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Updated: May 7, 2025
"I would not have changed a note in one of them for untold gold, and inside I had the greatest love for them; but the idea that any one else might take them seriously had never occurred to me." A year later, upon Liszt's recommendation, the suite and its successor, the "Second Modern Suite," op. 14, were published at Leipzig by the famous house of Breitkopf and Härtel.
As Kistner has already printed the "Evening Star", I do not anticipate any particular difficulty in letting Hartel publish the "Tannhauser" march; at the same time, I should like to be safe from any possible discussion afterwards, and therefore inquire of you how the matter stands. Joachim goes on the lst of January to Hanover as concert-master.
Remember me to him kindly, and tell him that I sincerely approve of his sonatas published by Hartel. With invariable friendship, I remain cordially and sincerely Your VENICE, October 19th, 1858. Be thanked, dear friendly friend; your beautiful friendship is the only thing that still impresses me; you give it me purely, fully.
This letter was sent to Johannes and the result was the offering of some of his compositions to Breitkopf and Härtel for publication. He had already written two Sonatas, a Scherzo, and a Sonata for piano and violin. The Sonata in C, now known as Op. I, although not his first work, was the one in which he introduced himself to the public.
During the previous interruption in my work, which had lasted rather a long time, Hartel had engraved the first act of the score, and Bulow had arranged it for the piano. Thus a portion of the opera lay before me in monumental completeness, while I was still in a fruitful state of excitement with regard to the execution of the whole.
From the Princess I continue to have very good news; she will probably remain in Rome for some time to come. In October Hartel will publish the last two of my twelve Symphonic Poems, "Hamlet", and "The Battle of the Huns." As soon as I have an opportunity I shall send you my medley of songs to Paris.
Today has been a bad, musicless day; out of doors also it is grey and misty; let us hope tomorrow will be better. Farewell, my most unique, my dearest friend. Your ZURICH, November 16th, 1853. I returned last night from Leipzig with a bad cold; and the enclosed letter from Hartel, which I found here, has made my cold and my temper worse.
Still weary from my exhausting labour on Oper und Drama, and worried by many things which had a depressing effect on my spirits, I seated myself for the first time for many months at my Hartel grand-piano, which had been rescued from the Dresden catastrophe, to see whether I could settle down to composing the music for my ponderous heroic drama.
Tell me whether Meser has still the copyright of the melodies of "Tannhauser", and whether I must ask his permission to publish this piece, together with the other from "Lohengrin", with Hartel.
Of the four early Mazurkas, in G major and B flat major dating from 1825 D major composed in 1829-30, but remodelled in 1832 and C major of 1833 the latter is the most characteristic. The G major is of slight worth. As Niecks remarks, it contains a harmonic error. The one in B flat starts out with a phrase that recalls the A minor Mazurka, numbered 45 in the Breitkopf & Hartel edition.
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