Moreover If Dresden,
Following The Example Of Paris, London, Leipzig, Berlin, And A
Hundred Other Cities, Stops At Beethoven (To
Whom, while he was
living, they much preferred Haydn and Mozart), that is no reason
why Weymar - I mean musical
Weymar, which I make the modest
pretension of representing - should keep absolutely to that. There
is without doubt nothing better than to respect, admire, and
study the illustrious dead; but why not also sometimes live with
the living? We have tried this plan with Wagner, Berlioz,
Schumann, and some others, and it would seem that it has not
succeeded so badly up to now for there to be any occasion for us
to alter our minds without urgent cause, and to put ourselves at
the tail - of many other tails! -
The significance of the musical movement of which Weymar is the
real center lies precisely in this initiative, of which the
public does not generally understand much, but which none the
less acquires its part of importance in the development of
contemporary Art.
For the rest, dear Baron, I hasten to make all straight for this
evening by following your advice, and I will ask Messrs. Singer
and Cossmann to play with me Beethoven's magnificent trio (in B-
flat - dedicated to the Archduke Rudolph), as No. 3 in the
programme.
A thousand affectionate compliments, and
Yours ever,
F. Liszt
Monday, May 21st, 1855
138. To Anton Rubinstein
My dear Rubinstein,
On my return from the Musical Festival at Dusseldorf, where I
hoped to meet you, I found the parcel of oeuvres choisies and the
portrait, which is very successful, of Van II. I hasten to give
you my best thanks for this first sending, begging you not to
forget your promise to complete, in the course of their
publication, the collection of your works, which have for me
always a double interest of Art and friendship. This morning we
had a taste, with Singer and Cossmann, of the Trio in G minor, of
which I had kept a special recollection - and afterwards Princess
Marie Wittgenstein (who commissions me to give all her thanks to
you, until she can have the pleasure of giving them to you in
person) demanded the pieces dedicated to her, which had complete
success. A propos of dedications, the Grand Duchess Sophie is
enchanted with the "Persische Lieder" ["Persian Songs"], and this
she has probably already intimated to you. Shortly before her
departure for Dusseldorf she sang several of them over again,
taking more and more liking to them. Decidedly the first
impression that these "Lieder" made on me, when you showed them
to me, and when I begged you to publish them without delay, was
just, and I have not been deceived in predicting for them a
quasi-popular success. Mdlle. Genast, who has returned from
Berlin, tells me that she made a furor there with "Wenn es doch
immer so bliebe!" ["Oh, could it remain so for ever!"] But,
unfortunately, as an older song has it, "it cannot remain so for
ever under the changing moon!" The last time I was passing
through Leipzig (where they gave my "Ave Maria" exceedingly well
at the Catholic Church), I told Gotze to appropriate to himself
three or four of your "Persische Lieder," which he will sing
splendidly; and, as he comes here pretty often, I will beg him to
give us the first hearing of them at some Court concert. The
Grand Duchess Olga is expected for the day after tomorrow; and
if, as is probable, they treat her to a little concert, I shall
take advantage of the opportunity to make her become better
acquainted with the Trios you dedicated to her, and which I
consider as among your best works. In the parcel I noticed the
absence of "L'Album de Kamennoi-Ostrow," which I should like to
make known, or, better still, to offer from you to H.I.H. the
Dowager Grand Duchess, and which I want you to send me for this
purpose.
If by chance you pass through Bonn, do not forget to go and see
Professor Kilian, who has been interested in you from very old
times, and with whom we talked much of you and your works during
the journey from Cologne to Dusseldorf.
Write me word soon what you are doing now. I, for my part, shall
spend the summer at Weymar, up to the time of my journey to Gran
(June-August). I count on your promise to come and see me in the
autumn, unless your road should lead you into these parts sooner.
You may be very sure of being always most welcome at the
Altenburg - and, even if a number of those holding our musical
opinions should meet still less often than in the past, that
would not in any way influence the very sincere feelings of
friendship and esteem which I bear towards you and keep towards
you invariably. When we see each other again, you will find my
"Divina Commedia" pretty far advanced; I have sketched a plan of
it (a Symphony in three parts: the two first, "Hell" and
"Purgatory," exclusively instrumental; the third, "Paradise,"
with chorus): but I cannot set myself entirely to this work until
I have finished the new score of my choruses from Herder's
"Prometheus," which I am rewriting in order to have it printed
shortly after the publication of my Symphonic Poems, six of which
will come out next October.
I am very curious to see what your new case of manuscripts will
contain. Have you set to work on "Paradise Lost"? I think that
would be the most opportune work for taking possession of your
fame as a composer.
A thousand cordial expressions of friendship, and
Yours ever,
F. Liszt
June 3rd, 1855
139. To Dr. Franz Brendel
[Weimar, June 1855]
Dear Friend,
Best thanks for your munificence. The weed [Cigars] is very
welcome, and you will have to answer for it if it induces me to
importune you with some more columns.
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