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The Teutons who had obeyed Attila, turned on their Tartar conquerors, the only people who had ever subdued German men, and then only by brute force of overpowering numbers. At Netad, upon the great plain between the Drave and the Danube, they fought the second Hunnenschlacht, and the Germans conquered.
Attila and his hordes rolled away eastward, and into Italy for Rome. That is the Hunnenschlacht; 'a battle, as Jornandes calls it, 'atrox, multiplex, immane, pertinax. Antiquity, he says, tells of nothing like it. No man who had lost that sight could say that he had seen aught worth seeing. A fight gigantic, supernatural in vastness and horror, and the legends which still hang about the place.
You may see one of them in Von Kaulbach's immortal design the ghosts of the Huns and the ghosts of the Germans rising from their graves on the battle-night in every year, to fight it over again in the clouds, while the country far and wide trembles at their ghostly hurrah. No wonder men remember that Hunnenschlacht.
After 1870 he returned to Weimar, living there and in Budapest and in Rome. His principal orchestral works are: "Eine Faustsymphonie," "Dante," "Bergsymphonie," "Tasso," "Les Préludes," "Orpheus," "Mazeppa," "Hungaria," "Hunnenschlacht," "Die Ideale," "Two Episodes from Lenau's Faust," etc. His principal choral works are "Die Legende von der Heiligen Elisabeth" and "Christus."
The three last numbers of my Symphonic Poems will appear by the end of this month, and I shall send them to you at once. A similar thing, "Die Hunnenschlacht," I completed last week. The Princess of Prussia has commanded "Tannhauser" for next Sunday. Please forward the enclosed proof to Brendel, so that the good man may get a notion of his bad editorship.
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