Me a place for that
evening, and I shall not fail to be there. Meanwhile, my dear M.
Hartel, believe me,
Yours sincerely and affectionately,
F. Liszt Weymar, January 14th, 1850
On the occasion of Schubert's opera I shall probably set to work
on the arrangement of the symphony, of which, meanwhile, I hold
the score. - Compliments and best regards to Madame Hartel, which
I know you will be kind enough to convey to her.
65. To Breitkopf and Hartel
February 24th, 1850
My dear Sir,
. - . With regard to Schubert's opera ["Alfonso and Estrella." It
was given for the first time on June 24th, 1854, the birthday of
the Grand Duke (but not without some necessary cuts)], a recent
experience has entirely confirmed me in the opinion I had already
formed at the time of the first rehearsals with piano which we
had last spring - namely, that Schubert's delicate and interesting
score is, as it were, crushed by the heaviness of the libretto!
Nevertheless, I do not despair of giving this work with success;
but this success appears possible only on one condition - namely,
to adapt another libretto to Schubert's music. And since, by a
special fate, of which I have no reason to complain, a part of
Schubert's heritage has become my domain, I shall willingly busy
myself, as time and place offer, with the preparatory work and
the mise-en-scene of this opera, for which it would be
advantageous, in my opinion, if it could be first produced in
Paris. Belloni informs me that it will be pretty easy for you to
ensure me the entire rights of this work for France. If such be
the case I would take suitable measures for the success of this
work, on occasion of which I should naturally have to make a
considerable outlay of time and money, so that I should not be
disposed to run any risk without the guarantee of proportionate
receipts from the sale of the work in France, and author's rights
which I shall have to give up to the new poet.
This matter, however, is not at all pressing, for I shall only be
able to set to work in the matter in the course of next year
(1851); but I shall be very much obliged to you not to lose sight
of it, and to put me in possession, when you are able, of the
cession of the French and English rights, in consideration of
which I will set to work and try to get the best possible chances
of success.
Many thanks to you for so kindly sending the score of Schubert's
Symphony. That of the "Prophete" not being wanted by me any
longer, I enclose it in the parcel of proofs and manuscripts
which I beg you to undertake to send off to Mr. Belloni's address
in Paris.
On Easter Monday we shall give the first performance of "Comte
Ory." [By Rossini] Would you not feel tempted to come and hear
it? It is a charming work, brimming over and sparkling with
melody like champagne, so that at the last rehearsal I christened
it the "Champagner-Oper" ["Champagne Opera."] and in order to
justify this title our amiable Intendant proposes to regale the
whole theater with a few dozens of champagne in the second act,
in order to spirit up the chorus.
"Qu'il avait de bon vin le Seigneur chatelain!"
Cordial remembrances from yours affectionately,
F. Liszt
I should be glad for the publication of No. 3 of the pieces on
the "Prophete," and the "Consolations," not to be put off long.
66. To Professor J. C. Lobe in Leipzig
[Autograph in the possession of M. Alfred Bovet at Valentigney. -
The addressee (1797-1881), a writer on music (formerly Court
Musician at Weimar), lived from 1846 in Leipzig.]
My esteemed Friend,
It is with much pleasure I send you the good news that H.R.H. the
Grand Duchess has graciously accepted the dedication of your
"System of Composition." [Published in 1850.] Our gracious
protector [feminine] started yesterday for The Hague, and will
not be back till towards the middle of August.
I hope you will be sure not to fail us at the Herder Festival in
Weymar (August 25th), as well as at the "Lohengrin" evening
(28th); we have been already waiting for you so long!
Between the performances of the "Messiah" and "Lohengrin" (to say
nothing of my "Prometheus" choruses) will also be the best
opportunity for you to present your work in person to the Grand
Duchess.
Remember me kindly to your dear family, and remain my friend as I
am yours
Most truly,
F. Liszt Weymar, July 10th, 1850
67. To Friedrich Wieck in Dresden
[published in the "Neue Musik-Zeitung" in 1888. - The addressee
was the well-known pianoforte master, the father of Clara
Schumann (1785-1873).]
Esteemed Sir,
It will be a real pleasure to me to welcome you here, and your
daughter [Marie Wieck, Hohenzollern Court Pianist in Dresden],
whom I have already heard so highly commended. Weymar, as you
know it of old, offers no brilliant resources for concerts; but
you may rest assured beforehand that I, on my side, shall do
everything that is possible in this connection to make things
easy for you. To me it seems especially desirable that you should
wait until the return of H.R.H. the Grand Duchess, which will be
within a fortnight; should you, however, be tied by time and come
here before that date, I bid you heartily welcome, dear sir, and
place myself at your disposal.
Yours truly,
F. Liszt
Weymar, August 4th, 1850
68. To Simon Lowy in Vienna.
[Autograph in the Royal Library in Vienna. Printed in a German
translation, La Mara, "Letters of Musicians during Five
Centuries," vol.
