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 assured 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 circumstances, 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 assuredly 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 analysis 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
Masses 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, Masses, 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
manuscripts. Don't delay too long, dearest friend - and believe me
when I once more assure you that the work is as eminent as the
intrigue, to which it momentarily succumbed, was mean-spirited.
Schuberth has no doubt told you that I want to make a
transcription of the Salamaleikum. But don't forget that another
Overture is inevitably NECESSARY, in spite of the refined,
masterly counterpoint and ornamentation of the first. The
principal subject
[Figure: Musical example of the principal subject.]
must begin, and the "Salamaleikum" 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. Lassen'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 Lassen), 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.
217. To Dr Franz Brendel
[In this letter, the programme refers to some theater concerts,
which were to be arranged according to Brendel's design. The
sketch was as follows: -
"1st Concert: Paradise and the Peri.
2nd Concert: Eroica, Prometheus.
3rd Concert: Overture of Wagner.
