Franz Liszt to Richard Pohl

Author(s): Edward N. Waters

Source: Studies in Romanticism, Vol. 6, No. 4 (Summer, 1967), pp. 193-202
Published by: Boston University
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 STUDIES IN ROMANTICISM
VOLUME VI SUMMER I967 NUMBER 4

Franz Liszt toRichard Pohl1

EDWARD N. WATERS

IN 1965 the Library of Congress had the great good fortune to

meet a new benefactor who resources
enormously augmented its
for research into the Hfe and art of Franz Liszt. It is a
striking
coincidence isRosenthal, so well known
that this benefactor's name
to followers late proteges. But the Library's most recent
of Liszt's
musical benefactor has no need to claim relationship with the famous
Moriz. For more than thirty years Harry Rosenthal, a unique and
in New York City,
highly successful shoe merchant and importer
collected Liszt manuscripts and autograph letters, and in the final
month of last year he enriched the national library by a total gift of
incalculable significance. There were twenty musical manuscripts,
over one hundred twenty letters (most of them unpub
holograph
and a generous of documents and books, not one
lished), assemblage
of which was unimportant.
Itwould be pleasant to dwell at greater length on
Harry Rosen
thal, but lack of time forces our immediate attention to his actual
donations, especially to the autograph letters he acquired, and with
in them to a series of a
forty-five written to famous avant-garde critic
of the past century, one Richard Pohl, and three to Mrs. Pohl, a
renowned harpist.
Richard Pohl, not too well remembered today, was a prominent
German critic who began his as an
professional life engineer and
mathematician. Enamored ofmusic and swept off his feet
by the pas
sionate ideals of themusical romanticists, he switched to that fine art
and became a champion?one might almost say the champion?of
theWeimar school and later of Bayreuth. He lived from 1826 to
1896. Brief articles about him appear in the standard dictionaries of
musicians, and many articles and several books by him will be found
1. This paper, slightly altered, was read in New Orleans, Dec. 29, 1966, at the
annual convention of the American Musicological Society.

[193]

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 194 EDWARD N. WATERS

in our larger libraries. He wrote clearly and succinctly, he argued

was a true Berlioz as
persuasively, he internationalist?promoting
as Liszt or he was modest about his own
ardently Wagner?and
musical Since he is not well known today, the
accompHshments.
special collection of
Liszt letters to him embraced in the Rosenthal
much needed lighton both him and his idolLiszt.
donation throws
Here in one bound volume are the
precious forty-eight which the
composer wrote to the critic and his wife. They run from July 16,
1853 (at which time the men had to 18,
barely met) September
a of more than filled with
1884, period thirty years struggle, travail,
disappointments, and gratifications. Of these forty-eight only four
were in the eight volumes of the composer's Briefe2 edited
published
by La Mara, and of the four already in print, two were issued with
serious and important omissions, obviously intentional though per

haps inexplicable.
It is impossible here to give a complete resume of all forty-eight
some of them are very short, others are very
letters.While long, and
the points they bring up, the conditions they refer to call for ample

scrutiny and meditation. The selected passages that follow offer evi
dence of Liszt's honesty, sympathy, wit, and opinions that are too
often overlooked or obfuscated in the haze of his glamor and roman
tic reputation.
One hundred years ago in Germany the combat between modern
music and unmodern music was as violent as it is today. Liszt was the
promoter of the latest,most advanced manifestations, and his orches
tral programs reflected these sympathies. He was the director of a
famous music festival that took place inKarlsruhe on October 3 and
5, 1853?about which Pohl wrote a brochure?and he
subsequently
was about the selections to be chosen. Bee
(Liszt) vitally concerned
thoven's Ninth Symphony was to be performed, of course?a gen
eration after Beethoven's death therewas nothing more modern and
in certain areas nothing less known?and then important works of
Berlioz and Wagner, arch-revolutionaries. On July 16, 1853, Liszt
enunciatedtoPohl thechiefand guidingprincipleof thefestivalpro
gram: "Vividly to represent life and the living." And then he added:
"Let the dead bury their dead; that is of no concern to us."
The festival took place, but only a partisan historian can decide
whether itwas a triumph. Liszt's friends thought itwas, his foes (and
2. Franz Liszt's Briefe, ed. La Mara, 8 vols. (Leipzig, 1893-1905).

