As for Litolff, I confess that he made a great
impression on me. His Fourth Symphonic Concerto (in manuscript)
is a very remarkable composition, and he played it in such a
masterly manner, with so much verve, such boldness and certainty,
that it gave me very great pleasure. If there is something of the
quadruped in Dreyschock's marvelous execution (and this
comparison should by no means vex him: is not a lion as much a
quadruped as a poodle?), there is certainly something winged in
Litolff's execution, which has, moreover, all the superiority
over Dreyschock's which a biped with ideas, imagination, and
sensibility has over another biped who fancies that he possesses
a surfeit of them all - often very embarrassing!
Do you still continue your intimate relations with old Cognac in
the New World, my dear Mason? - Allow me again to recommend you
measure, which is an essential quality for musicians. In truth, I
am not very much qualified to preach to you the quantity of this
quantity; for, if I remember rightly, I employed a good deal of
Tempo rubato in the times when I was giving my concerts (a
business that I would not begin again for anything in the world),
and again, quite lately, I have written a long Symphony in three
parts entitled "Faust" (without text or vocal parts), in which
the horrible measures of 7/8, 7/4, 5/4, alternate with C and
3/4. -
In virtue of which I conclude that you ought to limit yourself to
7/8ths of a small bottle of old Cognac in the evening, and never
to go beyond five quarters! -
Raff, in his first volume of the "Wagner-Frage," has realized
something like five quarters of doctrinal sufficiency; but that
is an example that can hardly be recommended for imitation in a
critical matter, and especially in Cognac and other spirituous
matters.
Pardon me, my dear Mason, for these bad jokes, which however my
good intentions justify, and try to bear yourself valiantly both
morally and physically, which is the heartfelt wish of
Your very affectionate
F. Liszt
Weymar, December 14th, 1854
You did not know Rubinstein at Weymar. [Liszt was mistaken about
this. Mason had even done the principal honors to Rubinstein at
his first visit to Weimar, in the absence of the Master.] He
stayed here some time, and notoriously cuts himself off from the
thick mass of so-called pianist composers who don't know what
playing means, and still less with what fuel to fire themselves
for composing - so much so that with what is wanting to them in
talent as composers they think they can make themselves pianists,
and vice versa.
Rubinstein will constantly publish a round fifty of works -
Concertos, Trios, Symphonies, Songs, Light pieces - and which
deserve notice.
Laub has left Weymar; Ed. Singer has taken his place in our
orchestra. The latter gives great pleasure here, and likes being
here also.
Cornelius, Pohl, Raff, Pruckner, Schreiber, and all the new
school of new Weymar send you their best remembrances, to which I
add a cordial shake hand. [Written thus in English by Liszt]
F. L.
130. To Rosalie Spohr
Pray pardon me, dear artist and friend, that I am so late in
expressing the hearty sympathy which your Weymar friends take in
the joyful event of your marriage. [To Count Sauerma.] You know
well that I am a poor, much-bothered mortal, and can but seldom
dispose of my time according to my wishes. Several pressing
pieces of work, which I was obliged to get ready by this New
Year's Day, have prevented me up to now from giving you a sign of
life - and I am employing my first free moment to assure you that
the changing date of the year can bring with it no variation in
my sincere, friendly attachment. Remember me most kindly to the
papa and sister, and write to me when you can and tell me where
you are going to live henceforth. Possibly I might happen to be
in your neighborhood, in which case I should hasten to come and
see you.
I have but little news to give you of Weymar. That Litolff has
been to see me here, and played his two Symphony-Concertos
capitally, you doubtless know. Probably he will come back after
his journey to Brussels, in the course of next month, when I also
expect Berlioz here. Our orchestra now also possesses a very
first-rate harpist, Frau Dr. Pohl, with a good double-movement
harp of Erard. It seems that poor Erard is no better, and his
"cure" at Schlangenbad has not had the desired result. I
frequently get very sad tidings of his condition through my
daughter.
I thank you warmly for the friendly reception you accorded to
Herr Wolf as a Weymarer. I hope he did not inconvenience you by
too long visits. His wife brought me some weeks ago the original
sketch of your portrait, which is to become my possession.
The Frau Furstin [Princess] and Princess Marie commission me to
give you their most friendly greetings and wishes, to which I add
once more the expression of my friendly devotion.
A thousand respects and homage.
F. Liszt
January 4th, 1855
131. To Alfred Dorffel in Leipzig
[Writer on music, born 1821; custodian of the musical section of
the town library of Leipzig: the University there gave him the
degree of Dr. phil. honoris causa.]
Dear Sir,
Allow me to express to you direct my most cordial thanks for the
conscientious and careful pains you have taken in regard to my
Catalogue. ["Thematic Catalogue of Liszt's Compositions."] I am
really quite astonished at the exactitude of your researches, and
intend to repeat my warm thanks to you in person in Leipzig, and
to discuss with you still more fully the motives which lead me
not entirely to agree with your proposal, and only to use a part
of your new elaboration of my Catalogue.
