Volume II Part 2 (2/2)

This description pleased me so much that, when once I was started on the subject, I could not help sending you the long quotation

The Bulows, as you know, are with Wagner at Biebrich--at the end of this rin” at Frankfort under Wagner's direction There must not fail to be a full account of this in the Neue Zeitschrift, and for this I could recohter as the best person The letters in which she has written to me here and there of , and full of the finest understanding and striking wit--

Berlioz was so good as to send me the printed pianoforte edition of his Opera ”Les Troyens” Although for Berlioz's works pianoforte editions are plainly a deception, yet a cursory reading through of ”Les Troyens” has nevertheless made an uncommonly powerful impression on me One cannot deny that there is enor in delicacy--I

Pohl will let you know about the performance of Berlioz's comic Opera ”Beatrice and Benedict” in Baden, and I venture to say that this Opera, which demands but little outside aids, and borrows its subject from a well-known Shakespeare play, will meet with a favorable reception Berlin, or any other of the larger theaters of Ger of its reputation by including an Opera of Berlioz in its repertoire [This took place a quarter of a century later] It is no good to try to excuse oneself, or tothat Paris has cos in which other people fail we should not i a dramatic activity and initiative which Gerrettable personal circu his works in Paris, the Ger soon for news of you (even if not about the ”astonishi+ng things”), I remain, dear friend, with faithful devotion,

F Liszt

Roust 10th, 1862 Via Felice, 113

Who has corrected the proofs of the ”Faust Symphony”? Please impress upon Schuberth not to send out into the world any unworthy editions of ood as to undertake the final revision, if only Schuberth will take the trouble to ask him to do so

8 To Dr Franz Brendel

Via Felice, 113 [Roust 29th [1862]

Dear Friend,

In explanation of the main point of your last letter (which crossed mine), namely, the question as to where the next Tonkunstler-Versa in colloquial form

I should not, without further proof, exactly like to consider Carlsruhe as a town altogether unsuitable for the purpose-- although Pohl and Bulow are afraid it is, and have various reasons for assuards Bulow, I have already asked you not to trouble him with any of the preliminary details When the time comes, he is certain to do his part--that is, more than could be expected or demanded of him Only he must not be tor to his position and antecedents, he is best known (for instance, in Carlsruhe, as already said) His individuality is such an exceptional one that its singularities must be allowed scope Hence let uswhat he is, with this reservation--that he undertakes to conduct the musical perfore to do But again as to Carlsruhe, I would propose that unless you have important, positive objections to the place, you should write to the Grand Duke yourself and beg hie, etc--The worst that could happen to me in return would be to receive a courteously worded refusal; this, it is true, is not a kind of thing I cultivate as a rule, but as a favor to such an honorable association I would gladly face the danger, in the hope that it e

Write and tell me, therefore, in what spirit Seifriz has answered you, and what inforue, for certain (yet rather uncertain?) considerations, is indeed much to be recommended; only one would need, in some measure, to have the support of the musical authorities and notabilities of the place, as well as that of the civic corporation (because of e) In short, if the Tonkunstler-Versaht there by a few active and influential persons, everything else would be easy to arrange, whereas otherwise all further steps would be so ree with your opinion, dear friend, that ”the difficulties would in no way be greater in Prague than in Leipzig”--you forget that you yourself, in the capacity of a Leipzig citizen, re perseverance and your personal influence, whereas in Prague you could act only through the intervention of others The question, therefore, is whether you can confidently reckon upon reliable friends there

Until I receive further news fro Lowenberg to all other places is one very orth consideration Our aive his earnest support to the Tonkunstler- Versa ht be put up with or put down, for a few days at all events Think this plan over again carefully, and do not look at Lowenberg through the glasses of our excellent friend Frau von Bonsart!--Of course a date would have to be fixed when the orchestra is asseed with Seifriz and drawn up with his friendly co-operation Inthat could scarcely be broached elsewhere; and as, in fact, Bulow conceived the idea I expressly reco the way” to a happy issue--

Together with your last letter I received three of the Faust essays by Pohl I shall send him my warraphical and statistical edification, the little remark that Mademoiselle Bertin had an Italian opera performed in Paris before the Revolution of July, entitled ”Faust” or ”Fausto” Before Pohl's articles appear in pah--but if he is in a hurry about them, do not mention this to him; perhaps, however, if it did not ht be well to include Pohl's essay on the ”Dante Symphony” (as it appeared in Hartel's edition of the score)

In spite of the unsatisfactory performance of the ”Dante Symphony” in Dresden (partly, moreover, the fault of the bad, incorrectly written orchestral parts, and ard to the rapture of the spiritual substance (a eneral public tolerates only when deher authority of tradition, and then iapes at it upside down!)--in spite, therefore, of this grievous Dresden perforhtto work at some not unessential improvements, simplifications, and eli the rehearsals and the perfor myself about the audience present--Noas I about to say, after all these parentheses and digressions? Yes, I remember now:--the ”Dante Symphony” is a work that does not need to be ashamed of its title,--and what you tell sythens lad to see the preface by Pohl printed again, and placed at the end of the ”Faust”

pa whatthe capacity for learning, understanding, feeling, and appreciating--

The edition of the ”Faust Syed for two pianofortes) is worthy of all praise, and, in the language of ing the type that a nue and a nu receive a coether with a few ”proof”

indications for the ”Faust Symphony” But, in fact, I have come across only a few and unimportant errors as yet

The publication of Lenau's two ”Faust Episodes” (a point Pohl touches upon in his essay with fine discri as he sees fit I aement or the score appears first; only, the two pieces ” as No 1 and ”Mephisto's Walzer” as No 2

There is no thematic connection between the two pieces, it is true; but nevertheless they belong together, owing to the contrast of ideas A ”Mephisto” of that species could proceed only from a poodle of that species!----

With the ”Elizabeth” (of which I have norite only the pianoforte score, which will take about a fortnight's ti to Weimar the three Psalms in their new definitive form It would pleasewilt Thou forget iven

The tenor part is a very i David's feelings poured into me in flesh and blood!--