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 FRANZ LISZT TO RICHARD POHL 195

encour
he had plenty of jealous adversaries) thought otherwise. He
aged Pohl towrite his brochuredescribingtheeventand judging its
to pay all costs of
significance, and he promised printing and publica
tion. His program-making and his conducting had been attacked; he
was sensitive to this criticism; he resented the assault upon modern
music and practice. Therefore, on November 5, 1853, he wrote a
and famous letter to Pohl inFrench, a letterwhich isNo. 104 in
long
La Mara's first volume of Briefe. She edited it, of course, and in so
two para
doing she omitted, without notice, the opening and the last
The first omission reads: "I am writing you today in French,
graphs.
for, being accustomed to think in this language, it ismore comfort
able forme to express the idea that I am eager to convey." Liszt was

forty-two when he made this admission. In the dropped paragraphs

at the end we find this passage: "Dear I have written
Pohl?although
thesemany lines as the result of reading something at lunch from an
issueof theSud DeutscheZeitung, I shouldbe happy ifyou found
them suitable for inclusion in your brochure. I ask only that you
translate them as you will and place them near the end of your bro
chure, leaving me the full responsibility of the opinions expressed,
are the same as
although I imagine they yours."
A few words are necessary about these omissions. In the first
to a great
paragraph Liszt confesses preference for the French lan
guage, and no German?Liszt editor, Liszt idolator, or what not?
likes to admit this.Nor have times changed in the past hundred years!
The second omission clearly shows that Liszt wanted to be
personally
represented in Pohl's brochure, and I suggest that La Mara thought
thiswas a bit too immodest or importunate. When the brochure was
actually published, late in 1853 an(i entitled Das Karlsruher Musikfest
imOctober 1853, the letter
appeared in French and in German trans
lation with the same passages lacking.
In 1852 and 1853 Pohl, not yet was a
thirty years old, already
smart, perceptive, and biting critic, slashing out against all perform
ers and standards that
displeased him. A series of articles in theNeue
Zeitschrift fiir Musik, beginning on August 20, 1852, attacked the
Dresden Kapellmeister, one Karl August Krebs
(1804-80). His first
two articles were entitled "Dresdner Musik. Die
Oper und ihrVer
fall," and others followed with different appellations but unmitigated
was torn to shreds?and not without reason,
antipathy. Poor Krebs
itmay be said, for disliked him intensely and von Bulow ad
Wagner

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 196 EDWARD N. WATERS

mitted read the simplest score without difficulty3?

that he couldn't
and he did not know the tenacity of his besieger. Pohl was writing
his articles under the pseudonym of Hoplit, i.e., hoplite, the name
for an ancient Greek foot soldier who did battle for the just cause.
Krebs retaliated in the public or political, not themusical, press (the
Deutsche Allgemeine Zeitung and the Constitutionelle Zeitung) so in
to consider to a duel. Liszt
sultingly that Pohl had challenging him
knew exactly what was going on, and we find him
writing
to Pohl
on
February 27, 1854:
... turn at once to the most is unfortunately
Let's urgent matter?this the dirty
Krebs business. I had Cornelius write to you I repeat that I stand
yesterday?and
entirelyat your disposal ifyou believe I can personallybe of service toyou in this
affair. You know how I size up the matter?there are no two less
opinions?still
two ways for aman of honor. Such a coarse public insult absolutely calls for pistols.
... Your
judgment of hisKapellmeisteraccomplishmentsin theNeue Zeitschriftand
even the slightallusions to his name have remained entirelywithin the limitsof
public and private decorum?while only a drunken stableboy could approve
Krebs' behavior
toward you. Police intervention in the matter must be
carefully
avoided, but you certainly cannot dispense with the satisfaction due you.
If the affair is not settled by tomorrow or
day after tomorrow?that is, ifKrebs
has not publicly apologized to you in theLeipzig newspaper, and absolutely so?
callme toDresden and I promiseyou thatwithin 24 hourswe shallhave thematter
in proper order. Write me at once how things stand; and if necessary I'll come to

you the next railroad train.

