an easy matter for me to reduce his arguments to nil, and I think he is sharp enough to know that. On a better opportunity this could also be shown to him, without having the appearance of correcting him. I suppose the initials C. D. in the Vienna paper mean Dorffl--or Drechsler? No matter by whom the critique is written, the author convicts himself in it of such intense narrowness that he will be very welcome to many other people less narrow than himself. His like has already often existed, but is constantly in demand. The musician nowadays cannot get out of the way of all the buzzing. Twenty years ago there were hardly a couple of musical papers in Europe, and the political papers referred only in the most rare cases, and then only very briefly, to musical matters. Now all this is quite different, and with my "Preludes,"

for instance (which, by the way, are only the prelude to my path of composition), many dozen critics by profession have already pounced on them, in order to ruin me through and through as a composer. I by no means say that present conditions, taken as a whole, are more unfavorable to the musician than the earlier conditions, for all this talk in a hundred papers brings also much good with it, which would not otherwise be so easy to attain;--but simply the thinking and creative artist must not allow himself to be misled by it, and must go his own gait quietly and undisturbed, as they say the hippopotamus does, in spite of all the arrows which rebound from his thick skin. An original thinker says, "As one emblem and coat of arms I show a tree violently blown by the storm, which nevertheless shows its red fruit on all the boughs, with the motto, Dum convellor mitesc.u.n.t; or also, Conqua.s.satus sed ferax."