(N.B. - He will explain why I have not given you a letter for
Brandus.)
The greater number of your pieces have hitherto been printed
exclusively by Escudier, and in my opinion you would do well to
keep well with them in consequence. In your position it is not at
all necessary to make advances to everybody - and, moreover, it is
the very way to have no one for yourself. Look, observe, and keep
an intelligent reserve, and don't cast yourself, German-wise,
precipitately into politeness and inopportune modesty.
In one of your leisure hours Belloni will take you to Madame
Patersi, who is entrusted with the education of my two daughters,
for whom I beg a corner of your kind attention. Play them your
Polonaise and Ballade, and let me hear, later on, how their very
small knowledge of music is going on. Madame Patersi, as I told
you, will have much pleasure in introducing you to her former
pupil, Madame de Foudras, whose salon enjoys an excellent
reputation.
Need I renew to you here the request of my four cardinal points?-
-No, I am sure I need not! - Accept then, dear Reinecke, all my
heartiest wishes for this new year, as well as for your journey
to Paris. Let me hear of you through Belloni, if you have not
time to write to me yourself, and depend in all circumstances on
the very cordial attachment of
Yours sincerely and affectionately,
F. Liszt January 1st, 1851 My return to Weymar is unfortunately
again postponed for twenty days, by the doctor's orders, to which
I submit, although not personal to myself. [They referred to
Princess Wittgenstein, who was ill.]
71. To Leon Escudier, Music Publisher in Paris
[autograph in the possession of M. Arthur Pougin in Paris. - The
addressee was at that time the manager of the periodical "La
France Musicale," in which Liszt's Memoir of Chopin first
appeared in detached numbers (beginning from February 9th,
1851).]
Weymar, February 4th, 1851
My dear Sir,
The proofs of the two first articles of my biographical study of
Chopin ought to have reached you some days ago, for I corrected
and forwarded them immediately on my return to Weymar. You will
also find an indication of how I want them divided, which I shall
be obliged if you will follow. Both on account of the reverence
of my friendship for Chopin, and my desire to devote the utmost
care to my present and subsequent publications, it is important
to me that this work should make its appearance as free from
defects as possible, and I earnestly request you to give most
conscientious attention to the revision of the last proofs. Any
alterations, corrections, and additions must be made entirely in
accordance with my directions, so that the definitive
publication, which it would be opportune to begin at once in your
paper, may satisfy us and rightly fulfill the aim we have in
view. If therefore your time is too fully occupied to give you
the leisure to undertake these corrections, will you be so good
as to beg M. Chavee [an eminent Belgian linguist, at that time a
collaborator on the "France Musicale"] (as you propose) to do me
this service with the scrupulous exactitude which is requisite,
for which I shall take the opportunity of expressing to him
personally my sincere thanks?
In the matter of exactitude you would have some right to reproach
me (I take it kindly of you to have passed it over in silence,
but I have nevertheless deserved your reproaches, apparently at
least) with regard to Schubert's opera ["Alfonso and Estrella,"
which Liszt produced at Weimar in 1854]. I hope Belloni has
explained to you that the only person whom I can employ to make a
clear copy of this long work has been overwhelmed, up to now,
with pressing work. It will therefore be about three months
before I can send you the three acts, the fate of which I leave
in your hands, and for which, by the aid of an interesting
libretto, we may predict good luck at the Opera Comique. I will
return to this matter more in detail when I am in the position to
send you the piano score (with voice), to which, as yet, I have
only been able to give some too rare leisure hours, but which I
promise you I will not put off to the Greek Calends!
As far as regards my opera, allow me to thank you for the
interest you are ready to take in it. For my own part I have made
up my mind to work actively at the score. I expect to have a copy
of it ready by the end of next autumn. We will then see what can
be done with it, and talk it over.
Meanwhile accept, my dear sir, my best thanks and compliments.
F. Liszt
The proofs of the third and fourth articles on Chopin will be
posted to you tomorrow.
Has Belloni spoken to you about F. David's "Salon Musical"
(twenty-four pieces of two pages each, very elegantly written and
easy to play)? - I can warmly recommend this work to you, both
from the point of view of art, and of a profitable, and perhaps
even popular, success. [Presumably Ferdinand David's "Bunte
Reihe," Op. 30, which Liszt transcribed for piano alone.]
72. To Carl Reinecke
My dear Mr. Reinecke,
I am still writing to you from Eilsen; your two kind and charming
letters found me here and have given me a very real pleasure. You
may rest quite assured during your life of the sincere and
affectionate interest I feel for you, an interest of which I
shall always be happy to give you the best proofs as far as it
depends on me.
Madame Patersi is loud in her praises both of your talent and of
yourself, - and I thank you sincerely for having so well fulfilled
my wishes with regard to the lessons you have been so kind as to
give to Blandine and Cosima.