by

Liszt did not have to put his pugnacity to the test, but there can be
no doubt about his readiness to venture into combat. Pohl submitted
his case to an Ehrengericht (a court of honor consisting of three promi
nent citizens) which examined the controversy and settled it,with
out to the critic's satisfaction.4
bloodletting,
Krebs's name quickly vanished from their correspondence, but not
before it appeared again in a rather amusing way. Bent upon further

ingWagner's music at every opportunity, Pohl asked Liszt for the

loan of certain Lohengrin parts which were just then inWeimar.
There was a possibility of using them at a Dresden concert.
For once Liszt refused the request, and on March 12, 1854 (only a
venturesome offer to be Pohl's second), he wrote
fortnight after his
to his friend:
3. Ernest Newman, The Life of Richard Wagner (New York, 1937), n, 311.
4. Pohl's articles on Dresden musical affairs and the settlement of the Krebs incident
are found in theNeue 12 and 19, Dec.
Zeitschriftfur Musik: Aug. 20, Oct. 29, Nov. 17,
1852; Jan. 14,May 27, Oct. 7,1853; Feb. 10,Mar. 17, Apr. 7, June 23, July 14, 1854.

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 FRANZ LISZT TO RICHARD POHL 197
use at the...
I cannot agree to sending the Lohengrin parts for planned
Dresden

concert, for the following reasons:

i?Wagner has remainedvery sensitiveto all Dresden affairs,and I feel it is

essential to ask him whether or not such a meets his
absolutely performance
not like to riskthereproachof having prepared for
approval. Formy part I should
an in lettersWagner has himself so
Wagner unpleasant surprise?and expressed
firmly againstperformingLohengrin inDresden because of the "inadequacy" of
the Kapellmeister there that one must reflect carefully before handing the matter
over to Krebs. Without authorization from Wagner it seems to me at least
special
inadvisable.

There were also other, technical reasons for withholding the parts,
and they did not go to Dresden's young enthusiast.
was
Halfway through hisWeimar period Liszt busy with every
for the piano. Symphonic poems, sympho
thing except composing
nies, masses, not to mention conducting and administrative duties,
to Pohl on August 2,1856, he penned
occupied his attention.Writing
a was its brevity and
phrase which peculiarly effective because of
trenchant significance. His favorite pupil and soon-to-be son-in-law,
Hans von Biilow, was visiting him, and Liszt tells Pohl: "Yesterday
he played several pieces for me quite wonderfully, among other
both ofmy Polonaises and the Sonata; I have an inclina
things again
tion towrite for the piano." Most important here is the implication
that the desire to create piano music had vanished, to reappear
only
after hearing some superb playing.
Pohl was an eloquent and worthy champion of the "music of the
future," eager to attack anyone who attacked it.He called Liszt's at
tention to an article by thewell-known French critic Joseph d'Ortigue
to castigate it and its author. Know
(1802-66), obviously intending
to Liszt raised no objections, but d'Or
ing what Pohl intended do,
was so and so
tigue accomplished deserving that he merited better
treatment than the ordinary conservative
pen-wielder. Liszt's brief
definition of d'Ortigue brings honor to both men. He wrote Pohl on

August 1, 1858:

I have not read article against the music of the future. If you wish to
d'Ortigue's
refutehim I see no objections, and you will certainlyhave no lack of good argu
ments. With to however, I urge you to exercise some restraint,
respect d'Ortigue,
which he deserves as an honest and conscientious writer who has proven his devo
tion to art. If he errs in the present case, it is for want of having exam
sufficiently
ined the things in question; and there is no reason for
surprise that in France they
remained even in Germany we
have apart from questions which, where control

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 198 EDWARD N. WATERS
events before our eyes and in our ears, are still so entangled because of bad faith,
ignorance, conceit and foolishness.

