Liszt, Franz

thanking him warmly for his sympathy and for the 'quiet handshake' of a friend and noble artist, noting that the Bach [music] was very welcome, referring to Goethe's homage to Schiller through acts of lasting creation, asking why they might not do the same, stating that he cannot follow his excessive modesty and thus cannot accept that one can only look up to the greatness of Bach or Schiller ("...Man soll sich zum "Dauernden gewöhnen" wie es Goethe von Schiller sagt. Freilich that letzterer dies, indem er selbst Dauerndes schaffte. Warum aber sollten wir ihm [?] darin nicht folgen?...")

 2 pages, 8vo, blue paper, numerous autograph deletions and revisions, later pencil annotation to first page, Weimar, 30 December 1859, a few small stains, horizontal folds

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

A good letter, in which the death from tuberculosis of Liszt's twenty-year-old son Daniel, less that three weeks earlier, give rise to some passionately-felt reflections on the proper creative response to genius such as that of Bach and Schiller. Robert Franz had enjoyed Liszt's admiration since the publication of his first set of twelve songs in 1843.