L'enfance du Christ of Berlioz.
4th Concert: Festival Song of Liszt. Solo. Draseke. Chorus for
men's voices from his Opera.
2nd part: Walpurgisnacht of Mendelssohn.
5th Concert: Overture of Berlioz, Wagner, or Beethoven.
Solo. Preludes.
2nd part: Manfred.
6th Concert: Overture. Solo. Tasso.
2nd part: B-flat major Symphony."
To this Liszt adds, besides some remarks about getting the parts for
No. 5:
"An orchestral work of Hans von Bulow (possibly the Caesar Overture)
would be suitable for this concert. I would also recommend that
Bronsart's "Fruhlings-Phantasie" ["Spring Fancy"] should be included in
one of the programmes.
"Of Berlioz' works I should recommend the following as the most
acceptable for performance: -
"The festival at Capulet's house (Romeo),
The Pilgrims' March (from Harold),
Chorus and Dance of Sylphs (Faust),
Terzet and Chorus (from Cellini), with the artists' oath,
Overture to Lear.
"N.B. - We can bring out the Terzet from Cellini at the next
Tonkunstler-Versammlung. It is a very important and effective piece."]
Dear Friend,
The sketch for your programme is excellent, and if I have some
doubts as to the entire project, yet your proposed programme
seems to me in any case the most suitable, both as regards choice
of works and their order and grouping. With regard to the doubts
which I have so often mentioned I will only make the general
remark that a competition with the Gewandhaus in Leipzig brings a
good deal of risk with it, and for this winter a passive attitude
on our side would not specially injure our cause (at least not
according to my opinion). Whether Wirsing and Riccius will be
able to give the requisite support to the theater concerts, or
are willing to do so, I cannot undertake to say, as the ground of
Leipzig lies in many ways too far removed from me. In this I rely
entirely on your insight and circumspection, dear friend. In case
you end by deciding in the affirmative I will willingly do
something to help - as, for instance, to undertake the conducting
of the "Prometheus." I would rather not let myself in for much
more than that, because conductings in general become more
burdensome to me every year, and I don't in the least desire to
offer further active resistance to the ill-repute with which I am
credited as a conductor. Indeed I owe my friend Dingelstedt many
thanks for having (without perhaps exactly desiring to do so)
given me the chance of freeing myself from the operatic time-
beating here, and I am firmly resolved not to wield the baton
elsewhere except in the most unavoidable cases! Bülow must now
often mount the conductor's desk. He has the mind, liking,
talent, and vocation for this. If the theater concerts should be
arranged, be sure to secure his frequent co-operation. He will
certainly bring new life into the whole affair, and possesses the
necessary amount of experience and aplomb, [Employed in French by
Liszt] to be their solid representative.
I have just written to Klitzsch [Music-conductor at Zwickau] and
promised him to conduct the "Prometheus" in Zwickau. The concert
will take place at the end of October (perhaps on my birthday,
the 22nd). Although you have heard the Prometheus choruses in
Dresden, I wish very much that you could come to Zwickau this
time. I have again worked most carefully at it, have amplified
some things, and have arranged others in a simple and more
singable manner, etc. Now I hope that it will thoroughly hold its
ground and stand the test of proof. So do come to Zwickau.
I have still one more request to make to you today, dear friend.
P. Lohmann [A music colleague of the Neue Zeitschrift fur Musik,
living in Leipzig] was so kind as to send me his drama some weeks
ago. I have read The Victory of Love with much interest, but I
have not yet been able to get so far as the other, and as little
have I been able to express my thanks to him in writing. Kindly
undertake my excuses to him, and tell him that I am exceedingly
obliged by his letter and what he sent me. On the occasion of my
journey to Zwickau I will call on Lohmann in Leipzig, and tell
him personally what an impression his dramas make on me. I
specially take notice of his article in the paper.
I thank you most truly for the kindness which you have shown to
B. He is in many things somewhat awkward, impractical - and almost
looks as though he could not devote himself to any productive and
consistently carried-out form of activity. None the less is there
in him a certain capacity and worth which, in a somewhat more
regular position than he has yet been able to attain, would make
him appear worth more. A more frequent application of a few
utensils such as soak tooth-brush, and nail brush might also be
recommended to him! - I expect much good to result from your
influence on B.'s further work and fortunes, and hope that your
store of patience will not be too sorely tried by him.
With heartfelt greetings, your
F. Liszt
Weymar, September 2nd, 1859
Herewith the programme scheme with two or three little remarks
appended. Weigh again the pros and cons of the matter, and keep
the right balance between the risk and the possible gain. Motto:
"First weigh, then risk it!" - [The nearest English equivalent
seems to be "Look before you leap."
. - . I have had so much of notes [musical] to write lately that
my writing of letters [of the alphabet] has got still worse. But
where you can't read what I have written, you can guess it all
the easier. -
218. To Louis Koehler
Dear Friend,
Your letter was a real joy to me, for which I thank you heartily.
You are far too honorable, brave, and admirable a musician for
our paths to remain long sundered.