In the same letter,most of which is in French,

by the way, Liszt
offers a telling comparison of French and German criticism, both of
which could be improved. He has been greatly impressed by the Rus
sian composer, Alexander Serov (1820-71), who will soon be visiting
Pohl. Serov, says Liszt, can dispute
With spiritand precision.He has good command of French andGerman, and if I
am not mistaken he will soon render fine service tomusic's cause
good by avoiding
the arrogant lightness that French criticism so easily wears and the
equally pedantry
of our learned Germans, no less
empty but
more to swallow.
unpleasant

These were words of wisdom and discernment!

Both Liszt and Pohl were fervent admirers of Berlioz. The former
transcribed and conducted his music,
the latter translated much of
his literary work and eventually wrote a book about him. In the
Frenchman they saw an artistic ally who would walk their own path
into the future. But radical though he was, Berlioz had a concept of
the future thatwasdifferent from theirs, and this fact led Liszt to
combine elements of truth, humor, and reality in a paragraph that he
wrote to Pohl on
August 23, 1858:
Have heard about the Trojans? Does Berlioz have a of a
you anything prospect
performanceat theParisGrand Opera? Undoubtedly and againsthiswill therewill
be a of "music of the future" in it!?We do not want to say this to
good piece
him
him, however, for the phrase "Music of the future" makes gnash his teeth!
at him. on that account,
We mustn't
grumble
still less let ourselves
be misled by his
to write as he has
whims. May he only continue always done, and itwill always
redound to our credit to confess and show ourselves as his most fervent and con

vinced of whether his behavior is friendly or not.

admirers?regardless personal

The last phrase indicates that Liszt was not unfamiliar with Berlioz's
irritations.
Liszt's fortunes, domestic and artistic, took a turn for the worse

during the next years. His projected marriage with the Princess
Wittgenstein failed to materialize, he was constrained to relinquish
first his operatic and later his orchestral conducting, he settled in
Rome to face, at least for a while, an unplanned and unpremeditated
future. Pohl, in themeantime, was thinking of moving to Baden
Baden, and from the Eternal City (on November 5, 1863) Liszt
wished him good luck in the"land of double badinage [paysdeux
fois badin] as one of my Roman ex-patrons, M. Delatre, calls it."

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 FRANZ LISZT TO RICHARD POHL 199

M. Delatre must have been a man

of parts and considerable attrac
tiveness, whose qualities, however, seemed to pale upon continued
went on:
acquaintance. Liszt

Possibly you will meet him during the season. Sometimeshe is interestingto talk
to, forhe has learned,seen and endured a great deal, and especiallyexplored in the
fields of comparative grammar and etymology. On closer
archeology, philology,
relations, however, he has disgusted me through
his insufferable and
prurience
Shortly after the issuance of the poem Rome et Baden he was most im
profanity.
invited to skip Rome?and not to scan zu raumen?und nicht zu
politely [Rom
reimen].

In this same letter Liszt complains that his greatest lack is time?
and why??because death is closing in on him, but three or four
years of uninterrupted work might suffice to realize the gifts that are
his.
same next letter in this
The premonition of death appears in the
series, written in Rome on November 7, 1868. At the age of fifty
seven Liszt tells Pohl:

My fatherdied at theage of 48. Since I have passed thisfigure I seem to be living

on must be a few more
only reprieve. If it prolonged,
I shall write pages of music
and try to deserve, as far as possible, the esteem that my friends hold for me.

