his songs; it was genuine enthusiasm, even though his voice was not melodiously musical. A few years later paralysis of the arm and hand was added to his already overburdened life. He was finally obliged to resort to the lead pencil as a means of correspondence. It was but natural that he should be depressed, and lacking an incentive for composition under such conditions, yet he seemed to be constantly employed in some

manner.

He showed me a number of manuscripts, among them some vocal extracts (arias, etc.), by Handel, since then published, and spoke at length of revising the "Messiah." though it was some years later before he carried out the plans suggested at this time. He seemed especially proud of his edition of the works of Bach and Handel. Having very decided opinions in the matter of art-principles, he held a very pronounced aversion to what he termed the "historic school," which he designated as rather pedantic and narrow; yet, notwithstanding. he was not a radical, and believed only in such additions and modifications as would represent a work in the most artistic form, free from platitudes and conventionalities.

As already said, he wrote but few songs at this time. In fact. he had a number in his desk that were not ready or ripe enough for publication. He always insisted that a work should be subject to sufficient reconsideration to make it free from the feeling of reconstruction or alteration. Thus did he publish but slowly.

While he spoke with great warmth of the attitude of Schumann, Mendelssohn. Wagner, Liszt and others towards him, it was Liszt of whom he could not be too profuse and lavish in his admiration and gratitude. Franz Liszt-the most unique and remarkable musician of the nineteenth century-extended to Robert Franz the heartiest praise, appreciation and assistance. In his brochure, "Robert Franz" (now included in the complete literary writings), and in his transcriptions of a number of the songs, he showed the deepest sympathies for the Franz muse. I often wonder whether Liszt will ever be accorded the fuli measure of his worth, and the influence which he exercised in every direction; he was indeed a veritable musical philanthropist!

Franz often spoke very bitterly of the negligence of his

songs; he keenly realized the fact how seldom singers will sing what does not afford them an opportunity to display their voices, or enables them to make sensational effects. He was fully conscious of the purity of his style, which meant only to

reflect the poem in a musical garb, ignoring every means that would tend to detract from the song. It is the poetical conception that must stand out in bold relief, not the interpretation of the singer. He seemed displeased over the manner in

which only a certain few of his songs were sung, at the exclusion of many that showed new and different phases of form and expression. After my return to Leipzig, and subsequent return to my native country, we exchanged letters freely. One of the most predominating features of his letters, is a constant reiteration to study Bach and Handel and to keep in close touch with the past. In a letter dated May 20, 1884, he shows some of his strong likes and dislikes thus: "I am no doubt indebted to you for the Festival programme book. * I shall make no objections to the ovations which Pittsburg bestows on Wagner (and some modern composers), but it would have pleased me greatly had some recognition been given to the past. Bach and Handel should have been represented in the face of such an array of talent. Whether the soloists would have been served as well, is a different question.

"I am very glad to see your opus 10, Thusnelda,' on the programme, and hope it will do you much good.

*

"In the last few years I have published a suite in C minor, by Seb. Bach, which existed hitherto only as a sketch left by Bach; also the trio from Bach's 'Musikalisches Opfer'; three cantatas by Bach, and finally, the new edition of the 'Messiah,' based upon Mozart's instrumentation. This will appear in the fall through Kistner. * *

"My sing-song is receiving more attention in Germany, especially lately at Vienna. My opus I will soon celebrate its fiftieth anniversary. When one considers that, having striven to do the best, and to have, with reasonable success, attained it, one can only say it was a trial of patience which can only be understood when one knows the status of musical affairs in this country. * * Yet, notwithstanding all this, I have not the remotest doubt that the principles which have always guided me will eventually conquer, but I shall not live to see that!"

In a letter dated November 15, 1883, he speaks of being engaged on a revision of the "Messiah" score: "The Handel and Haydn Society of Boston already have some additions of mine, but they are only attempts, which I must now revoke, since I have found it necessary to make greater alterations, not having fully realized how much this edition had suffered through other sources."

It is of interest to note how justly he treated the different authors connected with the newly revised score. In the preface he says: "The newly added passages are distinguished in the present edition by the letter F, those added by Mozart by the letter M, and those found in the original score by the letter H, and lastly the letters M F are used to designate those parts where I made use of Mozart's instrumentation."

It has often appeared strange to me that he cared more for

жин

Gefahr, sich. dunstigen Irrwischen auf Abwage. ver loden zu lassen. Halten Sie also die Fahne das wig währen und Schönen Hoch amzer – sie möge das Zeichen sein, unter welchen sich die jungen Seelen, wilfe sich Ihrer Leitung an vertaunen, samacales, Lampf gegen das Richtige sieg reich zu bestehen!

Mit

diesem Wünsche var

bindet die herzlichen Grüße

the services he rendered in editing the works of Bach and Handel than for his own creations. While he had an exceedingly strong poetical nature, his whole soul seemed bent on treating everything polyphonically. It was to him what counterpoint was to Bach. How largely he was endowed by poetical taste is best demonstrated by the magnificent choice of poems that form the basis of his fine songs. No composer ever exercised such uniform criticism in the choice of poems as Franz; this feature is indeed worthy of being unreservedly

extolled. What a beautiful aspect the eye beholds while perusing the pages of his music! Such minute accuracy of detail is found in no composer prior to the advent of Franz.

He felt much interested in the musical affairs of this country, and had many ardent friends and admirers here. Foremost among these was Otto Dresel, for many years a resident of Boston, with whom he edited Bach's "Well-tempered Clavichord," based principally on the peculiarities of a freer polyphonic style. John S. Dwight, through "Dwight's Journal," was exceedingly influential in his behalf, and did much to introduce the songs and revisions.

A few years ago my friend Edgar S. Kelley wrote at length on the value of Franz's songs, drawing attention to various interesting traits. William F. Apthorp included an excellent essay on Franz in his "Musicians and Music-lovers."

As there had been no new picture of Franz for several years, I incidentally asked him if he would have one taken. To this he acquiesced, and had one made which appears here for the first time. He frequently sent me pamphlets and articles relating to himself and his writings; also a set of six songs, opus 52, from Leipzig, August 7, 1884, that had just been issued. It was but natural that with such unrestrained admiration I should endeavor to show him some attention, and thus were published the six songs, opus 6 (C. F. Kalmt, Leipzig), that are inscribed to him.

Much has been said against the small Lied-form; and yet it can be successfully proven that the most beautiful and worthy musical thoughts can be portrayed in this condensed form, and through no single composer have more delicate and exquisite musical emotions been given to the world than those found in the art-mine of Robert Franz.

To have comprehended the songs of Franz, implies refinement, skill, poetic freedom, elasticity of expression and a complete self-abnegation.