Volume I Part 56 (2/2)
Weymar, December 30th, 1859
The crucifix frorown still dearer to me!--
When I have finished with soer, Daniel shall receive his Requiena
230 To Wilkoszewshi+, Secretary of the Concerts of the ”Hofcapelle” in Munich
[Frost the letters to Brendel)]
Dear Sir,
The performance of neorks on the part of so renowned an orchestra as that of Munich must ever remain a mark of special attention for the coher that, in face of the strong prejudice against my name, one of my ill-faramme of the concerts of the Munich Hofcapelle
It is ill preaching to deaf ears, and it is well known that there is no worse deafness than that of people ill not hear Hence it is that the Festklange, as well as the Mass and everything that I and others better than my humble self have been able to compose, is prejudiced But the ainst neorks, the ation to those who do not accept as their artistic criterion the injustice inflicted on s, and I can quietly wait until people areto know and to heartheuard tricks, even when played in concert-roo i you, dear sir, to convey to General Music-Director Lachner my best thanks for his well-h esteem, yours very sincerely,
F Liszt
Weymar, January 15th, 1860
231 To Johann von Herbeck
[Received, according to hi back froiven me especial pleasure by the assurance that the ”Prometheus” choruses and, the instrumentation of the ”Schubert Marches” fulfill your expectations You shall very shortly receive two more ”Schubert Marches” (the ”Funeral March” in E flat arian Divertissement” [Op 40, No 5, and ”Marcia” from Op
54] They could be played one immediately after the other
The ”Proether with the ”Syoes before them (and which has been published by Hartel as No 5), were composed in July 1850 for the Herder Festival, and were performed in the theater here on the eve of that festival
My pulses were then all beating feverishly, and the thrice- repeated cry of woe of the Oceanides, the Dryads, and the Infernals echoed in my ears from all the trees and lakes of our park
In my work I strove after an ideal of the antique, which should be represented, not as an ancient skeleton, but as a living andform A beautiful stanza of Andre Chenier,
”Sur des pensers nouveaux faisons des vers antiques,” [”On hts let us fashi+on verses antique”]
served me for precept, and showed me the way to musical plastic art and symmetry
The favorable opinion you have forh is a token to ether failed--I hope that the performance will not spoil your sympathy for it I leave the direction, with the utmost confidence, entirely in your hands--You always hit on the right thing, and navigate satisfactorily with your entire forces the occasional difficulties of the dissonant entries, and of the pathetic delivery which is absolutely essential in several places It would certainly be a great pleasure to me, dear friend, if I could be present at the perforent and inspired perfor this by various circumstances (an explanation of which would lead me too far)