What animation in the rhythmic movement from
one end to the other! How the happiest surprises spring
constantly out of the logical developments! and how everything is
in its right place, keeping the mind constantly on the watch,
caressing and tickling the ear by turns, without a single moment
of heaviness or fatigue! This is what we all felt at this
rehearsal; and the day after the performance we promised
ourselves to hear it again speedily, and to make acquaintance, as
speedily as possible, with Glinka's other works.
Will you, my dear musician, be so kind as to renew the expression
of my gratitude to Madame Schestakoff for the honor she has done
me in dedicating this work to me? And when you have time, do come
and hear it with your own ears at Weymar. I can assure you that
you will not have occasion to regret the troubles of a little
journey; and were it only the rhythm
[FIGURE: Music example in 2 staves, the upper 'wind and brass',
the lower 'string quartet']
that would be enough to make ample amends for them. I beg you,
sir, to accept the assurance of my sincere regard.
F. Liszt
Weymar, January 8th, 1858
P.S. - I shall be much obliged if you will send me two
supplementary parts of the quartet (first and second violin,
viola, and bass) of each of Glinka's works.
194. To Felix Draseke
[Now professor at the Dresden Conservatorium, a well-known
composer of importance, also a writer on music (born 1835)]
Your articles [Published in the paper started by Brendel, "Hints"
(or "Suggestions")], which were so universally suggestive, my
dear and valiant friend, have given great pleasure to us on the
Altenburg. I hope to have an opportunity of showing you my
gratitude in a lasting and abiding fashion. Meanwhile be
satisfied with a good conscience in having strengthened and
sustained an honest man in his better purpose.
I have received through Brendel an invitation to Prague, which I
shall probably accept for the beginning of March. I am delighted
to think of seeing you again, dear friend, in passing through
Dresden, and perhaps you might make it possible to accompany me
to Prague. The "Dante Symphony" and the "Ideale" are again to be
given there, and, if I am not mistaken, you will rather like the
former work in its present shape. The Dresden performance was a
necessity to me, in order to realize its effect. As long as one
has only to do with lifeless paper one can easily make a slip of
the pen. Music requires tone and resonance! - I cannot at first
lay claim to effectual results, because I have to meet too much
opposition. The chief thing is that my present works should prove
themselves to be taking a firm footing in musical matters, and
should contribute something towards doing away with what is
corrupt...
What is Reubke [A pupil of Liszt's.] doing, and how does he like
Dresden? - Take him most friendly greetings from me. By-the-by ask
him also to give me tidings as soon as possible (through Herr
Menert) about the copying of the orchestral parts of the
Rubinstein Oratorio "Paradise Lost," and to get Herr Menert to
send me these parts to Weymar by the end of this month at latest.
It is to be hoped that Reubke won't have left the score in his
box like Pohl! But if by chance he has committed such a
transgression I beg that he will make amends as speedily as
possible.
Fischer (the organist) wrote to me lately, to ask me for a
testimonial to his musical ability, as he wants to have one to
show in Chemnitz. Please to make my friendly excuses to him for
not fulfilling his wish - possibly, in view of the enmity which I
have to bear on all sides, such a document would do him more harm
than good; apart from the fact that I very unwillingly set about
drawing up such testimonials. He must not, however, misconstrue
this disinclination on my part, and may rest assured of my
readiness to be of use to him. -
I would still draw your attention to Bronsart's concert in
Leipzig. It will take place in a few days, and if you can get
free I invite you to it. Bronsart is a very dear friend of mine;
I value him as a character and as a musician. If you go to
Leipzig go and see him; he will please you, and will receive you
in the most friendly manner. He is a friend of Bulow's. Both
names have the same initials, and for a long time Bronsart signed
himself "Hans II." in his letters to me. -
In the virtuoso line we have lately been hearing Sivori and
Bazzini here several times. The latter is now in Dresden; I told
him that Reubke would perhaps call on him. Get Reubke to do so,
and assure him that he will be most friendlily received. A well-
known piece of Bazzini's, "La Ronde des Lutins," was, by a
printer's error, called "Ronde des Cretins!" ["Rondo of Idiots."]
What an immeasurably large public for such a "Rondo"! If only
half of them would become subscribers to the Anregungen (Hints)!
Once more a thousand thanks, dear friend, for your courageous
battling; I on my side will endeavour not to let us have to
acquiesce with too overpowering a modesty! [An untranslatable pun
on the words "beseheiden" and "Bescheidenheit."
Yours ever,
F. Liszt
[Weimar,] Sunday, January 10th, 1858
195. To Louis Koehler
My very dear friend,
A few days ago I received a letter from Koenigsberg, signed by a
gentleman unknown to me. By chance this letter has got lost,
and I cannot myself remember the exact name. But, as your name
was mentioned in it, I beg you to be so good as to let Herr * * *
know that I do not possess the arrangement of the second movement
of my Faust Symphony made by Zellner in Vienna for pianoforte,
violin, harp, and harmonium, and that consequently I cannot hand
it over to him.
