CONCLUSION.
I have received the following communication from an old literary friend,
to whom I sent my eighth chapter, requesting his opinion of it:--
MOTTO.
_There are unreceptive times, but
that which is eternal outlives all
times._--JOH. VON MÜLLER.
MY DEAR FRIEND,--I have read your eighth chapter. What you facetiously
call "the three trifles" seem to me to be three most important points,
even if you had described them simply as _fine_ taste, _deep_ feeling,
and _a good_ ear. Who expects superlative excellence from the age in
which he lives, and who dares to attack it, in its most vulnerable
parts? You grow more harsh and disagreeable, and you do not seem to
consider how many enemies you make, among those who think that they have
long ago advanced beyond these three points. Just now, too, when there
is so much said about "the intellectual" in music, and about "the inner
nature of the future," and when such fine expressions are invented about
it, you come forward with your three unseasonable trifles in the
superlative degree. Do you imagine that our intelligent age cannot
discern your hidden satire?
You say that our times are in need of your three trifles, _and_ the
necessary knowledge and experience. _Voilà tout!_
As for Prince Louis Ferdinand, Dussek, Clementi, Himmel, Hummel, C.M.v.
Weber, Beethoven, &c.,--who has not heard all about them?
After them, comes the period of "piano fury," and the compositions
appropriate for it. Now the three trifles required are _distorted_
taste, _hypocritical_ feeling, and a _depraved_ ear, combined with the
necessary superficiality and some power of production. _Voilà tout!_
After that, musicians bethink themselves once more of the genuine three
trifles, and return to reason, and we are allowed to take delight in
Chopin, Mendelssohn, Fr. Schubert, Robert Schumann, and a few others of
the same sort, and again in Beethoven.
These were succeeded by mere dry imitators; they were not, however, of
much significance.
Finally, the very latest progress introduces a still more extravagant
piano fury. The three trifles are now _distorted_ taste, _no_ feeling,
and _no_ ear for tone; and with these are required the necessary
audacity, immeasurable vanity, senseless exhibitions of strength, a poor
touch upon the piano, and what they call "intellect." The compositions
are now embellished with appropriate pictures on the cover, and with
attractive title-pages. In addition, there is much talk about a "higher
beauty," "the stand-points which have been already surmounted,"
"artistic flights," and the "misunderstanding of the inner
consciousness," "Genius must be free," &c.
My old conservative friend, you are seen through. Your influence, and
more especially your ideas about singing, belong only to a past age.
They date from the last century. You will be derided with your Jenny
Lind and Henrietta Sontag. They are lifeless images of singers, to be
kept in a glass case. Are you willing to remain ignorant of the
magnificent modern style of voice? Can you not go forward with the
advancing age? Progressive philosophers will rap you over the knuckles.
You imagine that our times will stop for a couple of lectures! You will
yet have to learn what "intellect" signifies. In short, I should not
like to stand in your shoes. You should conclude your book with "Pater,
peccavi."
Even in misfortune,
Your sympathizing friend,
_V.E._