You will hear in a few days from
Your
R. W.
February 9th, 1855.
175.
DEAREST RICHARD,
The Grand Duke has been in bed for several weeks, and I shall probably not be able to see him for a fortnight. Apart from this, it will not be quite so easy to settle offhand the matter you have entrusted to me, but I promise that I shall not fail to take the proper steps, and I hope to send you satisfactory news within twelve days or a fortnight. Berlioz has been here since Sunday, and is busily engaged conducting rehearsals for the performance of his "Trilogie Sacree" ("L"Enfance du Christ") and his "Symphonic Phantastique," including the second part thereof, which he calls a monodrame lyrique. I send you programme and libretto.
He tells me that he is not going to London till May, and will conduct only two concerts of the New Philharmonic. As a kind of prelude to the Paris "Exposition Universelle", he will perform his Te Deum on the 1st of May in the Church of St. Eustache.
During this week of the year we are generally in a state of great confusion. Six years ago, on the 16th of February, "Tannhauser"
was performed for the first time, and on the same date two years ago the "Flying Dutchman;" for today "Belisario" is announced, which at any rate I prefer to the silly "Le Macon," which has been the delight of Dresden and Weymar during the winter. Even some of our friends were simple enough to call this rotten musique de portieres charming and a model of its kind.
The Cologne people have done better than this: they have bravely swallowed "Lohengrin" without choking over it. This has delighted me. From Hamburg also I hear that the public are gradually being educated up to it.
How far have you got with the "Valkyrie?"
Difficult as I find it to part with your "Rhinegold," I promise to send the score to Fischer in a few days. He can send me the pianoforte arrangement later on.
My best remembrances to your wife. I shall soon write again, and also hope to hear from you.
Most thine own, F. LISZT.
WEYMAR, February 16th, 1855.
176.
These lines, most incomparable friend, are intended to introduce to you Carl Klindworth, about whom I have spoken and written to you several times. You will find him an excellent musician and pianist, who is cordially devoted to you, and has not in vain lived several years with me at Weymar. Since last year he has been settled in London, where I cordially commend him to your protection.
Your
F. LISZT.
WEYMAR, February 16th, 1855.
177.
DEAREST, DEAREST LISZT,
Pray let me have the LETTER TO ERARD for which I asked you concerning the piano.
More after the concert.
178.
DEAREST RICHARD,
You have entirely forgotten to let me have your address; and although your fame has reached the point of immortality, it is just possible that the London postmen might have heard nothing of "Tannhauser" and "Lohengrin." Be kind enough therefore to tell me in your next letter the street and the number of the house.
These lines you receive through Klindworth. Enclosed is the letter to the maison Erard, which is represented in London by M.
Bruzot. If Erard himself should be there, pay him a visit at once, but I doubt whether he is sufficiently recovered to occupy himself with pianoforte and harp matters. A few months ago my children wrote to me from Paris that Erard was very ill, and, after fruitless trials of baths and medicines, had been taken to a private hospital.
I have not neglected your pa.s.sport affair, and have induced the Grand Duke and another important person to recommend you specially in Paris. I hope these transactions will not be without result.
The changes you have made in the "Faust" overture are excellent, and the work has decidedly gained by them. I have sent the score to the Hartels. If you are satisfied with an honorarium of twenty louis d"or, write to me simply, "Yes," and the full score and parts will soon be published. To a larger honorarium the Hartels would not agree, but they will make the edition better and handsomer than would any one else, and I should therefore advise you to answer me in the affirmative.
I shall have to work hard for several months to come. The Cardinal Primate of Hungary has set me the task of composing a grand ma.s.s for the inauguration of the cathedral of Gran. The ceremony will take place in August at the latest. The Emperor will be present, and I have undertaken to conduct the ma.s.s, etc., for which purpose I have to be in Gran (three hours" distance from Pesth) a month before.
This task gives me much pleasure, and I hope to produce an edifying work.
Farewell, dearest Richard, and write soon to
Your
FRANZ.
March 12th, 1855.
The letter to Bruzot is meant for the FIRM of Erard; if he should be absent, give it to the representative of that firm.
Your letter to B. has been forwarded.
179.
Good gracious! here comes your and M."s dear, dear letter! In my terrible mood, it has quite upset me. You will have heard of my letter containing my disgraceful decision regarding "Tannhauser"
in Berlin. In this matter I feel in turns trivial, sublime, and contemptible. The latter mood you have just revived in me, and I am inclined to repent that I have been trivial. But it is almost too late now. By giving up "Tannhauser," and at last even "Lohengrin," to the theatres without reserve, I made such humiliating concessions to the reality of our miserable artistic circ.u.mstances that I can scarcely sink much lower. ONCE AGAIN I say, How proud and free was I when I reserved these works to YOU for Weimar; now I am a slave and absolutely powerless. One inconsistency involves another, and I can dull my unpleasant feeling only by being still more proud and contemptuous, in the sense that I look upon "Tannhauser" and "Lohengrin" as altogether done with and no longer belonging to me, and that I keep my NEW CREATIONS all the more sacred for myself and my true friends.
This is my only comfort. What I am creating at present shall never see the light except in perfectly congenial surroundings; on this I will in future concentrate all my strength, my pride, and my RESIGNATION. If I die before having produced these works, I shall leave them to you; and if you die without having been able to produce them in a dignified manner, you must burn them: let that be SETTLED.
Klindworth has probably not yet had time to write to you about my first appearance, but he is going to do so.
After the first rehearsal the directors of the "Philharmonic"
were so delighted and full of hope that they insisted upon my performing some of my compositions at the very next concert. I had to yield, and chose the pieces from "Lohengrin." As for that purpose they granted me two rehearsals, I also fixed upon the "Ninth Symphony", at which I am pleased, for I should not have given it with one rehearsal. The orchestra, which has taken a great liking to me, is very efficient, and possesses great skill and fairly quick intelligence, but it is quite spoilt as regards expression; there is no PIANO, no NUANCE. It was astonished and delighted at my way of doing things. With two further rehearsals I hope to put it tolerably in order. But then this hope and my intercourse with the orchestra are all that attracts me here; beyond this all, all is indifferent and disgusting to me. The public, however, have distinguished me very much, both in receiving me and even more at the close. Curious to me was the confession of some Mendelssohnians that they had never heard and understood the overture to the "Hebrides" as well as under my direction.
Enough of this.