But this letter is far from cheerless. Near the opening is a

charming
a once heard, is
paragraph with metaphor which, unforgettable. Surely
Pohl was amused and delighted to read:

Your bulletins about the victory of theMeistersinger are and

bilingual charming
Like you, I am convinced that we are dealing here, from to end,
perfect. beginning
with a marvelous such as Wagner alone could create. Between
masterpiece
and the Nibelungen, theMeistersinger seems to me to hold a
Lohengrin place quite
similarto thatheld by the 8th Symphony of Beethoven, between theEroica and
the Ninth; except for the difference, all toWagner's advantage, that the 8th Sym
lasts more
phony twenty-five minutes and the Meistersinger than four hours?
to your exact observations. Thus is
according demandingly quantity, octupled,
added to the superior balancing of substance and form.
qualities

This letter,incidentally,is one of thefour to Pohl published in

Liszt's Briefe. It isNo. 76 inVolume 11?and only one paragraph of
ten lines not the one
(and just read) is offered to the reader! Printed
in its entirety the letterwould cover at least two pages, more.
perhaps
On November 25, 1868, the cause of modern music sustained a
great loss when Karl Franz Brendel died the day before his fifty
seventh birthday. Learned and advanced in his
sympathies, he had

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 200 EDWARD N. WATERS

edited for nearly a quarter century the influentialNeue

Zeitschriftfur
launched in 1834 by Robert Schumann. This
Musik, journal cham
pioned themusic of the future without disregarding themusic of the
past. At the time of Brendel's death its proprietor was the well
known music publisher, C. F. Kahnt of Leipzig. Under his own name
as well as that of was one of its most fre
Hoplit, Pohl regular and
quent contributors.

Immediately following Brendel's demise Pohl aspired to the chief

com
editorship, and he solicited Liszt's aid in obtaining the post. The
poser was heartily in favor of this development. He knew Pohl's
qualifications, accomplishments, and experience. From Rome, on
December 18, 1868, he sent Pohl these encouraging words, which
also reflected a practical consideration:

When I get toWeimar I shall seeRiedel and Kahnt and shallnot fail tomake
them understand that my friend Richard Pohl, more and better than anyone else,
is qualified tomaintain thehonor and prestigeof ourjournal?indeed to expand its
influence and
consequently the number of subscribers, etc., etc. Before my talk
with these gentlemen, it seems to me that itwould be useful for you to write to
Kahnt to indicate your wishes. After all, the decision in this matter comes from
him.

Itwould be pleasant to report that Liszt's influence prevailed, but

such was not the case. Months went by and poor Pohl heard nothing.
He certainly prodded Liszt about it, for on March 12,1869, the latter
wrote fromWeimar:
can
respect to Kahnt: reserve. You
With
complete only wait for his proposals,
then discuss them subsequently. To force them by an explanatory letter would do

you no good. I have

spoken clearly enough
to Kahnt for him to know the situation.

After seven years of waiting, Pohl was no better off than in the

beginning. Liszt, however,

was
persistent. InWeimar for the sum
mer of 1875, he wrote Pohl on June 25: "I am not abandoning the
Kahnt affair.More about that soon." And still three years later itwas
a to be referred to, for on
topic May 22, 1878, Liszt informed Pohl:
"Kahnt is visiting me tomorrow. May we not be stuck once more
with 'discussions' about the 'Neue Zeitschrift.' Spinning phrases is
intolerable tome." Liszt's patience may have been wearing thin, too.
A culmination, however, was not far off. The ultimate details and
the nature of the appointment are not revealed, but on November
22, 1878, just sixmonths later, Liszt made final reference to themat
ter in
writing: "I am very happy that your negotiations with Kahnt

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 FRANZ LISZT TO RICHARD POHL 201

are concluded. Our personal contact will thereby be more frequent.

