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Ashton Ellis, soon after its publication in 1892, and it was consequently withdrawn from circulation in Germany by its publishers, Messrs. Breitkopf und Haertel. In England and America it still seems to be widely read, and is, more than any other single work, responsible for the false notions that are abroad about Wagner.
Send a note for 500 francs in your next letter, and keep the rest for me. I give you much trouble, I should like to spare you it but but . Ask Maho not to change the manuscripts destined for Haertel, because, as I shall not correct the Leipzig proofs, it is important that my copy should be clear. Also ask Brandus to send me two proofs, one of which I may keep.
In 1801 Breitkopf and Haertel published the work with the addition of the vocal parts at Leipzig. This edition had a preface by the author in which he said: About fifteen years ago, a curé at Cadiz engaged me to write some passages of instrumental music on the Seven Words of Christ on the Cross.
At a music Convention, held that year in Zurich, in July, MacDowell played his First Piano Suite, and won a good success. The following year, upon Liszt's recommendation, both the First and Second Modern Suites were brought out by Breitkopf and Haertel.
Later the opportunity of adding them was offered, so the oratorio which Breitkopf and Haertel publish to-day is a complete work and, so far as the vocal part is concerned, entirely new. The kind reception which it has received among amateurs makes me hope that the entire public will welcome it with the same kindness. Haydn feared to weary his hearers. Our modern bards have no such vain scruple.
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