Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Letters of Franz Liszt Volume I, from Paris to Rome: Years of Travel as a Virtuoso has been regarded as significant work throughout human history, and in order to ensure that this work is never lost, we have taken steps to ensure its preservation by republishing this book in a contemporary format for both current and future generations. This entire book has been retyped, redesigned, and reformatted. Since these books are not made from scanned copies, the text is readable and clear.

Constance Bache 11 March 1846 - June 1903 was an English composer, pianist and teacher. Bache was born in Edgbaston, the daughter of Samuel Bache (1804-1876), a Unitarian minister at the Church of the Messiah, Birmingham; an uncle on her mother's side was James Martineau. After learning from her brother Walter Bache, she studied at the Munich Conservatorium and subsequently under Karl Klindworth and Frits Hartvigson. After an injury to her right hand, Bache gave up public performance excepting occasional Birmingham concerts. In 1883 she moved to London, where she took up teaching and writing - especially translation from German. PREFACE TO THE ENGLISH EDITION, BY CONSTANCE BACHE In writing a few words of Preface I wish to express, first and foremost, my appreciation of the extreme care and conscientiousness with which La Mara has prepared these volumes. In a spirit of no less reverence I have endeavored, in the English translation, to adhere as closely as possible to all the minute characteristics that add expression to Liszt's letters: punctuation has, of necessity, undergone alteration, but italics, inverted commas, dashes and other marks have been strictly observed. It may be objected that unnecessary particularity has been shown in the translation of various titles, names of Societies or newspapers, quotations, etc.; but there are many people who, while understanding French, do not read German, and vice versa, and therefore it has seemed better to translate everything. Where anything has been omitted in the printed letters I have adhered to the sign .-. employed by La Mara to indicate the hiatus. It has seemed best to preserve the spelling of all proper names as written by Liszt, and not to Anglicise any, as it is impossible to do all; and therefore, even at the risk of a seeming affectation, the original form of the name has been preserved. In the same spirit I have adhered to the correct form of the name of our adopted composer Handel, and trust I may be pardoned for so doing on the strength of a little joke of Liszt's own "The English," he said, "always talk about Gluck and Handel!" La Mara says in her Preface that this collection can by no means be considered a complete one, as there must exist other letters- to Liszt's mother, to Berlioz, Tausig, etc.-which it is hoped may yet be some day forthcoming. In like manner might there not also be letters to his daughter Madame Ollivier (not to mention his still-living daughter Madame Wagner)? [Another volume of Liszt's letters, of a still more intimate character, addressed to a lady friend, will be published later on.]