You know my unwavering friendship." Let it be said that though
Pohl may not have gotten the job he wanted, the famous magazine
was not without a chief editor; Kahnt to the
appointed himself post!
In the letter penultimate to theKahnt settlement?that written on

May 22, 1878?there is a passage of quite particular interest on an

is
entirely different subject. It really self-explanatory. Liszt told Pohl:

Last week I wrote to Dr. R. Fleischer, chief editor of the Deutsche Revue con
the truth, I have no to remember
cerning my memoirs. To tell you desire my
to livemy Hfe throughand outwithout writing it
memories, and find it sufficient
If you find it attractive, to in our
down. however, put literary form long years of
and opposition, I am satisfied and in agreement. You
experience, striving quite
know precisely the littlebit of good that is and remains inme. No self-seekingof
any kind, nor approval for the pitiful ego: sincere devotion to the noble and great
in art. Goethe said: "I can promise to be sincere; but not to be As an
impartial.,,
citizen ofWeimar I may imitate Goethe and testify that for almost 30
honorary
Wagner has fulfilledart'shighest ideals.
years

The closing reference in this paragraph was written because Wag

ner's birthday fell on May 22, the day this letterwas written. The
more reflection. The Deutsche Revue was one
opening phrases call for
of Germany's leading periodicals in the fields of literature and belles
lettres. Itwas obviously asking Liszt to write an autobiography. At
the age of sixty-six and a half he was disinclined to accept the invita
tion. Both fact and fiction about this unique artistwould have justi
fied a document of self-revelation. Posterity is still trying to disen
tangle veracity from imagination within his turbulent career.
His suggestion to Pohl bore fruit, and Pohl's book of 1883 was,
more or less,
exactly what Liszt asked for?an account of common
experience, striving, struggle, and opposition. It was neither
biog
nor second-hand memoirs. But the
raphy thought lingers?what
memoirs Liszt could have written!
The last letter to attract us has been
published (No. 431 inVolume
vm of the but it is so little known and so
Briefe), important that it
must be mentioned. Liszt sent it to Pohl on March 5, 1883.Wagner,
their friend and idol, had died on a
unexpectedly February 13; great
was no more, and the in 1876, were
genius Bayreuth festivals, begun
had to carry on. On 26 Pohl, writ
endangered. Somebody February
ing for a
himself and others, told Liszt that head was needed, one who
towered above all others, that this head must be Liszt himself. Itwas

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202 EDWARD N. WATERS

a sincere and not to be contradicted.

flattering letter,5 but deeply
And how did Liszt reply?the oldman, now infirminhealth and
over seventy years of
well age? He declined, decisively and succinct
His two sentences to Pohl tellmost of the story and
ly. first give his
most cogent reasons: "I do not possess the proper
qualities for the
fulfillment of the officewhich you and some friends offerme. Above
all I lack oratorical talent and training in stagecraft." Here is another

expression that calls formeditation. There can be no doubt that Liszt

held almost devout reverence forWagner's musical and creative

ability, but the allusion

to oratorical talent?was it a criticism of the

opera master's familiar vociferousness? And his apology for not know
ing the stage?might this account, in the long run, for his failure to

produce operas during his younger years, when he certainly contem

He knew his health, he
plated the composition of dramatic works?
knew his age, he knew his Umitations, and he repulsed the approach
which, quite legitimately, was made to him. The incident is an in

teresting item inmusical annals.

So here are forty-eight letterswritten by a master to a disciple. The

few quotations selected could be matched, for interest, importance,
and whimsicality, any number of times. If they portray no Liszt who
is startlingly new, they do present a man who, having been derided,
reaffirms himself as just the
charged with insincerity and rninimized,
a some was aman of sense
opposite?over period of thirty years. He
and sensibility, an unwavering friend, aman who kept promises even
to take sides, and who unhesitatingly confessed his
though he had
own inadequacies. It is a remarkable series of letterswhich deserves
to be known in its entirety and doubtless will be in the not too distant
future.

LIBRARY OF CONGRESS
MUSIC DIVISION

5. See Briefe hervorragender Zeitgenossen an Franz Liszt, ed. La Mara, ni (Leipzig,

1904), 401.

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