- There are still being circulated in
the music-shops a certain number of copies of my works,
especially of the "Studies," "Hungarian Rhapsodies," and several
"Fantasiestucke" (under the collective title of "Album d'un
Voyageur"), etc., that I have not included in my Catalogue, which
I gave into Dr. Hartel's hands for printing; - and you have taken
upon yourself the troublesome task of arranging these different
and somewhat numerous works in what would be, under other
circumstances, a most judicious manner.
However gratifying to me this interest of yours in the production
of a suitable Catalogue can but be, yet I must declare myself
decidedly for the non-acceptance of the portions added by you
(with certain exceptions).
1. The Hofmeister edition of the twelve Studies (with a
lithograph of a cradle, and the publisher's addition "travail de
jeunesse"!) is simply a piracy of the book of Studies which was
published at Frankfort when I was thirteen years old. I have long
disowned this edition and replaced it by the second, under the
title "Etudes d'execution transcendante," published by Haslinger
in Vienna, Schlesinger in Paris, and Mori and Lavener in London.
But this second edition has now been annulled several years ago,
and Haslinger has, by my desire, put aside my copyright and
plates, and bound himself by contract not to publish any more
copies of this work henceforth. After a complete agreement with
him I set to work and produced a third edition of my twelve
Studies (very materially improved and transformed), and begged
Messrs. Hartel to publish it with the note "seule edition
authentique, revue par l'auteur, etc.," which they did.
Consequently I recognize only the Hartel edition of the twelve
Studies as the SOLE LEGITIMATE ONE, which I also clearly express
by a note in the Catalogue, and I therefore wish that the
Catalogue should make no mention of the earlier ones. I think I
have found the simplest means of making my views and intentions
clear by the addition of the sign (+).
2. It is the same case with the Paganini "Etudes" and the
"Rhapsodies Hongroises;" and after settling matters with
Haslinger I completely gained the legal right to disavow the
earlier editions of these works, and to protest against eventual
piracy of them, as I am once more in possession both of the
copyright and the entire engraving plates.
These circumstances will explain to you the reappearance (in a
very much altered conception and form) of many of my
compositions, on which I, as piano player and piano composer, am
obliged to lay some stress, as they form, to a certain extent,
the expression of a closed period of my artist-individuality.
In literature the production of very much altered, increased, and
improved editions is no uncommon thing. In works both important
and trivial, alterations, additions, varying divisions of
periods, etc., are a common experience of an author. In the
domain of music such a thing is more minute and more difficult -
and therefore it is seldom done. None the less do I consider it
very profitable to correct one's mistakes as far as possible, and
to make use of the experiences one gains by the editions of the
works themselves. I, for my part, have striven to do this; and,
if I have not succeeded, it at least testifies to my earnest
endeavour.
3. In the "Annees de Pelerinage" (Schott, Mainz) several of the
pieces are again taken from the "Album d'un Voyageur." The Album
brought out by Haslinger must not be quoted in the Catalogue,
because the work has not been carried out according to its
original plan, and Haslinger has given me back, in this case
also, the copyright and plates.
As the natural consequence of what I have said I beg you
therefore, dear sir, not to undertake any alteration in the
disposition and arrangement of my Catalogue, and only to add the
various enlargements and improvements, for which I have to thank
your overlooking and corrections, as I have now given them and
marked them. -
The title of the Catalogue might sound better thus in German: -
F. Liszt
"Thematischer Catalog." ["Thematic Catalogue"]
And the letters of the headings "Etudes - Harmonies - Annees de
Pelerinage - Ungarische Rhapsodien - Fantaisies on Airs from
Operas, etc.," must be rather large, and these headings separated
from the special title of the works.
I cannot agree with the admission of a supplementary Opus-
number, - but it is of consequence to me that the Catalogue should
come out speedily, in order to get as clear a survey as possible
of my works up to the present time (which, however, are by no
means sufficient for me).
Accept once more my best thanks, dear Sir, as also the assurance
of high esteem of
Yours most truly,
F. Liszt
January 17th, 1855.
P.S. - I take the liberty of keeping your edition of the Catalogue
here meanwhile, as it cannot be used for the arrangement of the
Hartel edition.
132. To Anton Rubinstein
Your fugue of this morning, my dear Rubinstein, is very little to
my taste, and I much prefer to it the Preludes that you wrote at
an earlier date in this same room, which, to my great surprise, I
found empty when I came to fetch you for the Berlioz rehearsal.
Is it a fact that this music works on your nerves? And, after the
specimen you had of it the other time at the Court, did the
resolution to hear more of it seem to you too hard to take? Or
have you taken amiss some words I said to you, which, I give you
my word, were nothing but a purely friendly proceeding on my
part? Whatever it may be, I don't want any explanations in
writing, and only send you these few lines to intimate that your
nocturnal flight was not a very agreeable surprise to me, and
that you would have done better in every way to hear the "Fuite
en Egypte" and the "Fantaisie sur la Tempete" of Shakespeare.
